Smt. Krishna Sodari (vocal) from Bangalore - 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, 8:00 PM IST (10:30 AM EDT)
Smt. Krishna Sodari (vocal) - Bangalore - Hudba
Lovely !!!
చాలా సంతోషం . కృష్ణ సోదరి గారికి all the best. శుభాకాంక్షలు. ఈ ప్రోగ్రాం confident gaa , దిగ్విజయం గా పూర్తి చేయాలని ఆశిస్తూ , ఆకాంక్షిస్తూ
Nice!!
Absolutely Divine Blissful and Superb Concert All the Best Wishes 👋👌👋
Amazing performance 🎉
Good Start !!!
One of the most popular Swathi Krithis, it is the favourite of Dr Semmangdi Mama. One cannot recall a Navarathri concert or exclusive- Swathi concert by him in which this was not rendered.
Good job !! An intro to the performer and song would be great
On Behalf of Mysore Vasudevachaya Homage Page We Whole heartedly Welcoming
In this song, Tyagaraja describes the gait and beauty of Rama that enchanted even sages. He says that Rama illuminates the Saptaswaras born from the Vedas.
"Girirajasuta tanaya" is one of the best Tyagaraja keerthanai in Bangala Raagam, which can be sung in carnatic as well as western style. In many places Giriraja Suta Tanaya - means, son of the daughter of the mountains. Tyagaraja has composed this song on Ganesha, son of Parvati.
This is10th navavidha bhakti krutis
Shuddha Saveri is an audava rāgam (or owdava rāgam, meaning pentatonic scale). The equivalent of Shuddha Saveri in Hindustani music is Durga. According to the school of Muthuswami Dikshitar, this rāgam is called Devakriya. Karnataka Shuddha Saveri, a janya rāgam of 1st melakarta Kanakangi, is called Shuddha Saveri by the Dikshitar school
Structure and Lakshana
Shuddha Saveri is a symmetric rāgam that does not contain gāndhāram or nishādam. It is a pentatonic scale (audava-audava ragam in Carnatic music classification - audava meaning 'of 5'). Its ārohaṇa-avarohaṇa structure is as follows
Aro: S R2 M1 P D2 S // Av : S D2 P M1 R2 S
It is a scale that uses the following variants of the swaras - chatushruti rishabham, shuddha madhyamam, panchamam and chatushruti dhaivatam.
Shuddha Saveri is considered a janya rāgam of Sankarabharanam, the 29th melakarta rāgam, though it can be derived from other melakarta rāgams,Kharaharapriya, Gourimanohari or Harikambhoji, by dropping both gāndhāram and nishādam.
Popular compositions
Here are some popular kritis composed in Shuddha Saveri.
Darinē telusukonṭi and Kālaharaṇamēla rā harē by Tyagaraja in Telugu
Taye tripura sundari by Periyasaamy Thooran
Janani pahi sada by Swathi Thirunal
Subrahmanyena Rakshithoham by Dikshitar
Ānalekara, which is set to this rāgam, is one of the first few geetams (very short compositions) taught to beginners. Sree guru guha is a song set by muthuswami dikshitar
Related rāgams
This section covers the theoretical and scientific aspect of this rāgam.
Graha bhedam
Shuddha Saveri's notes when shifted using Graha bhedam, yields 4 other major pentatonic rāgams, namely, Mohanam, Hindolam, Madhyamavati andUdayaravichandrika (also known as Shuddha Dhanyasi).
Scale similarities
• Sālaga Bhairavi is a rāgam which has the ascending scale of Shuddha Saveri and descending scale of Kharaharapriya. Its ārohaṇa-avarohaṇa structure is S R2 M1 P D2 S : S N2 D2 P M1 G2 R2 S
• Yadhukula Kambhoji is a rāgam which has the ascending scale of Shuddha Saveri and descending scale of Harikambhoji. Its ārohaṇa-avarohaṇa structure is S R2 M1 P D2 S : S N2 D2 P M1 G3 R2 S
• Ārabhi is a rāgam which has the ascending scale of Shuddha Saveri and descending scale of Sankarabharanam. Its ārohaṇa-avarohaṇa structure is S R2 M1 P D2 S : S N3 D2 P M1 G3 R2 S
• Devagāndhāri is a rāgam which has the ascending scale of Shuddha Saveri and descending scale of Shankarabharanam. Its ārohaṇa-avarohaṇa structure is S R2 M1 P D2 S : S N3 D2 P M1 G3 R2 S (it is to be noted that there are differences in intonation, swara phrases, prayoga, bhava and rasa between this rāgam and Ārabhi, though scale notation in simple terms are same)
• Janaranjani is a rāgam which has the ascending scale of Shankarabharanam and descending scale of Shuddha Saveri. Its ārohaṇa-avarohaṇa structure is S R2 G3 M1 P D2 N3 S : S D2 P M1 R2 S
• Karnataka Shuddha Saveri of Dikshitar school has Shuddha Rishabham in place of Chatushruti Rishabham and Shuddha Dhaivatam in place of Chatushruti Dhaivatam. Its ārohaṇa-avarohaṇa structure is S R1 M1 P D1 S : S D1 P M1 R1 S.
