Articles
* Presidential Address Of Vidwan Sri Rallapalli Ananthakrishna Sharma, Madras Music Academy, Dec 1974. Click Here
* Presidential Address Of Vidwan Sri Rallapalli Ananthakrishna Sharma, Madras Music Academy, Dec 1974. Click Here
* 'Nannagurugalu' - Kannada translation by Prof R A Phani Shayi, of the original article 'Na Guruvulu' by Sangeeta Kalanidhi Dr Rallapalli Ananthakrishna Sharma. Click Here
* 'Nannagurugalu' - Kannada translation by Prof R A Phani Shayi, of the original article 'Na Guruvulu' by Sangeeta Kalanidhi Dr Rallapalli Ananthakrishna Sharma. Click Here
The following references provide full and comprehensive details about the life, works, accomplishments, recognitions etc of Shri Rallapalli Anantha Krishna Sharma.
The following references provide full and comprehensive details about the life, works, accomplishments, recognitions etc of Shri Rallapalli Anantha Krishna Sharma.
1 ) Rallapalli Anantha Krishna Sarma - Dr. B. Dayananda Rao, Carnatic Music Composers, A Collection Of Biographical Essays, 1995, pages 393-396, Published by Triveni Foundation. Hyderabad.
1 ) Rallapalli Anantha Krishna Sarma - Dr. B. Dayananda Rao, Carnatic Music Composers, A Collection Of Biographical Essays, 1995, pages 393-396, Published by Triveni Foundation. Hyderabad.
2 ) Vaggeyakara Rallapalli Anantha Krishna Sarma, Prof R A Phani Shayi, Carnatic Music Composers, A Collection Of Biographical Essays, 1995, pages 397-400, Published by Triveni Foundation. Hyderabad.
2 ) Vaggeyakara Rallapalli Anantha Krishna Sarma, Prof R A Phani Shayi, Carnatic Music Composers, A Collection Of Biographical Essays, 1995, pages 397-400, Published by Triveni Foundation. Hyderabad.
3 ) "A Musician's Reminiscences" by Prof. Mysore V. Ramarathnam (1917 - 2008), released on the occasion of Prof. Ramarathnam's 90th birthday in 2006. Click here to read the article.
3 ) "A Musician's Reminiscences" by Prof. Mysore V. Ramarathnam (1917 - 2008), released on the occasion of Prof. Ramarathnam's 90th birthday in 2006. Click here to read the article.
4 ) Articles published in Newspapers -
4 ) Articles published in Newspapers -
a ) The Hindu , Nov 14, 2008 , Friday - ' He turned the spotlight on Annamayya' - Sriram Venkatakrishnan. Read the article here.
a ) The Hindu , Nov 14, 2008 , Friday - ' He turned the spotlight on Annamayya' - Sriram Venkatakrishnan. Read the article here.
C ) The Star Of Mysore, Newspaper carried two articles in Aug 2023, Part 1, Part 2
We are reproducing the second article, below, since the rights are with our family
We are reproducing the second article, below, since the rights are with our family
Vaggeyakara Rallapalli Anantha Krishna Sarma - By Prof. R A Phani Shayi
Vaggeyakara Rallapalli Anantha Krishna Sarma - By Prof. R A Phani Shayi
My late father, Shri Rallapalli Anantha Krishna Sarma, was a Vaggeyakara of great merit in his own right. His compositions, unfortunately, have not come to light, largely due to his own reluctance to give them publicity. He did not sing them in public, did not teach them to his disciples and made no attempt to print and publish them. He taught some of them to his daughters, only to be sung during their daily worship and on festival days such as Sri Ramanavami, Sri Krishna Jayanthi, Varamahalakshmi Vratam and the like. When asked by his younger son, R.A.Jayantha, why he should not publish them, he replied, " I did not compose them for publication. I wrote them when I felt impelled to do so by some divine force". When further questioned whether they would not be lost permanently if they are not published, he answered, " Lord Srinivasa at whose calling I wrote them, will himself take care of their welfare". If it had been observed that God gets his work done on this earth only through human agency, and that human effort - Purushakara - is necessary for realising God's will, he would, perhaps, have replied that then Lord would find his agent.
