Pitvapi naiva suhita manuja bhaveyuh
Tvam Venkatachalapateriva bhaktisaram
Sri Tallapaka Gurudeva namo namaste
The originality of Annamayya consists in using this material in a unique way resulting in the origination of the master-pieces of artistry in the form of Samkirtanas.
Like a sculptor who transforms a bare rock -into an exquisitely beautiful statue, like a musician who composes songs in the mellifluous ragas out of the Saptasvaras, like a literary genius who produces master pieces of literature out of seemingly ordinary words, Annamayya composed his SamkirtanAs from the raw materials drawn from different sources.
In his Samkirtanas we witness the harmonious blend of the sculptor, the musician and the
man of letters, apart from their significance as invocations. His Samktrtanas are the outbursts of devotional ecstasy. They are spiritually consoling. intellectually illuminating, morally ennobling and emotionally satisfying.
Dr. C. .RAMAIAH
Professor of Philosophy and Dean of Academc Affairs
“Sri Venkateshwara University"
Vidyaranya is the first to introduce the Mela-Janya system and deals with 15 melas and 50 ragas which are all found in the Sankeertanas of Annamachrya.
Besided these ragas, Annamacharya introduced a few more ragas such as 1. Abali, 2. Ahirinata, 3. Amarasindhu, 4. Bhallari, 5. Desalam, 6. Gummakamboji, 7. Kokila panchamam 8. Konda Malahari, 9. Mangala Bauli, 10. Mukkaripantu, 11. Pratapanata, 12. Rayagoula, 13. Sokavarali, 14. Sindhukriya, 15. Gitanata, 16. Telugu Kamboji, 17. Kousi, 18. Dravida Bhairavi, 19. Dravidagurjari and 20. Sourashtragurjari.
These ragas find a place in Ramamathya’s musical treatise Swaramelakalanidhi written in 1550 A.D. Unfortunately the identity of these ragas are not known today.
It was perpetuated by potana ,the creator of the most mellifluous work “Srimadbhagavatam”. If potana had blended lyricism into metrical verse (padyam), Annamayya has brought the kavya character to lyricism.
His usage of diction ,in Particular the Native telugu ,his imagination,emotion and the distinct talent in building up and absorbing mood and experimentation in blending the desi and Marga forms of expressions are all unique.
So he stands on a much higher pedestal in the history of telugu literature. But alas! The scholarly community in the past has not given the due importance to the desi literature and the lyrics
G.LaxmiNarayana in his preface to B.Rajanikanta Rao’s Annamacarya’s Sankeertana Shashti
his works. But he conceived his pada, as did the earlier devotional singers, primarily as
devotional poetry. Music was mainly an aid to render them effectively."
The kritis of Tyagaraja and others, on the contrary, are conceived generally as musical
compositions; and their poetry, however impressive, is mainly a verbal scaffold for
raising a musical structure. Musical thought, rather than poetic thought, seems to
determine their structure pattern.
R A jayantha
Jayaprabha On Anna.
ఆయన రాయదలుచుకున్న ఏ భావానికి గాని ఎటువంటి ఆటంకమూ ... ఎటువంటి అదుపూ ఆయన పెట్టుకోలేదు.
ఎటువంటి ముసుగులూ ఆయన అక్షరాల పై కప్పలేదు
అందువల్లనే ఆయన ఎంతో వైవిధ్యమైన పదరచన చేయగలిగాడు
Annamayya pada paricayaM - Vol 2 page 311
According to Rallapalli Anantha Krishna Sharma, a well known scholar, perhaps two songs namely JO ACHUTHANANATHA and CHANDAMAMA RAVO are still sung in the same tune as he did.The copper plates having the songs only mention the raga name but not the talas.
Annamacharya‟s profound treatise “Sankeerthana Lakshanam” in Sanskrit, has the description of the characteristics of a sankeerthanam. According to him, the words in a Krithi or Sankeerthanam should be set in such a sequence that the order itself should increase the beauty and that forms the pallavi of the song. In other words, Pallavi of the song should be attractive and appealing which characteristic is immediately obvious in all Annamacharya keerthanams.
Another character he explained is that the words should be in common language so that
everybody should be able to enjoy the songs which also he followed in his songs, where in we can find the several proverbs and duets incorporated.
Annamayya adopted spoken dialect and folk meters for his songs. Hence they did not lose their freshness even after five centuries
A science of mood
A Science of Mood: Telugu Poems from Tirupati and Kalahasti
-David Shulman, Hebrew University of Jerusalem
Indeed, Annamayya's voice - that of a new elite active both in state-building and in the temple economy - may be said to articulate, for the first time, the ethos of a newly integrated individualism at a moment of cultural and institutional expansion.
Listening to the songs,one has the sense of a voice that is softly but insistently murmuring to us, so intimately as to be almost inside us.
At the same time,everything this voice says suggests an intimate knowledge of and an easy familiarity with the internal addressee of the poem's,the god upon the hill.
tying together each of the stanzas and imparting a certain unity.
The Pallavi Often gives the theme,which is then extended in the caraNam's
Each stanza reconnects to the pallavi syntactically or semantically or both.
Thus ,in performance there is a tendency to sing the pallavi at the conclusion of the stanza.
The final stanza invariably refers directly to venkateswara ,the god on the hill ,this reference indicating the approaching end of the song.
Repetition of the pallavi creates a spiral-like architecture of sound and feeling,ultimately enveloping the listener in an awareness,or an experience,of the God's presence.
On the Other hand ,the love poems assume the god's true nature and compelling immediacy inside the self in a sensual and playful relation.
The padas of Annamacharya, composed in desl style are noted for their intrinsic poetic charm and liveliness.
Annamacharya's poetry in nutshell is a sublime expression of his inner vision. Devoid of all unsavoury poetic embellishments, his contemporary poetry flaunted, his Kirtanas derive much of their simplicity and grace from his absolute devotion to the Lord of Seven Hills.
It is by the simplest metaphors, by constant appeals to needs, passions, relations which all men understand ,that he drives home his intense conviction, of the reality of the soul's intercourse with the Transcendental.
As he himself explained in one of his songs with remarkable humility, they are all flowers offered at the feet of the Lord, as worship ,and himself a mere instrument ,singing His praise at His behest.