Chi. Mahesh Madhu (vocal) & team from Bangalore - Homage to Mysore Vasudevacharya Series
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- čas přidán 15. 06. 2024
- Special Carnatic Music concert
Homage to Padma Bhushan Mysore Vasudevacharya
16th June 2024, 8:00 PM IST (10:30 AM EDT)
Chi. Mahesh Madhu (vocal) - Bangalore
(Disciple of Vid. Dr. Srikantham Nagendra Shastry)
Vid. Karthikeya Ramachandra (violin)
(Disciple of Vid. Hosahalli Raghuram)
Vid. Kaushik Sridhar (mridangam)
(Disciple of Vid. Trichur Mohan) - Hudba
Devamanohari is the janya raga of the 22nd Melakarta Raga Kharaharapriya.
Usually associated with dance forms, Devamanohari combines the brisk beauty of Shuddha Saveri and the auspiciousness of Madhyamavathi and is suitable for abhinaya oriented performances. It evokes the adbhutha rasa and veera rasam in the navarasams.
Devamanohari falls under mela 22 and the notes we use in this raga are S, R2, M1, P, D2 and N2.
It is an audava upanga janya of mela 22 lacking gandhara both in arohana and avarohana while dhaivatha is vakra in avarohana alone.
The name of the ragam denotes one who is dear to Deva. Taken up by most composers numerous krithis exist in this beautiful ragam. Gandhara varjya nishada vakra ragam, the scale of the ragam goes thus:
Aro S R2 M1 P D2 N2 S Av S N2 D2 N2 P M1 R2 S
A perusal of 21st century music and musicology and comparing it with what it was in 18th century in the run up to the Trinity, would show that a bunch of changes have happened.
For instance, one can notice that today’s construct of a raga is more svara/note based with accent on linearization and conformance with the melakarta system - with Janaka/Janya relationship at its heart. This was not the case with 18th century music. Some of the musicians/musicology/commentators, today refer to this older 18th century music as “Art Music” or the gold standard.
The 18th century construct of a raga, encompassing its architecture and design had a set of unwritten/informal rules or axioms. There are three important musicological texts from the 18th century which has been passed on to us, which I prefer to call as the Triad in this blog post consistently. They are Ragalakshanamu of Sahaji (circa 1710),
Sangita Saramrutha of Tulaja (circa 1835) and the Anubandha to the Catudandi Prakashika (circa 1750). It is my humble view that a critical study of these three texts/Triad would without doubt help us sense this unwritten grammar of the music of the 18th century. This music was the legacy that was passed on or inherited by the Trinity to which they infused flesh and blood with their compositions.
Today much water has flown under the bridge. Given the reality of what has happened till today, one can even wonder whether it is even worth investigating if the changes are for the good or otherwise.
There are number of Ragams with Manohari added
Manohari, Kamala Manohari, Esha Manohari, Jaya Manohari, Mesha Manohari, Lalitha Mahonari, Saraswathi Manohari, Gowri Manohari, Rama Manohari, Deva Manohari, Gandharva Manohari, Vasantha Manohari. Vasanthamanohari, Bhuvanamanohari, Gandharvamanohari, Lalithamanohari, Mechamanohari, Ambamanohari, Sreemanohari
For it is undeniable that the changes that have happened are today permanent and immutable. Nevertheless for a student and an observer of music it is important to understand the tenets of 18th century music.
There are a number of these so called architectural and design constructs of ragas - axioms that one can deduce from these Triad or to be more precise, from the study of the structure of the ragas that have been compiled in these three texts. And thankfully we have the Sangita Sampradaya Pradarshini which one can see, offers the perfect illustration for many ragas found in the Triad.
These two fairly popular ragas were different in the 18th century, in comparison to what they are today in their popular form. So much so, we are constrained to call the 18th century versions of these ragas as archaic version while what we sing today are the modern version. We will demonstrate in this blog post how these ragas conformed to the above constructs/axioms-of 18th century architecture/design of a raga- and how we have in modern musicology dispensed with these axioms with the result their melodic contours have now changed.
