Video není dostupné.
Omlouváme se.
Vid. Aditya Mohan (Hawaiian guitar) & team from Chennai - Homage to Mysore Vasudevacharya Series
Vložit
- čas přidán 20. 04. 2024
- Sree Ramanavami Festival Special Concert Series
Homage to Padma Bhushan Mysore Vasudevacharya
21st April 2024, 8:00 PM IST (10:30 AM EDT)
Vid. Aditya Mohan (Hawaiian guitar) - Chennai
(Disciple of Chitravina Sri Ravikiran)
Vid. T R Sooraj (mridangam)
(Disciple of Shri. Chrompet G Suersh)
Compere - Kum. Srinidhi Mohan
Absolutely Divine Blissful and Superb Concert All the Best Wishes 👋👌👋
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
Soooooooper !!!!
Excellent Start !!!
Lovely Alapanai !!!
Superb !!!
This kriti is in the second Vibhakti
Rama lay on a bed of Darbha grass while observing a penance to please the god of the oceans, to build a bridge across the sea. This incident is described in the Ramayana. This place is now called Thiruppullani (near Rameshwaram) aka Dharbha Sayanam.
This is one of the Rama Navaavarnam (9 songs on Rama) group. It’s on Thiru Pullani Darbha Sayana Rama A Sacred Place for absolute Surrender to the Lord, where Lord Rama prayed to the Sea Lord to seek solution for his cross over to Lanka
Sri. Dikshithar has written eight krithis in all the vibhakthis, on Sri Rama; known as Ramachandra vibhakthi krithis; in addition, he has written five compositions (not included in the set) on Sri Rama - this composition is one among the same; the other compositions in ragas, Kokilaravam, Manirangu, Mahuri and Hindola vasantham. The composition in Narayana goula is on the Temple at Tiruppullani; on the deity who is lying on Darbha - Darbhashayanam. Tiruppullaani is located near Ramanathapuram. Tiru means 'sacred', Pula the great sage named Pula Maharshi and Ani means 'forest', the sacred forest abode of Pula Maharshi. The other name of the place is "Pullaranyam" (pull-shrub of grass, aranyam--forest: the forest of grass). This place is known by a third name too, "Darbhasayanam" (darbha means sacred grass and sayanam means a bed to rest on). Darbhasayanam is one of the Sethu Stalams, on the coast of Tamil Nadu, linked with the Ramayana. It alludes to the incident in Sri Rama's life when he took rest on the sacred grass during his penance, for three days and nights, in this particular place. The main deity worshipped here is Kalyana Jagannathan or Aadi Jagannathan in a standing posture facing east and the Goddess worshipped here are Padmasini and Kalyanavalli. There is a shrine of Lord Rama in the Darbasayana pose, signifying his resting here and invoking Varuna for help in crossing the ocean, enroute to Sri Lanka in search of Sita. There are so many legends on the deity, as also on the rituals; which can be found in the web.
Ritigowla - The Raga with a Mesmerising Melody
A janya raga of Kharaharapriya, Ritigowla also called NARIRITIGOWLA, is a vakra, rakthi raga, a raga that is considered very classical and meritorious in the Carnatic music field.
It is very easy to identify this raga due to the typical beautiful sanchaaras present in the compositions. This is one raaga which deserves the compliment “manam mayakkum Ritigowlai”.
The melody of this raga is magical and will surely mesmerize the listener with its charm. The raaga assumes a pleading quality, and evokes a combination of karuna and bhakthi rasas. Ritigowla - an all time raaga is an ideal choice to sing in vilamba kala in the middle of a concert, to bring the listeners into a contemplative and calm frame of mind.
Therapeutically the raga helps to achieve mental peace and relaxation. This is also a Bhashanga Raagam , where the note Suddha Dha appears in some sancharas.
Ritigowla belongs to the Dvitiya Ghana Panchaka (second series of Ghana raagas) group.