My late father, Shri Rallapalli Anantha Krishna Sarma, was a Vaggeyakara of great merit in his own right. His compositions, unfortunately, have not come to light, largely due to his own reluctance to give them publicity. He did not sing them in public, did not teach them to his disciples and made no attempt to print and publish them. He taught some of them to his daughters, only to be sung during their daily worship and on festival days such as Sri Ramanavami, Sri Krishna Jayanthi, Varamahalakshmi Vratam and the like. When asked by his younger son, R.A.Jayantha, why he should not publish them, he replied, " I did not compose them for publication. I wrote them when I felt impelled to do so by some divine force". When further questioned whether they would not be lost permanently if they are not published, he answered, " Lord Srinivasa at whose calling I wrote them, will himself take care of their welfare". If it had been observed that God gets his work done on this earth only through human agency, and that human effort - Purushakara - is necessary for realising God's will, he would, perhaps, have replied that then Lord would find his agent.
Father's earliest attempts to compose " Geya Rachanas ", seem to have begun even while he was teenager. At Rallapalli, his native village, he and his two brothers, Gopala Krishnamacharya, the elder and Lakshmana Swamy, the younger, were competing with one another, in composing songs in Sanskrit. Since the brothers were not musically talented, it would appear that they wrote only the Sahitya and the music was provided by father, for his own as well as the compositions of his brothers. Father's first composition was, perhaps, the one on Mahalakshmi, Vishnu's Consort, which begins with the words, "Jalarashibale Lole".
Father's earliest attempts to compose " Geya Rachanas ", seem to have begun even while he was teenager. At Rallapalli, his native village, he and his two brothers, Gopala Krishnamacharya, the elder and Lakshmana Swamy, the younger, were competing with one another, in composing songs in Sanskrit. Since the brothers were not musically talented, it would appear that they wrote only the Sahitya and the music was provided by father, for his own as well as the compositions of his brothers. Father's first composition was, perhaps, the one on Mahalakshmi, Vishnu's Consort, which begins with the words, "Jalarashibale Lole".
In his eleventh year, he migrated from Rallapalli to Mysore. "Sree Krishna Bramhatantra Parakala Yathi", who was the Peethadhipathi of the "Parakala Matha" of Mysore, at that time, was impressed by the boy's sharp intellect and yearning for learning, and took him under his care. Himself a composer of songs, the Swami encouraged his pupils musical interests. In 1909, the young composer became a disciple of the great Master Of Carnatic Music of Mysore, Sri Bidaram Krishnappa.
In his eleventh year, he migrated from Rallapalli to Mysore. "Sree Krishna Bramhatantra Parakala Yathi", who was the Peethadhipathi of the "Parakala Matha" of Mysore, at that time, was impressed by the boy's sharp intellect and yearning for learning, and took him under his care. Himself a composer of songs, the Swami encouraged his pupils musical interests. In 1909, the young composer became a disciple of the great Master Of Carnatic Music of Mysore, Sri Bidaram Krishnappa.
It was at this tome, father began composing songs in the traditional form, the Krithis. His first composition was Ganarasamurti Tyagaraja Paatalu Tenela Tetalu, a kirthi in the raga Kedara Gowla, set to Vilamba Adi Tala, and starting at the Tarasthayi Shadja. In this composition, he has drawn a picture of the beauty and grace in the songs of Thyagaraja. It is a tribute to the Musical genius of this great saint. In this he tells us that, " the songs of Thyagaraja are sweeter than the essence of Honey. Even the creator, Bramha may prove unequal to the task of describing their beauty. They transform Non-believers into Devotees of God. They can create Musical sensibility in the minds of the dull. And they can create a vision of Lord Sri Rama, to gain which saints have had to perform penance for long years. Preceptor, Bidaram Krishnappa was so delighted with this krithi that he would ask his pupil to sing it every year thereafter, on the occasion of Thyagaraja's "Punya Thithi". which was observed at his house. This song is in Telugu while his earlier ones were all in Sanskrit.
