Kum. Nandana Ramakrishnan (vocal) & team from Bakerfield,CA - Homage to Mysore Vasudevacharya Series
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- čas přidán 25. 07. 2024
- Special Carnatic Music concert
Homage to Padma Bhushan Mysore Vasudevacharya
24th March 2024, 8:00 PM IST (10:30 AM EDT, 7:30 AM PDT)
Kum. Nandana Ramakrishnan (vocal) - Bakerfield, CA
(Disciple of Vid. Perumbavoor G. Ravindranath and Vid. Prarthana Sai Narasimhan)
Kum. Nikhita Kaushik (violin)
(Disciple of Vid. Rajeev Mukundan)
Chi. Srivatsan Srinivasan (mridangam)
(Disciple of Vid. Neyveli Narayanan and Vid. Srinivasan Govindarajan) - Hudba
Brilliant concert! Beautiful, flawless voice!
Beautiful singing Nandhana and team .
Lovely Alapana !!!
Very good .
Superb
Wah !!! Superb Aha Aha
Superb Rendition!!!
Wah !!! Great
Wah !!!! Sooooooper
Good rendition of Bhajare .. keep it up
Melliflous Mohanam
Very mature voice control at such young age..🎉
Supperr nadhana kutty❤❤🥰
Superb Thani !!!
Superb Alapana & Replication on Violin !!!
Dhanyasi superb.
It is a unique thillana in its structure and expression (for instance the stanza which says "listen to what the anklet is saying … followed by a beautiful string of jathis … jhanana jhanana jhanana thom, jhanana jhanana jhanana thom, jhanana jhanana jhanana…
On Behalf of Mysore Vasudevachaya Homage Page We Whole heartedly Welcoming
It is called Sumadyuti in Muthuswami Dikshitar school of Carnatic music
This Krithi is in kanchi kamakshi the Presiding Deity of Kanchipuram The Image of the main Deity, Kamakshi, is seated in a majestic Padmasana, an yogic posture signifying peace and prosperity, instead of the traditional standing pose. Goddess holds a sugarcane bow and bunch of five flowers in the lower two of her arms and has a pasha (lasso), an ankusha (goad) in her upper two arms. There is also a parrot perched near the flower bunch. There are no other Parvati temples in the city of Kanchipuram, apart from this temple, which is unusual in a traditional city that has hundreds of traditional temples. There are various legends that account for this fact.
Adi Shankaracharya, the famous 8th century CE scholar and saint, re-established the Sri Chakra in this Kamakshi Devi temple in the trough-like structure in that shrine
Ragam Dhanyasi
Raga Dhanyasi Janyam of 8th mela Thodi.
Raga Dhanyasi finds reference in medieval musicological texts. However, there came, in the course of time, some super-imposition and the ragas Dhanyasi and Suddhadhanyasi got mixed up.
However, separation of identity was maintained to the extent that Dhanyasi was deemed as an Audava-Sampoorna raga while Suddhadhanyasi was an Audava-Audava raga. The scale of swaras sa-ga-ma-pa-ni-sa was considered the hallmark of Dhanyasi and several ragas with this Arohana pattern were deemed as Dhanyasi-genre ragas.
Dhanyasi, as presently known, did exist in the period preceding the melakarta classification as evinced from some compositions of Bhadrachala Ramdas and Purandaradasa handed over from generation to generation. The nature of Rishabha and Dhaivata swaras and the Audava-Sampoorna structure did give this raga a distinct identity.
Govindacharya deals with the lakshana of this raga and decides its classification under the 8th melakarta. Subbarama Dikshitar gives a lucid picture of this raga, reflective of its current nature. However, he deems it a Bhashanga raga derived from the 20th melakarta.
At the same time, he expresses his unhappiness at such a classification.
The compositions of the Trinity in this raga gave a boost to its popularity. It is a raga used widely nowadays with a vast repertoire. It is also one of the select 28 ragas with compositions of each member of the Trinity. It is also a raga used for mangalam and is an auspicious raga.
Manodharma is a magnificent aspect of Carnatic music. It evades measurement to some extent and can vary from artiste to artiste. Manodharma can be stated to have many integral components or sectors - like alapana, kriti-rendition, kalpanaswara and so on.
Some artistes excelled in a sector while being satisfactory in others. GNB was considered a master in raga rendition, while Madurai Mani Iyer was associated with swara-prastara. Infact, there can be even sub-sectors; like Aksheeptika, Vidari, Sanchari, Sthayi etc., in raga rendition.
