This is another entry about a favorite Carnatic Music raga of mine, although it is quite different from earlier ones. This is more from a personal side and is really inspired by one particular rendition of a song in that raga, and the special place it has in my life. The raga is jujAvanti (also known as dwijAvanti), and the song (krithi) is muttusvAmi dIkshitar‘s cEtah SrI bAlakrishNam, and that special rendition is by the late Semmangudi Srinivasa Iyer (SSI).
The krithi is on Lord Krishna, especially little Krishna. The lyrics and meaning (see here) are in typical Dikshitar mould – i.e. flowery Sanskrit woven exquisitely in general praise of the deity. However, I find that the raga jujAvanti is woven magically here to make it seem like a perfect lullaby – even though the words don’t necessarily convey that. In Carnatic Music, lullabies are typically in nIlAmbari (another wonderful raga). But to me, here, jujAvanti seems to set the lullaby mood perfectly. Perhaps, the reason is due this little “story” behind this interpretation.
I must have listened to that particular rendition by SSI a 100 times or more it seems, as it was a very frequent request of my little one to listen to when she wanted go to sleep. She did not always require music to go to sleep, but at times she wanted it, and it was almost always this song, and this particular rendition. I have tried lobbying for a soothing nIlambari, a serene SahAna, or a joyous kAnaDa/rItigauLa. I have even tried a different rendition of the same song by the same artist i.e. SSI! But nope – she wanted only this one. I would play it, and she would lie quietly listening to it, almost in a trance, and soon doze off. Sometimes, when she would take took a bit longer to go to sleep, and the song would end. She would ask for the song to be repeated.
Many a times I have lied next to her waited till she fell asleep – listening to this song, completely mesmerized by it as I am sure she was too. Many a times, I have noticed that she had fallen asleep in the middle of the song. Even though other urgent duties beckoned me then, the serenity that had set in my mind, and in the room as it seemed, was so enveloping that I cringed to disturb it even an iota. I would wait till the end of the song (I especially liked the kalpanaswara part), and wait a few more minutes savoring the peaceful feeling it left in me.
This indeed is our song. My daughter is a bit older now, and the times she requests music at bed-time has dropped significantly, but when the occasion arises, she does fall back to her old-faithful cEtah SrIbAlakrishNam.
Ok, here is the krithi part of the song, that special rendition by Semmangudi Srinivasa Iyer:
I really adore the kalpanaswara part – meditative, magical, intoxicating – you name it! Hence I present it as a separate audio file:
I don’t know who the violinist is ( is it Lalgudi Jayaraman?), but what a magnificent job! Sometimes contrasting the tune by playing a different note, or same note in higher octave, sometimes matching in lower octave for a extra touch of serenity. The mrdangist (don’t know who again), is also excellent matching the mood. All in all a simply magnificent team effort!
Now for the technicals.
The technicals
I actually did not want into technical stuff in this post – because for some reason I wanted this post to simply be about my enjoyment of that particular rendition. It is sort of like how I used to enjoy all Carnatic music long go – when it was all about soaking in the magic of the melody. Besides knowing what raga, I didn’t know much about the technicals. It was sort of like taking an enjoyable ride in a luxurious car, and not wondering about, what car, how much horsepower, what are the gizmos etc. But nowadays, I do wonder about the gizmos as I take such rides. So I will indulge in little bit of technical analysis although this time, I do not have the patience and energy for a detailed analysis – like I had with rItigauLa. I guess I am too eager to publish π ! But I feel that this is more about the previous non-technical section rather than the following technical section. But I hope you like it. Once again – advanced apologies for any mistakes, misinterpretations). Btw, there is already some technical analysis at Nadha Sudha Rasa Blog.
Raga name: jujAvanti is the name of the raga as it appears in the historical texts of/for the Dikshitar school, and of course as a raga mudra (signature) embedded in one of his compositions (more about that below). The name dvijAvanti appears in sangraha cUDAmaNi, the sampUrNa mELa system’s authoritative reference i.e. the system that is compatible with Tyagaraja’s school, and also what is prevalent today. This name seems to have more prominence nowadays. The raga is considered a import from North India, and for very good reasons. It has a hindustanic touch, and certainly shares the same melodic undercurrent as the Hindustani jaijaivanti (more below).
akhilANDESwari dispute: The other krithi in this raga attributed to Dikshitar is akhilANDESwari is mired in controversy. Is considered by some scholars as a spurious krithi by some scholars and they offer a combination of following arguments:
- It is not present in sangIta sampradAya pradarshini – although that is not a good enough reason by itself.