Ragam Sriranjani
The scales of Sriranjani are as follows :
Aro : S R2 G2 M1 D2 N2 S’ Av : S’ N2 D2 M1 G2 R2 S
It is a janya raga, derived from Kharaharapriya which is 22nd on the Melakarta scale. Sriranjani means ‘that which please Goddess Sri (Lakshmi)’.
A raga with a certain verve, it is often sung at the first half of the concert to infuse energy into the concert. A raga having six notes in the ascent as well as the descent (Shadava), with symmetrical tetrachords, is Sriranjani.
It is known to please goddess Lakshmi and ushers in prosperity and auspiciousness. The notes present in this raga are Sadja, Chatusruti Rishabha, Sadharana Gandhara, Suddha Madhyama, Chatusruti Dhaivata and Kaisiki Nishada.
The Pancama is eschewed in this scale making it more interesting, the beauty of the raga shining forth when the phrase MD, culminates with a little gamaka at the nishada. Sriranjani has several allied ragas including Abhogi and Bagesri.
These ragas are different in their own striking way, but to an untrained ear these scales may sound very similar. While in Abhogi the Nishada is eschewed,
Bagesri is a different ball-game altogether, the occasional Pancama appearance, the Rishabha occasionally being skipped in ascent, all contributing to a very different flavour, predominantly North Indian.
Sriranjani is, however, a typically South Indian raga, as authentic as idli-sambar.
The Classical kritis in Sriranjani include ‘Sogasuga’, ‘Marubalka’, ‘Brochevarevare’, ‘Bhuvini Sasudane’, and ‘Sariyevvare’ of Thyagaraja, ‘Sri Ramachandro’ and ‘Ni Sati Deiva’ of Dikshitar,
and ‘Ini Oru Kanam’ of Papanasam Sivan. Dikshitar’s compositions are usually in Sanskrit, the aforementioned piece ‘Ni Sati’ being a Telugu piece, a rarity. ‘Kanavendamo’ of Gopalakrishna Bharati is a philosophical piece in this raga.
Sriranjani adds pep to any kutcheri and is usually sung at the poorvangam (first half) of concerts.
Kalaharanamelara - Suddha saveri - Adi
Deva deva kalayami (Atma Nivedanam) Ragam Mayamalagowla Rupaka Talam Swathi Thirunal Krithi
Chalamela Jesevayya Raga Natakurinji Tala Aadi By Mullai Veedu Ranga Swamy Nattuvanar
Rara maayinti dhaka Ragam Asaveri 8th Mela Janya Adi talam Thyagarajar Krithi
Raghunayaka Ragam: Hamsadwani (29th Mela Janyam) Deshadi Talam Thyagarajar Krithi
Saint Tyagaraja’s ishta devata (preferred God) was Rama but in this kriti he is talking of Krishna. Written in Sanskrit, it is set to the Raga Hindolam and is a composition of extraordinary beauty.
Tyagaraja goes on to say, he born in the Yadava race, player of the flute, who is extraordinarily enchanting. A God who plays enchanting music, how to describe him but in enchanting music? And who else to present but a flautist?
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.
In this Krithi SrI tyAgarAja tells the Lord that he will never let go His holy feet.He says that Rama removes all our sins and helps us cross the sea of difficulties.
Broche varevare Ragam Sri ranjani Adi Talam Thyagarajaru Krithi
In this keertana Tyagaraja entreats Rama to come to his home saying that he would forget all desires and problems as he gazes at Him. This kRti forms part of dance-drama ‘prahlAda bhakti vijayam’. After Lord hari has bestowed His grace, prahlAda invites Him to come to his house and be with him always. This is part of concluding songs the dance-drama.