Arohanam : S G2 R2 G2 M1 N2 N2 S / S G2 R2 G2 M1 N2 D2 M1 N2 N2 S
Avarohanam: S N2 D2 M1 P M1 G2 R2 S / S N2 D2 M1 G2 M1 P M1 G2 R2 S
(Shadjam, Chathusruthi Rishabham, Sadharana Gandharam, Suddha Madhyamam, Panchamam, Chathusruthi Dhaivatham, Kaisiki Nishadam)
Jeeva Swaras: G,M,N (N2 - The breathing or life giving note of Ritigowla)
A beautiful raaga , the essence of its beauty lies in a few prominent prayogas/phrases.
Uniquely Ritigowla Sancharas: NPNNS ,NSGGM,GMNNS, NSGRS,GMGRS,NSNDM, SNDMPDMGRs, GMPMGRS…
The sanchara GMPMGRS… renders a soulful, soft touch to the raaga fully bringing out the Karuna rasa. Jantai prayogas for the notes G and N are very popular- meaning to say that if the composition has a prayoga NNS on one line, the next line will definitely be complimented with a GGM.
I feel that they are almost like twin - pairs’ one cannot live without another! What a beautiful complimenting relationship.
Compositions
The Subbaraya Sastry (son of SyAma Sastry) composition Janani Ninuvina” simply immortalizes this Raagam. Muthuswami Dikshitar’s lyrical brilliance in using the Raagamudra addressing the Goddess as “Riti Gowrave” in his Nilothpalamba Krithi in Nariritigowla is examplory.
The rasikas of Carnatic Music owes all the credit to Saint Tyagaraja for popularising this raaga. His most popular composition nannu viDaci, is part of Saint Tyagaraja’s Opera Prahlada Bhakthi Vijayam. This is the most wanted number in carnatic concerts.
This song illustrates extreme Bhakthi , Thyagaraja had for Lord Rama. He pleads Lord Rama not to leave him just like Prahlada-the divine child pleaded Lord Narayana to be with him and never leave him.
This feeling of pain, anguish or sorrow that you may experience when you come to know that when somebody whom you care and love very much is going to leave you is beautifully illustrated with the sancharas in this raaga! But the raaga also has melodious sancharas of comfort and soothe feeling to showcase feeling of joy and happiness.
Other majestic compositions by Tyagaraja are baDalika tIra, dvaitamu sukhama? advaitamu sukhama?, cera rAvadEmira, and raagaratnamAlika.
In the song dvaitamu sukhama? advaitamu sukhama? in just one sentence, tyAgarAja has captured the never ending debate behind the Hindu religion and philosophy! What a genius! In the song baDalika tIra, tyAgarAja asks Rama to lie down and take rest as he imagines Him to be fatigued (after Ramayana Episode).
Tatvam aRiya taramA? is another excellent composition by Papanasam Sivan. Another magnificent composition is paripAlaya mAm by Sri. Swathi Thirunal.
Famous Compositions in Ritigoula
On Behalf of Mysore Vasudevachaya Homage Page We Whole heartedly Welcoming
Ragam Sri :- A raga that is auspicious in name and bhava is Sri. Sri is a ghana raga, a heavy and noteworthy one that is melodic as well as regal. Sri is a janya of Kharaharapriya raga and is characterised by jagged traversals in the scale, the avarohana having interesting diversions from the usual linear path.
The Arohana-Avarohana pattern of this raga is SRMPNS/SNPDNPMRGRS. This raga houses sadja, chatusruti rishabha, suddha madhyama, pancama, kaisiki nishada, chatusruti dhaivata and sadharana gandhara.
The raga’s highlight is the exaggerated gamaka at the gandhara. Because it is a ghana raga, it is suitable for tanam. Askilled vainika (veenaartiste) can demonstrate the stately gait of the tanam in Sri.
The classical pieces in Sri include Tyagaraja’s fervour-filled ‘Endaro Mahanubhavulu’, the fifth and famed pancharatna, which features torrential janta swaras and ‘Namakusumamula’.