Carnatic music has intrinsic values of salient importance, which are not adequately appreciated. The presentation of manodharma should not be hyper-theoretical and should satisfy the audience, as well. It is not a mere barometer to gauge the artistes' caliber but is a medium to bring about aesthetic satisfaction and appreciation. With reference to Dhanyasi the above parameters holds good.
Dhanyasi, by nature, musicological analysis and usage, belongs to the 8th mela. The first point to be noted is that there is no profusion of ragas derived from the 8th melakarta. Hence, the ragas allied to Dhanyasi are also limited.
The most proximate raga is Ghanta, with many phrases similar to passages found in Dhanyasi. However, there is enough difference. (This was demonstrated by Jayaraman through some prayogas).
The rasanubhava between Dhanyasi and Ghanta or Dhanyasi and Todi is different. Dhanyasi has its own features, which are unique, and its closeness to Ghanta, does, in no way, mar its uniqueness.
The only other Raga that can be considered as an allied raga of Dhanyasi is Asaveri. The swara-structures of these ragas serve to point out, to a great extent, the difference rather than similarity - as can be seen from the use of Rishabha in Asaveri. Renditional purity will suffice to compare and or contrast two ragas. This can show the extent of proximity of raga Asaveri to Dhanyasi. Many compositions in these ragas highlight these facets and it is best seen in them.
This Tillana- Geet Dwanit taku deem nadir kit tum - one of the gems of divine ancient art of Thanjavur style Bharatanatyam Dhanashri Thillana is composed by Maharaja Sri Swathi Thirunal from Early 18th century.
Sharp Abheri Vivacious Vasantha Bhairavi
Pranamamayaham Ragam Gowla 15th Mela Janya Mysore Vasudevacharya Krithi
This Kriti was originally composed in Sanskrit
Next is the Main Krithi of the Day !!!
Dhyana Stuti
ANECDOTES ON RAGA DHANYASI:
• Tyagaraja’s mother, Seethamma, is said to have rendered several Devaranamas at home, which left a profound and permanent impact on her son. Many compositions of Tyagaraja are modelled after Purandaradasa’s Devaranamas. In a Devaranama, Purandaradasa sang "Sakala theertha yatrava madidanta nikhala punyada phalavu, bhakti poorvakavagi bidadanu dindalli prakata Purandara Vitthalada naamada smarane onde saalade". This theme is echoed verbatim, in the composition "Dhyaaname varamaina Ganga snaaname" by Tyagaraja, in raga Dhanyasi.
• Muthuswami Dikshitar’s wife nagged him to go and meet a rich patron, as she was desirous of acquiring several pieces of jewellery. Dikshitar did not oblige her, instead he sang the song "Mangaladevataya" in raga Dhanyasi. That night, Dikshitar's wife dreamt that Goddess Lakshmi came and decked her with so much jewellery that she collapsed under its weight. Realising her folly, she apologised. Such was the effect of Dikshitar’s kriti in Dhanyasi.
• There is inadequate realisation of the fact that the composition "Meena Lochana" by Syama Sastri in Dhanyasi, belongs to the Navaratnamalika series dedicated to Devi Meenakshi.
• Bidaram Krishnappa was requested to render this raga at a concert in a village in Hassan district. Commencing with an elaborate alapana, he rendered Tyagaraja’s "Ramabhirama" and followed it with swara-prastara. More than two hours passed in the rendition of this raga. The audience was so emotionally moved that they did not want to listen to anything else and the concert was terminated with raga Dhanyasi.
• Tiruveezhimizhalai Brothers were engaged to play for a Janavasa procession, starting from the Katchaleeshwara temple in George town, to Springhaven Road (1955). They took up raga Dhanyasi and forgot themselves and the time factor. The procession patiently waited to permit the musicians to play at their peak. Such was the effect of Dhanyasi!
• Many aficionados fondly remember renditions of "Kanulaara" by Alathur Brothers and "Sangeeta Gnanamu" by Dandapani Desikar. Both compositions are in Dhanyasi.
Ra Ra Rajeeva Lochana Mohanam Ragam 2 (Kalai) Adi Talam Mysore Vasudevachar
In this kruti Vasudevacharya praises Rama as the supreme soul and as the Lord of Sita. He declares that he always kept absolute faith in Rama only.
Nee daya rada Ragam Vasantha Bhairavi 14th Mela Janya Rupaka talam Thyagarajar Krithi
ABHERI, KARNATAKA DEVAGANDHARI, BHIMPLAS - A COMPARATIVE STUDY
Abheri is a fairly old raga; The present type is a pleasing and melodic raga, janya of mela (22) ragam Kharaharapriya, with notes : S G2 M1 P N2 S - S N2 D2 P M1 G2 R2 S.
