Chetah Shri Balakrishnam - The Epitome of Grace and Love

"Nalina patra nayanam vata patra sayanam"-

One of the Greatest :Lullabies of all time

Lord Krishna Probably wondering at the beauty of Dikshithars compostion 

To Write on Muthuswami Dikshithar's Works is not easy since it needs Indepth knowledge on the Raga ,the composition, and more than anything the background scenario..!!

Dikshithar was an untiring Traveller having visited and sung at more than a 1000 temples..

So here is one of my Favourite compositions (It took me two long days to bring this up)

First Three different versions of the Krithi by three Maestros --

Semmangudi srinivasa Iyer, Madhurai Mani Iyer and T Brinda.

Chetah Sri Balakrishna-Jujavanthi-SSI  (for the swaraprasthara at the end)

Chetah Sri Balakrishna-Jujavanthi-MMI (the beauty in the MADHURA voice)

Chetah Sri Balakrishna-Jujavanthi-TBR (Pure melody)

Before We move on to the composition (which is an ocean) some briefing on the Raga  Dwijavanthi which was transplanted in Carnatic music from Hindustani music. In the north, it is known as Jaijaivanthi. In the princely state of Travancore, it was part of Kathakali music. It is said that even Kunjan Nambiar, known in the name of Ottan thullal, had composed a song in this raga. Though Swathi Thirunal too had composed a Krithi in Dwijawanthi, it was Muthuswami Deekshitar who popularized the raga in the South through krithi's like `Akhilandeswari' (I personally believe it) and ` Chethasri Balakrishnam'. But Jujavanthi is one rare raga  which transmits bhakthi rasa in both lower and higher octaves. (From The Hindu)

A short alapana By Semmangudi The Pitamaha for better understanding..

Important Prayogas:

Ri Ma Ga Ri Sa RI GA Ri sa Ni. Da. Pa. Ri ga Ma Pa ma Ga ma ri Sa 
Ni.Da.Pa.Ri Ga Ri Ga Ri Sa Ri Ga Ma Pa Ni Da Pa Ri*

Ri* Ga* Ma* Pa* Ma* Ga* ma* Ri* Ga* Ri* Sa* Ni Da Pa Ma Ga Ri* Sa

Ni Da Pa Ma ga  Ri Sa* Ni da  Pa  Ri,, Saa

Now on the Composition :

Raga : Jujavanthi or Dwijavanthi

Arohanam : S R2 M1 G3 M1 P D2 S' 

Avarohanam  S' N2 D2 P M1 G3 M1 R2 G2 R2 S

Tala: Rupakam

Kshetra: Guruvayur

Pallavi

Chetah Sri BalaKrishnam krshnam bhaja re

cintitartha prada caranaravindam mukundam 

Anupallavi

Nutana nirada sadrsa sariram nanda kisoram

pita vasana dharam kambu kandharam giri dharam

Putanadi samharam purushottamavataram

Shitala hrdaya viharam sri rukmini daram

Charanam

Navanita gandha vaha vadanam mrdu gadanam

nalina patra nayanam vata patra sayanam

nava campaka nasikam atasi suma bhasakam

natendradi loka palakam mrga mada tilakam

Nava tulasi vana malam naradadi muni jalam

kuvalayadi paripalam guru guha nuta gopalam

Meaning:

O mind ! Worship the auspicious child Krishna! The lotus-feet that grants all that one 

desires. The one known as Mukunda.

The one whose body resembles the dark-hued rain cloud. The child of Nanda the cow-herd. The one wearing yellow-robes. The conch-necked. The one who bears the mountain. The one who killed the demoness Putana and others. The incarnation of Purushottama. The one whose abode is in serene hearts. The one who has Rukmini as a consort.

The one whose mouth smells of butter; the sweet-voiced. The one whose eyes resembles the lotus leaf. The one who sleeps on the banyan leaf. The one whose nose is like the young campaka flower. The one whose hue is like the Atasi flower. The one who is worshipped by Indra and the rulers of the quarters. The one who has the Kasturi tilaka. The one who wears the fresh Tulasi garland. The one who is praised by sages like Narada. The one who protects the universe the Gopala praised by guruguha.

My thoughts :

In this compostion I dont think one can seperate the lyrics and the raga.They go hand in hand with each other..

To be precise the whole poetry seems to be so pleasing to the ear as though welcoming BalaKrishna Of Guruvayur.The pallavi lines begin in a slow mellow and step forward at "chintithartha" Hearing the krithi one can imagine a small Little tiny boy being welcomed in such a beautiful tone..

The anupallavi takes us by surprise when dikshitar gives us the line "Noothana Neeradha"(Sa Sa Sa ;Sa* Sa* Sa*) and the lines "Nanda Kishoram" appear as if they are cuddling BalaKrishna Himself..And the lines "Kambukandharam Giridharam" have a mystic touch..The Madhyama Kala Sahithya is swift and brisk giving it a change in mood..

Dikshitar slowly moves further at "Navaneetha vaha.." calling him the one who always smells butter and the one who is so sweet and then there come the lines.."nalina patra nayanam vata patra sayanam" describing the Chinni Krishna sleeping on the "vata patra" as if singing a lullaby..The immortal lines Nava Champaka Nasikam atha Seesuma Bhaskam (sa sa ri* sa* ri*)  elevate us to a different plane towards the lord .I personally feel like flying high in the sky..The way it climbs the summits ...Just Immortal...And after having climbed such a step hill Dikshitar sets foot Down beautifully at Mrgamadha Thilakam (Da Ni da Pa da Pa ma Ga ri..) followed by a Brisk Madhyama Kala again and a beautiful end at "Guru Guha Nutha Gopalam"

I havent put too much light on the history here and there as I dont want to indulge in the argument regarding the compositions of Dikshithar in Jujavanthi (whether as to who composed the krithi "Akhilandeshwari")

Best to Enjoy them rather than argue..

To sum up : Dont Miss the summits at Nutana nirada (The climb through the octaves) nalina patra nayanam (a close darshan of BalaKrishna Himself) nava campaka nasikam atasi suma bhasakam (attaining the ultimate mukthi) mrga mada tilakam (stepping down quietly) Over all this is one composition that has ultimate Grace apart from the beautiful poetry woven by Dikshitar draped by Jujavanthi.. A great way to start a day..!! Happy Friday...!!!