Dikshitar’s ‘Sri Kamalambike’ (the concluding Kamalamba navavarana), ‘Sri Varalakshmi’ (sung during the Varalakshmi vratha) and ‘Sri Abhayamba’ (the final kriti of the Abhayamba vibhakti kritis on the presiding goddess at Mayavaram) are most notable.
Music lovers may recall M.S. Subbulakshmi’s rendition of Annamacharya’s ‘Vande Vasudevam’ in the raga.
Sri Muladhara Chakra - Raga Sri Adi Talam Muthuswami Dikshitar Krithi
This Krith is on Lord Vinayaka in the Tyagaraja temple at Tiruvarur
Vasantha (raga)
Vasantha is a janya rāgam of Suryakantam, the 17th Melakarta rāgam. According to P Subba Rao, majority opinion is that the rāgam is derived from Mayamalavagowla, the 15th Melakarta rāgam.
Vasantha has ample scope for alapana. This scale has been used by many composers for compositions in classical music
Vasantha is suitable to be sung in evening and is considered an auspicious rāgam. It has been in use for more than 1000 years.
The name Vasantha invokes images of springtime and the burst of energy
Structure and Lakshana
Vasantha is an asymmetric scale that does not contain panchamam. It is called a vakra audava-shadava rāgam, in Carnatic music classification (as it has 5 notes with zig-zag notes in ascending scale and 6 notes in descending scale). Its ārohaṇa-avarohaṇa structure is as
Aro : S M1 G3 M1 D2 N3 S Av : S N3 D2 M1 G3 R1 S
This scale uses the notes shadjam, shuddha rishabham, antara gandharam, shuddha madhyamam, chathusruthi dhaivatham and kakali nishadam.
Lalitha is a popular rāgam that sounds very similar to Vasantha. Lalitha uses chatusruti rishabham in ārohaṇa also,] while the dvisruti dhaivatam is used in it, compared to trisruti dhaivatam in Vasantha.
Interestingly there are Similar Sounding Ragams
Gopika Vasantham, Hindola Vasantham, Vasantha Bhairavi etc etc
This kriti is in the eighth (Sambodhana Prathama) Vibhakti
Vak or speech is classified as four : Paraa, Pratyak, Madhyama and Vaikhari.They range from the subtlest to the grossest. Vaikhari is the audible or spoken word.
shaT-Sata SvAsa - 600 breaths
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 kriti is in the second Vibhakti
The empire given to Hanuman may be interpreted as the embrace Rama gave him in gratitude for news from Sita, or “Rama-bhakti-Samrajya” - the realm of devotion
The phrase “saketa nagare nivasantam ” in the charanam contains the Raga Mudra
Mysore Vasudevachayar ..Ramanataka kruthi 😮
(It is quite interesting to note that Sri. Muthuswami Dikshithar and Sri. Papanasam Sivan, who lived decades apart, rather a century, composed krithis with similar pallavis, Shri Ramam Ravikulapti somam (D) and Shri Raman Ravikula soman (PS) in the same ragam, Narayana goula !! Similarly, the varnam, ‘Maguva nine kori’ is referred to Tiruvettiyur Thyagaiah; in some places, it is seen as Veenai Kuppaier. It is not sure that the references are about same or different compositions also).
Vid Aditya Mohan (Hawaiian Guitar) & Team, from Chennai Special Sreeramanavami Festival Series Concert on Today the April 21st Sunday at 8.00 PM IST 10.30 AM EDT
Ramachandram bhavayami Ragam Vasantha Roopaka Talam Muthuswami Dikshitar Krithi
In this kruti Dikshitar contemplates upon Sri Rama of Saketa, the lord of Sita,the bestower of our sustenance and also emancipation.He adds that he is the embodiment of virtues.
Next is the Main Krithi of the Concert !!!