- There are supposedly some problems with the lyrical construct of the words (although details are hard to come by) which is unlike Dikshitar.
- The raga flavor is quite different from that of cEtah SrIbAlakrishNam, and hence it must not have been tuned by dIkshitar. Basically cEtah SrIbAlakrishNam emits fairly palpable scents of yadukulakAmbhOji – in akhilANDESwari, it is way more fleeting. More on this below.
The counter-argument is that cEtah SrI bAlakrishNam does not employ any raga mudra, but akhilANDESwari does. Also there is this argument that is not unlike Dikshitar to portray different flavors of a raga, particularly imported ones – a nice synopsis of this argument is presented in that Nadha Sudha Rasa Blog article mentioned above.
Swaras: Let us focus on the rishabham and the gandhAram(s).
- rishabham: The main life blood swara is the catuSruthi rishabham (R2). cEtah SrI bAlakrishNam starts with ri – actually three of them in succession. The importance of ri should also be very apparent in the kalpanaswara section. The rishabham is frequently emphasized – either with gamaka or a elongated flat one. It is frequently used in combination from below as in pa` ri or da` ri or ni` ri, where the ri is elongated. In my opinion, this is a major contributor to the serenity that the raga exudes. Sometimes such a ri employs the gAndhAra as a anuswara – I believe, the type of gamaka commonly found in Hindustani music.
- gandharams The rAga employs both antara gAndAram (G3) as well as sAdhAraNa gAndAram (G2). The latter is the bhashAnga swara (foreign to the mELa/”scale”), which occurs only in ri g* ri – a phrase that occurs many times in the kalpanaswara section – a significant contributor to the intoxicating effect of the raga.
Raga flavor differences between cEtah SrI bAlakrishNAm and AkhilANDESwari:
Here is a rendition of akhilANDESwari by Semmangudi Srinivasa Iyer:
Take a close listen to it and compare it with cEtah SrI bAlakrishNAm. While obviously the same raga, and even the same type of mood, the flavor of akhiLANDESwari is different. I think the big differences are:
- Long notes and slides, and jumps: akhilANDESwari uses more long notes, and long caressing slides (e.g. akhi lA…N D….ES wari in pallavi, nikhila lO…. ka in anupallavi). I also employs a lot of jumps in the form of pa ri…. (e.g. rak sha mAm in pallavi, nit yAt mIkE in anupallavi, guruguha nu.. tE in caraNam) etc. I think all of these combine to give a more Hindustani touch, as these type of constructs are common in Hindustani music. In contrast, the jumps and slides are not as frequent in cEta SrI bAlakrishNam. Also the ri in Eta SrI bAlakrishNam is more frequently shaken i.e. more of a Carnatic style, compared to akhilANDESwari, where it is almost always flat and elongated (except for the ga anuswara).
- yadukulakAMbhOji factor: The resemblance to yadukulakAmbhOji is very palpable in cEta SrI bAlakrishNam – but relatively heavily muted in akhiLANDESwari.
- Here is a collection of snippets of cEta SrI bAlakrishNam (many from just the pallavi and anupallavi parts) where you may sense a resemblance to cEtaSrI. Notice the last part with the kalpanaswara, where SSI uses the pa da Sa pa phrase – a stock yadukulakAmbhOji phrase.
- In akhilANDESwari, the resemblance is there, but in a few places like here:
Basically the resemblance to yadukulakAmbhOji is ga to sa part of the octave – particularly the upper half. I think cEta SrI bAlakrishNam hovers in that territory more than akhilANDESwari. Perhaps the effect of the frequent jumps, long notes and the long slides make it even less frequent as well as less palpable in akhilANDEswari.
jujAvanti and jaijaivanti – similarities and differences
It is clear that the carnatic jujAvanti (both flavors) is clearly related to the hindustani jaijaivanti. You can see and listen to a nice version of jaijaivanti on YouTube here.
The usage of both gAndharams as well as rishabham is identical – in particular the elongated ri, as well as the ri-ga*-ri with sAdhAraNa gAndhAram. The only difference may be the presence of the carnatic kampita style on rishabham on jujAvanti (one of its similarities to SahAha).
