Chi. Pavan Mani (vocal) from Auckland, NZ - Homage to Mysore Vasudevacharya Series
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- čas přidán 19. 04. 2024
- Sree Ramanavami Festival Special Concert Series
Homage to Padma Bhushan Mysore Vasudevacharya
20th April 2024, 1:30 PM IST (8:00 PM NZT, 4:00 AM EDT)
Chi. Pavan Mani (vocal) - Auckland, New Zealand
(Disciple of Padmashree awardee Vid. Prof. S. R. Janakiraman, Padma Shri awardee, Ratna Sadasya Sangeet Natak Akademi) - Hudba
Absolutely Divine Blissful & Superb Rendition All the Best Wishes 👋👌👋
Nice Start !!!
Excellent 👏🏻👏🏻👏🏻
Superb Alapanai !!!
This is a rAgam which brings out supreme melody, a sarva svara ra~njaka rAgam. Majestic vibrations, and the meandering of the gamakams, laden with full bhAvam characterize the melodic identity of tODi. All svarams except madhyamam admit oscillation; The notes ga and dha constitute the nuclei of the melodic network of tODi; the un-oscillated ma acts as a balancing link between the pUrvA”ngm and uttarA”ngam.
As a rAgam with tremendous scope for elaboration, tODi is usually featured as a main item, or in the rAgam tAnam pallavi expositions in a concert. Being a ghana rAgam, it enjoys the pride of place in every concert, and lends itself to all types of compositions.
Sindhubhairavi is one of the most interesting and colourful of ragas. A melange of swaras finds it way into this accommodative raga. Sindhubhairavi is a derivative of the Asavari thaat,
and the conventional Aarohana / Avarohana being SRGMDNS / SNDPMGRS.
The raga features the Sadja, Suddha and Chatusruti Rishabha, Suddha Madhyama (and Prati Madhyama in special phrases), Pancama, Suddha Dhaivata (and Chatusruti Dhaivata in special phrases), Kaisiki Nishada (and Kakali Nishada too), in fact, almost everything! This raga is suited for lighter pieces, exudes bhakti and sringara rasas, and could melt mountains.
Classical compositions that are often sung in Sindhubhairavi include ‘Venkatachala Nilayam’ (Purandaradasa), ‘Kalyana Gopalam’ (Narayana Theertha), ‘Visweswara’, ‘Bhaja Bhaja’ and ‘Ramachandra Prabhu’ (Swati Tirunal), ‘Manadhirkugandhadhu’ (Tanjore Sankara Iyer), ‘Kantamam’ (Mayuram Viswanatha Sastri) among several others. One may recall Parvin Sultana’s rendition of the Punjabi anga ‘Bhavani Dayani’, Bhimsen Joshi’s abhang ‘Jeekaranjale’, and Kishori Amonkar’s rendition of ‘Koyaliya’, all scintillating pieces in this raga. Most ragamalika pieces also feature this raga.
One of the most well-utilised ragas in film music would be Sindhubhairavi.
M.S. Subbulakshmi's renditions of ‘Anandam En Solvene’ from Sakuntalai, ‘Brindavanathil Kannan Valarndha’ and ‘Kaatrinile’ from Meera, are exemplary depictions of this raga.
M.K. Tyagaraja Bhagavatar’s renditions in Sindhubhairavi are some of the most refreshing, including ‘Bhoomiyil Maanida’ from Ashok Kumar, and ‘Vadhaname Chandra Bimbamo’ from Sivakavi. In ‘Vadhaname’, the complete octave is explored with splendid vocalisation in ‘...Madura Gaanamo…’, in lightning speed.
Bharatiar’s ‘Theeratha Vilayattu Pillai’ in ragamalika featured Sindhubhairavi as the first raga in D.K. Pattammal’s voice (in the film Vedhaala Ulagam). ‘Sitham Ellam Enakku’ from Thiruvarutchelvar is a riveting piece, a composition of K.V. Mahadevan, who also composed ‘Manappara Madu Katti’ fromMakkalai Petra Magaraasi in this raga.
The duo M.S. Viswanathan-Ramamoorthy has composed several pieces in this raga, including ‘Ennai Yarendru’ from Paalum Pazhamum, ‘Varayo Thozhi’ from Paasa Malar, and ‘Aaru Maname’ fromAndavan Kattalai. The use of the shehnai in ‘Varayo Thozhi’ is noteworthy.
‘Kalyana Saapaadu’ from Major Chandrakanth in the music of V. Kumar is a foot-tapping number in this raga, and one notices that most pieces in this ragas start at the Gandhara-Madhyama region and proceed to the Madhya-sthayi Sadja.