But the original Abheri, as described by Venkatamakhi and followed by Muthuswami Dikshithar had been different. The Sangeetha Sampradaya Pradarshini (SSP) by Subbarama Dikshithar shows the lakshna sloka by Venkatamakhi, as: “abheri sagraha purna syadarohe nivarjita”, which says it is losing Nishadam only in Arohanam; but from the geetham and tAnam, it can be derived that it has a Rishabha Dhaivatha varja, Gandhara-vakra arohanam as SMGMPPSS.
Dikshithar followed this scale in his composition, “Veenabheri venu vadyadi vinodini”, which contains the raga-mudra also. The Dhaivatham used is D1, showing it is a janya of mela (20) NaTabhairavi. The Thyagaraja school used a different form of this, from the same mela, using SGMPNS as arohanam (Dikshithar system does not allow usage of SGM phrase; but only SMGM).
The Abheri which Thyagaraja followed was also a janya of mela (20) NaTabhairavi, with structure as: S G2 M1 P N2 S - S N2 D1 P M1 G2 R2 S; this was the scale used to sing ‘Nagumomu’ in early years. How or when musicians started using D2 is unknown, it was a morphed or corrupted version of the original Abheri. Still, we can see that the arohanams of both the versions, as also avarohanam, except Dhaivatham, are same for both the old and new scales; so the renditions in both scales show much similarity than to Dikshithar scale.
Hence it can be assumed that there were originally two different Abheris based on the different schools; both based on D1 only. It can be presumed that changing D1 to D2 had given a more melodic mood than the somber mood of D1; this may be the reason why musicians accepted this formula, which is followed even now.
Now we come to an allied ragam - Devagandharam / Karnataka Devagandhari. Subburama Dikshithar, in SSP gives details of two ‘Devagandharis’; one under mela (22) and the other, under (29). The first is a janya of Shriragam mela, with murchana arohanam /avarohanam as: SRSGGMPDPNNS - SNDPMMGGRS.
The details have to be learned from the geetham and suladi by Purandara Vittaladasa. The other is a janya of Sankarabharanam mela, with SRMPDDS - SNDPMGRSRGRS. This second one is also referred to as Desiya Devagandhari; the Dikshithar krithi ‘Kshithija ramanam’ is shown analysed. This is a bhashanga raga, with N2 coming at some places; also in the arohanam, G3 and N3 showing up in some places. In fact this scale is almost similar to the common Devagandhari; then what about the first scale?
Muthuswami Dikshithar, in his krithi, “Panchashatpitha roopini” incorporates the raga-mudra as ‘devagandhara raga toshini’, which shows it is different than the ‘Kshithija ramanam’ or ‘SAlivAtiswaram’. Though the raga-mudra is not found in these two, in ‘Sri meenambikayah param’, Dikshithar includes it as’ SrI dEva gAndhAri pUjitA’.
Hence, it is to be assumed that the differenciation is made to identify the raga, it is the ‘Devagandhari’ (mela 22 janya) same as the Devagandharam. This would have caused problems as in Suddha Saveri; musicologists began applying the same method of prefixing ‘Karnataka’ to it - raga began to be known as Karnataka Devagandhari. In course of time, it seems that this scale also has been modified as S G3 M1 P N2 S - S N2 D2 P M1 G3 R2 S; thereby making it a janya of mela (28) Harikambhoji. Still, some musicians have rendered the Dikshithar krithi with D2 only (MLV).
Since the original Abheri began using D2, musicians began saying ‘nagumomu’ and ‘bhajare re manasa’ are in Abheri, while ‘panchashatpeetha roopini’ or ‘eppadi paadinaro’ is “sung” in Abheri; just to avoid the controversy. In fact, both the krithis are to be mentioned and sung in Karnataka Devagandhari only.
The Hindustani ragam Bhimplas or Bhimpalasi is having a similar scale of the present version of Abheri; the arohanam beginning with lower Nishadam as : N2SG2M1PN2S - SN2D2PM1G2R2S. Another Hindusthani raga, Dhanasree (the Swathithirunal Tillana ‘gIdhu nadIkuand the krithi, ‘visweswar darshan kar’ are in this raga; the latter is sung in Sindhubhairavi also) also has the same notes (the only difference being the ‘VAdi’ notes).
I have tried to make this comparison as simple as possible, trying to avoid more technical matters of academic interest only. Hope this will be helpful in solving the mystery. In any case, now there seems no differenciation made between Abheri and Karnataka Devagandhari; saying both are same (which is incorrect, as you have seen above).
