Vid. Madurai R Rajaram (vocal) & team from Chennai - Homage to Mysore Vasudevacharya Series
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- čas přidán 27. 04. 2024
- Sree Ramanavami Festival Special Concert Series
Homage to Padma Bhushan Mysore Vasudevacharya
28th April 2024, 8:00 PM IST (10:30 AM EDT)
Vid. Madurai R Rajaram (vocal) - Chennai
(Disciple of Ramanathapuram Vid. C. S. Sankarasivam, Vid. D. K. Jayaraman, Vid. T. M. Thigarajan & Pallavi Vid. Venkatraman )
Vid. V. Bargava Vignesh (violin)
(Son and Disciple of Vid. C K Vijayaraghavan)
Vid. Sannath Parameswaran (mridangam)
(Disciple of Sangeetha Kala Acharya Vid. K S Kalidas) - Hudba
P siddhi vinayakam seveham varam ||
I worship the wish-fulfilling Lord Vinayaka. He is great.
Wah ! Asaithradhu
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.
Excellent concert ...👏👏🙏🙏🙏🙏
Aabheri fevrite raga
rAma nAmaM bhajarE Ragam madhyamAvati Adi Talam Thyagarajar Krithi
Soooooooper !!!!
Good
👍👍👍
Bantu Reethi Kolu is one of the most popular Thyagaraja Krithis loved by Carnatic buffs of all ages. Thyagaraja, most famous for his Pancharatna Krithis, was one of the greatest Indian composers of Carnatic music. Bantureethi Kolu Carnatic song is composed in ragam Hamsa Nadam (Hamsanaadam) and Thalam Aadi (Adi). In this Keertana, Tyagaraja requests Rama to give him the job of a servant which will eradicate his ego. He adds that it will make him a humble devotee of Rama.
In this beautiful Bantureethi Kolu Carnatic song, Sri Thyagaraja swamy pleads with Lord Ram to give him the post of a guard for Rama. The symbolic meaning is that he always wants to be in his presence always (Sri Rama's Sannidhi).
In the Anupallavi, Sri Thyagaraja Swamy says that, the guard’s post should be such that he is empowered to destroy all the demons which are Arishadvargas (Arishad Vargas are the six passion of mind, they are Kama - lust, craze, desire; Krodha - anger, hatred; Lobha - greed, miserliness, narrow minded; Moha - delusory emotional attachment; Mada or Ahankara - pride, stubborn mindedness; and Matsarya - envy, jealousy, show or vanity, and pride) and since the guard is empowered to do so, he needs such a guard's post.
In the Charanam, Thyagaraja says he should be blessed with the emblem of Ramabhakti, given a sword called Rama Naama (the name of Rama) to perform his guard's job.
On Behalf of Mysore Vasudevachaya Homage Page We Whole heartedly Welcoming
The Ranganatha temple is also the religious center of Sri Vaishnavism propagated by Saint Ramanuja from Srirangam
Neelambari - A raga that is soothing, like a lullaby that cradles one’s senses, is Neelambari. This is a raga that is associated with relaxation, peace, and slumber. A janya of Shankarabharanam, Neelambari has gamakas that flow seamlessly from one note to another, blending subtle notes, like a shading on a canvas, and finally it all merges into one phrase that make so much sense.
This raga brings forth piety, devotion, and maternal instincts in one’s heart. In the ancient Tamizh pann system, ‘Megaraga Kurinji’ is the equivalent of Neelambari. It is interesting to note that the Hindustani raga Neelambari has no semblance to the Carnatic Neelambari. The arohana - avarohana of this raga is SRGMPDNS / SNPMGRGS, this being theoretical, of course. In practice, this raga is defined by its characteristic phrases such as ‘SNDNSNP...’, and by the various ways the oscillation is imparted to the madhyama note. The notes in this raga apart from sadja and pancama are chatusruti rishabha, antara gandhara, suddha madhyama, chatusruti dhaivata, and kakali nishada. The kaisiki nishada occurs as a bhashanga swara (foreign note) and may be noticed in phrases such as ‘PDNDDPMG’.