Giriraja suta Ragam Bangla 29th Mela Janya Adi Talam Thyagarajar krithi
Samaja vara Ragam Hindolam Adi Talam Thyagaraja Swamigal Krithi
Mayamalavagowla - 15th Melakarta rāgam
It is classified as 15th melakarta raga under Venkatamakhin's melakarta system. Originally known as malavagowla, "maya" was prefixed to it after the advent of the scheme of the 72 melas. The number 15 was assigned to it following the Katapayadi sankhya system. This is a morning raga.
Venkatamakhin defines its lakshana thus:
पूऱ्णो माळवगोळाख्यह् स ग्रहो गीयते सदा
pūrṇo māḻavagouḻākhyah sa graho gīyate sadā
Mayamalavagowla is the 3rd raga in the 3rd chakra, Agni. Its mnemonic name is Agni-Go. Its mnemonic phrase is sa ra gu ma pa dha nu.[1] Its ārohaṇa-avarohaṇa structure is as follows (see swaras in Carnatic music for details on below notation and terms):
ārohaṇa: S R1 G3 M1 P D1 N3 S
avarohaṇa: S N3 D1 P M1 G3 R1 S
The notes in this raga are shuddha rishabham, antara gandharam, shuddha madhyamam, shuddha dhaivatham and kakali nishadham. As it is a melakartarāgam, by definition it is a sampoorna rāgam (has all seven notes in ascending and descending scale).
It is the shuddha madhyamam equivalent of Kamavardhini (also known as pantuvarali), which is the 51st melakarta scale.
The gamakas in the raga are unique in that conversely to the G-M relationship in Sankarabharanam, G is sung in oscillation (M,G M,G M,G) while M is held constant.
There is no bold M-P gamaka as in Sankarabharanam as well. R and D are also usually sung in oscillation with S and P respectively, making the only constant notes S, M, and P. Of course, these rules are occasionally broken for effect (ie holding N flat before ascending to S).
This auspicious raga evokes shāntha(peace) rasa and pathos. It creates a soothing effect. Suitable to sing at all times, particularly, the firstyAMam (dawn). It is commonly used for beginners lessons such as Sarali Varisais, etc.
Since it eschews vivadi swaras (relatively discordant notes), has a uniform distance between swara sthānas (relative position of notes) and has symmetry, they are easier to learn. It is an ancient rāgam and has been around for a long time.
It is a Sampoorna raga. Also, it is a sarva swara gamaka varika rakthi rāga. It has a large number of janya ragas (derived scales) assigned to it. This rāgam corresponds to Bhairav in Hindustani music.
It is also defined as a mūrcana kāraka méLa since it can be used for Graha bhedam on madhyamam and rishabham to result in Simhendramadhyamam and Rasikapriya respectively.
Graha bhedam is the step taken in keeping the relative note frequencies same, while shifting the Sruti (or drone) to another note in the rāgam. For further details and an illustration refer Graha bhedam on Māyamālavagowla.
A raga that is symmetric and very easy to teach and learn is Mayamalavagowla. This is the reason beginners' lessons in Carnatic music are based in Mayamalavagowla and its derivative ragas.
The notes that feature in Mayamalavagowla are sadja, suddha rishaba, antara gandhara, suddha madhyama, pancama, suddha dhaivata and kakali nishada. It is a morning raga that evokes peace, harmony and sometimes a hint of sadness.
The well-known “Sri Gananatha” geetham is based on Malahari raga, a janya of Mayamalavagowla.
“Tulasi dala,” “Vidulaku Mrokeda,” “Rakshimpave” and “Merusamana” are well-known
Thyagaraja kritis in this raga. “Srinathadi Guruguho Jayati,” the very first composition of Muthuswamy Dikshitar, was in this raga too.
BANGALA - JANYA OF MELA (29) RAGA SANKARABHARANAM
We are now moving to the janyas of the next mela ragam, Dheera Sankarabharanam; the first one being Bangala. This is a minor raga and found sung towards the end of concerts or as fillers in between.
The raga can be traced in medieval literature, but is supposed to be of folk origin; there was no evidence found to connect it to Bengal. Saint Thyagaraja was the first to use this raga in compositions.