Nice singing and great performance young team ! Who is the guru for this singing prodigy?
Pavamana Suthudupattu - Sowrashtram - Thyagarajaja Krithi
The passionate appeal of Simhendramadhyamam A Raga's Journey -
A raga that is grand in every way, regal, meditative, bold and striking is Simhendramadhyamam. Chiselled with utmost beauty, every facet of this raga brims with passionate appeal. The notes taken up by this raga are Sadja, Chatusruti Rishabha, Sadharana Gandhara, Prati Madhyama, Pancama, Sudhha Dhaivata, and Kakali Nishada . It is a Melakarta raga, complete in every way, and its notes lend themselves to gamaka s, symmetric patterns and clever permutations while singing alapana s , niraval and kalpanaswara s .
Aro : S R₂ G₂ M₂ P D₁ N₃ Ṡ Av :Ṡ N₃ D₁ P M₂ G₂ R₂ S
This raga in Dikshitar Paddhati is called Sumadyuti and it is also prevalent in Hungarian folk music and the music of the Spanish gypsies. Such raga s that are loved across the length and breadth of the world are testimony to the universal appeal of music, and the fact that such scales have been explored with great attention to detail in classical music certainly shows that Indian music is one of the most enlightening forms of art upon this earth.
In Carnatic music, “Kamakshi Kamakoti,” “Pamarajana” and “Neelachala Natham” are Dikshitar's brilliant creations in this scale. Other popular kriti s include “Needu Charanamule” attributed to Thyagaraja, “Nata Jana Paripalaka,” “Unnaiyallal” of Koteeswara Iyer, “Ikaparam ennum” of Papanasam Sivan, “Ninne Nammiti” of Mysore Vasudevachar and “Rama Rama” of Swati Tirunal.
Hige Number of Film Songs are available in tis Raga
Excellent Budding Very Young Team !!!
We have two more Songs Please Stay with us Thank yo all
Next is also Sub Main Song !!!
Ragam Gowla janya of 15th Mela Mayamalavagowla
Aro : S R1 M1 P N3 S’ Av : S’ N3 P M1 R1 G3 M1 R1 S
As the name suggests, it must have originated from the ancient Bengal region, which was known as Gowla desam.
This ragam is more suited for beginning the concerts. Hence there are number of songs in this ragam in praise of Lord Ganesa.
This ragam has its counterpart in Tamil Isai also in the form of a pann. This ragam is more suited for singing Bhakthi related songs, especially in the mornings.
Gowla is one of the Ghana Raga Panchakam, a group of 5 ragas namely Natta, Gowla, Arabhi, Varali and Sri in which
Tyagaraja composed his famous Pancharatna kritis. Subbarama Dikshithar describes these as particularly suitable for singing from the nabhi (navel).
This is a raga with a certain majesty. Some well known compositions in this raga are Dudukugala by Tyagaraja, Tyagaraja Palayasumam by Dikshithar and Pranamamyaham by Mysore Vasudevachar.
Absoluletly Divine Blissful and Superb Concert All the Best Wishes to the Very Young Budding Team👋👌👋
Next is Sub Main Song of the Day !!
VASANTHABHAIRAVI - JANYA OF MELA (14) RAGAM VAKULABHARANAM
The only raga which is known through the Thygaraja krithi, ‘Nee Dayarada’, is Vasanthabhairavi; got popular through a Tamil film. Even, this was translated into Tamil as ‘un dayavillayo’ !! There are several opinions about the configuration of this raga;
the most prominent one shows it is a Panchama varja raga, the notes being: S R1 G3 M1 D1 N2 S // S N2 D1 M1 G3 R1 S
Even though theoretically, Vasanthabhairavi has no Panchama, in the famous composition Nee Dayarada by Thyagaraja, he uses Panchama and has changed Avarohana to S N2 D1 M1 P M1 G3 R1 S,using Panchama Swara.
(The notation of the Semmangudi version also shows the same swaras). Muthuswami Dikshithar has followed the Venkatamakhi list and his equivalent of Vakulabharanam is ‘Vati Vasanthabhairavi’ which has the notes: S R1 G3 M1 P D1 N2 S // S N2 D1 M1 G3 M1 P M1 G3 R1 S
The Dikshithar krithi, ‘Prasanna Venkateswaram’ is written in this raga, as can be confirmed from the lyrics “vATI vasanta bhairavI nutaM”. But many of the modern day musicians and musicologists group this along with Thyagaraja’s ‘Nee dayarada’, assigning the configuration of Vasanthabhairavi to it.