Mangalam (wishing prosperity and happiness) to Ramachandra who won the heart of Janaka’s daughter Sita and who fulfills all our wishes.
Bhadragiri Ramadas was a great Savant belonging to Andhra Pradesh. He built the Bhadrachalam temple of Rama. It seems he used the money of the Nizam to build it.
Later he was imprisoned and kept in Golkonda fort of Hyderabad. Rama himself interceded on his behalf, paid the money to Nizam and got the saint released.
Next is Sub Main Krithi of the Concert !!!
Now Super Thani !!!
On Behalf of Mysore Vasudevachaya Homage Page We Whole heartedly Thanking
Vid Aditya Mohan (Hawaiian Guitar) & Team, from Chennai Special Sreeramanavami Festival Series Concert on Today the April 21st Sunday at 8.00 PM IST 10.30 AM EDT
Aditya Mohan (Hawaiian Guitar) (Disciple of Chitravina Sri Ravikiran)
Vid T R Sooraj (Disciple of from Shri. Chrompet G Suersh)
Kum Sri Nidhi Mohan (Compere)
Enormous Ragams Covered .
Sri,
Vasantha,
Dhanyasi,
Ritigowla,
Narayanagowla,
Abheri,
Hindolam,
RTP
In harikambhoji
Ragamalikasvarams in
Salakabhairavi,
Deshikathodi,
Kannada,
Hamsanadham,
Sindhu Bhairavi,
Kedargowla,,
Navroj
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..
Aditya Mohan (Hawaiian Guitar) (Disciple of Chitravina Sri Ravikiran)
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).
ShrI ramam ravikulabdhi Ragam NarayanagauLa {28th Melakartha (Hari Kambodhi) Janyam} Adi talam (2 Kalai) Muthuswami Dikshitar Krithi
Next - Ragam thanam pallavi in harikambhoji set to mishra mathyam with ragamalikasvarams
Kum Sri Nidhi Mohan (Compere)
Nee Chittamu Nischalamu Raga Dhanyaasi Misra Chapu Thyagarajar Krithi
Ramachandraya Janaka ( Mangalam) Talam Adi Bhadrachala Ramadasa
Vid T R Sooraj (Disciple of from Shri. Chrompet G Suersh)
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.
Bhajare Re Manasa Ragam: Karnataka Devagandhari (Abheri) Talam Vilamba Kala: Adi Composer: Mysore Vasudevacharya
NARAYANA GOULA - JANYA OF MELA (28) RAGAM HARIKAMBHOJI
A soft and melodious raga, which is preferably sung in vilamba kaalam, Narayana goula evokes bhakthi, devotion, karuna rasas.
It is a shadava sampoorna raga with N2 in arohanam and R2 & G2 in avarohanam appearing additionally in vakra; that the notes can be found as:
S R2 M1 P N2 D2 N2 S // S N2 D2 P M1 G3 R2 G3 R2 S
Venkatamakhi defines this by the slokam:
syannarayanagaulastu sampurno nigrahanvitah |
arohe gadhavarjasca vinyasat vidyate kvacit ||
(sampoorna ragam; gandharam and dhaivatham
varja in the arohanam - Subbarama Dikshithar; SSP. This is followed by Muthuswami dikshithar in his composition, Sri Ramam)
Ragapravaham by D.Pattammal, in addition to the normally followed specification (*), gives three more types, all under mela (28):
S R M P N D N S // S N D P M G R G R S (*)
S R M P N D N S // S N D P M G R S N
S R M P D N S // S N D P M G R G R S
R M P N D N S // N D P M G R G R S
This raga has very close similarity with Surutti and Kedara goula. Also, since two of the Trinities, Thyagaraja and Dikshithar have composed in this raga, it is to be assumed that it is an ancient raga, existing before their period.