M.S. Viswanathan's ‘Allah Allah’ from Mohammed-bin-Tughlaq, ‘Raman Ethanai Ramanadi’ fromLakshmi Kalyanam and ‘Unakkenna Mele Nindraai’ from Simla Special are evergreen pieces in Sindhubhairavi. In ‘Unakkenna’ the refrain ‘Thaai Madiyil Pirandom...’ ending with the thom-tha-dhomjathi beautifully encompasses the entire landscape of this raga - sheer genius.
‘Thiruthani Muruga’ from Neelagiri Express is a splendid composition in this raga by T.K. Ramamoorthy who passed away recently.
Ilaiyaraaja’s forays into this raga reveal wondrous pastures and a few breathtaking examples of his many compositions in this raga are ‘Valaiosai’ from Satya in which the fusion of the raga with the guitars and Lata Mangeshkar’s voice make magic, ‘Shenbagame’ from Enga Ooru Paatukaaran, ‘Muthumani Maala’ from Chinna Goundar, ‘Madha Un Kovilil’ from Achaani (in this piece the Antara Gandhara is beautifully touched upon in ‘Thaai Endru Unnaithaan’), ‘Naanoru Sindhu’ (with a folksy touch) from Sindhubhairavi, and ‘Oru Naalum Unai’ from Ejamaan. Ilaiyaraaja has used this raga for even a sensuous number ‘Aatama Therottama’ from Captain Prabakaran.
A.R. Rahman’s ‘Nenjinile’ from Uyire and ‘Margazhi Thingal Allavaa’ from Sangamam show varied hues of this rather, the latter being a more conventional approach to the scale.
Harris Jayaraj has tried his hand in Sindhubhairavi in ‘Ivan Dhaanaa’ from Saamy and ‘Theeye Theeye’ from Maattrraan.
In Hindi film music too this raga has been widely used, and one recalls ‘Joth Se Joth’ from the film Sant Gnyaneshwar in the lilting voices of Lata and Mukesh.
‘Mile Sur Mera Tumhara’, a multilingual song that is close to our hearts has been composed in this raga by Louis Banks and sung by several legends in Indian music, including Bhimsen Joshi and M. Balamuralikrishna.
Sindhubhairavi raga, a personal favourite, has innumerable memorable melodies, of which only a fraction has been mentioned in this article.
‘Kalyana Rama' a beautiful composition of Oothukkadu Venkata Subbaiyer celebrating the glorious Sri. Rama
nice
On Behalf of Mysore Vasudevachaya Homage Page We Whole heartedly Welcoming
One of the most beautiful and popular compositions in Thodi ragam, this Thyagaraja krithi is full of Bhakthi and devotion. The Saint asks, "whatever one might accomplish in this World, what difference does it make if he does not have the grace of Lord SrI Rama?". He continues to ask, "having become slaves to desire, delusion etc., those who do not know the commandment of SrI Rama, whatever they might accomplish in this World, what difference does it make?"
The song describes the plea of a devotee of Lord Rama who places his entire trust in the grace and kindness of the god
It is a rare Composition
👏👏👏👏
In this Kruti Tyagaraja expounds that all worldly achievements , however great are of no avail if one is not blessed with Srirama's grace. SrI tyAgarAja states that all such actions which do not bring grace of Lord, are of no avail.
My sincere thanks to Subramanian Ramachandran sir and the "Homage to Mysore Vasudevacharya" page for this opportunity as well as to Parivadini Music for hosting this concert. Wishing you all a happy Ramanavami!
Next is the Sub Main Krithi of the Concert !!!
Next is the Main Krithi of the Concert !!!
Devamanohari is the janya raga of the 22nd Melakarta Raga Kharaharapriya.
Usually associated with dance forms, Devamanohari combines the brisk beauty of Shuddha Saveri and the auspiciousness of Madhyamavathi and is suitable for abhinaya oriented performances. It evokes the adbhutha rasa and veera rasam in the navarasams.
Devamanohari falls under mela 22 and the notes we use in this raga are S, R2, M1, P, D2 and N2.
It is an audava upanga janya of mela 22 lacking gandhara both in arohana and avarohana while dhaivatha is vakra in avarohana alone.
The name of the ragam denotes one who is dear to Deva. Taken up by most composers numerous krithis exist in this beautiful ragam. Gandhara varjya nishada vakra ragam, the scale of the ragam goes thus:
Aro S R2 M1 P D2 N2 S Av S N2 D2 N2 P M1 R2 S
A perusal of 21st century music and musicology and comparing it with what it was in 18th century in the run up to the Trinity, would show that a bunch of changes have happened.