So, problem arised of whether to incorporate it in this or not; finally decided to keep it as it is, as it cannot be considered a janya.
Compositions: Nee dayarada - Thyagaraja Rama ramana bharama - Thyagaraja Neeye gathi dayapari - Chidambaram Swarna venkatesha Dikshithar
There's an interesting Episode how Shyamakrisna Sodari came as Mudra
Most Beautiful and Blissful Recital By the Youngsters. . Amazing Accompaniments was a great Boost to the Entire Recital. Wish all the Youngsters of today, all the Best in their Musical Careers. 👌👌👌
Kum. Nandana Ramakrishnan (vocal) - Bakerfield, CA
(Disciple of Vid. Perumbavoor G. Ravindranath and Vid. Prarthana Sai Narasimhan)
Semmangudi Mamas one of the Favorite
Chi. Srivatsan Srinivasan (mridangam)
(Disciple of Vid. Neyveli Narayanan and Vid. Srinivasan Govindarajan)
Kamakshi kamakoti Ragam Simhendramadhyamam 57th Mela Rupaka Talam Muthuswami Dikshitar Krithi
Excellent Start !!!!
Mohanam The Most Pleasing and Enchanting Raga Truly “Jaganmohanam
Appropriately named for its beauty, rAgam MOHANAM is a very pleasing and enchanting pentatonic scale, that captures the mind of every listener. A janya of the 28th Melakarta Haikambhoji, it is an audava audava raga.
The beautiful colours and shades of Mohana raga is just brought out in 5 swaras.This raga is called as Bhoop in Hindustani. Suitable for singing at all times, but the night time is best suited for this ragam. Ancient name of Mohanam is “rEgupti” or “raghupati”.
Arohana: S R2 G3 P D2 S
Avarohanam : S D2 P G3 R2 S
( Chatusruti Rishabam, Antara Gandharam, Chatusruti Daivatham.)
Raga chaya svarams/Jiva svarams: ri, ga, dha
Nyasa svarams: ga and pa
Graha svarams : ga, pa dha
Prayogams of the type of “Janta”(dual swaras like gagapapadhadha) and “Datu”(skipping of a swara in between like dhagarigasari) lend great enchantment to the raga and make it very captivating. The notes R and D can be oscillated. G gets a kampitha gamaka or in the prayogas where there is a heavy expression of Gandharam as PG…
where Panchama is played in Gandharam (in Veena). Gamaka or oscillation make these notes beautiful, and prayogas in the raga aalapana containing these notes with gamaka are really bewitching… Mohanam has the ability to lift up a sagging concert.
A sarva svara mUrccanakAraka rAgam. All the four notes ri, ga, pa, dha admit graha bhEdam (modal shift of tonic). The ri, ga, pa, dha mUrccanas of mOhanam result in rAgams madhyamAvati, hindOLam, shuddha sAvEri and udayaravicandrika, respectively.
This raga was known as Mullai Pann in ancient times. Mohanam is basically a Veera rasa pradhana raga. A wide range of emotions like Sringara,Karunya etc can be very well portrayed in this raga. A well tread Mohanam reveals its folkish melodies too. Heavy classical compositions as well as light ones sound beautiful in this raga.
Historically speaking, mOhanam is perhaps the oldest rAgam known to mankind. Dr. S. Ramanathan’s doctoral dissertation on the music in shilappadikAram mentions that it is one of the most ancient paNNs. This pentatonic scale is, therefore, found in the music of various nations, including primitive tribes.
Ancient chinese, japanese, hungarian, swedish, and gypsy music all have traces of Mohanam.This raga claims to possess international melody. This raga is widely used in many countries namely Burma, Thailand, Japan, China. The national Anthem of Thailand is set in raga Mohanam.
Pavamaana Suthudu Pattu, Pathara Vinthiya Mulagu
Sri Ram Rupa Mulugu, Nitya Jaya Mangalam
Prahlad NaraDadhi, Bhaktulu Pogadu Sandhu
Sri Ram Rupa Mulugu, Nitya Jaya Mangalam
Rajeeva Nayana Thyaga, Rajathi Vinudhamaina
Sri Rama-rupa Mulugu, Nitya Jaya Mangalam
Devadi deva sree Vasu Deva ragam Sunada vinodini Adi Talam Mysore Vasudevachaya Krithi
In this song, Vasudevacharya expresses his gratitude to God Vasudeva for blessing him to be his devotee dispelling the six evils.
Music Concert very good.