This is Utsava Sampradaya keertana (traditional festival song) is lullaby. Devotees keep deities on a cradle and sing lullabies praising the qualities of their favorite God and derive immense happiness
This Krithi is on Srirangam Temple , Lord Vishnu, and is considered one of the 108 Divya Desams, or holy shrines of Vishnu.
It belongs to the 22nd melakartha Kharaharapriya. Svaras used are Shadja, Chatusruti rishabha, Sadharana gandhara, Sudha madhyama, Panchama and Chatusruti dhaivata. It is an audava vakra shadava raga, gandhara and nishada varjya in the arohana and nishada alone in the avarohana. Tyagaraja introduced this raga to Carnatic music through his 3 kritis ie.1) Ramabhakthi-Adi, 2) Toline jesina-Adi, 3) Tappagane-Rupaka.
Sancharas :-
s,rsd, sr,r, - srm,r -rmp,m -r,g, grrs - rsd,p, - mp d s r s d. , - s r , - r m r , - r m p d p m r , -. r,g rs - dsr , - rmp , rmpdpmr, - r,g rs d sr, -rmp mpd - pds - sdpmr, - p m p d s , -s , s , - d s r , r , - s r m r , s d , - s r m , r s - drsd,p, - mpdsdpmdpmr, - r,g,grs, - dsr,s, - drsdp, - m pds,
Analysis :- In the kriti „Rama bhakti samrajyam‟ - raga Sudha bangala Tyagaraja describes the ecstasy he experienced. The deletion of gandhara in the arohana and its prayoga in the avarohana resembles the raga Sri, generates the feeling of devotion. Tyagaraja begins his kriti with the svara mandrasthayi dhaivata. 5th sangathi of pallavi avarohana krama is present. d,,s, r,,, srmp dsrm
rsrs dsdp mrg,grrs. ra-ma bha---- kthi---- sa---- mra----- ---jya---
„s r m , r‟, „r m p , m‟ are beautiful prayogas . Madhyamakala sancharas are
more attractive. Kriti begins with mandrasthayi dhaivata and ends with madhyasthayi shadja. Sancharas ranges from mandrasthayi dhaivata to
arasthayi panchama. This kriti is well suited to initiate a concert and infuse
bhakthi straightaway. Tyagaraja considers bhakthi as a kingdom by itself and
dds blessed are those who have attained it.
Ra Ra Rajeeva Lochana Mohanam Ragam 2 (Kalai) Adi Talam Mysore Vasudevachar
In this kruti Vasudevacharya praises Rama as the supreme soul and as the Lord of Sita. He declares that he always kept absolute faith in Rama only.
Bantureeti - Hamsanadam - Desadi - Thyagaraja
Main Krithi
The temple worship at the Ranganatha Swamy temples is done traditionally in the Tamil and Sanskrit scriptures written by the 12 Alvars and Ramanuja.
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.
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).
P ra ra rajeeva lochana rama nannu brochutaku
deena srita jana mandara karuna para vara ||
Oh lotus eyed Rama, please come to protect me. You are the sacred Mandaara flower for the distressed who seek your protection. You are ocean of compassion.
AP e ra nee karuna kalgani karana memo kanara
murari vinuta subhada sucharita
paratpara dharani ja manohara ||
Oh Rama, I don't know why you are not compassionate to me. You are adored by Sri Krishna. You are bestower of happiness and you are known for your excellent character. You are the supreme soul. You captivated the heart of Sita the daughter of the earth.
C nee ve na vibhudani niratamu
nee padamulanu nera nammiti
nee vadani nanu karuninchi
ee vela na cheyi viduvakura
deva deva daaaratha nrupa nandana
dasa mukhadi sakala ripu jana harana
neevanadarana seyakura
pavanajapta sree vasudeva !
I considered you as my lord and I always had absolute faith in your feet. Pity me as your own and please don't leave my hand. Oh lord of the lords, Oh son of King Dasaratha, you defeated the ten headed Ravana and his clan. Please don't neglect me. Oh Vasudeva, you are very dear to Anjaneya, the son of Vayu the wind- god.
