Kum. Kavyapranati Pratapa (vocal) & team from Detroit, MI - Homage to Mysore Vasudevacharya Series
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- čas přidán 24. 02. 2024
- Purandara Dasaru Aradhana
Homage to Padma Bhushan Mysore Vasudevacharya
25th February 2024, 8:00 PM IST (9:30 AM EST, 8:30 AM CST)
Kum. Kavyapranati Pratapa (vocal) - Detroit, MI
(Disciple of Vid. S Mahathi and Smt. Suma Venkatesh)
Kum. Deekshita Balaji (violin)
(Disciple of Sri Jayashankar Balan and Vid. Delhi P Sunderrajan)
Chi. Aadhi Ramkumar (mridangam)
(Disciple of Vid. Trichur C Narendran) - Hudba
Absolutely Divine Blissful & Superb Concert !!
Absolutely Superb Team !!
Absolutely Sooooooo Superb !!!
Superb Alapana !!!
Awesome voice.. confidently singing..
Wah !!!!! Superb Alapana
Superb !!!
Wah !!!! Thanam
Excellent Start !!!
Lovely Alapana & Replication !!!
Wah !!!!
Wah !!!! Superb Neraval
P ninnanODi dhanyanAdenO hE SreenivAsa ninnanODi dhanyanAdenO
Oh Lord Srinivasa, I am fortunate to be blessed with your 'Darsan'.
Wah !!! Lovely Replication on Violin
Bhagayada Lakshmi Baramma Adi Purandara Dasaru
Raga Arabhi dates back to the 7th century. Among the panns or ragas of ancient Tamil music, it corresponds to the pann, Pazhanthakka.
Arabhi is an audava-sampoorna janya of Dheera Shankarabharanam,(the 29th Melakartha Ragam - the fifth Chakra in Music) and the third among the Ghana Pancharatna Ragas.
A very auspicious raga, Arabhi predominantly conveys Veera rasa (valour) and at times, Roudra rasa (fury).When you listen to Arabhi, the atmosphere is charged with religious fervour - “Mangalakaramaana Isai” or “Auspicious Music”.
Hence Arabhi also conveys the emotion of Devotion or Bhakthi. It is an energetic all-time raga just like its parent Raga Sankarabharanam. Tanam on Veena is particularly enjoyable in this raga.
In Mind, body and soul Chakra - Chakra 5 is the spirit Chakra : This chakra gets guidance from from the spiritual self and heavenly bodies.
It is said that raga Arabhi is associated with the Shishir Rithu - the lovely cool winter season. Raga Arabhi has been in vogue for about 600-700 years and has retained its pristine purity.
The earliest tangible references about this raga is found in the Chaturdandi Prakasika:
अरभिःसर्वदा गेय आरोहे ग नि वर्जितह
कॉचिद् आरोह संयुक्त निषादो निग्रहो भवेत्
Arabhihsarvadaa geya aarohe ga ni varjitaha
koachid aaroha samyukta nishaado nigraho bhavet
Reference found in the chronologically subsequent Sangraha Choodamani is thus:
आरभि जनिता धीरसन्कराभरनात तथा
सन्यासम् सांषकं चैव स षड्ज ग्रहम् उच्यते
आरोहे ग नि वर्ज्य च अवरओहे समग्रकम्
स-रि-म -प -ध -स, स -नि -ध -प -म -ग -रि -स -नि -स
Arabhi janitaa Dheerasankaraabharanaat tathaa
sanyaasam saamshakam chaiva sa shadja graham uchyate
aarohe ga ni varjya cha avaraohe samagrakam
sa-ri-ma-pa-dha-Sa, Sa-ni-dha-pa-ma-ga-ri-sa-ni-sa
From the above reference, following araohanam and avarohanam are accepted for Arabhi
Arohana : S R2 M1 P D2 S
Avarohana : S N3 D2 P M1 G3 R2 S
(Shadja, Chatusruti Rishabha, Antara Gandhara, Suddha Madhyama, Panchamam, Chatusruti Dhaivata and Kakali Nishada )
Jeeva Swaras: R, M, D
Nyasa Swaras: R, P
Kampita Swaras: R, G
Murchanakaraka:
R - Abheri
M - Mohanakalyani
P - Kedaragaula
Special Considerations: Ghana Raga, Sung at the beginning of performances, best for elaborating Tanam rendition. Arabhi is usually sung/played in auspicious occasions like marriages, engagements or house warming.