Innumerable Janya Ragas
A mELa rAgam with immense scope for detailed AlApana, kalyANI is a parent scale for a huge number of janya rAgams. There are more than 120 Janya Ragams for Kalyani, but the most popular ones are: Saranga, Mohana Kalyani,Yamuna Kalyani, Hamir Kalyani, Vandanadharini,Sunadavinodini, SarangaTarangini, Amrta Behag,hamsavinOdinI, sudhA kalyANI and Bhoop Kalyani.
D. Pattammal and M. Dandapani mention 122 Janya Ragams of Kalyani in their book Ragapravaham.
Mohana Kalyani is a pleasing ragam obtained by fusing together Mohanam and Kalyani. There is also a Hamsa Kalyani, a creation of Ashok Madhav(Pittsburgh), which is obtained by the fusion of Hamsadhwani and Kalyani.
Absolutely Awesome !!!
This Krithi is also not heard in Public platforms often !!!
Lovely Aalapana & Replication on Volin !!!
Superb Alapanai & Replication on Violin !!!
We have one more Please Stay with us Thanks !!!!
Sri Saraswatim Bhagavatim Bhajata - Athana - Mishra Jhampa - Mysore Vasudevacharya
This is Sung in Navarathri
Your benevolent glance is full of kindness. You made hood of the wicked serpent as a stage and performed exquisite dance on it. You are the bee, which hovers around the lotus-like hearts of sages like NARADA. Your form shines beautifully like the evanescent dark clouds.
Your attire surpasses the brilliance of gold. You held aloft in your own hand MANDARA mountain. Your exploits are sung by SANAKA and others. You are ever engrosses in giving the desired boons to those who prostrate at your lotus-like feet.
You allayed the dreadful fear of GAJENDRA-the king elephant. You repose on the great serpent. You are to the demons what the great bird is to a serpent. You have GARUDA-the king of the birds-as your mount.
In this Keertana Tyagaraja says that Yogis meditate on the point between bow like eyebrows. Sri Rama touched end of his bow to shoot at the arrogant sea. He praises the holy temple at Dhanushkoti in this song.
P shrI sarasvatIm bhagavatIm bhajata shrtajana sakalAbhISTa dAyinIm sadA
Mangalam - A rare Mangalam
Mangalam Sri Ramunaku - Raga Vasanta
Composed by Sri Mysore Sadashiva Rao
Followed by Mangalam Kosalendraya in Madhyamavathi
Now Sooooooper Thani !!!
Navarasakannada is a rāgam of the 28th melakarta scale Harikambhoji. This scale is well suited for instrumental music, especially with veena and flute It is suited for orchestral music as well
Before Thyagaraja Swamigal, the composers were not using any ragam with only 4 notes and he had composed krithis in two such ragams-Vivardhani and Navarasa Kanada. ( This information was taken from Rajan Parikkar's website.)
Navarasa kannada is an asymmetric rāgam that does not contain rishabham, dhaivatam or nishādham in the ascending scale, while it does not have panchamam in descending scale. It is an svarantara-shadava rāgam (4 notes in ascending scale and 6 in descending scale).
Aro : S G3 M1 P S // Av : S N2 D2 M1 G3 R2 S
The notes used in this scale are shadjam, antara gandhara, shuddha madhyamam and panchamam in ascending scale, with kakali nishadham, chathusruthi dhaivatham and chathusruthi rishabham included in descending scale while the panchamam is dropped from the same.
This Krithi is not often heard in Concerts !!
Thumba Chenakithe !!!