But there is a significant difference: jaijaivanti employs kAkali nishAdam (N3) – or maybe a nishAdam with a kAkali touch like in brndAvana Saranga (?). This is of course disallowed in jujAvanti In the sample above. e.g. this nishadam occurs in the 0:14-0:15 time range. You can get a better feel for this as well as jaijaivanti in general, by reading this fantastic article by Rajan Parrikar’s here. In particular, listen to the discourse on the raga by Pandit Ramashreya Jha, as it is truly excellent (i liked it and was able to follow it in spite of not knowing a word in Hindi!). Pandit Jha clearly demonstrates the ni – in the context of differentiation two flavors of jaijaivanti (not to be confused with the they are not like the two flavors of the carnatic jujAvanti). In the dEsh flavor, the kakali ni can occur as in pa ni sa, and in the other (bhAgesree/Gara flavor), it can occur as ga ma da ni sa.
I think even if this were kaisiki nishadam, such phrases would be disallowed in jujAvanti – where ascent from ni is rare and could even be avoidable (?). I think it does admit an ascent from ni, but only in specific contexts and approached from high (e.g. SSI sings ri ga* ri sa` na` da` na` cEtaSri in that kalpanaswara section)
Similarities to other Ragas
jujAvanti supposedly can exude flavors of other ragas like SahAna and kEdAragauLa. I do not see the kEdAragauLa connection. I can sort of see the SahAna connection e.g. say as in ga ma pa ma ga ma ri…, or ri~~~ ri ga ma pa ma ga ma – but I think the SahAna resemblance is very fleeting. For example, I don’t think I have sensed it in cEta SrI bAlakrishNam in all these listens. I got the initial sense for yadukulakAmbhOji flavor without explicitly looking for it although it may have been initially triggered by the pa da sa’ pa phrase in the kalpanaswara section). In any case, the yadukulakAmbhOji flavor is easily more palpable.
July 3, 2008 at 5:30 pm
Very nice post Arun. Enjoyed reading it.
My son had a fixation of purandara’s “pOgadirelO ranga” (shankarAbharaNa) when he was little, and often I had to sing it multiple times before he slept. He was even demanding the song by name, even before he was talking fluently π
Arun: π – that is cute!
The argument that the rAga swaroopa in akhilAnDEShwari and chEtaH Sri bAlakrishnam does not carry much weight IMO. There are other similar instance such as praNatArthiharAya and viSwanAthEna (sAmantha), guruguha bhavAntarangiNi and EkAmrESwarENa ( caturangiNi).
Arun: Not sure I follow. Are you saying argument *against* akhilANDESwari being MD’s composition based on difference in rAga swarUpa doesn’t hold true?
July 3, 2008 at 5:45 pm
Arun
Nice writeup. Re Shahana resemblance. Listen again to the anupallavi- its there alright- loud and clear. Can you see it too?
Arun: DrS!! A warm welcome to you! I must listen to it again (I presume anupallavi of cEta SrI bAlakrishNam?)
One significant difference between dvijAvanti and jaijaivanti(HM):- dvijAvanti features “SN#D#P#R~,,” and not “SN#D#N#R~,,” and the vice versa for jaijaivanti. That one phrase is sufficient to differentiate the two rAgas. Of course there is a mix in film songs (and in some artists’ renderings).
Arun: Thanks! You know when I listened to that “mini lec-dem” on sawf.org, I was thinking that N# – R was perhaps only (and mainly) a jaijaivanti one as he sings it repeatedly to establish the swaroopa – and it is listed as the signature stamp in that article. I also was thinking then that ascent from Ni wasnt allowed in juJAvant as per listed aro/avaro. But that is wrong in that N# S is definitely allowed. In any case, I was thrown off I guess by SSI’s Sa N# D# N# R~~~ . I also “extrapolated” D# R# would also make sense (samvadi, and per arohana).
But you are certainly right – in SSP etc. it only occurs P R (although lakshana description strangely does not list it as a characteristic prayoga when others are listed), and that in renditions people take some liberties and mix them.
July 3, 2008 at 10:45 pm
arun,
I am neither knowledgeable on rAga lakshaNas nor a musician – a bathroom singer, of course.
