Venkatesa Suprabhatham - P.V.Anantasayanam and party

Sri Venkateswara Suprabhatham

- Sanskrit recitation by P.V.Anantasayanam and party

HMV - N.95165 — N.95168 - [1948-52?]

Boxed set of four 78-rpm plates, eight sides.

Look what wonderous findings from my friends travels in Southern India. Together they traced down this beautiful box with 78 rpm recordings of the Venkatesa Suprabhatam the same morning prayer that I posted earlier by M.S. Subbulakshmi here.

This one is a much earlier recording maybe from the late forties or at the latest early fifties. If someone has more detail about dates or about the recording in general please come forward and say so! Here are some accompanying notes that my good friend Arvind wrote to this post! Costis took the pictures and did the scan, Zwan, the good dog finally helped with the rip by not overturning the turntable! Thank you all, and Good Morning to you!

and

A

Very

Good Morning

to

Sri Venkateswara

Sri Venkateswara Suprabhatham by P.V. Anantasayanam and Party

N. 95165 Sri Venkateswara Suprabhatham Part 1

N. 95165 Sri Venkateswara Suprabhatham Part 2

N. 95166 Sri Venkateswara Suprabhatham Part 3

N. 95166 Sri Venkateswara Suprabhatham Part 4

N. 95167 Sri Venkateswara Suprabhatham Part 5

N. 95167 Sri Venkateswara Suprabhatham Part 6

N. 95168 Sri Venkateswara Suprabhatham Part 7

N. 95168 Sri Venkateswara Suprabhatham Part 8

Suprabhatham (Sanskrit: सुप्रभातम,Tamil: சுப்ரபாதம்,, "auspicious dawn") is a name given to Sanskrit hymns recited in the morning to awaken the Lord. There are many different Suprabhathams, but of all, the Venkatesa Suprabhatham must be the most well known and ubiquitous in South India. Its a common sight to see many homes here waking up to the sounds of the Suprabhatham sung by M.S. Subbulakshmi, whose name has become synonymous with it. However, this recording of the Suprabhatham predates the one by MS Amma by at least two decades.

This recording was recited by the chief priest (and his co-priests) in the temple of Lord Venkateswara, also known as Balaji, at Tirupati, Andhra Pradesh, (in 1948, according to an online source I found), and was published by the Tirumala Tirupathi Devasthanams in collaboration with HMV. This temple is one of the major pilgrimage centres in South India and in scale, footfalls and reputation, is somewhat analogous to the Vatican for Christians. Even today, there are only two versions of the Suprabhatham played inside the Tirupati temple; one is this one and the other of course, the version by M.S.Subbulakshmi.

This might be the earliest recorded version of the Venkatesa Suprabhatham, but we have no way of confirming this because there are no records or lists available of early 78 rpm pressings of such material made in India. The hymn was composed around 1500 by Sri Prativadi Bhayankaram Annan Swami, a disciple of Sri Manavala Mamuni, who also composed Sri Ranganatha Suprabhatham. Its chanted in four parts: Suprabhatham, Sri Venkatesa Stothram, Prapatti, and Mangalasasanam.

This edition of four 78 rpm records comes with a booklet with the full text of the Suprabhatham in Sanskrit.

Here is an English translation of the verses

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Madurai Mani Ayyar - Classical Sanskrit Vocal

Madurai Mani Ayyar - Classical Sanskrit Vocal

EMI Columbia - 33 ESX 6010 - P.1967

Side A

A1 Thathvamariya (Reethigowla) 4'11

A2 Nija Marmamulanu (Umaparnam) 3'52

A3 Maa Janaki (Khambodji) 13'43

Side B

B1 Sarasa Sama Dana (Kapi Narayani) 6'53

B2 Saarasamukhi (Gowda Malla) 5'48

B3 Eppo Varuvaaro (Jonpuri) 3'49

B4 Note & Madhyamavathi 4'18

I see no over saturation of Mani Iyers music anywhere on the net, so here is the LP that came after the one I just posted yesterday. The preservation and digital likeness is this time a joint venture of the "south indian vinyl trinity" like we had before with an LP of the Sulamangalm Sisters. The good Arvind spotted it, secured it, and passed it on to good Costis who got down and made a real nice digital likeness that he in turn passed on for me to fiddle with a bit. Photos and rip are his! Twiddle and fiddle are mine. Slight de pop editing and slight photo editing. The music is for everyone who has heart and ears!