P rAma bhakti sAmrAjaya mE mAnavula kabbenO manasA ||
Oh my heart. Who will enjoy the splendor of the kingdom of devotion to Rama.
AP A mAnavula sandarSana atyanta brahmAnandamE ||
Visiting such people is itself a Supreme Bliss.
C ee lAgani vivarimpa lEnu chAlA swAnubhava vEdyamE
leelA srushTa jagatraya manE kOlAhala tyAgarAja nutuDagu ||
I cannot describe, It can only be experienced.
All the three illusory worlds are Vishnu's creations.
He is worshipped by Tyagaraja.
Reethigowla is the name of a raga. Not just a raga, it is something like the chocolate of Carnatic music… an aphrodisiac, if I might go to the extent of describing! Reethigowlai is a rakthi ragam meaning it has inherent jana ranjaka prayogams and phrases. A vakra ragam the phrases ni sa ga ga ma, ga ma ni ni sa is the most ranjaka phrase.
Lets observe the pair of phrases we just talked about
Ni Sa Ga Ga Ma
Ga Ma Ni Ni Sa
Here the pairs (Ga, Ni) and (Sa, Ma) are vadi samvadi pairs meaning their sruthi values compliment each other and one is a perfect multiple of other. Thus Jantai Ga and Ni are highlights of the ragam. The only other ragam which can get away with Ni Ni phrases and sound melodic is Poornashadjam. No other ragam has this uniqueness.
This is one of the reason why Pa is used less in Reethigowlai. Sa always matches Ma and Pa can come only as Ma Pa Ma or Ni Pa Ni. Thus Pa gets covered between the notes.
Ri and Da are vadi samvadi too - that's why we have the phrase
Sa Ni Da Ma
Ma Ga Ri Sa
and Ni Da Ma - Ga Ri Sa phrases too
Vadi Samvadi are nature's way of arranging perfect fourths and perfect fifths notes. They rhyme in unison and sound so aesthetic. If you are able to identify the sonant-consoanant pairs in ragam, that reveals the uniqueness in the ragam and one can identify the ragam very easily.
An Interesting history behind the ragam :
Reethigowlai is a fairly new ragam, got famous during trinity period. The earlier version of this ragam was called Narireethigowlai, a Raganga ragam (20th in modern nomenclature) in Venkatamakhin scheme, it used Suddha Dhaivatham. The ragam created a small shokam effect due to the suddha note. Reethigowlai uses D2 note and sound more melodic.
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
Wonderful
On Behalf of Mysore Vasudevachaya Homage Page We Whole heartedly Thanking
Vid Madurai R Rajaram (Vocal) & Team, from Chennai TN Padma Bushan Mysore Vasudevacharya Online Page Sreeramanavami Festival Special Series Concert on Today the April 28th Sunday at 8.00 PM IST 10.30 AM EDT
Vid Madurai R Rajaram (vocal) (Disciple of Desciple of Ramanathapuram Vid.C.S.
Sankarasivam, Vid D.K.Jayaraman , Vid.T.M.Thiagarajan & Pallavi Vid Venkatraman)
Vid V.Bargava Vignesh (Violin) (Son and Disciple of Vid. CK Vijayaraghavan)
Vid Sannath Parameswaran (Mridangam) (Disciple of Sangeetha Kala Acharya Vid K S Kalidas)
Enormous Ragams Covered .
Mohanakalyani,
Sourashtram,
Suddha Bangala,
Mohanam,
Kanada,
Reethigowla,
Abheri,
Durbar,
Madhuamavathi,
Shadvidhamaargini,
Neelambari.
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..
Lali ugavee Ragam Neelambari Thalam Roopakam Thiagarajaru
In this krithi Tyagaraja considers devotion to Rama as enjoying the kingdom of Rama. He also says that Supreme bliss of His Presence is indescribable and could only be experienced, SrI tyAgarAja describes the ecstasy he experiences. This song is addressed to his mind.
In this krithi Tyagaraja considers devotion to Rama as enjoying the kingdom of Rama. He also says that Supreme bliss of His Presence is indescribable and could only be experienced.