On Behalf of Mysore Vasudevachaya Homage Page We Whole heartedly Welcoming
Vande sadha padmanabham Ragam Navarasa kannada Adi Thalam Swati Thirunal Krithi
This Krithi was composed in Sanskrit
Pranamamyaham shrI prananatham shrI. raga: gowla Adi tala.Mysore Vasudevacharaya Krithi
Chi. Mahesh Madhu (vocal) - Bangalore
(Disciple of Vid. Dr. Srikantham Nagendra Shastry)
P palukavademi ra rama nato palikite nee sommulu povunA ||
Oh Rama, why don't you speak with me? Will you loose your precious ornaments if you speak with me?
AP jalaja sambhava bhavadyamara vinuta pada
jalaja nayana neevu sumukhudai vegame ||
Brahma the lotus borne Siva and other Devatas adore your feet. Oh lotus eyed Rama, please speak soon with a pleasant face.
C1 niravadhi sukha dayakudani telisi ne
niratamu nijamuga nammi yundaga ||
Truly,I always believed that you bestow happiness perpetually.
C2 marachitivemo maravakura rama
garuda gamana vasudeva dayanidhe ||
Oh Rama, please don't forget me. You are ocean of compassion. You are Vasudeva who flies on 'Garutmanta'.
Interesting Informaton:-
Normally for Thyagaraja Aradhanai Pancharathna Keerthanai are Rendered.
In Mysore Vasudevachar wanted to attend Thayagaraja Aradhanai. He Composed this Krithi as a Trubute to St Thaygaraja
A: bhUmijA ramaNa caraNa kamala bhajana dhu
Atana is a raga is a Janya raga whose Melakarta raga is Shankarabharanam, 29th in the 72 Melakarta raga system.
It is considered to be a very catchy raga that gives a stage flavor for a musician when everything is going dull in a concert. It stimulates the audience by its qualities of Veeram (courage)
Its ārohaṇa-avarohaṇa structure is as follows
Aro : S R2 M1 P N3 S // Av : S N3 D2 P M1 P G3 R2 S
The swaras used are chathusruthi rishabham, antara gandharam, shuddha madhyamam, chathusruthi dhaivatham and kakali nishadham. Atana is a bhashanga raga (kind of raga where the arohana and avarohana are not strictly followed). That is, it has two annyaswaras (alien notes; foreign swaras). They are sadharana gandharam (G2) and kaisiki nishadham (N2).
Next is Sub Main Krithi of the Concert !!!
Next is Main Krithi of the Concert !!!
Koti Nadhulu Ragam Thodi Thalam Aadi Thyagarajulu Krithi
TODI, a profound, delightful, soothing melody is the meLam No. 8 both in the sampUrNa, and the asaMpUrNa schemes of the karNATik music tradition. The precise name is hanumatODi in the sampUrNa paddhati, and the prefix “hanuma” is inserted to yield the meLam number 8, according to the kaTapayAdi nomenclature ((ha = 8, na =0, so hanu= 80, which when reversed gives 08).
According to the asaMpUrNa scheme of VE”nkaTamakhi (a tradition faithfully followed by the dIkSItar school), tODi is the eighth rAga”nga rAgam, known was janatODi (again, the prefix “jana” yields the number 8 according to the “kaTapayAdi” counting , since ja = 8, na =0).
lakSaNam (VE”nkaTamakhi):
tODiH SaDjagrahaH pUrNaH
sAyaMkAlE pragIyatE |
MELam hanumatODi / janatODi is the second mELam belonging to the second cakram (nEtra cakram), hence it is referred to as “nEtra --- shrI”, with the mnemonic phrase ra gi ma dha ni or R1 G2 M1 D1 N2.
Aro s r g m p d n .s Av .s n d p m g r s
The notes taken are: SaDjam, shuddha riSabham, sadhAraNa gAndhAram, suddha madhymam, pa~ncamam, shuddha dhaivatam, and kaishiki nishAdam.
Salient Features
A mELam with a symmetrical ArOhaNam and avarOhaNam. The tetra-chords are symmetrical, and separated by an interval of a major tone, dvishruti between S --R1 and P - D1; trishruti between G2 - M1 and N2 -- S; catushruti interval between R1 - G2 and D1 -N2. This elegance creates beauty to this rAgam.