For instance, one can notice that today’s construct of a raga is more svara/note based with accent on linearization and conformance with the melakarta system - with Janaka/Janya relationship at its heart. This was not the case with 18th century music. Some of the musicians/musicology/commentators, today refer to this older 18th century music as “Art Music” or the gold standard.
The 18th century construct of a raga, encompassing its architecture and design had a set of unwritten/informal rules or axioms. There are three important musicological texts from the 18th century which has been passed on to us, which I prefer to call as the Triad in this blog post consistently. They are Ragalakshanamu of Sahaji (circa 1710),
Sangita Saramrutha of Tulaja (circa 1835) and the Anubandha to the Catudandi Prakashika (circa 1750). It is my humble view that a critical study of these three texts/Triad would without doubt help us sense this unwritten grammar of the music of the 18th century. This music was the legacy that was passed on or inherited by the Trinity to which they infused flesh and blood with their compositions.
Today much water has flown under the bridge. Given the reality of what has happened till today, one can even wonder whether it is even worth investigating if the changes are for the good or otherwise.
There are number of Ragams with Manohari added
Manohari, Kamala Manohari, Esha Manohari, Jaya Manohari, Mesha Manohari, Lalitha Mahonari, Saraswathi Manohari, Gowri Manohari, Rama Manohari, Deva Manohari, Gandharva Manohari, Vasantha Manohari. Vasanthamanohari, Bhuvanamanohari, Gandharvamanohari, Lalithamanohari, Mechamanohari, Ambamanohari, Sreemanohari
For it is undeniable that the changes that have happened are today permanent and immutable. Nevertheless for a student and an observer of music it is important to understand the tenets of 18th century music.
There are a number of these so called architectural and design constructs of ragas - axioms that one can deduce from these Triad or to be more precise, from the study of the structure of the ragas that have been compiled in these three texts. And thankfully we have the Sangita Sampradaya Pradarshini which one can see, offers the perfect illustration for many ragas found in the Triad.
These two fairly popular ragas were different in the 18th century, in comparison to what they are today in their popular form. So much so, we are constrained to call the 18th century versions of these ragas as archaic version while what we sing today are the modern version. We will demonstrate in this blog post how these ragas conformed to the above constructs/axioms-of 18th century architecture/design of a raga- and how we have in modern musicology dispensed with these axioms with the result their melodic contours have now changed.
Ramachandra prabhu Sindu bhairavi Adi Swathi Tirunal
Kalyana rama Ragam Hamsanadam Adi Oothukadu Venkata Kavi
TODI, a profound, delightful, soothing melody is the meLam No. 8 both in the sampUrNa, and the asaMpUrNa schemes of the karNATik music tradition. The precise name is hanumatODi in the sampUrNa paddhati, and the prefix “hanuma” is inserted to yield the meLam number 8, according to the kaTapayAdi nomenclature ((ha = 8, na =0, so hanu= 80, which when reversed gives 08).
According to the asaMpUrNa scheme of VE”nkaTamakhi (a tradition faithfully followed by the dIkSItar school), tODi is the eighth rAga”nga rAgam, known was janatODi (again, the prefix “jana” yields the number 8 according to the “kaTapayAdi” counting , since ja = 8, na =0).
lakSaNam (VE”nkaTamakhi):
tODiH SaDjagrahaH pUrNaH
sAyaMkAlE pragIyatE |
MELam hanumatODi / janatODi is the second mELam belonging to the second cakram (nEtra cakram), hence it is referred to as “nEtra --- shrI”, with the mnemonic phrase ra gi ma dha ni or R1 G2 M1 D1 N2.
Aro s r g m p d n .s Av .s n d p m g r s
The notes taken are: SaDjam, shuddha riSabham, sadhAraNa gAndhAram, suddha madhymam, pa~ncamam, shuddha dhaivatam, and kaishiki nishAdam.
Salient Features
A mELam with a symmetrical ArOhaNam and avarOhaNam. The tetra-chords are symmetrical, and separated by an interval of a major tone, dvishruti between S --R1 and P - D1; trishruti between G2 - M1 and N2 -- S; catushruti interval between R1 - G2 and D1 -N2. This elegance creates beauty to this rAgam.
JIva svarams: all svarams
chAyA svarams: ga , ma, dha
aMsha svarams: ma, pa
nyAsa svarams: ga, ma. pa , dha, ni
It is a tristAyi, and sarvasvara gamaka vArikA rAgam
JhaNTa svara and dhATu svara prayOgams sparkle this rAgam; prayOgams omitting pa, sa add beauty; Some vishESa prayOgams are : d r .s D and .r .s D.