It was at this tome, father began composing songs in the traditional form, the Krithis. His first composition was Ganarasamurti Tyagaraja Paatalu Tenela Tetalu, a kirthi in the raga Kedara Gowla, set to Vilamba Adi Tala, and starting at the Tarasthayi Shadja. In this composition, he has drawn a picture of the beauty and grace in the songs of Thyagaraja. It is a tribute to the Musical genius of this great saint. In this he tells us that, " the songs of Thyagaraja are sweeter than the essence of Honey. Even the creator, Bramha may prove unequal to the task of describing their beauty. They transform Non-believers into Devotees of God. They can create Musical sensibility in the minds of the dull. And they can create a vision of Lord Sri Rama, to gain which saints have had to perform penance for long years. Preceptor, Bidaram Krishnappa was so delighted with this krithi that he would ask his pupil to sing it every year thereafter, on the occasion of Thyagaraja's "Punya Thithi". which was observed at his house. This song is in Telugu while his earlier ones were all in Sanskrit.
In this krithi, there is nothing to show who authored it. Father, in his earlier years, used a short form of his own name, Anantha - as his Mudra. But later, he appears to have decided against it, perhaps because he felt that it was a sign of Egotism. His subsequent compositions reveal two changes. First, he reverted to Sanskrit as the language medium and secondly, used the expression " Ananda - Paramananda " as indicative of his authorship. This expression conveyed his belief that the ultimate attribute of God was Paramananda-Eternal Bliss-and it denoted his authorship, sans Egotism.
In this krithi, there is nothing to show who authored it. Father, in his earlier years, used a short form of his own name, Anantha - as his Mudra. But later, he appears to have decided against it, perhaps because he felt that it was a sign of Egotism. His subsequent compositions reveal two changes. First, he reverted to Sanskrit as the language medium and secondly, used the expression " Ananda - Paramananda " as indicative of his authorship. This expression conveyed his belief that the ultimate attribute of God was Paramananda-Eternal Bliss-and it denoted his authorship, sans Egotism.
His compositions encompass all the recognised forms of songs in Classical Music, viz., Geethas, Swarajathis, Varnas, Krithis in both Madhyaman and Vilamba Kalas and Thillana. They are set to different Talas - Adi, Rupaka, Atta, Jhampa, Eka and Dhruva. The compositions are set in familiar Ranjaka Ragas such as, Kalyani, Bilahari, Kedara Gowla, Kambhoji, Purva-kalyani etc., as also in ragas which are not so familiar, such as Umabharanam, Suddha-seemanthini and Lalitha Panchamam.
His compositions encompass all the recognised forms of songs in Classical Music, viz., Geethas, Swarajathis, Varnas, Krithis in both Madhyaman and Vilamba Kalas and Thillana. They are set to different Talas - Adi, Rupaka, Atta, Jhampa, Eka and Dhruva. The compositions are set in familiar Ranjaka Ragas such as, Kalyani, Bilahari, Kedara Gowla, Kambhoji, Purva-kalyani etc., as also in ragas which are not so familiar, such as Umabharanam, Suddha-seemanthini and Lalitha Panchamam.
One could detect the influence of the great Vaggeyakaras, Thyagaraja - Shyama Sasthry, Muthuswami Dishitar and Swathi Thirunal in father's compositions. Thyagaraja's Bhakthi and experimental approach, Shyama Sasthry's Tala patterns, Dikshitar's espansive conception, Vilamba movement and mixing of the Vilamba and Madhya speeds, Swathi Tirunal's choice of simple, appropriate and sweet-sounding words. All these had their impact. But he did not imitate anybody. His compositions were original creations.
