Chi. Aditya Sridhar (vocal) & team from Chennai - Homage to Mysore Vasudevacharya Series
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- čas přidán 3. 05. 2024
- Special Carnatic Music concert
Homage to Padma Bhushan Mysore Vasudevacharya
4th May 2024, 8:00 PM IST (10:30 AM EDT)
Chi. Aditya Sridhar (vocal) - Chennai
(Disciple of Vid. Dr. Sridhar Nilakantan)
Vid. V Bargava Vignesh (violin)
(Disciple of Vid. Chitoor Vijayaraghavan)
Chi. Vamsidara Anand (mridangam)
(Disciple of Vid. Pongulam Ramakrishnan) - Hudba
lovely talented singer
Lovely Voice !!!
Absolutely Divine Blissful and Superb Concert All the Best Wishes 👋👌👋
Wah !!! Superb !!!!
Excellent Start !!!
Sooooooper Alapanai !!!
Lovely Aalapani !!!
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.
The form of Lord Ganesha is beloved to millions from India.
There is something so appealing about it One would like to absorb the lesson of ‘Listen, think, then write’ message from the story of Vyasa’s dictation of the Mahabharata to Lord Ganesha, as represented by His large ears (listen), His large head (think) and the missing tusk (write).
This song is a beautiful prayer song in the raga Gowla written by Mysore Vasudevachar.There are some ragas which immediately evoke the presence of certain Gods or Goddesses.
Raga Hamsadhani Natta etc , for example, makes one think immediately of Lord Ganesha for it has the same powerful, strident, confident quality that one finds in Lord Ganesha.
Similarly raga Gowla, has the a steady and rooted quality to it, as well as a certain majesty and grandeur which echoes the qualities of Lord Ganesha.
Gowla is particularly impressive in the Mandra Sthayi (the lower octave) and the lower half of the chosen octave (listen to Tyagaraja’s Dudukugala to appreciate this).
This gives it a certain weight which reminds one of the heaviness of the form Lord Ganesha and his quality of being a foundation for everything.
On Behalf of Mysore Vasudevachaya Homage Page We Whole heartedly Welcoming
Now Super Thani !!!
SUNADA VINODINI - JANYA OF MELA (65) RAGAM KALYANI
Ragam Sunadavinodini is a Rare Raga indeed, but in practice, almost qualifying to be grouped along Eka-krithi ragas. But there are few compositions available and most of them are heard sometime or other, that it was included in Rare Ragas.
The raga is known mostly through the composition, “Devadi deva” by Mysore Vasudevacharya.
The raga is ‘Panchama-varjya’, usually considered as a janya of mela (65) Kalyani ragam; but also can be obtained from mela (53) ragam Gamanashrama, by dropping Rishabham and Panchamam.
The notes are, Shadjam, Anthara Gandharam, Prathi madhyamam, Chathusruthi Dhaivatham and Kakali Nishadam, as:
S G3 M2 D2 N3 S // S N3 D2 M2 G3 S
Sunadavinodini is an allied raga of ragam Hamsanandi and shows resemblances to a considerable extent; the only difference being the presence of Suddha Rishabham (R1) in both arohanam and avarohanam of the latter.
Not to be confused with a similar composition, “Devadi deva sadasiva” by Saint Thyagaraja, which is in ragam Sindhuramakriya.
Ragapravaham by D.Pattammal places it under both melas (53) Gamanashrama and (65) Kalyani; confirming the same ragaswaroopa as above.
Compositions:
Devadi deva - Mysore Vasudevachar
Nannu Brovuvamma - Madurai somu
Munde Phala - Purandaradasa
Ambare Chidambara - Muthuthandavar
Gnani ansaraja - Sant Tukkaram
Gana Nayaka (V) - N.S.Ramachandran
Devi Kavai shri(V) - A.Govindarajan
Sunadha vinodhini vaarini Sri K Ramraj Krithi
In this song, Vasudevacharya expresses his gratitude to God Vasudeva for blessing him to be his devotee dispelling the six evils.
The song's lyrics include, "Oh Lord of all Gods Sri Vasudeva, protect me, You are embodiment of mercy.
Devadi deva sree Vasu Deva ragam Sunada vinodini Adi Talam Mysore Vasudevachaya Krithi
Pranamamayaham Ragam Gowla 15th Mela Janya Mysore Vasudevacharya Krithi
This Kriti was originally composed in Sanskrit
Bhajana seya rada Dharmavathi Roopaka Talam Mysore Vasudevacharya Krithi
Lovely Replication on Violin !!!