Compositions in tODi commence usually in the notes sa, ga, ma pa, dha, ni
Like most Indian Puranas, there is vedantic and allegorical significance to the story. Sita represents Jeevatma (individual soul) and Rama is Paramaatma (ultimate soul=God). The wedding of Sita and Rama is the joyous amalgamation of the Jeevatma and Paramaatma, Yin and Yang, Lakshmi and Vishnu. Poets and saints have been enchanted by the vision created by the wedding of Rama and Sita. By singing and meditating on this vision, our individual jeevatmas are drawn to being one with the Paramaatma.
Chi Pavan Mani (Vocal) From Auckland NZ Special Sreeramanavami Festival Series Concert on Today the April 20th Saturday at 1.30 PM IST 4.00 AM EDT 8.00 PM NZT
Hamsanadam - Call of a Swan
Hamsanada literally means “Call of Swan”. Hamsanadam is a pleasing,soft minor raga with an exotic melody and striking identity. Hamsanadam a pratimadhyma raga, is also a vvadi raga in which both Shatsruti Dha and Kakali Ni occurs. It sets a romantic and joyous mood.
Dr.S. Bhagyalakshmy has described Hamsanadam in her book on Raga Lakshanas as a shadava vakra shadava janya raga derived from the 60th mela Neetimati with the following scale. It is one of those janya ragams that is more popular than its parent. Its a sublime and pleasant evening raga.
Arohana - S R2 M2 P D3 N3 S
Avarohana - s N3 D3 N3 P M2 R2 S.
(Shadjam, Chathusruthi Rishabham, Prathimadhyamam, Panchamam, Shadsruthi Daivatham, Kakali Nishadam). Some scholars say that When sung with the Daivatham, the raga becomes Sarangatharangini.
Nowadays Hamsanadam is played without the Dhaivatham with the following scale.
Arohana - S R2 M2 P N3 S
Avarohana - S N3 P M2 R2 S.
Jiva Swaras - R, N
Prayogas/Sancharas : Janta svara prayogas PP NN RR SS NN PP and Dattusvara prayoga like PRSRSN - PSNSNP give a special uplift to this raga. Sancharas that bring out the complete essence of raga include RM PDNDNPMR - s R M , R S n.d. n. p. d. n. s R - RMPDPMR - MPDNDP - NDMPMR - S R M P D N S - s* NN DD NN PP MRS etc.
This raga is a favourite one for the instrumentalists and vocalists alike. Chitti Babu the great Veena Vidwan has completely brought out the beauty of this raga with elaborate raga alapana and kalpana swaras in the masterpiece song Bantureethi Kolu penned by the great saint Sri.Thyagaraja.
S.Balachander another Vainika played Hamsanada with an occasional ShaTshruti dhaivata in Alapana as well as in the kriti Bantureethikolu.
Smt. Kalpakam Swaminathan’s pathantara includes D3 in every ascent phrase, both in AlApanA and in the same kRti Chitravina Ravikiran too follow this practice of using D3 in his own compositions and krithis as a rare phrase.
It is this usage of Dhaivatham that gives the raga an elegant and striking identity which takes the beauty of raga to Himalayan heights. In fact, usage of the note D3 as an anuswara(silent note) to N3 note, adds beauty during the raga ‘alapanam”
At the same time, absence of the note D3 in a Keerthan rendition, does not at all alter the raga ‘bhavam’ at any level.It should be mentioned here that a slow rendition of this particular raga reduces the charm of this raga.
This raga shines well in madhyamakala sancharas and madhyamakala kalpana swaras. Kalyanarama’ is a song in Hamsanadam by UthukAdu venkatasubbayar which has both the rare prayogas of the raga - P D N and R G R.
Hamsanadam is greatly employed in Ragamalika Swaras, Ragam Thanam Pallavi, Viruthams etc.
Chi Pavan Mani (Vocal) (Disciple of Vid Prof. S.R. Janakiraman, Padma Shri awardee, Ratna Sadasya Sangeet Natak Akademi)
On Behalf of Mysore Vasudevachaya Homage Page We Whole heartedly Thanking
Chi Pavan Mani (Vocal) From Auckland NZ Special Sreeramanavami Festival Series Concert on Today the April 20th Saturday at 1.30 PM IST 4.00 AM EDT 8.00 PM NZT
Chi Pavan Mani (Vocal) (Disciple of Vid Prof. S.R. Janakiraman, Padma Shri awardee, Ratna Sadasya Sangeet Natak Akademi)
Enormous Ragams Covered .