I like to point out the last piece on the B-side "Note" that goes into the Madhyamavathi. It is of course the least typical of the Carnatic repertoire and always stands out and seems still to be rather popular. It is a rather amusing and enjoyable relic of the British rule in South India. "Notes" can often be heard in Nagaswaram music and some vocalist like Madurai Mani Iyer did nurture the tradition of "notes" or "English Notes" as they were also called. The wonderful clarionet player A.K.C. Natarajan also has a very nice repertoire of "notes".

The influence from annotated english music, like march or dance tunes is obvious and speak of a time when indian musicians would have to also include western tunes in their repertoire to satisfy the English Raj. Some were played for formal functions and ceremonial reasons some for pure entertainment. Originally they were simply English tunes played on traditional South Indian instruments. In fact, some are simply Western tunes with Indian lyrics, but even though you can still sometimes here tunes like "God save the Queen" and "He's a Jolly Good Fellow", oftentimes it is however futile to look for the "english original" as there is none! Many "Notes" were composed by Indian composers and musicians in the vein of, or to resemble the original Notes. These are compositions often in the raaga shankaraabharaNam and created with swaras (some also have saahitya=lyrics).

Read some more about western influence on Indian Classical Music here...

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Madurai Mani Iyer - Carnatic Classical Vocal - 1965

Madurai Mani Iyer - Carnatic Vocal Telugu & Sanskrit Classical

EMI Columbia 33 ESX 6004 - P.1965

Side A

A1 Seethapathe Kamas 11'45

A2 Samjavaragamana - Hindholam - Telugu 9'10

Side B

B1 Kamalambam Hajare - Kalyani - Sanskrit 20'35

T.N. Krishnan, violin

Vellore Ramabhadran, mirudhangam

Another of my beloved South indian male voices is Mani Iyer, Madura in this case also indicating "sweet" and not only a reference to the city Madurai. He is indeed sweet and his intense glow is also something that feeds me a lot of energy! Hope you like him as much as I do! This post is in celebration of my new grandchild a boy born yesterday, he already has an older sister so I guess he will be fine even though it is a hard world! When celebrating life I think only Carnatic music works well enough for me so this is a very special album ;-)

The "sweet voice" of Madurai Mani Iyer in concert!

Madurai Mani Iyer (Tamil: மதுரை மணி ஐயர்) (October 25, 1912–1968) was a Carnatic music singer, who was famous for his unique style. He was one of the most highly celebrated carnatic vocalists during the first half of the 20th century. He was renowned for his adept skills at singing kalpana swarams, neraval, and raga alapana. His music continues to be highly regarded today.

Here are some links from this webpage, dedicated to him and his art and with lots of information and anecdotes!

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Chembai Vaidyanatha Bhagavatar - Carnatic Classical Vocal in Telugu & Sanskrit

Chembai Vaidyanata Bhagavatar - Carnatic Classical Vocal - in Telugu & Sanskrit

EMI Columbia - S/33ESX 6027 - P.1969

Side A

A1 Rakshamam — Gambeeranaatai 5'44

A2 Bantureethi — Hamsanadham 4'08

A3 Manavyala — Nalinakanthi 4'16

A4 Enthavetukondu — Saraswathi Manohari 7'01

Continuos tracks as on the LP, total time 21'10

Side B

B1 Manasayetulo — Malayamarutham 8'36

B2 Ramaniyada — Karaharapriya 12'27

B3 Narayaneeyam — Slokam 1'27

Continuos tracks as on the LP, total time 22'55

Here is some more great singing by Chembai who came from a family that was in the musical tradition for more than 500 years. Born in 1895 and performing for the first time already 1904 when he was only nine years old. By 1920 he was one of the top singers and T. Chowdiah the famous violinist adored him and for a long time they were a great combination together. When he was at his peak he was considered one of the three pillars of Carnatic Music along with Ariyakkudi T. Ramanuja Iyengar and Maharajapuram R. Visvanatha Iyer.