JIva svarams: all svarams
chAyA svarams: ga , ma, dha
aMsha svarams: ma, pa
nyAsa svarams: ga, ma. pa , dha, ni
It is a tristAyi, and sarvasvara gamaka vArikA rAgam
JhaNTa svara and dhATu svara prayOgams sparkle this rAgam; prayOgams omitting pa, sa add beauty; Some vishESa prayOgams are : d r .s D and .r .s D.
Compositions in tODi commence usually in the notes sa, ga, ma pa, dha, ni.
This is a rAgam which brings out supreme melody, a sarva svara ra~njaka rAgam. Majestic vibrations, and the meandering of the gamakams, laden with full bhAvam characterize the melodic identity of tODi. All svarams except madhyamam admit oscillation; The notes ga and dha constitute the nuclei of the melodic network of tODi; the un-oscillated ma acts as a balancing link between the pUrvA”ngm and uttarA”ngam.
As a rAgam with tremendous scope for elaboration, tODi is usually featured as a main item, or in the rAgam tAnam pallavi expositions in a concert. Being a ghana rAgam, it enjoys the pride of place in every concert, and lends itself to all types of compositions.
Chi Mahesh Madhu (Vocal) (Disciple of Vid. Dr. Srikantham Nagendra Shastry)
Karedu Muddisuva - Dwijavanti - Adi - Purandaradasa
Vid. Kaushik Sridhar ( Mridangam) (Disciple of Vid. Trichur Mohan)
Absolutely Divine Blissful and Superb Concert All the Best Wishes 👋👌👋
Vid. Karthikeya Ramachandra (violin)
(Disciple of Vid. Hosahalli Raghuram)
I always offer my obeisance to Lord PADMANABHA. Oh Lord, you are the wish-yielding tree to those innumerable devotees who bow at your feet. You are the immaculate one!
The brilliant of your teeth puts to shame the jasmine buds. The beauty of your form surpasses.
Vid. Karthikeya Ramachandra (Violin) (Disciple of Vid. Hosahalli Raghuram)
C ganga noopurambunanu janinchanu rangani kAvEri kani rAjillanu
ponguchu Sree raghu nAdhuni prEmatO
pogaDe tyAgarAju manavi vinavE ||
Ganga takes birth at the feet of Vishnu. Kaveri overflows with joy by the side of Sri Ranga.
Oh my heart, listen to the appeal by Tyagaraja, who praises Sri Raghunatha with love.
Awesome Combination of Artists !!!
AP sooTiga SyAma sundara moortini
mATi mAtiki choochE maharAjulaku ||
Great yogis see Syama Sundara moorty (Rama) directly in front of them at Dhanush koti again and again.
P: pranamamyaham shrI prananatham nirantaram pranita
janabhishtha phala pradam shrI rama seva dhurandharam
Wah !!!! Absolutely Blissful
P: shrImadAdi tyAgarAja guruvaram namAmyaham
Superb Kanna No Words !!!!
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.
Lovely Alapana & Superb Replication on Violin !!!
Prayogas/Sancharas
Singing the raga, by omitting the shadja and/or panchama, gives Kalyani a special flavour. This can be heard in almost every recording featured. Janta (pair) swara combinations like r r g g m m d d n n and datu swara prayogas (phrases wherein intermediate notes are skipped deliberately) like n g” r” n d n r” n d m and g n d m g r are prominent
The signature phrases of Kalyani include gmP - ddpmGr - nRgmpmgR - pmGrs - snsrgrsnd - dnsrGr - gmpdm, - dpmgR - gND - gDpmgr - gmpdNd - pdNs’ - ns’R’ - g’r’G’r’s’nd - dg’r’G’r’s’nd - mdnr’ndpmgr - nrgMGr - pmGrs.