Hindolam,
Malyamrutham
Hamsanadam,
Devamanohari,
Todi,
Yadukuka Khamboji,
Sindhu Bhairavi,
Suddha Salavi
All the Best wishes to him in their Future Endeavors
We wish to thank all the members of the lovely audience who motivated, supported and encouraged the wonderful artist in this Concert today..
Indian mythology about SWAN and Raga Hamsanadam
It is said in Indian mythology that a swan or hamsa can separate water from milk. In other words it has got the capacity to grab the good one and leave the unwanted one. Saint Thyagaraja has clearly brought out this message in the composition
“Bantureethi”(in Anupallavi) to expel the six vices such as lust, anger, greed, delusion, arrogance, and envy from our mind. In the lyrics, they are indicated as the vices ‘beginning’ from lust, as in the chronological order. Here the context is ‘Rama Bhakti’ or devotion to Rama to eliminate all the six vices through Nadopasana.
The mere utterance of Rama Nama is said to be a ‘taraka mantra’ or ‘life saving prayer’in itself. It is said that Hamsa, or the Swan, is the vehicle of Hindu Goddess Saraswathi.
In Hinduism, Goddess Saraswati is the goddess of knowledge, learning and art. The white colour of the swan denotes the symbol of purity and divine knowledge. Hamsa in Sanskrit means swan & soul- the sounds of breathing (the sound of the in and out breath).
Other attributes of Hamsa include, being treated as symbol of purity, detachment, divine knowledge, cosmic breath (prana) and highest spiritual accomplishment. Hamsa is a swan and it represents the person who has attained enlightenment. The Ragadevatha Hamsanada bestows all the above divine qualities if sung with true devotion.
Favourite Filmy Raga
In the world of movies, Illayaraja has contributed a lot in this raga. There is so much beauty and emotion in the song Thendral vandhu ennai thodum. This is music which gives pure pleasure.
Om Namaha - Idhayathai Thirudathey-Illayaraja( Hamsanadam only till 4th line of Charanam)
isaiyil toDangudamA -hey rAm (Isaiyil thodanguthamma starts in Hamsanaadam, becomes Saranga Tharangini in the first half of the charaNam and after that becomes Shuddh Sarang.)
nIyE parAmukamAyin jekandanil- dugArAm
shrI rAmanin shrI dEviyE hanumAn unnai- priyA
Meaning of Charanam :-
O supreme Being ! revered VasudEvA! Is it too much of a burden for you to protect me, one that resides in the ocean and who rescues and protects the good souls?
Lord RAMACANDRA! But for you who will take care of me?
The sound of DHARMA reverberates through out your kingdom.
Your redeemed the lady from her stone form, by the dust of your feet.
Let others have faith in some one else. But I place my implicit faith in you alone.
Oh Lord PADMANABHA! Who reclines on the serpent couch, why tarry on bestowing your grace upon me?
Some of the most popular classical compositions include
banturIti - Thyagarajar
Kalyana Rama - Oothukkadu Venkatakavi
bhAramA I bAluni - G.N.Balasubramaniam
Dasashatadala - G.N.Balasubramaniam
Neeye Paramugham - Papanasam Sivam
Saraswathi Saradha - Bhajan
dEvAya havishhE - Harikesannalur Muthaiah Bhagavathar
krpAnidhE - Harikesannalur Muthaiah Bhagavathar
sOma sUryAgni - Harikesannalur Muthaiah Bhagavathar
ezhiluDai - Tanjavur Sankara Aiyer
illai iddharaNiyil - AM
kandanai ninaindu
pADa vEnDumE- M M Dhandapani desikar
paramanandha varadha- Meesu Krishnaiyer
Thillana - Suddha Salavi - Mysore Vasudevacharya
Interesting Story :-
King Janaka of Mythila is worried. How is he to find a suitable groom for his beautiful and virtuous daughter? Many years ago he had found her in a furrow in the fields that he was ploughing in order to perform a yagna. He named her Sita (furrow). Now she was of age and his responsibility as a father was weighing heavily on him.
P palukavademi ra rama nato Next is the Sub Main Krithi of the Concert !!!
palikite nee sommulu povunA ||
Oh Rama, why don't you speak with me? Will you loose your precious ornaments if you speak with me?
AP jalaja sambhava bhavadyamara vinuta pada
jalaja nayana neevu sumukhudai vegame ||
Brahma the lotus borne Siva and other Devatas adore your feet. Oh lotus eyed Rama, please speak soon with a pleasant face.
C1 niravadhi sukha dayakudani telisi ne
niratamu nijamuga nammi yundaga ||
Truly,I always believed that you bestow happiness perpetually.
C2 marachitivemo maravakura rama
garuda gamana vasudeva dayanidhe ||
Oh Rama, please don't forget me. You are ocean of compassion. You are Vasudeva who flies on 'Garutmanta'.
