Kum. Vijayanti Pappu (veena) & team from Gilbert, AZ - Homage to Mysore Vasudevacharya Series
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- Grand Maha Shivaratri Carnatic Music Concert
Homage to Padma Bhushan Mysore Vasudevacharya
10th March 2024, 8:00 PM IST (9:30 AM EST, 6:30 AM PST)
Kum. Vijayanti Pappu (veena) - Gilbert, Arizona
(Disciple of Sangeetha Kalacharya Dr. R. S. Jayalaksmi and Mambalam sisters Kalaimamani Chitra Sathish)
Vid. Vaidyanathan Krishnamoorthy (mridangam)
(Disciple of Vid. Thiruvaiyaru V. Gurumurthy)
Vid. Mahesh Subramanian (kanjira)
(Disciple of Vid. Thiruvidaimarudur Sankaran, Vid. Mayavaram Somasundaram, and Vid. Guruvayoor Dorai) - Hudba
Thanam Superb !!!
Fantastic ! Smooth transition between the 2 ragas !
Wah!!!! Great
Toooooo GooodVijayanti ! !!!!
Yes very challenging and she is handling it with so much ease and grace .Bravo !
Very nice Poorikalyani
Very good presentation of all krithis of Mysore sh.VASUDEBACHAAR MOST admiring legend carnatic music composer..many thanks for the artist& the accompanying artists.
Wonderful play !
Sooooooper Ma !!!!
Lovely Alapana
Superb Alapana !!!
Absolutely Divine Blissful & Superb Concert Excellent Co Ordination Al the Best Best Wishes 👋🤏👋
Wonderful performance by the little girl👏👏👏🌷🪴🌹
The brighas are falling with great ease in her hands !
Superb Start Wah!!!
Wah !!!! Lovely RTP
Now Soooooper Thani's
Strictly spoken, vijayanthi pappu is very most young artist, eventhough she is playing veena very well as well as senior artists... Her veena nadam is most accurate, she is playing veena raagaalaapana, raagamaalika in raagaas, swara kalpana in various ragas,.. No words to explain her beautiness in presenting all keertanas... Very very very... Beautiful, nice... 🌹🌹🌹🙏🙏🙏❤️❤️❤️...
Most Important She is Enjoying Great !!!
Yes i am in awe of not only Vyjayanthi but the little girl putting thalam!..
God bless
Challenging dwiraga dwitala RTP Shanmughapriya and Ranjani … bravo !
ragamAlika swaram in sarasangi and kapi❤
The Small Chlids name is Sohini Pappu who is a Part of this Concert All the Best Wishes to her !!!
SrI Viswanatham Bhajeham in fourteen Ragas, set to Adi Tala. The sequence of fourteen Ragas that appear in this Ragamalika are Sriragam, Arabhi, Gowri, Nata, Gowla, Mohanam, followed by viloma swaras (rendering of swaras in the reverse order of Ragas). The second half contains Sama, Lalita, Bhairavam, Saranga, Sankarabharanam, Kambhoji, Devakriya, Bhoopalam, followed again by viloma swaras, and finally ending in the commencing Raga, Sriragam. This composition is in praise of Lord Viswanatha, of the temple located in the village Kulikkarai, near Tiruvarur, Tamilnadu.
Yes she enjoys whatever she is playing..that is very important .Enjoying the Hindolam kalpana Swarams !
Brilliant
Appreciate that Chinna Kutty putting Talam . May God Bless the Child All the Best Wishes !!!
RTP dvi raga dvinadai(purvangam in shanmukhapriya and in kanda nadai and uttarangam in ranjani and in chatushram nadai) adi talam
On Behalf of Mysore Vasudevachaya Homage Page We Whole heartedly Welcoming
Mamavatu Sri Saraswathi Ragam Hindolam Adi Thalam Mysore Vasudevacharya krithi
This song is on the ninth day of Navaratri, Navami, beautiful composition of Mysore
Vijayanti is playing the chaturdasa ragas in the reverse order ❤
1. Madhavo mampatu in ten Ragas, set to Roopaka Tala. on the Dashavaratam or the ten incarnations of Lord Vishnu.
2. Simhasanasthite in four auspicious Ragas, namely Sowrashtra, Vasanta, Surati and Madhyamavati, set to Roopaka Tala in praise of Devi Parvati.