Ramabhakti Samrajyam is a phrase that refers to the empire of Rama Bhakti, which is a rare experience of closeness with Saint Thyagaraja. The term Samrajyam literally means "an empire," and the ruler of the Samrajyam is called an emperor. Saint Thyagaraja is considered to be the emperor who ruled the Samrajyam of Rama Bhakti
Gist :- O Mind! Who are the blessed souls who have attained the Kingdom of devotion for SrI RAma? The mere sight of those sublime souls who have been blessed with the kingdom of devotion to RAma is capable of conferring Supreme Bliss, here and hereafter. This Bliss is beyond words. It can only be experienced by those who endear themselves to Him by unswerving devotion to Him. He has created the three worlds for His diversion.
Vid Madurai R Rajaram (vocal) (Disciple of Desciple of Ramanathapuram Vid.C.S.
Sankarasivam, Vid D.K.Jayaraman , Vid.T.M.Thiagarajan & Pallavi Vid Venkatraman)
Vid V.Bargava Vignesh (Violin) (Son and Disciple of Vid. CK Vijayaraghavan)
Nanu vidachi Ragam: Reeti gowla 22 kharaharapriya janya Mishra Chapu Talam Thyagarajar Krithi
Reethigaula
Vid Sannath Parameswaran (Mridangam) (Disciple of Sangeetha Kala Acharya Vid K S Kalidas)
Bantureethi Kolu Carnatic Song Lyrics - Thyagaraja Krithis Lyrics with meaning
P Bantu Reeti Kolu Viyavaiyya Raama (Bantureethi)
Give me the job of a servant to you, Oh Rama.
AP Tunta Vinti Vaani Modalaina Madaa
Dula Gotti Nela Goola Jeyu Nija
(Bantureethi)
That will destroy all my evils and ego.
C Romanja mane Manu Ghana Kancukamu
Raama Bhaktudanu Mudra Billayu
Raama Naama Manu Vara Khadga Mivi
Raajillu Naiyya Tyaagaraajuni Ke
(Bantu Reethi)
Hair-raising thrill in Rama's service is his shield.
The identification badge as Rama's devotee and Rama's name as his sword, make Tyagaraja successful.
In this beautiful Bantureethi Kolu Carnatic song, Sri Thyagaraja swamy pleads with Lord Ram to give him the post of a guard for Rama. The symbolic meaning is that he always wants to be in his presence always (Sri Rama's Sannidhi).
In the Anupallavi, Sri Thyagaraja Swamy says that, the guard’s post should be such that he is empowered to destroy all the demons which are Arishadvargas (Arishad Vargas are the six passion of mind, they are Kama - lust, craze, desire; Krodha - anger, hatred; Lobha - greed, miserliness, narrow minded; Moha - delusory emotional attachment; Mada or Ahankara - pride, stubborn mindedness; and Matsarya - envy, jealousy, show or vanity, and pride) and since the guard is empowered to do so, he needs such a guard's post.
In the Charanam, Thyagaraja says he should be blessed with the emblem of Ramabhakti, given a sword called Rama Naama (the name of Rama) to perform his guard's job.
Ramabhakti samrajya Ragam Sudda bangla Adi Talam Thyagarajar Krithi
ranganAthuDE antaranga Ragam Sourashtram Rupaka Talam Ponniah Pillai
Lord Raama s kuladeivam is Sri Ranganathar.
siddhi vinayakam sevakam Mohana kalyani Adi Dr HMB Krithi
Mohanam is a Mangala Raga
Mohanam The Most Pleasing and Enchanting Raga Truly “Jaganmohanam
Appropriately named for its beauty, rAgam MOHANAM is a very pleasing and enchanting pentatonic scale, that captures the mind of every listener. A janya of the 28th Melakarta Haikambhoji, it is an audava audava raga.
The beautiful colours and shades of Mohana raga is just brought out in 5 swaras.This raga is called as Bhoop in Hindustani. Suitable for singing at all times, but the night time is best suited for this ragam. Ancient name of Mohanam is “rEgupti” or “raghupati”.