After retirement, I had time at my disposal and my grandson (through daughter) practically grew up in my lap for almost a whole year. I used to sing for him ‘jO acytAnanta’ (MS Style), ‘uyyAlalUgavayya’. He (my grandson) was more enamoured by ‘jO acytAnanta’. Later for abda pUrti (one year completion) my daughter moved to her family along with kids.
On the day of the ceremony, as we entered the house, it was the child who greeted us with that ‘sweet’ smile which is ever etched in my mind’s eyes. On that day, after food, the child was playing and I started singing the song ‘jO acyutAnanda’. He looked here and there and came and lied down coolly on my lap and went to sleep.
Now the boy is 10 years old. Even now when I sing the song – to tease him – he would give a blank look at me – not knowing what to do – he was too old to lie on my lap.
Being a grandparent is, sometimes, more rewarding than parenting.
Arun: π VGV – and thanks for visting !
July 4, 2008 at 10:39 am
Now when I see my earlier comment, I know I left out the key phrase π
What I meant to say was that the difference in the rAga swaroopa portrayed is not a sufficient (nor is it necessary) condition to dispute the authorship.
IIRC, the dispute arose more because of some grammatical structure in the composition.
Arun: I agree that the grammatical structure problem is the strongest (do you know the details? I don’t know if the problem is glaring or more subtle etc.) – but I have certainly heard the raga swaroopa argument as well. The absence in SSP and the raga swaroopa etc. are just supporting ones which have weight only because of the main complaint.
July 4, 2008 at 10:49 am
Arun
Looks like your daughter has got a great taste. Try next time diwakara tanujam in yadhukula kAmbOdhi of SSI, I am sure she gets the first feel of how close 2 rAgAs in CM are, perhaps that thought will be there for years till she grows up and explicitly tells .
Arun: π – rajesh at this point, getting her to practise sarali varisais is a herculean task. I think her fondest memories of CM must be songs like cETa SrI bAlakrishNam where she can just enjoy music for music sake. She does like (to listen to) a lot of songs and so dwikAra tanujam would be a good try. But now, at this point of her life, she has seen the “other side” which requires patience, perseverance, effort etc. – something she balks at due to frustration, and I think her view of CM may be “colored”. Thanks and thanks for visiting!
July 7, 2008 at 3:42 pm
ever since you posted, have been trying to read this in one go. One of my favourite ragas too… and blame it on Rahman, for everytime I think of this, I get reminded of Sahana also.
will read and might leave more comments/questions… π
July 9, 2008 at 12:32 pm
awesome krithi this – cEta Sri…. I stumbled upon a version of this, rendered by MS/MLV (cant remember which one)…. baingara different style rendition.. (well, obviously)..
but this krithi is a relief, after having Akhilandeshwari etched on my brain whenever talk of Dwijavanthi comes up. :-)..
and I totally understand why your kid likes this for a lullaby. very serene composition indeed! π
Arun: Thanks zep!
July 12, 2008 at 3:24 pm
Thanks Arun for that lovely piece. My personal angle with this kRti is its association with Gokulashtami…
Arun: Thanks ramki!
July 14, 2008 at 6:50 am
There is a version by MMI which was my first ever exposure to this song. A must listen and so soothing.. That concert has a Thaye Yasodha IIRC as the main item. Now gotta go dig that cassette and listen to it again.. Been quite some time.
July 15, 2008 at 9:28 am
Dear Arun, Very interesting! Quite enjoyed all your recent posts splly this post on some of my favourite raagams! I am Quite a regular visitor here…. keep them coming . Best wishes!
Arun: Thanks Sriram
July 18, 2008 at 11:51 pm
Hey, Jaijaiwanti is one of my favorites, currently I am trying to play the Raghupati Raghav Raja Ram bhajan. Your post is rich with so many illuistrations π Thanks Arun.
Arun: Thanks priyank and welcome back! BTW, raghupati raghav raja ram is in jaijaiwanti? I did not know that.
August 22, 2008 at 1:00 am
My two kids went to sleep listening to me singing them Sanjay’s Chidambaram Kshetra Kritis (KaaNa veNdaamo, TillaisthaLam etc) in the exact sequence from the CD.
Once while I was travelling, aham-udai-yaaL played them the CD instead.