3. Poornachandrabimba vadane in six Ragas - Poornachandrika, Narayani, Saraswatimanohari, Suddhavasantam, Hamsadhwani and Nagadhwani - also set in Roopaka Tala, on Goddess Kamalamba of the mammoth Tiruvarur temple. I have come across a recent book (published in Srirangam), that gives two additional lines of text, in Ragas Kedaram and Bilahari, rendering it an Ashta Ragamalika rather that a Shad Ragamalika.
Dheera Shankarabharanam
This is the 29th Mela raga belonging to the 5th Chakra Bana. It is prefixed with the word Dhira to suit the Melakartha index. In Hindustani and Western music, Sankarabharanam is taken as the basic scale. It is equal to the Bilawal thaat of Hindustani Music. As the name suggests, this raga is closely associated with Lord Shiva.
The swaras in this raga form the ornaments of Shiva. The seven swaras taken by this raga are: Shadja Sa, Chatusruti Ri (Rishabha), Antara Ga (Gandhara), Suddha Ma (Madhyama), Panchama Pa, Chatusruti Dha (Daivatha) and Kakali Ni (Nishada).
These notes represent the seven ornaments of Shiva, which are Sa-Sarpa, Ri-Rudraksha, Ga-Ganga, Ma-Mruga, Pa-Puspha, Dha-Damaruka and Ni-Nishkara.
Ga, Ma, Pa and Ni are Jiva swaras. Ri, Ga, Ma and Ni are rendered with Kampita swaras. Ga, Ma, Ni and Sa are Nyasa swaras. Ma and Pa are Amsa swaras. This raga induces different rasas (moods) such as Vira rasa, Sringara rasa etc.
All sorts of musical compositions - like geetams, varnams, swarajathis, kritis and pada varnas - have been composed in this raga. This raga also forms part of many Ragamalika compositions.
Sudha Raghunathan and T.M.Krishna (Swara Raga Sudha Rasa/Thyagaraja), Bombay Jayashri (Annai Janaki Vandale/Arununachala Kavi) and Balamuralikrishna ( Seetha Kalyana ) have made these Sankarabharanam kritis popular with their delightful rendering.
Sankarabharanam is a sarvakalika (all time) raga. However, evening is the best time for rendering this raga. This raga gives enormous scope for creative music (manodharma sangeetha).
A musician's caliber is brought out in the creative rendering of Ragam, Tanam, Pallavi and Swara Prasthara, which form the ornament of a musician. This is a Murchanakaraka raga, which gives rise to a number of ragas.
When the swaras like Ri, Ga, Ma, Pa, Dha are taken as adhara Sa, it will result in Kharaharapriya, Todi, Kalyani, Harikambhoji and Natabhairavi. Sankarabharanam is mentioned in the musical works like Sangitaratnakara of Sarangadeva and Sangitamakaranda of Narada.
In this Krithi prays to Mother kAmakshi. It is possible to describe even for Adi Sesha? In Anandha Bhairavi Adi Sankara praises Mother in similar manner.
Each of these ragas is captivating
nee muddu momu Ragam kamalamanohari adi talam Thyagaraju Krithi
Excellent thani avarthanam....Superb Poorvikalyani 👏👏👏
Mamavatu Sri Saraswatiset in Raga Hindolam to pay homage to Goddess Saraswati. 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,
Next is the Main Krithi of the Concert !!!
महाशिवरात्रि पर अपनों को भेजें खास शुभकामना संदेश, मिलेगा भोले बाबा का आशीर्वाद "On this Mahashivratri, may Lord Shiva bless you with peace, prosperity, and happiness. Om Namah Shivaya!" "May the blessings of Lord Shiva be with you and your family on this holy night of Mahashivratri. Happy Mahashivratri!" 👋
Poorvi Kalyani A raga that is intense and brings forth the bhakthi rasa with verve is Poorvikalyani. A beautiful arrangement of notes makes this raga stand tall, rising above
being a mere skeletal scale to something more complete and having personality. Poorvikalyani is derived from the 53rd Melakarta Gamanasrama and in Dikshitar’s nomenclature,
Poorvikalyani is known as Gamakakriya. The Aarohana / Avarohana of this raga is a debatable issue but the widely accepted convention is SRGMPDPS / SNDPMGRS.
It is a vakra raga, audava-sampoorna in scale (having six notes in ascent and all the seven in descent). The notes present in Poorvikalyani apart from the Sadja and Pancama include Suddha Rishabha, Antara Gandhara, Prati Madhyama, Chatusruti Dhaivata, and Kakali Nishada.