Arohana: S R2 G3 P D2 S
Avarohanam : S D2 P G3 R2 S
( Chatusruti Rishabam, Antara Gandharam, Chatusruti Daivatham.)
Raga chaya svarams/Jiva svarams: ri, ga, dha
Nyasa svarams: ga and pa
Graha svarams : ga, pa dha
Prayogams of the type of “Janta”(dual swaras like gagapapadhadha) and “Datu”(skipping of a swara in between like dhagarigasari) lend great enchantment to the raga and make it very captivating. The notes R and D can be oscillated. G gets a kampitha gamaka or in the prayogas where there is a heavy expression of Gandharam as PG…
where Panchama is played in Gandharam (in Veena). Gamaka or oscillation make these notes beautiful, and prayogas in the raga aalapana containing these notes with gamaka are really bewitching… Mohanam has the ability to lift up a sagging concert.
A sarva svara mUrccanakAraka rAgam. All the four notes ri, ga, pa, dha admit graha bhEdam (modal shift of tonic). The ri, ga, pa, dha mUrccanas of mOhanam result in rAgams madhyamAvati, hindOLam, shuddha sAvEri and udayaravicandrika, respectively.
This raga was known as Mullai Pann in ancient times. Mohanam is basically a Veera rasa pradhana raga. A wide range of emotions like Sringara,Karunya etc can be very well portrayed in this raga. A well tread Mohanam reveals its folkish melodies too. Heavy classical compositions as well as light ones sound beautiful in this raga.
Historically speaking, mOhanam is perhaps the oldest rAgam known to mankind. Dr. S. Ramanathan’s doctoral dissertation on the music in shilappadikAram mentions that it is one of the most ancient paNNs. This pentatonic scale is, therefore, found in the music of various nations, including primitive tribes.
Ancient chinese, japanese, hungarian, swedish, and gypsy music all have traces of Mohanam.This raga claims to possess international melody. This raga is widely used in many countries namely Burma, Thailand, Japan, China. The national Anthem of Thailand is set in raga Mohanam.
MOHANA KALYANI - JANYA OF MELA (65) RAGAM MECHA KALYANI
‘Mohana kalyani’, as can be inferred is a combination of the two ragas, Mohanam and Kalyani, if we look at the meaning - ‘Mohanam’ means beautiful in everything (we can’t find a better equivalent in English);
‘Kalyani’ is one which brings in auspiciousness - the raga should possess both the qualities; yes, still it remains as a Rare Raga. But unlike other rare ragas, though the number of compositions are less, most of them are heard sung in concerts.
Mohana kalyani is an oudava - sampoorna ragam, with notes of Mohanam in arohanam and of (mecha) Kalyani in the avarohanam; the structure can be seen as:
S R2 G3 P D2 S // S N3 D2 P M2 G3 R2 S
There is no other contradictory specifications found in any reference.
While Mohanam is a janya of mela (28) Harikambhoji (or mela-29 Sankarabharanam), losing Suddha Madhyamam and Nishadam, it can also be obtained by removing the same notes from the Prathimadhyama raga, mela (65) Mecha kalyani; hence it is said to be a janya of Mecha Kalyani (this is only technical).
The most interesting fact is that if the M2 in the avarohanam of this raga is changed to M1, it becomes Bilahari, a raga with no similarity at all. In Hindustani, Bhoop is the equivalent of Mohanam; hence the equivalent raga of Mohana kalyani is ‘Bhoop Kalyan’ (Shuddh kalyan).
Dr. Muthiah Bhagavathar is said to have created and popularized this raga. Some musicologists are of the opinion that this was only popularized by the legend and the raga owes its existence to him.
Others believe that Mohanakalyani was not invented by Dr. Muthiah Bhagavathar, but he introduced it to Carnatic Music; like Muthuswami Dikshitar adapting Dwijavanti, Ramkali and Brindavanasaranga.