In 1932 he cut his first disc for Columbia and went on to record a great many "plates" for them, also this LP is on that same label. He was said live very frugal and to have been very generous spending most of his earnings supporting the temple of Guruvayurappan after a wow he had taken when an ayruvedic doctor had restored his voice there. Many were the musicians who got their first break with him and among the ones he helped along the way was two mridangam players first Phalgat Mani Iyer and later Palani Subramania Pillai both went on to become very famous. The latter may very well have been saved by Chembai as he was left handed and had a very hard time getting concert engagements because of the traditional placement of the musicians on the stage. Very few violin vidwans would accept to sit on the left side of the stage counted from the audience as neither their bow technique nor their visages would be on a favourable display.

Chembai had indeed a very long career and this record is from his last period when he came back after a longer retreat from recording and poor health only allowed him a few more years to live. He died on October 16, 1974 in Ottappalam where he had given his first temple concert. On the last day of his life too, he gave a superb concert, comprising his favourite songs in the same temple. At the end of this, as he sttod in the sanctum an admirer is said to have remarked that the Bhagavatar should live for 125 years, Chembai turned around and said that it was a matter between him and his Maker and that it had already been decided. Having returned to his place of stay he sat down for his evening prayers and passed away during the meditation. His grieving wife followed him six months later.

(Most of the above info culled from Indira Menon and Sriram V.'s writings on Carnatic Music)

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Chembai Vaidyanatha Bhagavatar - Carnatic Classical Vocal in Telugu & Sanskrit

Chembai Vaidhyanatha Bhagavatar - Carnatic Classical Vocal in Telugu & Sanskrit
Columbia - S/33ESX 6063 - P.1972


Side A

A1 Vara Narada — Vijayasri 4'15
A2 Ingaadhaya Radha — Chakravaham 18'00

Side B

B1 Samagana Vinodhini — Hamsanandhi 7'00
B2 Ksheerasagara — Devagandari 9'55
B3 Rara Muralidara - Guruvayorappan Song — Vijayanangari 4'20

accompanists:
Dr. L. Subramaniam, violinT.V. Gopalakrishnan, mridang

Alangudi Ramachandran, ghatam

You have no idea how much I like to finally be able to post some really magnificent Carnatic Male Vocal. Here is for some reason a part of the music I listen to the most. There will be a few more male singers coming in the following days!

This is the music I have found to be the most satisfying for my well being, and why hesitate to use words like healing, as in some mysterious way it truly is! This intense constantly glowing inner sound resonating in all directions, permeating every inch of the very substance around me. Music that maybe is not surprising or revealing, but manifest and constant, assertive and firmly embedded in a tradition larger than the individual. Music that promotes the good and makes me want to be a part of mankind. Spiritual music bearing witness of the struggles of the human soul to attain the divine. The love and goodness of cultivating ones heart and mind as one, and invoking the humble practice of selflessness.

"The bell metal voiced"

Chembai Vaidyanatha Bhagavatar (1895-1974)

Chembai Vaidyanatha Bhagavatar, Tamil: செம்பை வைத்தியநாத பாகவதர்) was a Carnatic music singer from the Indian state of Kerala. Known by his village name Chembai, or simply as Bhagavatar, he was born to Anantha Bhagavatar and Parvati Ammal in 1895. Chembai was noted for his powerful voice and majestic style of singing. His first public performance was in 1904, when he was nine. He was a recipient of several titles and honours. He was known for his encouragement of upcoming musicians, and also for his ability to spot new talent. He was responsible for popularizing compositions like Rakshamam, Pavana Guru, among others.The music critic 'Aeolus' describes him as "the musician who has meant the most to Carnatic Music in the first fifty years of the 20th century" Some of his prominent disciples include Yesudas, T. V. Gopalakrishnan, V.V.Subramaniam, P.Leela, among others. Many memorial music festivals are held in his honour annually since his death in 1974, the most important being the annually celebrated Chembai Sangeetholsavam.