Prayogas/Sancharas : A few signature phrases of the Raga include
RMPDSNDP - SSDP PMGR -MPD PMGR-SRMGRS -DSRSR - RMDR-SNDPM_GR-RRMMPPDDPPMGRSR-RPMP RDPD-DRSRSNDP-SSDDPPMGR - D,R-D,S-P,D-M,P-MGR..SRMP,,MGR,,
Arabhi is an upanga raga in which Ga and Ni are deleted in arohana. However Avarohanam does have G and N but are very weak.
The swara G does not have its own existence or has a very weak Gandharam - Arabhi has an ‘alpa’ Gandhara. Its always supported by Madhyama. The same is case with Nishadam. It always live with the support of Shadjam.
The geetham Rere Sreerama in Arabhi does not have the note Nishadam at all. At times Nishadam is completely omitted in some krithies. Tyagaraja himself has demonstrated this in his krithi Saadhinchane in the phrase SSDP..
Do’s and Don’ts : Its is a known fact that Arabhi is the janya of Sankarabharanam where Gandharam is the Jeeva Swaram. But in the janya raga Arabhi you should never show the existence of such a note though there is Gandharam.
No janta prayoga of Gandharam. You should never show importance to Gandharam nor you should pause at Gandharam.
Madhyamakala sancharas, jantaswara prayogas, and dattu varisas adds charm and beauty to this raga. Swara sancharas can be brought out in all three octaves/sthayis.
Differences between Arabhi/Sama/Devagandhari-The Raga Cousins
Arohanam of Arabhi and Sama and Devagandhari - S R2 M1 P D2 S
Avarohanam : Arabhi- S N3 D2 P M1 G3 R2 S
: Sama - S D2 P M1 G3 R2 S
: Devagandhari - S N3 D2 N2 D P M1 G3 R2 S R2 G3 SR2 S
A long elongation of Gandharam will change the colour of raga totally taking you to the world of Sama. Sri.S.Ramanathan, in one of his lec dem, demonstrates how Aarabi and Sama share the same notes and yet differ in the nyasa swara used.
‘Nyasa Swara’ is the landing note. An example of how different nyasa swaras characterize different ragas can be seen in the case of Sama and Arabhi. While both ragas have almost the same notes, if one halts at the gandhara, then it evokes Sama rather than Arabhi.
Care must be taken to stick to the raga swaroopa while singing the aalapana in Sama as raga Arabhi is very close to this raga and there is a possibility of slipping into Arabhi.
The speciality of Saamaa is the very soft rendering of ‘Ma’. This Raga gives us mental peace.It is not without reason that Saint Thaygaraja sang ‘Saanthamu Lekha Sowkhyamu Ledhu’(there is no happiness without Mental Peace) in Saama.
Arabhi and Devagandhari ragas are derived from the same Melakarta raga-Sankarabharanam with identical swaras but are aesthetically very different. Dr. V V Srivatsa stresses on the point that it would be more appropriate to call these two ragas as parsva ragas, since they are different in structure, scale, and aesthetic appeal
The Rishabha handled in Devagandhari is more gamaka laiden when compared to Arabhi. Kaishika Nishadam appears in some prayogams in Devagandhari. Perhaps a few liberties were taken with Arabhi and Devagandhari resulted.
Madhyamavathi Raga
madhyamAvati is a "ma~ngaLakara rAgam", that is always sung in the concluding segment of any concert. Even though musicians render the Tyagaraja composition, "pavamAna sutudupaTTu" in saurASTram as an appropriate ma"ngaLam, the concert usually ends with a brief AlApana of rAgam madhayamAvti, at least lasting for a few seconds! Again, the Papanasam Sivan k.rti, "karpagamE kaN pArAy" in madhyamAvati, praising Goddess karpagAmbAl of the kapAlIshvara temple in Mylapore is often sung (perhaps followed by a tiruppugazh song) prior to the ma"ngaLam. The fact that muttusvAmi dIkSitar chose rAgam madhyamAvati for his shrIvidyA mantra bIjAkSara k.rti, "shrI rAjarAjEshvarIM" speaks volumes about the auspiciousness of madhyamAvati. In his k.rti, "dharmasaMvardhani", dIkSitar addresses Goddess dharmasaMvardhani of tiruvaiyAru as "mAdhava sOdari, sundari, madhyamAvati sha"nkari".