Before we take up the raga, we have to find the nature and origin. We have the First Ghanapanchaka ragas as Nattai, Goula, Arabhi, Varali and Shri (coming after the first heavy ragas, Sankarabharanam, Kalyani, kambhoji,
Thodi and Bhairavi - these are ‘heavy’ or ‘major’ ragams, and can be explored in a lot of depth. They form the main fare of any full length Carnatic concert today.);
there is another set of ragas called ‘Upa-Ghana panchaka’ ragas, constituted by the ragas, “Kedaram, Narayana goula, Reethigoula, Saaranga natta and Bouli”.
The word Gowla - refers to the Gowla desham or the northern Andra and south eastern Bengal and some part of Orissa region.
The book of “Caste System in India” mentions - “Gowla” , “Ghose”, “Sadagopans” all as cowherd caste of Ancient Bengal. Dikshithar’s raga mudra in his first krithi “Sri Nathadi Guruguho” mentions
“Maya Malawa Gowla adi desam” which means the Maya desham, Malawa Desham and Gowla Desham (Aadi in sanskrit means etc).
He bestows Lord Guha as one who is worshipped by Mahipatis or kings of these regions. So Diskshithar makes a clever reference of the names used in ancient India and thus coining the raga mudra.
Malwa / Malawa was one of 16 Mahajanapadas along with “Gandhara” and “Kamboja”. No wonder many ragam names are from the region it came from. Current raga system has 8 gowla ragams and Dikshithar has composed in all 8 in praise of Nilothpalamba.
His krithi again in Kannadagowla mentions the ragamudra as “Kashi Kannada gowla desha”. thus affirming that “Gowla” denotes the geographical region of ancient India along with Kashi and Kannada regions. Interestingly the Mayamalavagowla Nilothpalamba krithi has the same ragamudra as seen in Sri Nathadi krithi”.
Thus, for the regional names, Dikshithar refers to the geographical regions while for the other ragams such as Narayana Gowla, Poorva Gaula and Chaya Gowla, he mentions the raga name directly with no twining. For some reason, the Kedaragowlai krithi does not have raga mudra in it. Using his methodology he could have used Kedara Gowla desham referring to Kedara desham and Gowla desham .
Thus the 8 gowla ragams are: “Gowla, Maya Malawa Gowla, Poorva Gowla, Chaya Gowla, Kedara Gowla, Narayana Gowla, Narireethi Gowla and Kannada Gowla”. Some of them mention the region and the Gowla or the caste name from which the ragam comes from. Importantly we are not sure, how these ragams existed in what forms at those times.
An extensive search does mention that “Mayamalava Gowla” was the ragam used by the tribes to purify themselves from toxins by exposing things to sun’s rays, thus the ragam denoting a morning ragam. Perhaps they considered it as one of the first ragams which signifies the Sun and and perhaps Dikshithar composed his first krithi in this ragam due to this. So if we observe there is no clear rule if some ragam needs to have a gowla attached.
All of the 8, are old ragams which made way into modern music through generations. One could assume the regional influence and emotional variants made the raga names and some sort of “cow herd” influences creeped in while naming the ragas.
It is only a Guru who purifies the mind like a Sallaki Seed (guruvu cillaginca) which purifies the water by removing the mud. The Guru is like the Bee or the Wasp (guruvE bhramaramu) who transforms the disciple and guides him to his own State of Perfection.
The Guru is the Sun (guruDE bhAskaruDu) who dispels the darkness of spiritual ignorance from the student and leads him unto the Light of Spiritual Knowledge. Guru himself represents the ultimate (the highest truth) to be realised and attained.
Tyagaraja concludes by surrendering himself to the Lord who indeed is the Guru of all gurus - the Sole Protector of the world.