Next is Sub Main Krithi of the Concert !!!
Next is the Main Krithi of the Concert !!!
Pavamaana Suthudu Pattu, Pathara Vinthiya Mulaku
Nee nama rupamulaku, Nitya Jaya Mangalam
Prahlad NaraDadhi, Bhaktulu Pogadu Sandhu
Nee nama rupamulaku, Nitya Jaya Mangalam
Rajeeva Nayana Thyaga, Rajathi Vinudhamaina
Nee nama rupamulaku, Nitya Jaya Mangalam
We have one more Krithi Please Stay with us Thank you all !!!
P Pranamaamyaham Sree gaureesutham
phanithal_pa-vaasudaeva-bhaktham-sathatham
प्रन्मंयाहं श्री गौरीसुतं
फनितल्प-वासुदेव-भक्तं सततं
I constantly salute the son of Gauri, the devotee of Vaasudeva who uses a snake (phaNi) as a couch .
AP Gananaathha-amara-vrnda-saevitham
phaNihaara-bhooshitham munivara-vanditham
गणनाथ-अमर-ब्र्न्द-सेवितं
फनिहर-भूषितं मुनिवर-वन्दितं
Lord of the gang of attendants of Shiva , served by a multitude immortals , adorned by a snake as a garland , praised by the best of sages .
C dhrtha-chaaru-moadakam gajamukham
Sreethakaraamitha-garva-bhanjakam
natha-bhootha-santhoashadaayakam
Sritha-bhaktha-paalakam siddhivinaayakam
धर्त-चारु-मोदकं गजमुखं
स्रितकरमित-गर्व-भन्जकं
नत-भूत-संतोशदयकं
सरित-भक्त-पलकं सिद्धिविनायकं
Holding his beloved sweet , elephant faced , destroyer of the moon’s endless arrogance , giver of happiness to the world of those who bow to him , protector of those devotees who worship him , remover of obstacles so that we may attain fulfilment .
Pavamana Suthudupattu - Sowrashtram - Thyagarajaja Krithi
Chalamela Jesevayya Raga Natakurinji Tala Aadi By Mullai Veedu Ranga Swamy Nattuvanar
P bhajare re maanasa Sree raghuveeram
bhukthi mukthi pradam vaasudevam harim
The notes for the two ragams are given below:
Dharmavathi Aro S R2 G2 M2 P D2 N3 S AV S N3 D2 P M2 G2 R2 S
Maduvanthi Aro S G2 M2 P N3 S AV S N3 D2 P M2 G2 R2 S
It is the 5th rāgam in the 10th chakra Disi. The mnemonic name is Disi-Ma. The mnemonic phrase is sa ri gi mi pa dhi nu
Dharmavati's notes when shifted using Graha bhedam, yields 2 other Melakarta rāgams, namely, Chakravakam and Sarasangi.
Incidentally there is another Thyagaraja Kriti - Bhajana Seya Raada - Raga Athana
You dispel all my six enemies namely lust, anger, delusion, greed, arrogance and jealousy (kama, krodha, moha, lobha, mada, matsarya) and make me your humble devotee".
This composition has a bhakti bhava mixed with aarthi. The song is rendered in the tone of helplessness mixed with restlessness. But it's not sad.
In this kruti of Mysore Vasudevacharya, appeals to himself to worship Sri Rama the protector of devotees, with devotional songs.
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).
Chi. Vamsidara Anand (mridangam)
(Disciple of Vid. Pongulam Ramakrishnan)
Ragam Gowla janya of 15th Mela Mayamalavagowla
Aro : S R1 M1 P N3 S’ Av : S’ N3 P M1 R1 G3 M1 R1 S
As the name suggests, it must have originated from the ancient Bengal region, which was known as Gowla desam.
This ragam is more suited for beginning the concerts. Hence there are number of songs in this ragam in praise of Lord Ganesa.
This ragam has its counterpart in Tamil Isai also in the form of a pann. This ragam is more suited for singing Bhakthi related songs, especially in the mornings.
Gowla is one of the Ghana Raga Panchakam, a group of 5 ragas namely Natta, Gowla, Arabhi, Varali and Sri in which
Tyagaraja composed his famous Pancharatna kritis. Subbarama Dikshithar describes these as particularly suitable for singing from the nabhi (navel).
This is a raga with a certain majesty. Some well known compositions in this raga are Dudukugala by Tyagaraja, Tyagaraja Palayasumam by Dikshithar and Pranamamyaham by Mysore Vasudevachar.