Aro: sa ri ma pa ni Sa (S R2 M1 P N2 S)
Av: Sa ni pa ma ri sa (S N2 P M1 R2 S)
An audava - audava janya rAgam of meLam 22, kharaharapriya. Notes taken are:- SaDjam, catushruti riSabham, shuddha madhyamam, pa~ncamam, and kaishiki niSAdham; an upA"nga rAgam which omits "ga" and "ni" in both ascent and descent.
• jIva svarams --- ri and ni, and they both are rendered dIrgham.
• chAyA svarams --- ri, ma, ni
• nyAsa svarams --- ri, ma , pa, ni
• graha svarams --- sa, ri, ma, pa, ni
• The notes ri and ni are kampita svarams.
• ra~njaka prayogams --- ri ma pa nI pa ma rI; sa NI PA; Ni sa ri sa rI; ma ri pa ma ni pa Sa ni RI Sa; ma pa ni pa NI pa m
• Compositions usually commence in sa (rAma kathA sudhA, pAli"ncu, so on), ri ("vinAyakuni"), pa ("alakalallala") or ni ("nAdu pai")
• tristhAyI rAgam that portrays bhakti and karuNa rasam
• an ancient rAgam that is mentioned in "sa"ngIta ratnAkaram", "sa"ngIta makarandam", and "sa"ngIta samaya sAram".
• madhyamAvati is a sarva svara mUrcchana kAraka rAgam, in the sense that it lends itself to graha bedha techniques. The popular pentatonic scales hindOLam, shuddhasAvEri, shuddhadhanyAsi and mOhanam result, when graha bedham is performed on the notes ri, ma, pa, and ni, respectively. madhyamAvati corresponds to the she~nturuti paNN of the Tamil music. It is a rAgam having a high concordance, since it takes the first three notes of the cycle of the fifths, that is, sa, pa, and catushruti ri; and the first three notes of the fourth cycle, namely, sa, ma and ni.
• A rAgam suitable for rendering shlokams, rAgamAlikAs, viruttams, that are usually sung in the post pallavi segment of a concert. Also, it appears in musical dramas and dances. aruNAcala kavi has employed this rAgam for many songs in his rAma nATakam.
• The pUrvAcAryas have declared in their descriptions that madhyamAvati is a "su rAgam" (shubhakaram --- auspicious). It is said that madhyamAvati is so auspicious that it is capable of warding off the sins (dOSam) caused by singing various rAgams at inauspicious moments. So, even a slight rendition or a brief AlApanA of madhyamAvati wards off these sins and bestows auspiciousness.
In some sites the Charanam are given as
C1 puTTisida tAi tande iSTa mitranu nIne aSTa bandhuvu sarva baLaga nIne
peTTigeyoLagina aSTAbharaNa nIne shrESTha mUruti krSNa nIniruva tanaka
C2 oDa huTTidava nIne oDalighAkuva nIne uDalu hoDiyalu vastra koDuva nIne
maDadi makkaLanella kaDehAyisuva nIne biDade salahuva oDeya nIniruva tanaka
vidye hELuva nIne buddhi kalisuva nIne uddhAra karta mama svAmi nIne
muddu siri purandara viTTalaninnaDi mEle biddu koNDiruva enagyAdara bhayavO
According to Prof. Janakiraman, Tulaja’s Sangita Saramrta (ca. 1735 CE) refers to this raga. Natakurinji is also described in Govinda’s Sangraha Choodamani (ca. 19th century CE). The descriptions of Natakurinji in these two treatises coincide approximately with the raga’s current form.
On Behalf of Mysore Vasudevachaya Homage Page We Whole heartedly Welcoming
Next is the Sub Main Of the Concert !!!
Next is Main Krithi of the Concert !!!