It is noteworthy that Tyagaraja has composed this kriti in Dhanyasi - a raaga most suited for emoting Bhakti Bhava
P SrI mUlAdhAra cakra vinAyaka
amUlya vara pradAyaka
O Vinayaka dwelling in the Muladhara Chakra, O giver of priceless boons,
AP mUlAjnAna SOka vinASaka
mUla kanda mukti pradAyaka
O destroyer of the agony caused by primary ignorance, O root cause (of creation etc.),
O giver of salvation,
C sakaLI kRta dEvAdi dEva
SabaLI kRta sarvajna svabhAva
prakaTI kRta vaikharI svabhAva
parAbhava prasiddha gaja grIva
vikaTa shaT-Sata SvAsAdhikAra
vicitrAkAra bhaktOpakAra
akaLanka vibhAsvara vighnESvara
hara guru guha sOdara lambOdara
O primordial god to all gods,O one whose omniscience is variegated or scattered (among the created beings),O personification of the broadcast (uttered) word!
O renowned one having none greater! O elephant-necked one ( one who is an elephant, neck upwards) O terrible one! O lord of the six hundred breaths ! O one of marvelous or manifold forms! O helper of devotees! O one of immaculate brilliance!
O lord of obstacles! O brother of Guruguha (the preceptor to Shiva)! O one with an extended belly!
Preface :- King Dasharatha consulted his advisors and decided to anoint Rama with the title “Prince Regent” (yuvarAja). KaikEyi’s maid servant mandarai got word of it and rushed to KaikEyi to give her the news. KaikEyi was happy and gives mandarai a pearl necklace as a gift for bearing such good news. But mandarai tries to dissuade her from accepting the news with a positive outlook and that KaikEyi should insist on her own son should be given the title instead of Rama. At that point KaikEyi ridicules mandarai that Rama deserves the title more than her own son, Bharatan, and praises the merits and virtues of Rama. What happened later viz., Rama sent to exile, changed the course of Ramayanam (or to be more precise laid the foundation for the intended course)
(Public hail Rama as crown prince... )
Ramanukku mannan mudi Ragam Hindolam 20th Mela Janya Adi Talam Arunachala kaviyar Krithi
“Guru” - teacher, remover of ignorance, one represents the Trinity (Brahma, Vishnu and Shiva) and who is even beyond them - the Parabrahma.
Who is a Guru? In this composition, Saint Tyagaraja described two qualities of a Guru. One whose mind is NISHCHALA (One who is not disturbed by the ongoings of worldly issues and whose mind is calm under all circumstances) and
NIRMALA (Pure - One who is devoid of the six inner enemies - Kaama, Krodha, Lobha, Moha, Mada, Matsarya). He indeed is qualified to be a Guru.
Tyagaraja attributes these qualities to none other than Lord Raama . Tyagaraja is now a disciple of Lord Raama. As a disciple, he tells his Guru (Lord Raama), that his mind which is immersed in the worldly matters is disturbed and agitated.
It knows no peace. Hence the Saint seeks the grace of the Lord to help him to reclaim his mind.
Ninnu vina mari galada rithigowla rupaka composer shyama shastry
Pi: shrI ramam ravikulabdhi somam shrta kalpa bhuruham bhajeham
I contemplate on SRI RAMA who is the moon to the solar dynasty . He is the KALPAKA tree to supplicants
AP: dhIra graganyam varenyam dIna janadharam raghuvIram naradadi sannuta rAmAyana parayana mudita narayanam
He is One who is counted as the bravest amongst the brave . The one to be sought after . The support for the afflicted . The valiant one of the RAGHU dynasty. He is NARAYANA delighted by the recitation of the epic RAMAYANA by Narada and others .
C : dasharathAtmajam lakSmaNA grajam dAnava kula bhIkaram shrIkaram kushalava tatam sItopetam kuvalaya nayanam sudarbha shayanam su-sharacApa panim sudhImanim su-nrta bhasam guruguha tosam dashavadana bhanjanam niranjanam dananidhim dayarasa jalanidhim
Son of DASHARATHA. Elder brother of LAKSHMANA. He was a terror to demons . He bestows prosperity . Father of LAVA and KUSHA . He is in the company of SITA . He has lotus like eyes . He reposes on the DARBHA grass . He holds a beautiful bow and arrows (“shara-cApa”) in his hand (“pANim”). He is a gem among people of understanding . He speaks only the truth . He pleases KARTTIKEYA . He destroys the ten headed RAVANA. He is faultless . He is the treasure trove of grace . He is an ocean of sentiment of compassion .