GmpdnS’ - s’ndPmgr - gmpdnDPm - pdnS’ - s’nD - dndg’r’s’nD - dns’r’s’ndPmgr - gmgnDpm - ddpmGr - nrgmPm gg rr S - ndrS.
Kalyani is a major raga and is capable of being used in practically any kind of composition from common gitam taught to beginners of Carnatic music to complicated kritis, ragam-tanam-pallavis, padams and javalis etc.
C: sakala lOka samsEvita sangIta sAhitya sAra bharitasu lalitapada sammELana samshObhita
(madhyamakAlam)
sankIrtana su-racana samupArjita sat-kIrtim sura munivara kAruNya samjAta su-jnAnam
sAmagAna lOla vAsudEva hrdaya su-sthitam sujana hrdaya jaladhi candra mamalavamsha samjAtam
randharam
Superb Start !!!!
Chi Mahesh Madhu (Vocal) and team from Bangalore KA Mysore Vasudevacharya Online Page Special Carnatic Concert on Today the 16th June 2024, Sunday 8.00 PM IST 10.30 AM EDT
AP shrI sarOja sambhava dayitAm mahitAm vAsavAdinuta vAsudEva bhaktAm
C sanakAdi muni varENya samstutAm kanakAmbara ratnahAra vibhUSitAm
anupama karuNArasa paripUrNam su-lalita kavitAdi tOSita svAntAm
vanruha nayanAm vAraNa gamanAm nirupama vINAm pustakAkSa mAlA sahitAm
On Behalf of Mysore Vasudevachaya Homage Page We Whole heartedly Thanking
Chi Mahesh Madhu (Vocal) and team from Bangalore KA Mysore Vasudevacharya Online Page Special Carnatic Concert on Today the 16th June 2024, Sunday 8.00 PM IST 10.30 AM EDT
Chi Mahesh Madhu (Vocal) (Disciple of Vid. Dr. Srikantham Nagendra Shastry)
Vid. Karthikeya Ramachandra (Violin) (Disciple of Vid. Hosahalli Raghuram)
Vid. Kaushik Sridhar ( Mridangam) (Disciple of Vid. Trichur Mohan)
Enormous Ragams Covered .
Gowlai,
Athana,
Thodi,
Navasa Kannada,
Devamanohari,
Kalyani,
Dwijavanti,
Vasantha,
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..
I always bow down to Hanuman (the lord of Prana), who fulfills the desires of those who bow down to him, who is always engaged in serving Rama;
P kOTi nadulu dhanush kOTilO nunDaga
yETiki tirigEvE O manasa ||
When there are crores of rivers in Dhanush koti, why do you run hither and thither? Oh my heart.
P vandE sadA padmanAbham pada vandAru samudaya mandArama malam
(vandE)
AP kundamadAbaha mOhana dantam nija sundaratanu ruci ninditamAram
(vandE)
C1 rasavilasada pAngam khalabhOgi varENya bhaNAnji tarngam
nArada mukha muni hrdayAbja bhrngam navanIrada samaruci parila sitAngam
(vandE)
C2 kanaka madApaha nirupama cElam nijakaradala paridhrta mandarashalam
sanakAdi munijana sannuta lIlam padmavanaruha natakAma dAnalOlam
(vandE)
C3 vAraNa parivrDha ghana bhaya bhangam krta vilasita nija shayanOru bhujangam
nirupa madanu suta bhujaga vihangam pada nikhila khaga parama shObhiturangam
(vandE)
Differences between Kalyani and Sankarabharanam.
Technically, the fundamental difference between Kalyani and Sankarabharanam is the Madhyamam. Kalyani has Prathi Madhyam or Teevra Madhyamam, whereas Sankarabahranam has Suddha Madhyamam. Both are melakartha ragas and Sankarabharanam(29th mela) is the Suddha madhyama counterpart of Kalyani, all other swaras remaining the same. Sankarabharanam has the jeeva swara as Gandharam which is as still as a rock.