P ra ra rajeeva lochana rama nannu brochutaku
deena srita jana mandara karuna para vara ||
Oh lotus eyed Rama, please come to protect me. You are the sacred Mandaara flower for the distressed who seek your protection. You are ocean of compassion.
A wonderful song in by Mysore Vasudevachar. The composer urges his -and our- mind to dwell upon Lord Rama, describing his many qualities. He is referring to Him as the leader of the Navagrahas.
AP ee vela na yaru satrulanu neeve para droli nija bhaktu jesi ||
Today you dispel all my six enemies namely lust, anger, delusion, greed, arrogance and jealousy ( kama, krodha, moha, lobha, mada, matsarya) and make me your humble devotee.
C ne jesina pooja phalamo na poorvajula punya phalamo
Sree janakeeaa ee janmamichchi nannu dhanyuniga bhuvi jesitivi ||
It may be the result of my prayers. It may be due to the piety (punyam) of my forefathers. Oh Lord of Janaki, you blessed me with this birth and made me fortunate in this world.
Sourashtram raga Janyam of 17th Mela Suryakantham
This is the Janya ragam of the melakartha ragam Suryakantam. Though it is a janya ragam,
Aro: S R₁ G₃ M₁ P M₁ D₂ N₃ S // Av: S N₃ D₂ N₂ D₂ P M₁ G₃ R₁ S
it is much more popular than its melakarta ragam and apart from Sowrashtram, only Vasantha is the other Janya of Suryakantam, which is popular.
Though there are several compositions in Carnatic music in this slow moving ragam, it is not sung very often in concerts, may be because it offers limited scope for elaboration..
In Thevaram- the collection of songs of Saivite Saints Nayanmars- it is popular and it is known as Viyazhakkurinji Pann.
Glittering Gowla Delightful Dhanyasi Support artists provide nice support to highlight the voice predominantly
Superb Replication on Violin !!!
Kum. Nikhita Kaushik (violin)
(Disciple of Vid. Rajeev Mukundan)
Dhanashree Thillana Adi by Swathi Tirunal
Kum Nandana Ramakrishnan (Vocal) (Disciple of Vid.Perumbavoor G.Ravindranath and Vid.Prarthana Sai Narasimhan
P bhajare re maanasa Sree raghuveeram
bhukthi mukthi pradam vaasudevam harim
Oh Mind , meditate upon the heroic Raghuveera. He is bestower of food. He bestows salvation. He is Vasudeva
DHANASRI ( DHANASHREE )
This ragam is a janya of Natabhairavi. It is believed that this ragam is an import from Hindustani Music where it is a very popular raga, especially in the Sikh tradition. As mentioned in one of my previous write ups, the Sikh religious hymns are set to 31 classical ragas and this raga is mentioned as the tenth raga and 36 hymns are set to this raga.
It has close resemblance to Abheri/karnataka devaghandari,When the ragam is sung in the Hindustani style, its closeness to Bhimplasi could be easily seen. According to the Hindustani scholars, both the ragas use the same notes but with different chalans ( movements ) which makes the difference.
Aroh: ni Sa ga Ma Pa ni Sa Av: Sa ni Dha Pa Ma Pa ga Re Sa
Please Guess the Raga !!!
The form of Lord Ganesha is beloved to millions from India.
There is something so appealing about it One would like to absorb the lesson of ‘Listen, think, then write’ message from the story of Vyasa’s dictation of the Mahabharata to Lord Ganesha, as represented by His large ears (listen), His large head (think) and the missing tusk (write).
This song is a beautiful prayer song in the raga Gowla written by Mysore Vasudevachar.There are some ragas which immediately evoke the presence of certain Gods or Goddesses.
Raga Hamsadhani Natta etc , for example, makes one think immediately of Lord Ganesha for it has the same powerful, strident, confident quality that one finds in Lord Ganesha.
Similarly raga Gowla, has the a steady and rooted quality to it, as well as a certain majesty and grandeur which echoes the qualities of Lord Ganesha.
Gowla is particularly impressive in the Mandra Sthayi (the lower octave) and the lower half of the chosen octave (listen to Tyagaraja’s Dudukugala to appreciate this).
This gives it a certain weight which reminds one of the heaviness of the form Lord Ganesha and his quality of being a foundation for everything.
Now Mangalakaramana Ragam !!!
Meena lochana Ragam Dhanyasi 8th Mela Janya Misra chapu Talam Syama Sashtri Krithi
P devadi deva Sree vasu deva kavumayya nannu karunala vala ||
Oh Lord of all Gods Sri Vasudeva, protect me, You are embodiment of mercy.