The arohana does not contain D2 and N3, while avarohanam lacks N3 - it is a vakra-oudava, shadava janya of Sankarabharanam; the notes can be seen as:
S R2 G3 M1 P M1 R2 P S // S N3 P M1 R2 G3 R2 S
All the notes are flat and without any gamakas. It is beautiful to listen when sung in the medium speed. The sancharas extend from the mandra sthayee Nishadam to tAra sthayee Panchamam
.
SSP does not give any reference regarding this raga, but Ragapravaham by D.Pattammal places it under two mela ragas, (28) Harikambhoji and (29) Sankarabharanam.
Under mela (28) Harikambhoji:
S R G M P S // S N P M R G R S
S R G M P M R P S // S N P M R G R S
S R G M R P S // S N D N P M G R S
S R G M P S // S N P M R G R S
S R G M R P S // S N P M R G R S
S R G M P M R P S // S N P M R G R S
Under mela (29), Sankarabharanam:
S R G M P M R P S // S N P M R G R S
S R G M N P S // S N P M R G R S
The ragam Bangala evokes bhakthi and devotion. Hence the available compositions are also in the same type only.
Compositions:
Cidambaram ena ninaivai - Suddhaananda Bhaarati
Devam kavachinam - Dr. Muthaiah Bhagavatar
Girirajasutha thanaya - Thyagaraja
Munupe teliyaka - Thyagaraja
Sakshi ledanucu - Thyagaraja
Karuninca brovarada - Mysore Vasudevacharya
Rara Rama Ravikula Soma - Garbhapurivasa
.
On Behalf of Mysore Vasudevachaya Homage Page We Whole heartedly Thanking
Smt Krishna Sodari (Vocal) from Bangalore KA Special Sreeramanavami Festival Series Concert on Today the on April 14th Sunday at 8.00 PM IST 10.30 AM EDT
Smt Krishna Sodari (Vocal)
Nattakurinji,
Bangala,
Hindolam,
Sriranjini,
Mayamalavagowla,
Suddha Saveri,
Asaveri,
Hamsadhwani.
All the Best wishes to her in her 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..
Ragam Asaveri :- This janya ragam is derived from Todi. Though this ragam is having number of interesting songs, it is not heard often in the concerts. Though there is a similar sounding Hindustani Raga ( Asavari of the Asavari Thhat ), their swaras especially in the avarohanam are different.
P deva deva kalayami te caranambuja sevanam
Oh Supreme Lord Padmanabha, I worship your lotus feet.
AP bhuvanatraya nayaka bhuri karunaya mama
bhavatapamakhilam varaya rama kanta
Oh Lord of Lakshmi, you are the Lord of all the three "lokas". Please dispel my worldly affliction
C1 parama hamsaligeya pavitratara ghora duraita carita dinamanu shravana nirata-
pari jananikara kamitartha paripuraNa lolupa bhuri manojnapanga
Supreme Yogis sing your glory. Listening to your holy stories obliterates our worst sins. You fulfill wishes of devotees. Your glances bestow prosperity.
C1 varana dussaharyi varana bahu nipuna puruhutamara pUjita bhavya caranayuga
viracaya shubhamayi vishadanAbhijAta bhAratisha krtanuti parama tusta bhagavan
You skillfully rescued Gajendra from unbearable suffering. Devendra and other Devatas adore your holy feet. You are bestower of auspiciousness. You are extremely pleased with lotus born Brahma the consort of Bharati who chants your praise.
C3 jatarupa nibhacela janmarcitam mamakhila pataka sancayamiha varaya karunaya
ditijaLi vidalana dinabandho mAmava shrta vibudha sala shri
padmanAbha shaurE
Your costume shines like gold. You dispel sins of my previous births compassionately. You are annihilator of demon clan. You are the benefactor of desolate. You protect the devotees who take refuge in you. Oh Lord Padmanabha, please protect me.
Hamsadhwani :- Aro: S R2 G3 P N3 S Av: S N3 P G3 R2 S It is a Janya rāga of 29th Mela Sharnakarabharanam but according to Hamsadhvani's prayoga or the way it is sung it is said to be the janya of Kalyani (65th).
The Hamsadhwani scale has the same notes as a major scale, except that the 4th and 6th notes in the major scale are not used when playing Hamsadhwani.
A raga that is bright and auspicious, one that is most suited for commencing a Carnatic concert. That probably explains why kritis in Lord Ganesha abound in this raga.