According to Dr.V.V.Srivastava Arabhi and Devagandhari are termed as parsva ragas. In a lec-dem he quoted an Upanishadic passage:
Dwaa suparnaah sayujaah sakhaayah samaanam
vruksham parishasva jaate, tayor ebhyah pippalah swaadayaswa..
Meaning, two birds, with beautiful wings, born at the same time were inseparable companions and they perched themselves on the same branch of a tree.
However, only one bird tasted the Pippala fruit, while the other sat merely watching.
Such is the case of the pair of ragas, Arabhi and Devagandhari.
They are derived from the same melakarta. Their superficial swara structure appears to be identical. Devagandhari is tainted with the absorption of an anya (extraneous) swara, like the Pippala fruit. Arabhi remains an Upanga raga and Devagandhari, a Bhashanga raga. The aesthetic values of these two ragas have distinct and salient differences.
The chief distinguishing features between Arabhi and Devagandhari are
Arabhi is typically sung at a brisk or medium pace. Devagandhari is more suited for slow or vilamaba-kala kritis (Ksheera Sagara Sayana of Tyagaraja).
Rishabha is an important swara in both ragas, yet with a difference. It shines in Arabhi when used in janta prayoga, and appears embellished in raga Devagandhari in the descending order in sancharas like “pa-ma-ga-ree”.
The Gandhara note in Arabhi is an ‘alpa’ Gandhara, the same note is elongated in Devagandhari.
Arabhi conveys Veera rasa (valour) and at times, Roudra rasa (fury) while Devagandhari gives the impressions of Santa (peace), Karuna (kindness) or Adbhuta (surprise or awe) rasa-s.
The vakra sanchara “sa-ri-ga-Sa-ri-sa”(Devagandhari), is another safety factor, distinguishing Devagandhari from Arabhi. This particular phrase illustrates how much Arabhi is close or away from Devagandhari
The sanchara of Arabhi ranges from Mandra Dhaivata to Tara Panchama swara. Devagandhari, normally, is not brought into the Mandra sthayi. It is preferable to limit Devagandhari to Tara sthayi Madhyama.
But there is an exception in the line “Tharaka Nama” in the Krithi Ksheera Sagara by Tyagaraja.
Arabhi is a raga which is oriented more towards swara and laya, whilst Devagandhari is highly bhava-oriented.
We have two more Songs Please Stay with us Thanks a lot !!!
On Behalf of Mysore Vasudevachaya Homage Page We Whole heartedly Thanking
Kum. Kavyapranati Pratapa (vocal) & team from Detroit, MI “Homage to Mysore Vasudevacharya “ Purandara Dasaru Aradhana Concert Today 25th the Sunday at 8.00 PM IST 9.30 AM EDT 8.30 AM CST
(Exclusive Compositions of Purandara Dasaru)
Kum. Kavyapranati Pratapa (Vocal) - Detroit, MI (Disciple of Vid. Mahathi S & Vid Suma Venkatesh)
Kum Deekshitha Balaji (Violin) (Disciple of Vid. Lalgudi Vijayalakshmi, Vid Jayashankar Balan & Vid Delhi P Sundararajan)
Chi. Aadhi Ramkumar (Mridangam) (Disciple of Vid. Trichur C Narendran)
Enormous Ragams Covered .
Sourashtram,
Hindolam,
Aarabhi,
Kalyani
RTP ;- Nattakurinji
Ragamalika Swarams
Varali,
Gambheeranattai
Behag,
Madhyamavathi.
All the Best wishes to them in their Future Endeavors
We wish to thank all the members of the lovely audience who motivated, supported and encouraged the wonderful artistes in this Concert today..
Kalyani is one of the Ragas selected to achieve a purpose with Devotion by Great Composers Eg Nidhi Chala Sukhama by Thyagaraja. I am still studying the same in detail
Next is an RTP It was a Listerners Choice by me Thanks to Kum. Kavyapranati Pratapa & Team
(Exclusive Compositions of Purandara Dasaru)
Neraval @ C3 purandara viTTalana pUjeya
Hindolam The Raga with a Hypnotizing Melody..
A derivative of Hanumathodi (Mela 8) belonging to the 2nd Music Chakra, Hindolam is a serene,gentle,soulful,enchanting and pleasing meditative raga. It is an audava - audava janya ragam.