I am Subramanian Ramchandran one of the Founder Admin & a Very short Duration Disciple of GNB Mama in 1964
AP e ra nee karuna kalgani karana memo kanara
murari vinuta subhada sucharita
paratpara dharani ja manohara ||
Oh Rama, I don't know why you are not compassionate to me. You are adored by Sri Krishna. You are bestower of happiness and you are known for your excellent character. You are the supreme soul. You captivated the heart of Sita the daughter of the earth.
Gist :- O RAma of auspicious attributes, I am yet to obtain your grace. If you choose to, none dare to stand in your way. I realized long ago that none by you can save me. Even so, there has been an inordinate delay. O Scion of the solar race. When I adore you as the supreme being, holding sway over everything in the Universe, why do you think it is beneath your dignity to extend your grace to me? Do you think that it will detract from your glory? Residing in the innermost recesses of my heart, is it fair of you to watch the ceaseless struggle going on in my mind silently? Condescend to respond without delay, Merciful Lord.
Sunadavinodini is another melodious ragam, not seen often in concert platforms. It is a janya of Kalyani. Generally, One gets confused in identifying this ragam due to its similarity with another popular ragam Hamsanandi. Though the latter is a janya of Gamanashrama, the confusion still prevails
Sunadavinodini Aa: S G3 M2 D2 N3 S Av: S N3 D2 M2 G3 S
Hamsanandi Aa: S R1 G3 M2 D2 N3 S Av: S N3 D2 M2 G3 R1 S
Bhajare Re Manasa Ragam: Karnataka Devagandhari (Abheri) Talam Vilamba Kala: Adi Composer: Mysore Vasudevacharya
C nee ve na vibhudani niratamu
nee padamulanu nera nammiti
nee vadani nanu karuninchi
ee vela na cheyi viduvakura
deva deva daaaratha nrupa nandana
dasa mukhadi sakala ripu jana harana
neevanadarana seyakura
pavanajapta sree vasudeva !
I considered you as my lord and I always had absolute faith in your feet. Pity me as your own and please don't leave my hand. Oh lord of the lords, Oh son of King Dasaratha, you defeated the ten headed Ravana and his clan. Please don't neglect me. Oh Vasudeva, you are very dear to Anjaneya, the son of Vayu the wind- god.
AP gAna vinOdini nee samAnamu ja
gAna gAnanammA dEvee ||
O Devi, you are delighted by music. I can't find another deity like you in this world.
C1 kannatalli gadA nA vinnapamu vina
vammA pannaga bhooshanunaku rANee
ninnu vinA ilalO dAta vEreva
runnArammA bangAru bommA ||
You are my mother. Please listen to my imploration. You are queen of Lord Siva, who is adorned with serpents. You are my golden icon. Is there another bestower like you in this world ?
C2 indumukhee neevu varamulosagi nA
mundu vachchi dayasEyavammA
kunda mukunda radanA himagiri
kumari koumAree paramESvaree ||
Your face is beautiful like moon. Please appear to me and bestow boons. Your teeth shine beautifully like jasmine buds. You are ever youthful daughter of Hima mountains.
C3 sAmajagamanA neevu tAmasamu
sEyaka SyAmakrishNa sOdaree rAvE
kAma pAlinee bhavAnee chandra
kalA dhAriNee neerada vENee ||
Your gait is majestic like elephant walk. Please hasten. O sister of Syamakrishna, please come. You are protector of Manmadha. Oh Bhavani, you are adorned with crescent moon. Your tresses are black and beautiful like dark clouds
P Pranamaamyaham Sree gaureesutham
phanithal_pa-vaasudaeva-bhaktham-sathatham
प्रन्मंयाहं श्री गौरीसुतं
फनितल्प-वासुदेव-भक्तं सततं
I constantly salute the son of Gauri, the devotee of Vaasudeva who uses a snake (phaNi) as a couch .
P kāmākṣi kāma kōṭi pīṭha vāsini māmava
O Kamakshi that dwells at Kamakoti peetham, please protect me.
AP kaumāri kusuma dyuti hēmābharaṇa bhūṣaṇi
(madhyama kāla sāhityam)
samasta sāmrājya dāyini sadguru guha janani
She is young Kumari with the lustre of flowers. She is adorned with gold ornaments. She is the bestower of a kingdom of prosperity. She is the mother of Guru Guha.