P rAmanukku mannan muDi taritAlE |
nanmaiyunDoru kAlE (rAmanukku)
If Rama wears the crown there will be benefits for all.
AP pAmaramE unakku ennaDi pEccE
pazham nazhuvip pAlil vizhundAl pOl AccE (rAmanukku)
You ignoramus, the news (you brought) is like a delicious fruit having slipped into milk (making it all the more delicious).
C1 inda vArthai sonnAi enakkevar nEraDi
brahmAdigaLum varuvAraDi
iduvE nalla sIraDi vAyADAdE
pAraDi AraDi enakku sari (rAmanukku)
You brought this good news. There is nobody who is equal to me now. The celestials (including Brahma) will attend this event. This is a very pleasant one. Do not argue. Look there is nobody who is equal to me.
C2 parasuraAman garvam tIrttavanDi (avan)
nammai ellAm kAttavanDi
paTTam kaTTa EttavanDi (rAman)
paTTam kaTTa EttavanDi nAlu pEril
mUtavanDi avan tAn en kaNmaNi (rAmanukku)
He (Rama) quelled the arrogance of ParshurAma ***. He saved us all (from disaster). He is the oldest of the four (brothers). He is the right person to wear the crown. He is my darling.
RAma’s impromptu Encounter with ParashurAma
After the consummation of the wedding of SitA and RAma in Mithila, the entire retinue of King Dasharatha, along with the newly-weds, is on its way to ayOdhya. Suddenly Parashurama appears on the scene from nowhere. Dasharatha senses trouble, knowing the obsessive animosity of Parashurama towards Kshatriyas. He begs Parashurama to spare Rama. But Parashurama ignores Dasharatha and tells Rama about the longbows of Vishnu and Shiva and denigrates Rama about breaking the weaker Shiva bow. He gives the Vishnu bow to Rama and tells him if he could flex the Vishnu bow, string it, and set the arrow in it ready to dispatch, he (Parashurama) would engage him (Rama) in a combative duel.
Rama, offended by such an insult, gets the bow from Parashurama, flexes it, strings it, and asks Parashurama to specify the target for the arrow. The Vishnu bow being very powerful would destroy the target if the arrow was released. Rama tells Parashurama that he would spare the latter’s life since he is a Brahmin and related to sage VishvAmitra (Parashurama’s grandfather married VishvAmitra’s sister) and that VishvArmitra was Rama’s guru. Rama tells Parashurama to choose the target between his powerful motility (the ability to move from place to place instantaneously) and the powers of his ascesis. Parashurama chooses to lose most of his ascetic powers. Accordingly Rama releases the arrow towards the open hands of Parashurama. The arrow retrieves the merits of Parashurama’s ascesis and heads back to Rama.
Parashurama having been humiliated, and recognizing the merit of Rama heads towards his abode (Mahendra giri) after paying obeisance to Rama, never to be seen again. He came in like a lion and left like a lamb. The wedding party, to the great relief of Dasharatha, reaches ayOdhya safely.
Let us re-live the scene here in specific details; using VAlmiki’s description supplemented by Kamban’s and aruNAcala Kavi’s coverage of the event as well.
VAlmiki describes what happens when the wedding party proceeds towards ayOdhya.
गच्छंतम् तु नरव्याघ्रम् स ऋषि संघम् स राघवम् ||
घोराः तु पक्षिणो वाचो व्याहरन्ति समंततः | BalakANDam 1.74.8
भौमाः चैव मृगाः सर्वे गच्छन्ति स्म प्रदक्षिणम् || तान् दृष्ट्वा राज शार्दूलो वसिष्ठम्पर्यपृच्छत | 1.74.9