This raga is well-loved and easily identified due to its distinctive charm that gets better when sung in Madhyamakala (medium-fast tempo).
Hamsadhwani is a pentatonic scale ( audava raga) and the notes it houses include Sadja, Chatusruti Rishabha, Antara Gandhara, Pancama and Kakali Nishada. Hamsadhwani has its roots in the Carnatic form, and is said to have been created by Ramaswamy Dikshitar, father of Muthuswamy Dikshitar.
The credit in taking this raga into the Hindustani system of music goes to Ustad Aman Ali Khan of the Bhendibazaar gharana. In its Hindustani form, the Kaisiki Nishada also appears sometimes lending texture and finer hues to the solid fabric of the raga.
In this kruti Tyagaraja praises Rama's magnanimity,valour and respect for sages.He prays to Rama to protect him from the worldly problems O Lord raghu patI! O Lord SrI rAma! O Lord of all Worlds! O Excellent of men!
Whoever is the person to protect us?
Whoever else than You is the person to protect us kindly?
Whoever is the person equal to You to protect us?
Whoever is the person to protect always gracefully (as You did/do) -
(a) by giving lanka as a gift to vibhIshaNa, to the felicitation of indra and others?
(b) by following the sage viSvAmitra to look after the sacrificial oblation and destroying the wicked mArIca and others?
(c) by shooting down vAli with a single arrow and making sugrIva a king?
(d) by holding hand of this tyAgarAja, who has not learnt the means of crossing over the Ocean of Worldly Existence?
P samaja vara gamana sadhu hrut
sarasabja pala kalatIta vikhyata
Your walk is dignified like the walk of an elephant.
You are like the sun to the lotus like hearts of ascetics.
You are beyond time, you are famous.
AP sama nigamaja sudhamaya gana vichakshana
gunashila dayalavala mam palaya
You are the scholar of the nectar of music
You are virtuous and merciful, protect us..
C veda shiro matrja sapta swara
nadaachala dipa svikrta
yadavakula murali (gana) vadana
vinoda mohana kara tyagaraja vandanIya
You illuminate the divine nadam of Saptaswaras which are born of the Vedas.
You chose to live amidst the cowherd community.
You enchanted the world by playing flute. Tyagaraja bows to you.
O Lord raghuvIra! O Charming Youth! O Son of King daSaratha! O Lotus Eyed! O Protector of pious people! O Fortune of tyAgarAja! I salute You. Deign to come to my house. Deign to come and govern me. I cannot withstand (the misery of being separated from You). (Earlier) my entreaty, without being fulfilled, I became fatigued looking forward for Your arrival. Therefore, (now that You have come here), at least today, in this occasion, deign to come along to my house. Right from early morning, You would protect me by advising on things conducive to merit; and, I shall worship You daily, standing near You, beholding Your charming face. Even after knowing that You are my refuge, won’t You come quickly to protect me compassionately? Is it appropriate to forget even now about me caught in Your hands? Deign to come to my house.
P Raghunayaka ! Nee Paadayuga
Raajeevamulane Vidajaala Sri !!
O Lord SrI raghu nAyaka! I (nE) shall not let go (viDa jAla) Your Lotus (rAjIvamula) feet (pAda yuga). I cannot leave your lotus feet, Oh Raghu nayaka.
AP Aghajaalamula Baaradroli Nan
Aadarimpa Nive Gati Gaada Sri !!
Aren’t (kAda) You alone (nIvE) refuge (gati) for supporting (Adarimpa) me (nannu) (nannAdarimpa) by driving away (bAradOli) the multitude (jAlamu) of sins (agha)? therefore,
O Lord zrI raghu nAyaka! I shall not let go Your Lotus feet. You drive away my sins. You are my only solace.
C Bhavasaagaramu Daataleka Ne
Bahu Gaasibadi Ne Marugu Jeritini
Avanijaadhipaasruta Rakshaka
andaakara Saarvabouma Sri Tyagaraajanuta !!
Unable (lEka) to cross over (dATa) the Ocean (sAgaramu) of Worldly Existence (bhava), having become very (balu) weary (gAsipaDi), I (nE) reached (jEritini) your (nI) shelter (marugu);
O Consort (adhipa) of sItA - Earth-born (avanijA)! O Protector (rakSaka) of those seeking refuge (Azrita) (avanijAdhipAzrita) in You! O Lord who causes Bliss (Ananda-kara)! O Lord praised (nuta) by this tyAgarAja! O zrI raghu nAyaka! I shall not let go Your Lotus Feet. I cannot cross the sea of difficulties in this world, so I seek your shelter.