C kamalēśa sōdari kamalākṣi nārāyaṇi
nāda bindu kalā svarūpiṇi kātyāyani
(madhyama kāla sāhityam)
kāma kalā pradarśini kalyāṇa guṇa-śālini
In this Krithi Syama Sashtri Prays to Mother O Fish Eyed! O Mother! O Protector of humble people! O Enjoyer of Music! O Mother! O dEvi! O Mother! O Queen of Lord Siva - adorned with snake! O Golden Idol! O Moon Faced! O Mother! O Daughter of Snow Mountain with jasmine and mercury like teeth! O kaumArI! O Supreme Goddess! O Majestic gaited! O Sister of vishNu - SyAma kRshNa! O Protector of manmatha! O bhavAnI! O Wearer of crescent! O Mother whose tresses are dark like rain-cloud! Why do you hesitate to protect me? I do not find equal to You in this World. Aren’t You the Mother who bore me? In this World, who else giver is there, other than You? Please listen to my appeal.Please show mercy by granting boons and coming before me. Please come without tarrying. Why do you hesitate to protect me?
P nee daya rAda rama ||
Why don't you show mercy?
Kum Nandana Ramakrishnan and team from Bakerfield CA Special Carnatic Concert on Today the 24th March 2024, Sunday 8:00 PM IST 10:30 AM EDT 7.30 AM PDT
In this song Tyagaraja requests Rama not to make delay in showing kindness to him.He adds that Rama's greatness will not be reduced if He pities Tyagaraja. O Auspicious Lord rAma! O Most eminent of the Solar dynasty! O Lord rAma! O Resident in the heart of this tyAgarAja! Won’t Your mercy descend on me? Who is there to object? Knowing long back that You are my protector in this World, should You delay this much? Even when I extol You as the master of everything, would it diminish Your greatness if You forgive (or respect) me? My mind is perplexed; is it fair?
Won’t Your mercy descend on me quickly?
AP vyajina vidooram visvaadhaaram
sujana mandaaram sundaraakaaram
He is at a distance from wicked people. He is sustainer of the universe. He is like celestial "Mandara Tree" which fulfills the desires of pious people. He is handsome.
C raavana mathhanam rakshitha bhuvanam
ravi sasi nayanam ravijaari mar_danam
ravijaadi vaanara parivrtham naravaram
rathnahaara parisobhitha kandharam
He destroyed Ravana and saved the world. Sun and Moon are his eyes. He is the King in Soorya lineage. Sugreeva and multitudes of monkeys were at his service. He is the most ideal person. He wears gem-studded necklaces beautifully.
madhyama kaalam
ravi sasi kuja budha guru sukra sanaischara
raahi kethu nethaaram
raajakumaaram raamam pavanajaaptham
avanijaa manOharam
Sun, Moon, Mercury, Jupiter, Venus, Saturn, Mars, Rahu and Ketu are governed by him. He was King of Ayodhya. He is very dear to Anjaneya. He captivated the heart of Sita, the daughter of Goddess Earth.
AP kadanE vArevaru kalyANarAma
Who will object,Oh Kalyana Rama?
P meena lOchanA brOva yOchanA
deenajanAvana ambA ||
Oh Amba, your eyes are fish-shaped. Why are you hesitating to protect me ? You are protector of distressed.
charanam 1
nannu brOcuvarilanu nADE teliya ina vamsha nI kinta tAmasamA
I know that you are my savior even long before. Oh star of Sun dynasty, why this delay?
charanam 2
anniTikinadhikAruDani nE bogaDitE mannincitE nIdu mahimaku takkuva
I praised you as my sole master. If you are kind to me ,will your greatness lessen?
charanam 3
rAma rAma rAma tyAgarAja hrtsadana nAmadi tallaDillE nyAyamA vEgamE
I chant your name incessantly,Oh Rama my heart is in deed your abode. My mind is agitated, is it fair? Hasten.
Neraval .....
charanam 3
rAma rAma rAma tyAgarAja hrtsadana nAmadi
Neraval @ P ra ra rajeeva lochana
ഗണനാഥ or ഗണനാഥം ... അമര വൃന്ദ സേവിതം ...... മമ ര വൃംഗ . ?? ...... വലിയ സംഗീതജ്ഞനൊന്നുമല്ല കേൾവി ജ്ഞാനം മാത്രം ..... തെറ്റാണെങ്കിൽ ക്ഷമിച്ചേക്കണം .......
Chi Srivatsan Srinivasan (Mridangam) (Disciple of Vid.Neyveli Narayanan and Vid.Srinivasan Govindarajan)
Kum Nikhita Kaushik ( Violin) (Disciple of Vid.Rajeev Mukundan)