One could detect the influence of the great Vaggeyakaras, Thyagaraja - Shyama Sasthry, Muthuswami Dishitar and Swathi Thirunal in father's compositions. Thyagaraja's Bhakthi and experimental approach, Shyama Sasthry's Tala patterns, Dikshitar's espansive conception, Vilamba movement and mixing of the Vilamba and Madhya speeds, Swathi Tirunal's choice of simple, appropriate and sweet-sounding words. All these had their impact. But he did not imitate anybody. His compositions were original creations.
Muthuswami Dikshitar described his God as " Bhukti Mukti Dayaka", the dispenser of Earth and Salvation after death. Thyagaraja sought from Sri Rama, mukti and nothing else. Father's approach was quite different. Although the central theme of his compositions was also Bhakti, he appealed to God, " to light the recess of his mind and remove its darkness " ( Mama Manasa Kuharam Pradeepaya) , " to stimulate his Intellect" ( Dhiyam Prachodaya ) and to give him salvation ( Dhyayami Srinivasam Nisshreyasaya ). His compositions contain the essence of the teachings of Bhagavad Ramanuja's Visishtadvaita, of total surrender to God, as exemplified in the famous expressions, " Anyatha Saranam Nasthi, thwameva Saranam Mama". He implicitly believed in this path and attempted to put into practice all his life.
Muthuswami Dikshitar described his God as " Bhukti Mukti Dayaka", the dispenser of Earth and Salvation after death. Thyagaraja sought from Sri Rama, mukti and nothing else. Father's approach was quite different. Although the central theme of his compositions was also Bhakti, he appealed to God, " to light the recess of his mind and remove its darkness " ( Mama Manasa Kuharam Pradeepaya) , " to stimulate his Intellect" ( Dhiyam Prachodaya ) and to give him salvation ( Dhyayami Srinivasam Nisshreyasaya ). His compositions contain the essence of the teachings of Bhagavad Ramanuja's Visishtadvaita, of total surrender to God, as exemplified in the famous expressions, " Anyatha Saranam Nasthi, thwameva Saranam Mama". He implicitly believed in this path and attempted to put into practice all his life.
No description, in words of a musical composition, however brilliant, can be an effective substitute to the listening of its practical rendering, preferably vocally, by a competent singer who is sensitive to both the word and sound of the song. The saying that the proof of the pudding is in the eating of it, is most appropriate in the context of the appreciation of a musical composition. To enjoy the beauty of the songs of Rallapalli Anantha Krishna Sarma, we should listen to their rendering, or if we can, learn to sing them ourselves.
No description, in words of a musical composition, however brilliant, can be an effective substitute to the listening of its practical rendering, preferably vocally, by a competent singer who is sensitive to both the word and sound of the song. The saying that the proof of the pudding is in the eating of it, is most appropriate in the context of the appreciation of a musical composition. To enjoy the beauty of the songs of Rallapalli Anantha Krishna Sarma, we should listen to their rendering, or if we can, learn to sing them ourselves.
Rallapalli Compositions and Rallapalli Mangalams : For a full list of the songs composed by Rallapalli Anantha Krishna Sharma click here.
Rallapalli Compositions and Rallapalli Mangalams : For a full list of the songs composed by Rallapalli Anantha Krishna Sharma click here.
NOTE :
NOTE :
Prasara Bharathi, Broadcasting Corporation OF India, All India Radio, Bangalore, have in their letter No .BAN 9 (3) 2003-P3(M) dated 23.05.2003 have accorded approval for broadcast of compositions of Late Sri Rallapalli Anantha Krishna Sharma.
Prasara Bharathi, Broadcasting Corporation OF India, All India Radio, Bangalore, have in their letter No .BAN 9 (3) 2003-P3(M) dated 23.05.2003 have accorded approval for broadcast of compositions of Late Sri Rallapalli Anantha Krishna Sharma.