Instant rejection..and this was the heart warming bit (Sanjay..if you are reading this, turn away now)..they said my voice was better than Sanjay’s!
My view is that child prodigies apart, kids’ needs vis-a-vis lullabies are
1) the security blanket of a known voice.
2) familiar song.
It need not be a particularly soothing one either. The child of a friend of mine wanted nothing other than Jimmy Barnes’ version of ‘Ain’t no mountain high enough’!
Arun: π – you are right on about why they are attached to specific lullabies and as much as we parents maybe tempted to associate it with “glimpses” of deeper insight or brilliance (e.g. one way go – my kid only likes SSI, Alathur Bros, Mali and MDR. I put nityashree/sudha/other “youngsters” for the same song, and he/she balks at it. He/She already knows real music. And guess he/she seems to like only rakthi ragas π !), it probably are for those simple reasons.
December 15, 2008 at 11:04 am
Wonderful post! I would have heard Cetah SriBalakrishnam atleast a 100 times this past week π
Thanks for posting!
Arun: Thanks and thanks for visiting!
July 14, 2009 at 5:06 pm
Wonderful post on a mesmerizing raga. I am relatively a novice with respect to carnatic music, but dwijavanthi captivates me anytime and this is one raga I can identify easily.
request to you Arun: is it possible to get this mp3 online/any particular CD/from you?
Much appreciate!
July 19, 2009 at 2:57 pm
[…] cEtah SrI bAlakrishnam is definitely the chart-topper. For the sheer beauty of dwijAvanti, the soothing melody and the wizardry of the Nadajyothi. The Semmangudi version seems to be everyone’s personal […]
December 26, 2009 at 12:33 pm
Hi Arun,
A really nice post. Thanks to the link from rasikas π I have special places for a few songs too – a few renditions..touch me deeply for whatever reason !
Sathej
April 15, 2010 at 6:13 am
Arun – just stumbled upon this post .. my all time favourite kriti and i distinctly remember the first time i heard mmi’s version and the tears i had ..
there are other kriti’s which had a similar impact on me – Tyagaraja yoga vaibhavam by KVN and mamava pattabhi rama by Sanjay ..
life does seem beautiful when i listen to this.. π
Arun: Thanks for visiting my blog. Indeed life is beautiful when we listen to songs like this. Btw, Sanjay’s Jayajava padmanabha (also manirangu) is on a similar scale for me π
April 20, 2010 at 9:44 am
Arun – is there another link where i can listen to the kriti ? i am for some reason unable to open these 2 audio files.. says file not found.
Arun: The server where the audio files are hosted from was down. It seems back up now and so you should be able to listen to them now
February 1, 2011 at 5:50 am
Arun
thanks a lot for this post… love this song…initially thought of its strong resemblance to yedukula kamboji… but dont find any similarity of it with either sahana or kedaragowla…
Arun: Thanks. It took me a while but eventually I was able to see the resemblance to sahana in a very localized part around the rishabham
June 12, 2013 at 1:59 am
Reblogged this on NIRAVAL GURUNG and commented:
Absolute delight… Cheta Sri is MD’s Masterpiece..
March 17, 2014 at 2:48 am
Just chanced upon this blog. Suggest you listen to Cheta,Shri Balakrishnam sung by Smt Brinda Mukta. I had the good fortune (or misfortune) of listening to their version the first time I listened to this masterpiece. After that, I have found every (and I mean every) other version of this song insipid, compared to the Brinda Mukta version. It is no reflection on great singers like Semmangudi Srinivasa Iyer or KV Narayanaswani..just that Smt Brinda Mukta were a class apart when it came to this number(and quite a few other numbers as well). Incidentally, this rendition drew me to the Brinda Mukta style – it was a fatal point of no return. This style is so powerful that it can even make DK Pattammal sound insipid. BTW, I greatly admire all the musicians I mentioned, lest you think I am bashing them – but just as everyone is allowed an Ishta Devata, mine were Brindamma and Muktamma.
October 12, 2015 at 6:17 pm
great google
September 19, 2017 at 11:55 am
Very nice post Sir. I read somewhere that DKP rendering this song to Babu Rajendra Prasad moved him to tears! and when he visited Chennai sometime in the sixties, he especially asked DKP to sing and was moved as before. .Can you kindly help me to locate DKP (solo) in her earlier voice during the 1950/s? Best Regards