from the Wikipedia, read some more here

"Chembai Vaidyanatha Iyer was one of the leading practitioners of Carnatic Music in the period usually referred to as the 'Golden Era'. Old timers are enthusiastic in pointing out that he, along with Ariyakudi Ramanuja Iyengar & Maharajapuram Viswanatha Iyer formed the 'Modern Trinity of Carnatic Music', the trio who were responsible for keeping up the concert tradition in the vacuum caused by the departure of the titans in the beginning of the 20th Century before the entry of the bright young stars such as Musiri Subramania Iyer, Semmangudi Srinivasa Iyer, G.N.Balasubramanian, Madurai Mani Iyer and the female-trio comprising of M.S.Subbulakshmi, D.K.Pattammal and M.L.Vasanthakumari, who took to the stage later. But what made Chembai different from them was his voice, that booming, metallic, powerful voice which never seemed to depart from sruti.

It is not very hard to imagine why Chembai, as he was popularly called, was phenomenally popular. With a knowledge of the art deeply acquired and with a voice that earned him the fame of 'Bell Metal Voiced Bhagavatar' with its power and majesty yet sweet and melodious, Vaidyanatha Bhagavatar rose to supreme heights, taking vast audiences to rapturous delights in a span of about 70 years of performance expertise. Born in a family of musicians, whose traditions ran uninterruptedly for over two centuries, and being a great grandson of 'Chakra Tanam' Subba Iyer, who was a contemporary of Saint Thyagaraja, Chembai had music in his blood. A deeply religious man, music in his family was taught and learnt as part of Vedic instruction. He had his early training under his father and equipped himself fully to give an independent performance even at the age of nine. A humble man, he attributed all his success to his favorite God - Guruvayurappan. "

Quoted from webpages created in his honour.

You will find more detailed biography and some anecdotes,

words by other musicians and much more to read on

those webpages here

The accompanying musicians on this album:

Dr. L. Subramaniam, violin

T.V. Gopalakrishnan, mridang

Alangudi Ramachandran, ghatam

Great ghatam player but very hard to find any good pictures of!

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M.S. Subbulakshmi - Bhaja Govindam - Vishnu Sahasranamam

M.S. Subbulakshmi - Bhaja Govindam - Vishnu Sahasranamam

EMI Odeon - SMOAE 5011 - P.1970

Side A

A1 Talk on Bhaja Govindan by Sri Rajagopalachari 'Rajaji' 2'05

A2 Bhaja Govindam - 11'04 - (lyrics in sanskrit, with interpretation into hindi and english)

A3 Vishnu Sahasranamam - Dhyanam - 6'54

Side B

B1 Vishnu Sahasranamam - Stotram 22'43

Sri Rajagopalachari 'Rajaji' (1878 — 1972)

Chakravarthi Rajagopalachari (Tamil: சக்ரவர்த்தி ராஜகோபாலாச்சாரி) (December 10, 1878 - December 25, 1972), known as or Rajaji or C.R., was an Indian lawyer, writer, statesman and a devout Hindu . He was the second Governor-General of independent India. Later he became the Chief Minister of Madras State, and was one of the first recipients of India's highest civilian award Bharat Ratna (in 1954).

CR made several literary contributions. His works in his native Tamil are recognized as modern classics (published and re-printed several times). After his break with politics, he started on the massive task of translating the Hindu Scriptures Ramayana , Mahabharata from Sanskrit to Tamil; and later into English.

He received rave reviews from scholars and religious seers alike. He translated Upanishads and Bhaja Govindam into English. His book Hinduism - Doctrine and Way of Life is a concise essence of the doctrine and way of life propagated by Hinduism.

His novels and short stories, themselves would have won him public adulation. He also translated 'The Tirukkural' from Tamil to English. 'Tirukkural' is an ancient piece of the Tamil literature and is often referred to as 'the flower of Tamilnad'. His ability as a writer, is in a sense, unparalleled, not just in India alone.