This raga is suited for singing after dusk and makes the mind calm and meditative.
Tyagaraja’s compositions in this raga include ‘Paraloka Sadhaname’ and ‘Paripoornakama’. It is interesting to note that while ‘Gnanamosagarada’ is widely sung in Poorvikalyani today,
it was originally said to have been composed in a raga Shatvidhamargini. Dikshitar has composed brilliant pieces such as ‘Meenakshi Memudamdehi’ and ‘Ekamranatham’ in Gamakakriya. When his disciples were singing the charanam of ‘Meenakshi…’ -
‘Meenalochani Pasha Mochani’, Dikshitar is said to have breathed his last. Shyama Sastri’s ‘Ninnuvina Gamari’, Papanasam Sivan's ‘Ksheera Sagara’ and ‘Paradeivam’, and
Neelakanta Sivan’s ‘Ananda Natamaduvar’ are popularly sung in concerts. Here is an interesting explanation for the name purvikalyani Raga. In the Hindustani system, Poorvi is a raga which is akin to our Panthuvarali (Kamavardhini) Mela. The poorvanga portion of purvikalyani has the same swaras of Panthuvarali or N.Indian Poorvi Raga.
The Uttharanga of purvikalyani has the swaras of Kalyani Raga. Being a combination of Poorvi and Kalyani, the raga has come to be known as Poorviklayani. purvikalyani in Hindustani style is known as PuryaKalyan.
The raga has a profound effect on reducing Anxiety and Abdominal pain. Also said to promote harmony and bring a pleasant feeling.
This is Sub Main song of the Concert
Vaiju ! Well done tackling Dikshitars masterpiece chaturdasha ragamalika !
On Behalf of Mysore Vasudevachaya Homage Page We Whole heartedly Thanking
Kum Vijayanti Pappu ( Veena) & Team from Gilbert Arizona Grand Maha Shivaratri Carnatic Music Concert on Today the 10th March Sunday 8.00 PM IST 9.30 AM EDT 6.30 AM PDT
Kum Vijayanti Pappu ( Veena) (Disciple of Sangeetha Kalacharya Dr.R.S.Jayalaksmi and
Mambalam sisters Kalaimamani Chitra Sathish)
Vid. Vaidyanathan Krishnamoorthy (Mridangam) (Vidwan Thiruvaiyaru V. Gurumurthy)
Vid Mahesh Subramanian (Kanjira) (Disciple of Vid Thiruvidaimarudur Sankaran, Vid Mayavaram Somasundaram and Vid Guruvayoor Dorai)
Enormous Ragams Covered .
Shankarabharanam,
Hindolam,
Chaturdhasa ragamalika :-
Shri,
Arabhi,
Gauri,
Nattai,
Goula,
Mohanam,
Sama,
Lalitha,
Bhairavi,,
Saranga,
Shankarabharanam,
Kambhoji,
Devakriya,
Bhupalam
Poorvikalyani,
Kamalamanohari,
RTP dvi raga dvinadai
purvangam in shanmukhapriya
uttarangam in ranjani and in chatushram nadai)
Jaunpuri.
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..
Proud of you Vijayanti. You played Sathya Sai bhajan.. Bolo.. Bolo very well. God bless yoi
She is handling the Poorikalyani with the maturity much ahead of her age ! Gods gift !
Vid. Vaidyanathan Krishnamoorthy (mridangam)
(Disciple of Vid. Thiruvaiyaru V. Gurumurthy)
Jaunpuri Raga
Raga Jaunpuri is a raga in Hindustani classical music in the Asavari thaat. Some musicians like Omkarnath Thakur consider it indistinguishable from the shuddha rishabh Asavari.
Its attractive swaras also make it a popular raga in the Carnatic circles with a number of compositions in South India being tuned to Jaunpuri.
Raga Jaunpuri is associated with Jaunpur where the raga is said to have evolved - at least that is what folklore says. Jaunpuri was created by Sultan Hussain Sharqi of Jaunpur.
The name of the raga may associate it with places of this name, such as Javanpur in Gujarat, close to Saurasthra region and Jaunpur in northern Uttar Pradesh.
In the Carnatic circles, Jonpuri is considered a janya raga of Natabhairavi, the 20th Melakarta raga.
Jaunpuri is soft and pleasing and has simple nuances and avoids elaborate ornamentations (meends) while being performed. It is a morning melody.