Oh Sita's husband, Oh savior of people, Oh bestower of happiness, you are worshipped by Tyagaraja.
Smt Krishna Sodari (Vocal) from Bangalore KA Special Sreeramanavami Festival Series Concert on Today the on April 14th Sunday at 8.00 PM IST 10.30 AM EDT
Smt Krishna Sodari (Vocal)
Gist :-
Oh One who is unique among all the Raghus! I will never release your lotus feet. Who but you can rid me of the accumulated sins and offer me shelter? Mundane life (the ocean of samsaara) is replate with trials and tribulations. To cross this vale of sorrow, I have come to you. O Lord of Seeta! Protector of those seeking refuge! Bestower of joy
Gist :- Your costume shines like gold. You dispel sins of my previous births compassionately. You are annihilator of demon clan. You are the benefactor of desolate. You protect the devotees who take refuge in you. Oh Lord Padmanabha, please protect me.
This Keertana is in praise of Sri Ganapati, the remover of all obstacles. One with feet worshipped by Indra and others! Grant me grace and protect me. O Elephant faced one. Chief of the celestial spirits. O ParAtparA! Bestower of auspiciousness. O moon of the ocean of Vedas. One who wears AdisEsha as a bracelet. Remover of impediments. O son of Shiva. One worshipped by Tyagaraja!
One with feet worshipped by Indra and others! Grant me grace and protect me. O Elephant faced one. Chief of the celestial spirits. O ParAtparA! Bestower of auspiciousness. O moon of the ocean of Vedas. One who wears AdisEsha as a bracelet. Remover of impediments. O son of Shiva. One worshipped by Tyagaraja
P broche varevaeE raghupathe
ninu vina
sree rAma nenaruna
sakala loka nayaka brochevarevare
naravara nee sari brochevarevare||
Oh SriRama the lord of Raghu dynasty, who else will protect me? Oh lord of all lokas,Oh exalted one,there is none equal to you.
AP devendradulu mechchutaku lanka
daya to dana mosangi sada ||
Did you not bequeath the kingdom of Lanka to Vibheeshana and were not Devendra and other celestial beings delighted by that gesture?
C1 muni savambu jooda venta jani khala mareechadula hatambu jesi ||
You went along with the sage Viswamitra to protest his Yaga and you killed the wicked demons Maricha and others.
C2 vali nokka koola nEsi ravi baluni rajuga gavinchi joochi
bhavabdhi tarunopayamu nerani tyagaraju karambidi ||
You struck the most invincible Vali with your arrow and crowned Sugriva.
Please hold the hand of innocent Tyagaraja to enable him cross this ocean of worldly problems.
O Lord whose princely gait is like an elephant! O Lord who protects the lotus like hearts of the pious people! O Lord whose fame transcends time! O Lord who is expert in the nectar-like music arising from the sAma veda! O Virtuous! O Compassionate! Protect me! O Lord who a lamp in the mountain that is music! O Lord in the Yadava clan! O Lord who plays the flute! O Lord who amuses himself by being enchanting! Protect me!
He who walks majestically like an elephant’ says Saint Tyagaraja. Like an elephant? It sounds strange in English. One hears of a leonine walk but not of an elephantine one without meaning something derogatory. Yet it seems so right in Sanskrit. A leonine walk implies leashed violence, while an elephant represents power without violence.
P giri rAja sutA tanaya sadaya
Oh benevolent son of Parvati, the daughter of Himagiri.
AP sura nAtha mukh(A)rcita pAda yuga
paripAlaya mAm ibha rAja mukha (giri)
Oh elephant headed god, you are worshipped by the king of devatas (Indra), protect us.
C gaNa nAtha parAtpara 1Sankar(A)gama
vAri nidhi rajanI-kara
phaNi rAja kankaNa vighna
nivAraNa SAmbhava SrI tyAgarAja nuta (giri)
Supreme Gananatha is dear to the Vedas like the moon to the oceans.
King of serpents is his bracelet.
He is the remover of all obstacles.
He is Sankara's son, he is worshipped by Tyagaraja.