P devadi deva Sree vasu deva kavumayya nannu karunala vala ||
Oh Lord of all Gods Sri Vasudeva, protect me, You are embodiment of mercy.
AP ee vela na yaru satrulanu neeve para droli nija bhaktu jesi ||
Today you dispel all my six enemies namely lust, anger, delusion, greed, arrogance and jealousy ( kama, krodha, moha, lobha, mada, matsarya) and make me your humble devotee.
C ne jesina pooja phalamo na poorvajula punya phalamo
Sree janakeeaa ee janmamichchi nannu dhanyuniga bhuvi jesitivi ||
It may be the result of my prayers. It may be due to the piety (punyam) of my forefathers. Oh Lord of Janaki, you blessed me with this birth and made me fortunate in this world
Oh Mind , meditate upon the heroic Raghuveera. He is bestower of food. He bestows salvation. He is Vasudeva
Chi. Aditya Sridhar (vocal) - Chennai
(Disciple of Vid. Dr. Sridhar Nilakantan)
Vid Vamsidara Anand (Mridangam) (Disciple of Vid Pongulam Ramakrishnan)
Chi Aditya Sridhar (Vocal) and Team from Chennai TN Special Carnatic Concert on Today the 4th May, Saturday 8:00 PM IST 10:30 AM EDT
Vid. V Bargava Vignesh (violin)
(Disciple of Vid. Chitoor Vijayaraghavan)
Vid Bargava Vignesh (Violin) (Disciple of Vid Chitoor Shri Vijayaraghavan)
Aditya Sridhar (Vocal) (Disciple of Vid Dr. Sridhar Nilakantan)
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.
Good concert. Violin sound was little less. Great choice of songs.Mridangist , great accompanist , elevated the concert .
Nattakurinji
The scales of Raga Nattakurinji are as follows :
Aarohanam (Ascending) : S R2 G3 M1 N2 D2 N2 P D2 N2 S’
Avarohanam (Descending) : S’ N2 D2 M1 G3 M1 P G3 R2 S
It is a Janya raga, derived from Harikambhoji which is 28th on the Melakarta This gentle raga which evokes devotion and compassion. Opinions differ as to the suitable times to sing this raga; some say daytime others say evenings.
Natakurinji is a relatively recent raga. There is no reference to this raga in pre-18th century literature . The name of the raga suggests that the origins of this raga are in the music of the early Tamils. But, there is not much evidence in support of this hypothesis. Some scholars assign kurinjippan to the contemporary scale Harikambodi. Musicological works like the Sangita Makarandam (ca. 7th century CE) and the Caturdandi Prakasika (ca. 17th century CE) contain no references to Natakurinji.
According to Prof. Janakiraman, Tulaja’s Sangita Saramrta (ca. 1735 CE) refers to this raga. Natakurinji is also described in Govinda’s Sangraha Choodamani (ca. 19th century CE). The descriptions of Natakurinji in these two treatises coincide approximately with the raga’s current form.
As this raga does suit elaborations, it is not unusual to see it chosen as one of the major pieces of a concert. Well known krithis in this raga Manasu Vishaya by Tyagaraja, Vazhi Maraithirukude by Gopalakrishna Bharati, Budham Ashrayami by Muthuswami Dikshithar, Mamava Sada Varade by Swati Tirunal and Paal Vadiyum Mugam by Oothukadu Venkata Subbaiyer. Na cheyi viduvakura Mysore Vasudevacharya
On Behalf of Mysore Vasudevachaya Homage Page We Whole heartedly Thanking
Chi Aditya Sridhar (Vocal) and Team from Chennai TN Special Carnatic Concert on Today the 4th May, Saturday 8:00 PM IST 10:30 AM EDT
Aditya Sridhar (Vocal) (Disciple of Vid Dr. Sridhar Nilakantan)
Vid Bargava Vignesh (Violin) (Disciple of Vid Chitoor Shri Vijayaraghavan)
Vid Vamsidara Anand (Mridangam) (Disciple of Vid Pongulam Ramakrishnan)
Enormous Ragams Covered .
Nattakutinji,
Gowlai,
Abheri,
Sunadavinidini,
Dharmavathi,
Sourashtram.
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..
