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New notes from old text

Photo: Bhagya Prakash K

FOR THE LOVE OF IT: V. Anandarama Udupa

Another musical treasure singled out for translation has enriched literature pertaining to Carnatic music. Musician and scholar Anandarama Udupa’s Kannada translation of ‘Sangita Sampradaya Pradarshini’- originally written in Telugu by Subbarama Dikshitar - was formally released in Bangalore recently by Ananya Cultural Academy.

The function began with a vocal rendition of kritis from the book by well-known artists. The guests of the evening included S. Krishna Murthy and N.S. Krishna Murthy, both former Directors of AIR, writer U.R. Ananthamurthy and musician and musicologist T.S. Satyavathy.

None of them – by their own admission – had words to describe the masterly, proficient and dexterous work undertaken by the octogenarian scholar. Udupa’s fortitude could humble young musician. Said Satyavathy: “The epic-like work requires gargantuan energy, and Udupa’s mental strength and inner passion coupled with an irresistible drive have enabled the completion of the colossus, despite his age and ill health.” What makes the whole effort more appealing, she said, was Udupa’s abject humility and unassuming persona that makes him just worship his work.

Udupa’s translations - released as a set of seven volumes - consist of Subbarama Dikshitar’s “Prathama Abhyasa Pustaka” an original 230-page introductory work aimed at beginners, followed by the main book “Sangita Sampradaya Pradarshini” that had become the mainstay of musicians and scholars from 1910 onwards and an indispensable reference book, source and guide.

What makes up the original work is also an attention-grabbing assemblage by musical saint Subbarama Dikshitar (1839-1906) – a younger generation member of the Muthuswami Dikshitar family. It comprises 76 biographies of persons noteworthy in the history of music from the times of Sarangadeva to Subbarama Dikshitar; some sections on the science of music like the sangita-lakhshana, prachina padhati, sangita lakhshana sangraha; an exhaustive tabular compilation-presentation of ragas-ragangas, upangas and bhashangas; a guide to the gamaka signs employed in the notations; tala signs; notes on likely pitfalls in rendering while on the veena and vocals; a detailed summary of the 72 melas and their janyas with their ragalakshanas; explanations of lakshana-gitas and sancharis; and ragamalikas and three-century old compositions.

The main portion consists of 229 kritis of Muthuswami Dikshitar; 170 gitas, 41 chittatanas and 10 prabhandas of the grammarian Venkatamakhi; compositions of Ramaswami Dikshitar, Tyagaraja and Syama Sastri; varnas, kritis and ragamalikas of Subbarama Dikshitar; and a host of other suladis, varnas, swarajatis, darus and padas. Every section is meticulously compiled with swara-sahitya-gamaka-notations in Telugu by Dikshitar, whichAnandarama Udupa has presented in astounding detail and chaste Kannada.

The seven translated volumes by Udupa are a treat for the eyes too. For, the scholar’s impeccable handwriting is what is scanned and retained in the entire 2,220 pages of the seven volumes! “My father has an unwavering concentration. No mistakes or re-writing. It is always one-shot,” says daughter Shailaja Kulkarni.

Anandarama Udupa, who retired from the Postal Department as a Head Clerk, set sail with his vocalist father Krishna Udupa and brother Srinivasa Udupa, before taking formal lessons from flute maestro Gopal Krishna Iyer. Fascinated by Dikshitar kritis, the scholar decided to take up this stupendous task.

Ananya’s endeavour is indeed a resolute one. As U.R. Ananthamurthy put it, “It was made possible because of Udupa’s Valmiki Tapasya.”

For details on the books, call 99809 91110.

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