Experts in Carnatic music hold differences of opinion on the janaka ragams (ragams of origin) that should be attributed to Hindolam. It is widely accepted that 20th melakarta,
Natabhairavi is the parent ragam of Hindolam. It can be derived from both Natabhairavi and Hanumathodi, by dropping the rishabham and panchamam. The Hindustani equivalent of Hindolam is “Malkauns”. Malkauns is one very beautiful raga, derived from the Bhairavi Thaat.
This raga is said to have been created from Siva’s Taandav (cosmic dance), so it has a vigour and energy about it.
In Mind, Body and Soul Chakra - Chakra 2( Nestled between the Root and Sacral Chakras) depicts Joy arising out of desire fulfillment;to bring a richer feeling of everything that one does - to remember the joy of life, the joy of living, it is the bringing of Heaven onto earth. Hindolam (meaning swing) invariably evokes a romantic feeling.
This raga is associated with Vasantha Rithu(Spring) which is full of freshness and colours,which brings forth the feelings of well being and boosts your mood. The air smells clean and floral. It can be aptly said that Hindolam conveys the moods of Shringara primarily.
The raga creates increased feelings of compassion and reduced anxiety which in turn provides relief to patients of low blood pressure. It is also said that the raga helps to maintain normal digestive gas and body temperature along with restful sleep and tranquility.
This raga also conveys the divine Bhakthi Bhava and is astonishingly refreshing when sung in the mornings.
The arOhanam avarOhanam of the rAgam is given below:
Arohanam : S G2 M1 D1 N2 S
Avarohanam : S N2 D1 M1 G2 S
[sadharana gandharam, shuddha madhyamam, shuddha dhaivatham and kaisiki nishadham.]
Rasa:Shringara, Bhakthi
Time:Morning
Season:Vasantha Rithu
Jeeva Swaras: D, N
Amsa Swaras: M
Sruthi Bedham (Sarvaswara Murchanakara Janya ragam)-S-Hindolam, G-Sudhasaveri, M-Sudhadhanyasi,D-Mohanam,N-Madhyamavathi)
Special Considerations: Hindolam is a Tri-sthyayi Raga. It is known to be a ragam that is generally beautiful and soothing to listen to. Being symmetrical in its ascending and descending scales, it lends itself very well to improvisation and is therefore popular at concerts.
It is one of the most popular ragas,extensively used in concerts.It is also considered an auspicious raga and is a favourite of Nadaswara Vidwans for playing in temples and marriages.It is a raga with great scope for extensive swaraksharas and beautiful phrasing of the raga alapana and sangatis.
Compositions start on s; m; n In the hands of a skilled vocalist or instrumentalist,the raga transports one to an ethereal world of divine bliss.
Prayogas/Sancharas
M is the important note that lends charm to the music created in this raga.
Slight oscillation of Ga, Dha and Ni is allowed. Some beautiful sancharas of this raga are NSG-GMDNDMGS-NSMGDMGS-NSMGMSGS-NNSND-MDNGS-NGSNSD-SGMGSND DNSNDN, MGS SSN DNS.
Now Super Thani !!!!
Naneke Badavanu Ragam Behag Khanda chapu Purandaradasaru
Kum Deekshitha Balaji (Violin) (Disciple of Vid. Lalgudi Vijayalakshmi, Vid Jayashankar Balan & Vid Delhi P Sundararajan
Some allied rAgams
shrI
The rAgaM shrI is very close to, and often mistaken for madhyamAvati. It is an auDava vakra saMpUrNa rAgam, with the scale:
sa ri ma pa ni Sa; Sa ni pa dha ni pa ma ri Ga ri sa.
According to dIkSitar school of asampUrNa mELa paddhati, rAgA"nga rAgam 22 is shrI.