This raga is very similar to raga Aasavari in its rendering and is very sweet to listen to. Whereas in Asavari both Gandhar and Nishad are Varjya in Aaroh, in raga Jaunpuri only Gandhar is Varjya.
R R m m P ; d m P g R S ; R ,n S this are the characteristic notes of raga Jaunpuri. d m P g R S these notes are rendered in Meend and Gandhar and Dhaivat are oscillated, which increases the beauty of this raga.
This is a Uttarang Pradhan Raga and can be expanded in Madhya and Tar Saptaks. The atmosphere created by this Raga is deep and full of Bhakti and Shringar Ras.
bolo bolo sabmil bolo Satya Sai bhajan Ragam Jaunpuri
She is from a Well known Pappu Music Family
P mamavatu shri sarasvati
kAmakoti pitha nivasini
Oh goddess Saraswati who dwells at the holy Kamakoti peetham (monastry), please protect me.
As if to handle the nuances of Hindolam was not enough she is now coming out with the elaborate Ragamalika!
Kudos to Vyjayanthi !
I like her confidence so much
Vid. Mahesh Subramanian (kanjira)
(Disciple of Vid. Thiruvidaimarudur Sankaran, Vid. Mayavaram Somasundaram, and Vid. Guruvayoor Dorai)
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.
We have One More Krithi Please Stay with us Thank you all
shrI vishvanAtham - rAgamAlikA - Adi Muthuswami Dikshitar
I worship Sri Viswanatha who wears the garland of 14 ragas that is of the form of the 14 worlds in His Mind.
Bolo Bolo Sab Mil Bolo Om Namah Shivaya
Om Namah Shivaya Om Namah Shivaya [ Bolo Bolo ... ]
Joota Jata Mey Gangadhari
Trishoola Dhari Damaru Bajaavey
Dama Dama Dama Dama Damaru Bajaa
Goonj Utao Om Namah Shivaya
Om Namah Shivaya (4)
Let us all chant together, "Om Namah Shivaya" and bow down to Lord Shiva, the bestower of all prosperity. He holds the Holy Ganges in His matted locks of hair. He holds the Trishoola (the trident) and plays on the Damaru (kettle-drum). Let us all play the Damaru in a rhythmic fashion. Let the chanting "Om Namah Shivaya" resonate.
At her age Very few Venture in to RTP
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.
Vid Mahesh Subramanian (Kanjira) (Disciple of Vid Thiruvidaimarudur Sankaran, Vid Mayavaram Somasundaram and Vid Guruvayoor Dorai)
13. kuja budhAdi graha gati vihitam (dEvakriyA)
कुजबुधादि ग्रहगति विहितम्
12. varadam anala ravi shashi nayanam (kAmbhOji)
वरदम् अनल रवि शशि नयनम्
11. vanaja candra sannibha vadanam (shankarAbharaNam)
वनज चन्द्र सन्निभ वदनम्
10. paramahamsam Anandanartanam (sArangA)
परमहंसम् आनन्दनर्तनम्
9. patita pAvana karaNam agha haraNam (bhairavam)
पतित पावन करणम् अघ हरणम्
8. parataram parama manOlaya jayam (lalitA)
परतरम् परम मनोलय जयम्
7. parAdi vAk prakAsha Anandamayam (sAmA)
परादि वाक् प्रकाशानन्दयम्
6. virinci viSNu rudra mUrti mayam (mOhanam)
विरिञ्चि विष्णु रुद्रमूर्तिमयम्
5. viSaya pancaka rahitam abhayam (gauLa)
विषय पञ्चकरहितम् अभयम्
4. niratishayA sukhada nipuNataram (nATa)
निरतिशय सुखद निपुणतरम्
3. nigama sAram Ishvaram amaram (gaurI)
निगमसारम् ईश्वरम् अमरम्
2. smaraharam paramashivam atulam (ArabhI)
स्मरहरम् परमशिवमतुलम्
1. sarasa sadaya hrdaya nilayam anisham (srI) (shrI vishvanAtham)
सरस सदय ह्रदय निलयम् अनिशम्
Pallavi
shrI vishvanAtham bhajEham caturdasha bhuvana rUpa rAgamAlikAbharaNa dharaNAntah karaNam :
श्री विश्वनाथम् भजेऽहम् चतुर्दश भुवन रूप रागमालिकाभरण धरणान्तः करणम्
Kum. Vijayanti Pappu (veena) - Gilbert, Arizona
(Disciple of Sangeetha Kalacharya Dr. R. S. Jayalaksmi and Mambalam sisters Kalaimamani Chitra Sathish)
Sankarabharanam varnam : Sami nine kori chala marulu konnadira (Veena kuppaiyer)
6:20 Mamavatu Sri Saraswathi Ragam Hindolam Adi Thalam Mysore Vasudevacharya krithi
24:01 Ragamalika Sri Viswanatham (msd)
47:50 PK raga Ninnuvinaga mari (Shyama sastri)
1:40:00 dwiraga RTP Shanmugapriya and ranjani
Kum Vijayanti Pappu ( Veena) & Team from Gilbert Arizona Grand Maha Shivaratri Carnatic Music Concert on Today the 10th March Sunday 8.00 PM IST 9.30 AM EDT 6.30 AM PDT
Kum Vijayanti Pappu ( Veena) (Disciple of Sangeetha Kalacharya Dr.R.S.Jayalaksmi and
Mambalam sisters Kalaimamani Chitra Sathish)
Vid. Vaidyanathan Krishnamoorthy (Mridangam) (Vidwan Thiruvaiyaru V. Gurumurthy)
Is Sri Pappu Someshwar/Chandrashekar Pappu Relation???
