Vid. Veena Srikanth (veena) from Cary, NC - Homage to Mysore Vasudevacharya Series
Vložit
- čas přidán 25. 05. 2024
- Special Carnatic Music concert
Homage to Padma Bhushan Mysore Vasudevacharya
26th May 2024, 8:00 PM IST (10:30 AM EDT)
Vid. Veena Srikanth (veena) - Cary, NC
(Disciple of Kalaimamani Dr. Suma Sudheendra and Vid. Sujatha Thiagarajan) - Hudba
Just joined your recital .Very glad you are giving this full time recital in the esteemed online platform a fitting tribute to the great composer !
Proud of your participation !
Keep it up !
Best wishes !
the most clear sound of music do after a long time
Congratulations! The show was fantastic. I wish you all the best for future shows and continued success!
I really appreciate ur hard work in practicing the art of Indian culture with such dedication with loveable and smooth music, congratulations
This song is specially meaningful Saraswati’s presence was all around us. As we worship our Goddess on this day, we should all remember that She exists not only in temples but in each home where the arts are practiced and loved, be it music, dance or fine arts. She exists in every home in which education is honoured and respected. She lives with us, in us,
On Behalf of Mysore Vasudevachaya Homage Page We Whole heartedly Welcoming
Superb Start !!!
P vanajaksha ninne kori valachi vachchi yunnanu||
Oh Krishna, your eyes are beautiful like lotus. I loved you only and approached.
(This is a very popular first song in concerts of Carnatic Music.. It is a prayer addressed to Ganesa of Badami written in Raga Hamsadwani (sound of a swan).)
This song is performed on the ninth day of Navaratri, Navami, beautiful composition of Mysore Vasudevachar, Mamavatu Sri Saraswatiset in Raga Hindolam to pay homage to Goddess Saraswati.
This is one of the most well-known compositions in all of Carnatic Music. Mutthuswami Dikshitar's father Ramaswamy Dikshitar invented the raga Hamsadhwani (Voice of the Swan).
Vid Veena Srikanth (Veena) & Team, from, Cary. NC Padma Bushan Mysore Vasudevacharya Life & Music Special Series Concert on Today the May 26th Sunday at 8.00 PM IST 10.30 AM EDT
Vanajaksha - Mandari - Adi Mysore Vasudevachar
Mysore Vasudevacharya's first Varnam composition was Vanajaksha in Mandari.
Vid Veena Srikanth (Veena) Disciples of (Disciple of Kalaimamani Dr.Suma Sudheendra and Vid Sujatha Thiagarajan)
P Vathapi Ganapathim Bhajeham
Vaaranaasyam Vara Pradham Sri
I worship Ganapati of Vatapi the elephant headed god who grants us boons.
It is said that this kriti is considered auspicious to be sung or heard in the dawn when the sun is visible on the horizon. Vatapi is a reference to the present day Badami in Karnataka
Mamavatu Sri Saraswathi Ragam Hindolam Adi Thalam Mysore Vasudevacharya krithi
In this kruti Dikshitar worships Ganapati the remover of obstacles.He describes his appearence and says that all gods, goddesses and sages pay obeisance to him first.
Vathapi Ganapathim Bhaje Hamsadwani Ragam Adi Talam Muthuswami Dikshitar Krithi
Next is the Sub Main Krithi of the Concert !!!
P mamavatu shri sarasvati
kAmakoti pitha nivasini
Oh goddess Saraswati who dwells at the holy Kamakoti peetham (monastry), please protect me.
AP komala kara saroja dhrta vina
sImaiita vara vagvibhushana
She holds Veena beautifully on her lotus-like hands. Her excellent words are her jewelry.
C rajadhiraja pujita charana rajiva nayana ramaniya vadana
She is perfect in the art of music. She is Vani with gentle smile.
Madhyamakala sahityam
sujana manoratha purana chatura nijagala shobhita manimaya hara
aja bhava vandita vasudeva charanarpita sakala Veda sara
Devatas bow to her holy feet. She enjoys abundant grace of supreme Vasudeva.
On Behalf of Mysore Vasudevachaya Homage Page We Whole heartedly Thanking
Vid Veena Srikanth (Veena) & Team, from, Cary. NC Padma Bushan Mysore Vasudevacharya Life & Music Special Series Concert on Today the May 26th Sunday at 8.00 PM IST 10.30 AM EDT
Vid Veena Srikanth (Veena) Disciples of (Disciple of Kalaimamani Dr.Suma Sudheendra and Vid Sujatha Thiagarajan)
Enormous Ragams Covered .
Mandari,
Hamsadhwani,
Hindolam,
Bilahari,
Khamas,
Madhyamavathi.
All the Best wishes to them in their Future Endeavors
We wish to thank all the members of the lovely audience who motivated, supported and encouraged the wonderful artistes in this Concert today..
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.
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.