Whatever one might accomplish in this World, what difference does it make if he does not have the grace of Lord SrI rAma? Having become slaves to desire, delusion etc., those who do not know the commandment of SrI rAma, whatever they might accomplish in this World, what difference does it make? Of what avail - whether one performs daily or sacrificial oblations or whether one is blessed with son for inheriting wealth or whether one adopts another’s son in this World or whether one builds (multi) storeyed house or whether, in there, he lights up with a pair of lanterns or whether one knows to flatter women or whether one attains comforts of this World or whether one provides jewellery to his wife or whether one knows amorous sports or whether one rules a kingdom or whether one becomes worthy of worship among a lot of people or whether one gives sumptuous feast with abundant flow of ghee or whether one becomes a preceptor or whether one’s body appears splendid to look at or whether one initiates others in sacred syllables? Those who do not have the grace of sacred SrI rAma - who causes auspiciousness, the peerless One, the Lotus Eyed, who is worshipful, praised by this tyAgarAja - whatever they might accomplish in this World, what difference does it make?
‘Ah, I’ll arrange a swayamvara (swayam = self, vara = groom) ceremony’ he decides. He will set a test so that noblemen can prove their mettle and Sita can make her own choice by garlanding her chosen husband.
P kalyANarAma raghurAma rAma kanaka makuTa marakata maNi lOla hAra dasharatha bAla sItA
AP maya nava mAlikAdi shObhitagaLEna
ulhAsa parishIlana cAmara ubhaya pArshvEna kuNDala kElana
C1 Agata suravara munigaNa sajjana agaNita janakana ghOSita mangaLa
rAghava raghurAma rAma janakajA ramaNa manOhara sItA
C2 gautama vashISTa nArada tumburu kAshyapAdi munigaNa vara pUjita
aupavAhya skanda dEsha alankrta haima simhAsanasthita sItA
C3 bhAgadEya bahumAna sudhAya ubhatArpita dishi dishi rakSakavara
mEgha vAhanaravAhanAdhinuta EkarAja mahArAja mamarAja
Emi jesitenemi Ragam Todi Thyagarajar Krithi
In the meanwhile, Dasharatha too is worrying about finding a suitable young girl for his eldest son, Rama. Just as he is lost in thought, Vishwamitra, the Brahma-Rishi (sage) comes to Dasharatha. After welcoming him with warm words, Dasharatha offers the sage whatever he wishes for.
Vishwamitra promptly asks for his elder sons to come and fight against the Rakshashas (demons) who were troubling his ashram. Dasharatha is taken aback. His son was not even 16! Too young for war surely? But his word was given, his offer made so he sends his sons with Vishwamitra.
Thus Rama and Laxmana leave with Vishwamitra to his ashram in the forest. There they defeat and kill all the Rakshasas. On the way home, Vishwamitra takes a detour through Mythila.
In Mythila there is a party atmosphere!
Many kings and noble families have already arrived for the Swayamvara. Sita, glowing in her bride’s clothes observes the proceedings. In the centre of the hall, Rudraa’s bow is on display. One by one the noble men attempt to string the bow. They cannot even lift it, let alone string it. Is poor Sita never to find a man worthy of her?
When Rama and Laxmana enter, everyone stares at these young men who are evidently noble. ‘But who are these handsome teenagers?’ they wonder. As the people stare in amazement, Rama lifts the bow with one hand and as he bends it with ease to string it, it breaks with a resounding noise! Ah, the one truly worthy of Sita has arrived!!
The news is sent out to Dasharatha, seeking permission for this wedding. He is delighted, for this is indeed a good match! He soon arrives with his retinue. And thus is set the stage for Rama and Sita’s wedding.
Can you imagine this wedding? Sita, gloriously beautiful as a bride and Rama, handsome beyond imagination, surrounded by royalty and noblemen, exchanging wedding-garlands to the sound of auspicious music, Janaka offering his daughter’s hand in panigraha (holding of hand), the circumambulation of the holy fire, the shower of flower petals on the young couple ….how beautiful it would that have been!
P rAmacandra prabhu tum bina pyArE kaun khabar lE mErI
Lord Ramachandra! but for your who will take care of me?
C1 bAj rahi jinki nagarai mO sadA dharam kI mErI
The sound of Dharama reverberates throughout your kingdom.
C2 jAkE caraN kamal kI rajsO tiriyA tan kU phErI
You redeemed the lady from her stone form, by the dust of your feet.
C3 auran kU kacu aur bharOsA hamE bharOsA tErI
Let others have faith in someone else. But I place my implicit faith in you alone.