K. Nagaraj, Retd. Govt. Employee.
In inter Pappu Chandrashekhar Class mate..1977-1979...
Ninnu vinaga Ragam Purvikalyani Mishra Chapu Talam Syama Sashtri Krithi
P: ninnuvinaga mari dikkevarunnAru nikhilalokajanani nannu brocutaku
Oh Mother of all 'Lokas', who else is there for me to seek refuge?.
P: Sami nine kori chala marulu konnadira
O lord ! Because of her desire for you she is extremely agitated.
PALLAVI:
1. (rAgam: shrI)
shrI vishvanAtham bhajEham
श्री विश्वनाथम् भजेऽहम्
caturdasha bhuvana rUpa rAgamAlikAbharaNa dharaNAnta karaNam
चतुर्दश भुवन रूप रागमालिकाभरण धरणान्तः करणम्
2. (rAgam: ArabhI)
shrita jana samsAra bhItyApaham
श्रितजन संसारभीत्यापहम्
(svarasAhityam)
AdhyAtmikAdi tApatraya manO bhItyApaham
आध्यात्मिकादि तापत्रय मनोभीत्यापहम्
ANUPALLAVI:
3. (rAgam: gaurI)
shrI vishAlAkSI gaurIsham
श्री विशालाक्षी गौरीशम्
(svarasAhityam)
sakaLa niSkaLa rUpa saccidAnandamaya gaurIsham
सकळ निष्कळरूप सच्चिदानन्दमय गौरीशम्
4. (rAgam: nATa)
citra vishvanATaka prakAsham
चित्र विश्वनाटक प्रकाशं
(svarasAhityam)
jagat prakAshaka bhAskara shashAnka kOti kOti prakAsham
जगत्प्रकाशक भास्कर शशाङ्क कोटि कोटि प्रकाशं
5. (rAgam: gauLa)
govindAdi vinuta gauLANgam
गोविन्दादि विनुत गौळाङ्गं
(svarasAhityam)
kSIra kunda indu karpurAdi vijaya bhasita uddhULita gaulAngam
क्षीर कुन्देन्दु कर्पूरादि विजय भसित उद्दधूळित गौळाङ्गं
6. (rAgam: mOhanam)
guruguha sammohanakara lingam
गुरुगुह सम्मोहनकर लिङ्गम्
(svarasAhityam)
pancIkrta panca mahA bhUta prapancAdi mohanakara lingam
पञ्चीकृत पञ्चमहाभूत प्रपंचादि मोहनकर लिङ़गम्
(vilOma)
6. virinci viSNu rudra mUrti mayam (mOhanam)
विरिञ्चि विष्णु रुद्रमूर्तिमयम्
5. viSaya pancaka rahitam abhayam (gauLa)
विषय पञ्चकरहितम् अभयम्
4. niratishayA sukhada nipuNataram (nATa)
निरतिशय सुखद निपुणतरम्
3. nigama sAram Ishvaram amaram (gaurI)
निगमसारम् ईश्वरम् अमरम्
2. smaraharam paramashivam atulam (ArabhI)
स्मरहरम् परमशिवमतुलम्
1. sarasa sadaya hrdaya nilayam anisham (srI) (shrI vishvanAtham)
सरस सदय ह्रदय निलयम् अनिशम्
CHARANAM:
7. (rAgam: sAma)
sadAshivam sAma gAna vinutam
सदाशिवम् सामगान विनुतम्
(svarasAhityam)
prakrtyAdi sapta rUpa sAmagAna vinutam
प्रकृत्यादि सप्तरूप सामगान विनुतम्
8. (rAgam: lalitA)
sanmAtram lalita hrdaya viditam
सन्मात्रम् ललित ह्रदय विदितम्
(svarasAhityam)
kAma krodhAdi rahita lalita hrdaya viditam
काम क्रोधादि रहित ललित ह्रदय विदितम्
9. (rAgam: bhairavam)
cidAkAsha bhairavam puraharam
चिदाकाश भैरवम् पुरहरम्
(svarasAhityam)
vidhi kapAla trishUladhara bhairavam puraharam