Tomorrow Please attend Thank you all - Dr Nithyasree (Veena) & Team, from Chennai TN Padma Bushan Mysore Vasudevacharya Life & Music Special Series Concert on May 5th Sunday at 8.00 PM IST 10.30 AM EDT
Bhajare Re Manasa Ragam: Karnataka Devagandhari (Abheri) Talam Vilamba Kala: Adi Composer: Mysore Vasudevacharya
To your sacred Name and to your divine Form let there be success and prosperity! Your sacred feet supported reverently by AanjanEya, to your lap on which your consort SeetaadEvi, possessing eyes as beautiful as the lotus, to your bosom on which fresh pearl necklaces sport dangling daintily and to your charming face which puts to shame the splendor of the moon, let there be victory and ever growing prosperity and welfare. Oh, One with eyes like the lotus which fascinated and attracted the praise of Sage Naarada, devotees like Prahlaada and others. To your Nam and divine Form, eternal victory and repute galore!
Normally NerVal @ C nira vadhi sukha dayakuni paramatmuni bhakta paluni ||
Interpretation:
Oh god of the gods, Sri Vasudeva (Lord Krishna),
protect me, Oh merciful one!
This is the right time to eradicate my 6 enemies.
Kama - Lust, Krodha - Anger, Lobha - Greed, Moha - Attachment, Mada - False self pride also called as ahankaram, Matsaryam - Enemity because of jealousy
It is said that one can be a true devotee, when one gets completely rid of these enemies.
May be my life is a result of my rituals in the past or may be it's a result of the virtuous deeds of my ancestors (It's believed that one's deeds and their effects are passed on to one's kith and kin). Sri Janakisa (Sri Rama - Composers refer to Vishnu with the names of his incarnations. Rama and Krishna are believed to be the incarnations of Vishnu). I'm indebted to you (I'm thankful to you) for giving me such a valuable life.
AP vyajina vidooram visvaadhaaram
sujana mandaaram sundaraakaaram
He is at a distance from wicked people. He is sustainer of the universe. He is like celestial "Mandara Tree" which fulfills the desires of pious people. He is handsome.
C raavana marthhanam rakshitha bhuvanam
ravi sasi nayanam ravijaari mar_danam
ravijaadi vaanara parivrtham naravaram
rathnahaara parisobhitha kandharam
He destroyed Ravana and saved the world. Sun and Moon are his eyes. He is the King in Soorya lineage. Sugreeva and multitudes of monkeys were at his service. He is the most ideal person. He wears gem-studded necklaces beautifully.
madhyama kaalam
ravi sasi kuja budha guru sukra sanaischara
raahi kethu nethaaram
raajakumaaram raamam pavanajaaptham
avanijaa manOharam
Sun, Moon, Mercury, Jupiter, Venus, Saturn, Mars, Rahu and Ketu are governed by him. He was King of Ayodhya. He is very dear to Anjaneya. He captivated the heart of Sita, the daughter of Goddess Earth.
P Chalamela jesevayyaa ma rangayya
My Lord Ranga, Do not keep this grudge on me
AP Kala kalamu nee padamule,
Gathiyanni nammi yudaga
When I for all times believed that,
Your feet is the only protection
C Nannu Brova Neeku Bharama
Is protecting me a great burden to you.
P bhajana seya rada O manasa Sree rAmuni ||
Oh my mind, why don't you sing the praise of Sri Rama.
AP aja bhavendradi nutuni sujanavana loluni ||
Brahma, Siva, Indra and other devatas adore him. He is endeared by pious people.
C1 para nari sahodaruni pari poorna kamuni
dharanijA manOharuni para vasu dEvuni ||
He is the brother of the supreme goddess Parvati. He is free from all desires. He stole the heart of Sita and he is Supreme Vasudeva.
C2 SaraNa janA dharuni saraseeruha netruni
nira vadhi sukha dayakuni paramatmuni bhakta paluni ||
He is the prop for devotees. His eyes are beautiful like lotus. He is bestower of perpetual happiness and is the Supreme Soul. He is the protector of his devotees.
The holy name Rama is constantly on the lips of Shiva, Brahma and the celestials like Indra. Should not His glory be sung? Decked in unalloyed golden ornaments, contemplating on His charming face lit up with divine smile, should not his glory be sung? His rosy lips, array of teeth like pearls and his blooming cheeks, contemplating on which, should not his glory be sung? Please listen to the counsel of this Tyagaraja and sing in abandon the tarakanama. It will enable you to cross over this vale of sorrow to spiritual bliss.
It should not be सुंदर कारम, it should सुंदर आकारम, 'aa ' आ should be there.... anyway, very nice performance!