C4 padmanAbh prabhu phaNi para shAyi krpA karO kyOn dErI
Oh Lord Padmanabha! who reclines on the serpent couch, why tarry on bestowing your grace upon me?
Comments :-
Story of Markandya in Brief :- Mrikandu was a great rishi. Marudvati was his wife. For a long time they had no children.
The rishi prayed to God Shiva. God Shiva appeared to him, and said, "I am pleased with you, Mrikandu. Tell me, do you want a hundred sons, who will live for a long time, but will all be foolish?
Or, do you want one very intelligent son, who will live for only sixteen years?"
The rishi at once said, "God, give me that one intelligent son."
God Shiva said, "Good! You shall have him."
Soon the rishi got a son. He named him Markandeya. The boy grew to be very intelligent and handsome. The rishi invested him with the sacred thread. Markandeya learnt the Vedas and Sastras,easily. Every one liked him.
As the boy was getting on to be sixteen, Rishi Mrikandu became sadder and sadder. One day Markandeya asked his father: "Father, why do you look so sad?"
The rishi said, "Son! What shall I say? When God Shiva gave you to me, he said you would live only sixteen years. You are now about to reach that age. How can your mother and I bear to lose you as we will at the end of this year?"
Markandeya said, "Father! Is that the reason? God Shiva is very kind to His devotees. You yourself told me that. He has saved many from death before. I have read about it in the Puranas. I shall therefore worship God Shiva day and night from today. I am sure, He will save -me too! "
Rishi Mrikandu was very happy to hear his son say this. He blessed his son.
Markandeya built a Shiva-Linga at a spot on the sea-shore. He started worshipping Shiva morning, noon and night. He sang bhajans, and often danced in joy. On the last day, Markandeya was about to sing bhajans, when Yama, the God of Death, came to him. Yama rode on a buffalo. He held a noose in his hand. He spoke to Markandeya, "Stop your bhajan! you boy! Your life in this world is over. Be ready to die."
Markandeya was not afraid. He clung to the Shiva-Linga as one clings to one's mother.
Yama threw his noose round the boy's neck, and pulled him along with the Shiva- Linga.
Then the Shiva-Linga burst open and God Shiva came out of it, and said, "Yama, go away! Don't touch this boy. He is my beloved devotee. He will live for ever!"
Yama went away crest-fallen. Markandeya then prayed to God Shiva more fervently than ever. This prayer says at the end of each line, "What can Death do to me?" Many people recite this prayer even now.
Markandeya came home, and fell at the feet of his parents. They embraced him, and wept with joy.
Markandeya became a great rishi, and lived very long.
What test to set? As he worries over it, he gets a brainwave! When Sita was but a child, she had playfully moved the box in which Rudra’s divine bow was kept. This bow had been presented to Janaka by Varuna. Normally it could not even be budged by grown men! And the child had pushed it in play! So he decides that only a man who could lift the bow and string it was worthy of Sita.
Shuddha Salavi
Ragapravaham by Smt D Pattammal gives as
20 naThabhairavi janya Aro: S G2 M1 P N2 S // Av: S N2 P M1 R2 S
P Emi jEsitE nEmi shrI rAma svAmi karuNa lEni vArilalO
What for are achievements in this world if they are not blessed with the grace of Srirama ?
AP kAma mOha dAsulai shrI rAmuni kaTTu teliyani vArilalO
Those who are slaves of lust and fascinations are ignorant of Srirama's ideal way of life.
C1 immu kaligitE nEmi illAliki sommu beTTite Emi kamma
viltu kElini delisi Emi tammi kantiv ni karuNalEni vArilalO
They may perform Yajnas, they may be blessed with sons, they may adopt a boy born to somebody else but it is of no avail if Rama's grace is not there.
C2 savamu jEsitE nEmi kalimini putrOtsavamu galigitE nEmi bhuvilOnanya
bIja janituni goni Emi shivakara shrI rAmuni dayalEni vArilalO
They may build palatial houses and illuminate them with lights. They may be adept in pleasing women. It is of no avail if they are not blessed with Rama's grace
C3 meDagaTTitE nEmi anduna lAndaru jODu gaTTitE nEmi cEDiyalanu
meppinca delisitE nEmi IDulEni rAmuni dayalEni vArilalO
One may be wealthy, one may gift costly jewelry to his wife and may be capable of love sports, it is useless without Rama's grace
C4 rAjyamElitE nEmi bahujanulalO pUjyulaitE nEmi Ajya pravAhamutO
nannamiDitE nEmi pUjyuDaina rAmuni dayalEni vArilalO
One may rule a kingdom and his subjects may worship him, one may feed people well with abundant ghee, it is of no avail if they are devoid of Rama's blessings.