विधि कपाल त्रिशूलधर भैरवम् पुरहरम्
10. (rAgam: sArangA)
citsabhEshvaram sArangadharam
चित्सभेश्र्वरम् सारङ्गधरम्
(svarasAhityam)
dArukAvana tapodhana kalpita sArangadharam
दारुकावन तपोधन कल्पित सारङ्गधरम्
11. (rAgam: shankarAbharaNam)
sadA AshrayAmi shankarAbharaNam
सदाश्रयामि शङ्कराभरणम्
(svarasAhityam)
cintitArtha vitaraNa dhurINatara mANikyamaya shankarAbharaNam
चिन्तितार्थ वितरण धुरीणतर माणिक्यमय शङ्कराभरणम्
12. (rAgam: kAmbhoji)
sadgati dAyaka ambhoja caraNam
सद्गति दायक अम्भोज चरणम्
(svarasAhityam)
dharmArthadi nikhila puruSArtha prada samarthatara ambhoja caraNam
धर्मार्थादि निखिल पुरुषार्थप्रद समर्थतर अम्भोज चरणम्
13. (rAgam: dEvakriyA)
vadAnya devakriyA khelanam
वदान्य देवक्रिया खेलनम्
(svarasAhityam)
srSti sthiti vilaya tirodhAna anugraha karaNa kriyA khelanam
सृष्टि स्थिति विलय तिरोधान अनुग्रह करण क्रिया खेलनम्
14. (rAgam: bhUpALa)
vaidyalinga bhUpAla pAlanam
वैद्यलिङ्ग भूपाम पालनम्
(svarasAhityam)
shrIpura nirrti bhAga garta tIra sthira tara bhUpAla pAlanam
श्रीपुरनिर्ऋतिभाग गर्ततीर स्थिरतर भूपालपालनम्
(vilOma)
14. guruguhEsha suranaresham anisham (bhUpAla)
गुरुगुहेश सुरनरेशम् अनिशम्
A: pannagabhusanudaina kahnci ekamra patimanoharini shrI kamaksi
Oh Kamakshi, you are the consort of Kanchi Ekamresa who adorns serpents. You captivated his heart.
C1: paramalobhulanu pogadi pogadi ati pAmarudai tirigi tirigi vsari sthiramulekanati capaludaiti na cintadIrcci vegame brocutaku
I am disgusted with flattering worst misers. I even lost peace of mind and balance. Please dispel my agony quickly.
C2: ilalo nIvale gada ni mahima entani yocimpa evvari tarama paluka vashama Adi shesunikainau patitapavani nannu brocutaku
It is only because of your supreme power the world is existing. Who can estimate your glory? Even Adi Sesha can't. You are redeemer of the desolate. Who else would protect me?
C3: tamasambitula seyaradikanu talli na mora vinarada dayaleda kAmitarttha phaladayaki nive gada shyamakrsna sahodari brocutaku
Oh Mother, please don't hesitate any more. Listen to my prayers compassionately. You are bestower of fruits of desires. Oh Goddess Lalita, you are Syamakrishna's young sister.
Sami ninne kori Ragam: Shankarabharanam Talam:Adi Composer: Veenai Kuppaiyer
Neraval at kaamitardha
You are not a Kumari at all in Music. Your sangadhis are crisp , clear . Complete mastry over ragas . GOD bless u
nee muddu momu Ragam kamalamanohari adi talam Thyagaraju Krithi