Some of his poetry was set to music and sung by Carnatic music's dominant personality M.S. Subbulakshmi at several occasions of importance, and once at the United Nations, Kurai Onrum Illai - (meaning - No regrets have I My lord, None) is a very famous song in the semi-Carnatic music genre written by Rajaji and the most popular version, (widely acknowledged as soul-stirring) has been rendered by M.S. Subbulakshmi. Rajaji also composed a hymn which was sung in 1966 at the United Nations, again by M.S. Subbulakshmi.

I will post the UN concert in the following days...

Read much more...

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Srimati M.S. Subbulakshmi - Sanskrit Morning Recital

M.S. Subbulakshmi - Sri Venkatesan

EMI India - ECSD 2293 - P.1963

Side A

A1 Sri Venkatesan Suprabatham - Sanskrit recitation - Devotional 20'39

Side B

B1 Bhavayami - Ragamalika - rupaka - Swati Tirunal 13'35

B2 Sri Rangapura Vihara - Brindavana Saranga - rupaka - Sri Muthuswami Dikshitar 6'16

R.S. Gopalakrishnan, violin

T.K. Murthy, mridangam

At last I have come to one of my absolute favourite singers, M.S. Subbulakshmi! I will write some more about her when I start posting her concerts. But you will find loads of information about her on the web. Here is one about the recording of Sri Venkatesa Suprabhatam among many other things. Published in The Hindu where you can read some more about her relation to HMV and recording technicians.

The little girl in pavadai chattai, oiled curls pressed into a tight braid, was too timid for noisy games with other children. But she devised a secret game for herself. Rolling waste paper into a cone, she sang into it for hours – pretending to record a ‘plate' for ‘His Master's Voice', then the biggest gramophone company in India.

Little did the child know that one day she would render the company's bestseller in ‘Venkatesa Suprabhatam,' still enjoying the longest shelf life among Indian audio recording. from Recording a Legend by Gowri Ramanyan - read on

What about a little biography? Need someplace to start? Well, for instance wikipedia...

M. S. Subbulakshmi (1916 — 2004)

Madurai Shanmukhavadivu Subbulakshmi (Tamil: மதுரை சண்முகவடிவு சுப்புலட்சுமி, Mathurai Caṇmukavaṭivu Cuppulaṭcumi ? 16 September 1916 – 11 December 2004), also known as M.S., was a renowned Carnatic vocalist. She was the first musician ever to be awarded the Bharat Ratna, India's highest civilian honor. She is the first Indian musician to receive the Ramon Magsaysay award, Asia's highest civilian award, in 1974 with the citation reading "Exacting purists acknowledge Srimati M. S. Subbulakshmi as the leading exponent of classical and semi-classical songs in the Karnataka tradition of South India." and continue here...

I first heard her more than forty years ago and the first records was bhajans and the Concert she held in USA at UN. Over the years I have continued to listen to her very regularly and her voice is like a certain antidote to all evil and misfortune. I will post more of her Classical Concerts later but lets first start with something very typical for a morning in the homes in Madras. I am sure that as I am posting this it has already played in many many homes all over Tamil Nadu this morning, and if you start listening late you may as well begin with the B-side!

Suprabhatam, literally an auspicious dawn, is a name given to Sanskrit hymns recited in the morning to awaken the Lord.

The most famous is the Venkatesa Suprabhatam recited at Tirupati to awaken Lord Balaji. The rendition by M.S. Subbulakshmi can be heard in many Tamil houses each morning.

The Venkateswara SuprabhAtam (Morning Prayer/Song of Awakening) is attributed to have been composed at the Tirupati temple by one of Sri Ramanujacharya's disciples.

It was written around A.D. 1500 by Sri Prativadi Bhayankara Annangaracharya of Kanchipuram, who also composed Sri Ranganatha Suprabhatam. Sri Venkatesa Suprabhatam consists of four parts: Suprabhatam, Sri Venkatesa Stothram, Prapatti, and Mangalasasanam.

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