Definition (Ve"nkaTamakhin):
shrI rAgaH sagrahaH pUrNaH cArhE cAlpadhaivataH |
avarohe ga vakraH syAt sAyam gEyaH shubhAvahaH ||
ArohaNaM: sa ri ma pa ni Sa
avarohaNaM: Sa ni pa dha ni pa ma ri ga ri sa
The notes taken are: SaDjaM. catushruti ri, shuddha ma, pa~ncamam, catushruti dha, sAdhAraNa ga, kAkaLi ni,. In the ArohaNam, dha and ni are absent. Only the ArohaNam permits vakra sa~ncAra. In fact there are two vakra sa~ncArams. The rAgam gets a beauty by the elongation and gamaka on the note ga. While shrI almost resembles madhyamAvati, the omission of the notes dha and ga in madhyamAvati makes a clear distinction. Phrases like "pa dha ni pa ma ri ga ri sa" are repeatedly employed while singing shrI insisting on the usage of dhaivatam and gAndhAram. Hence while rendering madhyamAvati, care should be taken not to touch these notes even slightly. While shrI has greater majesty and depth, madhyamAvati has greater number of compositions.
maNira"ngu
maNira"ngu is another janyam of kharaharapriya with scale sa ri ma pa ni sa; sa ni pa ma ga ri sa. It has the same arohaNam as madhyamAvati, but takes the note ga in avarohaNam, which is not allowed in madhyamAvati. It omits the note dha, which is present in shrI.
puSpalatika
The rAgam puSpalatika with the scale --- sa ri ga ma pa ni sa; sa ni pa ma ga ri sa --- is another rAgam closely related to madhyamAvati or shrI. This rAgaM has been popularized by Tirupati Narayanaswami's unique k.rti, "ika nainanA”.
Superb Replication in Violin !!!
It is a beautiful Hindu Kannada devotional and traditional song (In Madyamavathi rag). The married ladies prey the goddess Lakshmi to give good health and wealth.
They perform pooja and invite other people to participate in their function. I want to share my house pooja with you.
Kum. Deekshita Balaji (violin)
(Disciple of Sri Jayashankar Balan and Vid. Delhi P Sunderrajan)
anji kin yatakayya Ragam Kalyani Purandaradasaru
P SaraNu siddhi vinAyaka SaraNu vidyA pradAyaka
SaraNu pArvatee tanaya mooruti SaraNu mooshika vAhana
I seek refuge in the most benevolent Lord Vinayaka the son of Goddess Parvati. His vehicle is mouse and he is bestower of knowledge
Saranu siddhi vinayaka Ragam saurashtra Purandaradasaru Krithi
Chi. Aadhi Ramkumar (mridangam)
(Disciple of Vid. Trichur C Narendran)
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.
P bhgyada lakshmI baramma nammamma nI sau
bhagyada lakshmI baramma
O Goddess of prosperity, Lakshmi, come in)(our mother, you are the Goddess of good fortune, Lakshmi, please come
Nerval @ P yArE rangana
C1 gejje kalgala dhvaniya madutha hejjaya mele hhejjeyanikkuta
sajjana sadhu pujeya velege majjigeyoLagina benneyante
(bhagyada)
making jingling sounds of your ankletsn putting one step over another
on time for your worship by the good and saintly show up like the butter in the buttermilk, slowly but surely
C2 kanaka vratiya kareyuta bare mana kAmanaya siddhiya tore
dinakara koti tejadi holeva janakarayana kumari bare
(bhagyada)
come, showering gold and wealth and fulfilling all our desires
shining like ten million Suns o, daughter of Janaka, come soon
C3 attittalagalade bhaktara maneyali nitya mahotsava nitya sumangala
satyava toruva sadhu sajjanara cittadi holeva puttali bombe
(bhagyada)
without moving away, stay forever, in your devotees’ houses receiving daily services and worship
o golden doll, shining in the hearts of good and saintly
C4 sankhye illada bhagyava kottu kankana kaiya tiruvuta bare
kunkumankite pankaja lochane venkataramanana binkada ranI
(bhagyada)
giving countless amount of wealth with your hands adorned with sparkling bangles, come The lovely queen of Venkata ramana
C5 sakkare tuppada kAluve harisi shukravAradha pUjaya vELage
akkareyuLLa aLagiri rangana cokka purandara viThalana rANI
(bhagyada).
letting sugar and ghee flow in our homes in streams… on time for worship on auspicious Friday
The queen of Purandara ViThala, please come to our house
Kum. Kavyapranati Pratapa (vocal) - Detroit, MI
(Disciple of Vid. S Mahathi and Smt. Suma Venkatesh)
AP pADidavarige bEDida varagaLa nIDutali daya mADutali nalidADutali beNNe bEDutali krSNa
krishNa, was dancing on kALinga giving all the people their wants who prayed Him, asking for butter.