When the Pallavas invaded the Chalukya kingdom, they brought the idol of Ganapati from Badami and installed it in the Tiruvarur temple. Dikshitar Swami glorifies this Ganapati
AP Bhoothaadhi Samsevitha Charanam
Bhootha Bhautika Prapancha Bharanam
Madhyamakala Sahityam:
Veetharaaginam Vinutha Yoginam
Vishwakaaranam Vigna Vaaranam
All the bhoota ganas worship his feet. He bears the world which is composed of the five elements (eart, water, light, air, space). He is beyond desire and attachment.
He is venerated by yogis. He is the root cause of the universe and he obliterates all obstacles.
C Puraa Kumbha Sambhava Munivara Prapoojitham Trikona Madhyagatham
Muraari Pramukhaadhyupaasitham Moolaadhaara Kshetrasthitham
Paraadhi Chathvaari Vaagaathmakam Pranava Swaroopa Vakrathundam
Nirantharam Nithila Chandrakandam Nijavaamakara Vidhrutekshu Dandam
Madhyamakala Sahithyam:
Karaambujapaasha Beejaapooram Kalushavidooram Bhoothaakaaram
Haraadhi Guruguha Toshitha Bimbam Hamsadhwani Bhooshitha Herambham
He is worshipped by the renowned Sage Agastya who was born in a water pitcher. He dwells in the center of the triangle meditated upon in yoga. He is adored by Vishnu.
'He is worshipped in "Mooladharakshetram (yogic symbol worshipped in a special method). He is the soul of four "transcendental mantras" and he is the embodiment of "Om Kara". he is adorned with crescent moon on his head.
He holds a sugar cane with his left hand. He holds a noose and also fruits. He is unblemished and is the embodiment of the elements of nature. Siva and Guru Guha are delighted to see him. He is adored by Hamsadhavani ragam. (sound of anklets).
The description of Lord Ganesha in the charanam is beautiful as he goes from top to bottom, completely describing all the things possessed by the Lord and his twisted trunk. Please see the picture above and you will be able to visualise the Lord perfectly.
By describing the Lord to be in the form of 'pranavaa' he refers to the brahma mantra 'Om'. Many would have seen pictures of Lord Ganesha being portrayed as circumscribed by the symbol'Om' and one can easily visualise the Lord as representing the divine brahman.
Also, completing his reference to the mystic triangle(explained above) and pranavaa('om'), you can get the complete picture by looking at this image where the pranavaa('om') is considered as the beeja mantra of the mystic triangle of aathma(soul), shakthi(energy)
and prakrithi(nature), repetition of which excites the aagnyachakra in the astral body(explained above). He concludes with the raga mudhra completing the music garland.
MANDARI - JANYA OF MELA (50) RAGAM NAMANARAYANI?
Can we include Ragam Mandari in Rare ragas? This was a doubt, since, with so many compositions in this raga, which prevents it to be called so, only a handful of krithis are heard - even among them only a couple heard in concerts.
Still, it is not that much popular also, mostly the krithis are sung as fillers in gaps. The next question is that different books quote this raga as from different origins. Let us see the various definitions.
Mandari is said to be a Dhaivatha-varja janya of mela (50) ragam Namanarayani, with following specification in many books:
S R1 G3 M2 P N2 S // S N2 P M2 G3 R1 S
Invariably, it should contain Kaishiki Nishadam (N2). But many of the musicologists and books prefer it to be called a Dhaivatha-varja janya of mela (51) ragam Kamavardhani (Panthuvarali); so that it contains Kakali Nishadam (N3) in place of N2.
S R1 G3 M2 P N3 S // S N3 P M2 G3 R1 S
Hence for all the uses, this specification is chosen by many.
Out of the Trinities, only Saint Thyagaraja has composed in this raga; but this was used earlier by composers like Oothukad Venkatakavi. There is no reference found in SSP, but Ragapravaham by D.Pattammal places it under three mela ragas,
Under mela (50) Namanarayani :
S R G M P N S // S N P M G R S
S R G M P N S // S N P M R G R S
Under mela (51) Kamavardhani as:
S R G M P N S // S N D P M G R S
And under mela (52) Ramapriya as:
S R G M P N S // S N P M G R S
It can be seen that the difference between the currently followed specification of Mandari is quite close to ragam Amritavarshini, a janya of mela (66) Chitrambari; only short of Suddha Rishabham (R1), the notes being S G3 M2 P N3 S // S N3 P M2 G3 S. The well-known musician and musicologist,
Prof. S.R.Janakiraman is of opinion that “Amritavarshini can be considered Janya of any of these melas: 51,53,54,63,65,66,69,71,72 -can be fitted into as a
Janya of 9 melakarthas. However, as per convention the earliest number is to be accorded ie.,51-Kamavardhani”. In any case, the difference between Amritavarshini and Mandari is the presence of R1 in the latter.