The equivalent raga Shuddh Kalyan existed in Hindustani music long before this (Sri. Lakshman Ragde).
sowkhyam
Vid Madurai R Rajaram (Vocal) & Team, from Chennai TN Padma Bushan Mysore Vasudevacharya Online Page Sreeramanavami Festival Special Series Concert on Today the April 28th Sunday at 8.00 PM IST 10.30 AM EDT
AP buddhi dEvi varam bhOgi kankaNa karam
Suddha kaLEbaram sOma kaLAdharam ||
Goddess Saraswati blessed him with intellect. He adorns snake as bracelet. He is unblemished. He adorns crescent moon.
C modaka hastam mooshika vahanam
munijana hrud geham mohanidanam
vedasamooham bodha pravaham
sreeda nivasam srita harikesam ||
He holds 'Modaka' sweet in his hand. His vehicle is mouse. He dwells in the hearts of sages. He dispels fascination. He is personification of the Vedas. His preachings flow like stream. He is bestower of wealth. Sri Harikesa protects him.
Sourashtram raga Janyam of 17th Mela Suryakantham
This is the Janya ragam of the melakartha ragam Suryakantam. Though it is a janya ragam,
Aro: S R₁ G₃ M₁ P M₁ D₂ N₃ S // Av: S N₃ D₂ N₂ D₂ P M₁ G₃ R₁ S
it is much more popular than its melakarta ragam and apart from Sowrashtram, only Vasantha is the other Janya of Suryakantam, which is popular.
Though there are several compositions in Carnatic music in this slow moving ragam, it is not sung very often in concerts, may be because it offers limited scope for elaboration..
In Thevaram- the collection of songs of Saivite Saints Nayanmars- it is popular and it is known as Viyazhakkurinji Pann.
P lAli yugavE mA pAli daivama ||
Oh my dear lord, enjoy the swing.
AP lAli yugavE nunu gAlidinDi pAnpu paina ||
Please swing on soft Sesha talpam. enjoy the swing. ( Lord Vishnu reclines on serpant Vasuki)
C1 pammina vEDuka meera tammula tOnu
kammani viDe mosagu yA janakAtmaja tOnu ||
Please swing pleasantly with your brothers and with Janaki the daughter of Janaka. She offers tasty betel leaves to you.
C2 bomma dEvara tanDri bhoomeeSula tODanu
sammatamuna tyAgarAju sannuti sEyaga ||
Oh Lord, you are the father of Brahma. Swing while Tyagaraja worships you whole heartedly along with the other kings.
Bhajare Re Manasa Ragam: Karnataka Devagandhari (Abheri) Talam Vilamba Kala: Adi Composer: Mysore Vasudevacharya
My fevrite raga
In this krithi Tyagaraja requests Rama not to leave him even for a minute because Rama was like a pearl obtained from Ocean after a great struggle. SrI tyAgarAja depicts the prayer of prahlAda to the Lord.
O Lord rAma! O Beloved of lakshmI! O Lord praised by this tyAgarAja!
Please do not move away leaving me; do not abandon me at this moment.
I shall not bear separation from You even for half a minute.
It is as if -
(a) when there is unbearable heat, finding shadow of the celestial tree;
(b) diving into sea holding breath and finding a perfect pearl; and
(c) when it is parched, there is heavy hailstorm;
In the same manner as quarrying the earth and attaining a treasure trove, I discovered You; therefore having come near me, please do not move away leaving me.
Please govern me well here; this (my) body is Your property.
SanjIvi malaiyai konardavan Adi talam Madurai GS Mani Krithi
pallavi
sanjIvi malaiyai koNardavan ciranjIvi enum paTTam peTravan hanumAn
anupallavi
anjana dEvi konjum puttiran sIta cancalam tuDaitta rAma mittiran gAtiran
caraNam 1
rAma kaDai tannil magizhbavan sItArAmanai hrdayattil bhajippavan
rAma nAmattin perumayai uNardavan shivasomanin amsattai peTravan kaTravan
caraNam 2
engellAm rAma nAmam uNDO evar angellAm iruppaduNDu tan angam maranda
nilai koNDu jai jai rAm mukunda hari hari jai jai rAm anjaliyuDan tudippaduNDu anru
P ranganAthuDE antaranga nAthuDE
He is Ranganaatha, the lord of the world , who lives in Sriranga.