C5 guruvu tAnaitE nEmi kaNTiki mEnu guruvai tOcitE nEmi vara
mantramanyula-kupadEshincatE nEmi vara tyAgarAja nutuni dayalEni vArilalO
One may become Guru himself and may appear great to all others and may preach Mantras , it is of no avail if he is not blessed with Srirama's grace.
pallavi
dhIm tadhIm tadhiranA
1. S, N, S, N, P, N, M, P, |
Dheem ta Dheem ta di ra
S, N, P, M, R, S, N, S, ||
naa dir da ni. tom dir daa ni
G, ; ; ; ;; P, M, |
Dheem ta na
R, ; ; ; S, ; ;; ||
Dheem taam
2. S, N, S^, N, P, N, M, P, |
Dheem ta Dheem ta dhi ra
S^, N, P, M, R, S, N , S, ||
naa dir daa ni tom dir daa nee
G, ; ; ; ; ; P, M, |
Dheem ta na
R, ; ; ; S, ; ; ; ||
Dheem taam
S, N, S, G, ; M, P, M, |
Dheem ta tom ta na na
P, N, M, P, S^, N, S^, ; ||
tom ta na jha nu ta
S^, N, S^, G^, ; M^, ; R^, |
Dheem ta ti llaa na
S^, R^, S^N S^, P, N, PM P, ||
dir dir Daa. ni ti lli lla na
anupallavi
M, MM MM P, PP PP N, ; |
taa kita taka dhee kita taka tom
R^, S^, ; N, S^, G^, R^, S^, ||
ta nom ta na dhi ra na
S^, N, S^, G^, ; M^, P^, M^, |
dhi Tthi, llaa na dhi ra
R^, ; ;- N, P, S^, ; ||
naa dhi ra naa
G^G^ M^M^ R^R^ S^, S^, PP R^R^ PP S^, |
taka jhunu jhunu taka dhimi kita kita dhimi
N, S^,-P N- MP S^, ; S^, NP ||
dhee tthillaa na mapa saa dhee tthillaa
M PM R, ; NN N-S SS GG |
na pama ree tajhu Nu-sa sasa jhunu
G-M MM GG G-M MM P-P PN NN ||
thama mama thaki tatha dimi dhimi thaki tatha
caraNam 1
1. S^, N, S^, P, N, P, P, S^, |
pa ra ma pu ru sha shree
N, P, ; M, R, R, S, ; ||
vaa su de vaa
N, ; S, G, ; M, P, N, |
nee ra jaa ksha pa ri
N, P, S^, N, S^, ; ; ; ||
paa hi maam
caraNam 2
2 S^R^ S^N S^,- PN PM P,- GM PN |
pa ra maa pu ru sha shree
S^, N, P, M,- GM PM R, S, ||
vaa su de vaa
N, ; S, G, ; M, P, N, |
nee ra jaa ksha pa ri
N, P, S^, N,- S^, ; ; ; ||
paa hi maam
S^, N, S^, G^, ; ; G^, ; |
bhaa ra maa na
M^, R^, ; S^, N, P, S^, N, ||
nnu bro va nee ku
P, S^, ; N, P, M, R, S, |
bha vaa bdhi taa ra ka
R, N, S,- G, ; M, P, N, ||
bhu va na ra ksha ka
caraNam 3
3. G^, N, S^, G^, ; ; GM P, |
bhaa ra ma na
M^, R^, ; S^, N, P, S^, N ||
nnu bro va nee ku
P, S, ; N, P, M, R. S, |
bha vaa bdhi taa ra ka
RR SN S,= G, ; M, GM PN ||
bhu va na ra ksha ka
Next is the Sub Main Krithi of the Concert !!!
On Behalf of Mysore Vasudevachaya Homage Page We Whole heartedly Thanking
Chi Pavan Mani (Vocal) From Auckland NZ Special Sreeramanavami Festival Series Concert on Today the April 20th Saturday at 1.30 PM IST 4.00 AM EDT 8.00 PM NZT
Chi Pavan Mani (Vocal) (Disciple of Vid Prof. S.R. Janakiraman, Padma Shri awardee, Ratna Sadasya Sangeet Natak Akademi)
Enormous Ragams Covered .
Hindolam,
Malyamrutham
Hamsanadam,
Devamanohari,
Todi,
Yadukuka Khamboji,
Sindhu Bhairavi,
Suddha Salavi
All the Best wishes to him in their Future Endeavors
We wish to thank all the members of the lovely audience who motivated, supported and encouraged the wonderful artist in this Concert today..