There is absolutely no oscillation for Gandharam in Sankarabharanam, where as Kalyani is a sarva swara Gamaka Raga (Courtesy : South Indian Music-P.Sambamoorthy) where all notes are oscillated. According to Subbarama Deekshithar G and N are the Jeeva Swaras of Kalyani with strong oscillation.
These two form a set of complementary mELams are like Shakti and Shiva. If sha”nkarAbharaNam is shiva’s favourite, then, Goddess is very much pleased with kalyANi, which also bears her name!
In a Lec-Dem, Prince Ramavarma quotes that ” in most ragas where there is gamakam, the rule goes that when one note is steady, the next note will oscillate. Here Kalyani and Thodi are exceptions to this rule. One of the classical examples of this gamaka pradhaana raga, is the ata thala varnam by Pallavi Gopala Iyer where all notes are oscillated.
Among the prati madhyama rAgAs, it is kalyANi alone that is able to stand equal to the mighty shuddha madhyama rAgas such as Todi, Kamboji, Bhairavi and Shankarabharanam in stature. The variety, the depth and the myriad feelings it is capable of portraying has made the raga a perennial favourite of musicians for centuries.
Rendition by Dr.Ranjani Ganesan Ramesh - A composition of Mysore Vasudevacharya my paramaguru as authentically taught to me by my Guru Sri. S. Rajaram sir grandson of Mysore Vasudevacharya.
Neraval @ C: sakala lOka samsEvita sangIta sAhitya sAra bharitasu lalitapada sammELana samshObhita
Why did he Chose Kalyani It has probably same reason as Nidhi Chala Sukhami by Thyagaraju the Ragam has the Property to acheve the goal if sung with Devotion
shrImadAdi tyAgarAja. rAgA: kalyANi. rUpaka tALA.Mysore Vasudevachar
Vid. Karthikeya Ramachandra (violin)
(Disciple of Vid. Hosahalli Raghuram)
Differences between Kalyani and Sankarabharanam.
Technically, the fundamental difference between Kalyani and Sankarabharanam is the Madhyamam. Kalyani has Prathi Madhyam or Teevra Madhyamam, whereas Sankarabahranam has Suddha Madhyamam. Both are melakartha ragas and Sankarabharanam(29th mela) is the Suddha madhyama counterpart of Kalyani, all other swaras remaining the same. Sankarabharanam has the jeeva swara as Gandharam which is as still as a rock.
There is absolutely no oscillation for Gandharam in Sankarabharanam, where as Kalyani is a sarva swara Gamaka Raga (Courtesy : South Indian Music-P.Sambamoorthy) where all notes are oscillated. According to Subbarama Deekshithar G and N are the Jeeva Swaras of Kalyani with strong oscillation.
These two form a set of complementary mELams are like Shakti and Shiva. If sha”nkarAbharaNam is shiva’s favourite, then, Goddess is very much pleased with kalyANi, which also bears her name!
In a Lec-Dem, Prince Ramavarma quotes that ” in most ragas where there is gamakam, the rule goes that when one note is steady, the next note will oscillate. Here Kalyani and Thodi are exceptions to this rule. One of the classical examples of this gamaka pradhaana raga, is the ata thala varnam by Pallavi Gopala Iyer where all notes are oscillated.
Among the prati madhyama rAgAs, it is kalyANi alone that is able to stand equal to the mighty shuddha madhyama rAgas such as Todi, Kamboji, Bhairavi and Shankarabharanam in stature. The variety, the depth and the myriad feelings it is capable of portraying has made the raga a perennial favourite of musicians for centuries.
Rendition by Dr.Ranjani Ganesan Ramesh - A composition of Mysore Vasudevacharya my paramaguru as authentically taught to me by my Guru Sri. S. Rajaram sir grandson of Mysore Vasudevacharya.