C1 amburuhOdbhava akhiLa suraru kUDi ambaradali nidu avarstutise rambe Urvashi ramaNiyarellaru
cendadim bharata nATyava naTise jhamtaTa takadhimi tadhigiNi tOm endu jhampe tALadi tumburunoppise
dhA ma pa dha sa rI endu dhvaniyinda nArada tumburar gAna mADalu nandiyu maddale cendadi hAkalu
In the skies, all the devatAs together started praying Him, apsarAs like rambe Urvashi started dancing bharatanATya playing jham taTa...
C2 phaNava meTTi pAlava kaiyali piDidu phaLa phaLisutta nATyavanADe candra maNDaladante poLeyuva
mukhadoLu calisuva nIla kEshagaLADe kAlalanduge gejje ghalu ghalu ghalurenuta uDi gejje kaNTegaLADe
duSTa kALingana meTTi bharadinda puTTa pAdava iTTu shrI krSNanu meTTidanu taka dhimi tadhikenuta
C3 suraru puSpada vrSTiya kareyalu suddiyarellaru pADalu nAga kannikeyaru nAthana bEDalu
nAnA vidhadi stuti mADalu rakkasarellaru kakkasavane kaNDu dikku dikkugaLige Odalu
cikkavanivanalla purandara viTTala vEnkaTaramaNa bEka yashOde binkadoLetti muttADe shrI krSNana
DevatAs showered flowers on Him, all the gOpIs sang in praise of the Lord, nAgakannikAs begged for mercy in various forms, asurAs seeing the scene fled in all directions.
Natakurinji is a relatively recent raga. There is no reference to this raga in pre-18th century literature
Kum. Kavyapranati Pratapa (Vocal) - Detroit, MI (Disciple of Vid. Mahathi S & Vid Suma Venkatesh)
yare rangana Ragam Hindolam adi Purandaradasaru
Ve"nkaTamakhin classifies madhyamAvati as a bhASA"nga janyam number 8, under the asampUrna mELam 22, shrI.
Definition
"madhyamAdissu rAgO'yam madhyamagraha samyutaH |
ga dha lOpAdauDavassyAt sAyamkAlE pragIyatE ||"
mUrcchana
ArOhaNam : sa ri ma pa ni sa
avarOhaNam: sa ni pa ma ri sa
bhASA"ngam, auDavam; gAndhAra and dhaivata varjyam; madhyama graham; rakti rAgam; suitable for singing in late evenings; also known as madhyamAvati. SubbarAma dIkSitar's treatise, "sa"ngIta saMpradAya pradarshini" gives a lakSya gItam in tripuTa tALam by ve"nkaTamakhi, , the k.rti "dharmasamvardhani" in rUpaka tALam by muttusvAmi dIkSitar, and a sa~ncAri in rUpakam by subbarAma dIkSitar, himself.
Hindusthani rAgams, madhmAd sAra"ng (also known as madhyamAdi or madhyamAditi sAra"ng) corresponds to KarnaTik madhyamAvati. It belongs to the kAfi thaTh, and has the scale sa ri ma pa ni sa --- sa ni pa ma ri sa. The svarams taken are:--- tIvra ri, shuddha ma, kOmal ni. vAdi is ri, and samvAdi is pa.
There are all sorts of compositions (varNam, k.rti, tillAna etc) in madhyamAvati. This rAgam has ample scope for AlApana, and pallavi expositions are very common. Segments of rAgamAlikas, generally the concluding segment, feature madhyamAvati as a preferred rAgam. The Trinity have their usual share of compositions in madhyamAvati, with tyAgarAja contributing the largest. There are numerous rAgamAlika lines featuring madhyamAvati that have become famous. maharAja svAti tirunAL's sAvEri rAga k.rti, "bhAvayAmi raghurAmam" carved out as a beautiful rAgamAlika by Semmangudi Srinivasa Iyer, and popularized by M. S. Subbalakshmi, has the last stanza "kalita vara setu bandham" the description of rAma paTTAbhiSEkam, set in madhyamAvati. Again svAti tirunAL's dashAvatAra rAgamAlika "kamalajAsya" features madhyamAvati in the vAmana avatAram line "kalita vAmana rUpa". muttusvAmi dIkSitar concludes his dashAvatAra rAgamAlika, "mAdhavO mAM pAtu", by invoking Lord ve"nkatEshvara of tirupati as the tenth avatAram, in the lines "kaliyuga vara ve"nkatEsham", set in madhyamAvati. We already pointed out that the shrIvidyA bIja mantra k.rti of dIkSitar, " shrI rAjarAjEshvarIm" is in the auspicious rAgam madhyamAvati.