AP mangLapratambu liccu mahAdEvuni sakhuDE
He is the one who bestows auspiciousness . He has divine qualities .
C1 Sathathamu Vaani Naamame
Sankeerthanamunu Jesina Janula
Hridayakamala Mandu Chalakuchunnade
Pathitha Paavanudanu Virudu Batti Yunnade
Sadgati Icchu Vaadu Ithade Garuda Gamana Dora Ithade! (Sri)
The entire universe is in His name . He lives in the lotus-like hearts of the good people who recite and sing his name. He holds the hands of the pure souls . He is the one who gives salvation . He is the one who rides on the eagle mount called Garuda.
C2 Padiyaruveyla Sthrilaku Praana Naadu Ithade
Parashuraama Garva Mella Bhanga Parachinaade
Mudamumeera Paanamulaku Mokshamichinaade
Parama Dayaakarude Sri Prahlaada Varadhude (Sri)
He is the soul mate of 16000 (“padiyaru (16) veyla ) women , a story from the Krishna avataara who were freed from Narakaasura. He is the one who suppressed & destroyed the ego (“Garva Mella”) of Parashuraama. He is the one who gave salvation to a large number of devotees He is the one with supreme compassion . He is the one revered and who gave boons to: Prahlaada, the exemplary devotee.
SUDDHA BANGALA - JANYA OF MELA (22) RAGAM KHARAHARAPRIYA
Ragam Suddha Bangala seems to be created by Saint Thyagaraja only; as there is no reference to this raga found anywhere before his period.
Again it seems that only the Saint has composed three krithis in this raga; so could not be grouped under Eka-krithi ragas. Suddha bangala is a very sweet raga; mostly evoking bhakthi,
karuna, devotion etc. Unlike many other ragas like Hindolam, Dhanyasi, Saveri etc., for which there are ragas prefixed with ‘suddha’ and having some similarities with the counterparts, the ragas Suddha Bangala and Bangala have no claimable similarities.
Here is the ragaswaroopa:
S R2 M1 P D2 S // S D2 P M1 R2 G2 R2 S
Though SSP shows no reference to this raga, Ragapravaham gives the same specification; in addition, it gives another specification under mela (54) Vishvambari as:
S R1 M2 P D3 S // S D3 P M2 R1 G3 R1 S
Now, we come to a very interesting point. Please look at the notes for the two ragas, Suddha Bangala and Shriragam.
Sud. Bangala : S R2 M1 P D2 S // S D2 P M1 R2 G2 R2 S
Shriragam : S R2 M1 P N2 S // S N2 P M1 R2 G2 R2 S
(Though there is another avarohanam for Shriragam, this was the type used by Venkatamakhi in his Geetham, also by Saint Thyagaraja (Endaro mahanubhavulu) and Dikshithar (Sri Varalakshmi).
We can see that the only difference is the D2 and N2 being interchanged in the two. So, like the Madhyamavathi group, we can formulate another similar group of Suddha Saveri, with D2 in place of N2 as:
(A) Madhyamavathi : S R2 M1 P N2 S // S N2 P M1 R2 S
Manirangu : S R2 M1 P N2 S // S N2 P M1 G2 R2 S
Shriragam : S R2 M1 P N2 S // S N2 P M1 R2 G2 R2 S
Similarly,
(B) Suddha Saveri : S R2 M1 P D2 S // S D2 P M1 R2 S
Lokendrini : S R2 M1 P D2 S // S D2 P M1 G2 R2 S (also called Lokottharamani)
Suddha Bangala: S R2 M1 P D2 S // S D2 P M1 R2 G2 R2 S
(the above is only a theoretical approach; in practice the members of the second group may differ due to their origin, as well as other properties).
Compositions:
Ramabhakthi samrajya - Thyagaraja
Toline jesina - Thyagaraja
Tappagane vacchuna - Thyagaraja
Aaro vandennai - Sudhananda Bharathi
Nannu brovasamayamu (V) - NCH Krishnamacharyulu