Adidano ranga Ragam Arabhi adi Purandaradasaru
Kum. Kavyapranati Pratapa (vocal) & team from Detroit, MI “Homage to Mysore Vasudevacharya “ Purandara Dasaru Aradhana Concert Today 25th the Sunday at 8.00 PM IST 9.30 AM EDT 8.30 AM CST
AP sanjIva rAyara smaraNe mADida mEle
After one prays (smarane) of Sanjeevaraya (Krishna)
C1 kanasili manasili kaLavaLavAdre hanumana nenedare hAri hOgade pApa
If there is doubt in ones dreams (kanasu) or his mind Will not fear (bheeti) go away if Hanuman is remembered (nenedare).
C2 rOma rOmake kOTi lingavu durisida bhImana nenedare biTTu hOgade pApa
If one remembers the Bhima, who made a crore Lingas fall from each hair of his, will not all sins go away?
C3 purandara viTTalana pUjeya mADuva guru madhva rAyara smaraNe mADida mEle
If one remembers the Madhvaraya who worships Purandaravithala, (will not all sings go way?)
C1 shrInidhE hari enage nIniruva tanaka
O srinidhi as long as you are there for me
C2 vidya hELuva neene buddhi kalisuva neene
you are the one who makes me literates, and the one who teaches
C2 uddAraka tvamama swami neene
you are the one who has my well being in mind
C3 muddu siri purandhara vittala ninnadi mele biddukonDiruva nanagEtara bhayavu
I have no fear at all since i am at your feet at all times.
C1 niTila nEtrana dEvi sutane nAgabhushaNa priyane
taTillatAnkita kOmalAngane karNa kunDala dhArane
He is son of the Goddess Parvati wife of Lord Siva who has divine eye on forehead. Vinayaka adorns serpents delightfully. His body is lustrous like lightening. He wears ear-rings.
C2 biTTa muTTina padaka hArane bahu hasta chatushkane
iTTa toDugeya hEma kankaNa
pASadankuSadhArane
Vinayaka adorns precious pearl garlands with pendants, bracelets, noose and goad.
C3 kukshi mahA lambOdarane ikshu chApana gelidane
pakshi vAhana siripurandara viTThalane nijadAsane
The whole universe is encompassed in his stomach. He conquered Manmadha the god for love whose bow is sugarcane. He is devotee of Lord Purandara Vitthala who flies on Garuda bird.
RTP Nattaikurinji -
P nAnEke baDavanu nAnEke paradEshi
am I poor, am I looked down upon?
P anjikin yAtakayya sajjanarige anjikin yAtakayya
Why do good people fear hereafter? Why fear?
P yArE rangana yArE krushNana
yArE rangana kareya bandavaru ||
Who is calling 'Ranga'?. Who is calling 'Krishna'?.
C1 gOpAlakrushNana pApavinASana
eepari indali kareya bandavaru ||
Gopalakrishna is destroyer of evil. Who is calling Krishna in this way?.
C2 vENuvinOdana prANapriyana
jANeyararasana kareya bandavaru ||
He loves playing flute divinely. He entyces Gopikas and devotees. Who is calling him?.
karirAja varadana paramapurushana
purandara viTThalana kareya bandavaru ||
He rescued Gajendra. He is Supreme. Who is calling him as Purandara Vitthala?.
Chi. Aadhi Ramkumar (Mridangam) (Disciple of Vid. Trichur C Narendran)
Kum. Kavyapranati Pratapa (vocal) - Detroit, MI
(Disciple of Vid. S Mahathi and Smt. Suma Venkatesh)