Dr. Harini Srivatsa (vocal) & team from Chennai - Homage to Mysore Vasudevacharya Series
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- čas přidán 30. 03. 2024
- 400th Milestone Special - Carnatic Music concert
Homage to Padma Bhushan Mysore Vasudevacharya
31st March 2024, 8:00 PM IST (10:30 AM EDT)
Dr. Harini Srivatsa (vocal) - Chennai
(from Illustrious Parur family of musicians)
Vid. T. Chandramouli (violin)
(Disciple of Prof. Parur M. S. Anantharaman)
Vid. Ajeet Sridhar (mridangam)
(Disciple of Vid. Chrompet G. Suresh)
Vid. K. Krishnaveni (tambura)
(Disciple of Dr. Harini Srivatsa) - Hudba
Beautiful strumming by Krishnaveni
Excellent accompaniment by both violin and mridangam.
Lovely Alapanai !!!
Nice rendition
Excellent Start !!!
Absoluletly Divine Blissful and Superb Concert All the Best Wishes to the Team👋👌👋
Wah !!!! Superb
T.Chandramouli's alapana are full of life. Excellent Thani by Ajeet Sridhar.
Superb Alapanai & Replication !!!
We are blessed to have Dr Harini Srivatsa for this Special 400th Milestone Concert. The Inagural Concert on this page was given by her on 28/01/21
Mohanam alapana by Dr.Harini is something to relish . It is full of bhava.
KAvaDic cindu is a generic term for a group of delightful Thamizh folk songs which were a recent addition (19th century) to Carnatic music. They do not conform to the pallavi, anupallavi, and caraNam pattern but are just strung together in several verses. aNNAmalai Reddiar appears to be the one who originated this style. These songs are written for the benefit of those who offer prayers to Lord Murugan carrying a ritualistic kAvaDi (which could be just a rod covered with a saffron cloth, or pots of milk, or any other device thought fit to be carried on the head or shoulders).
The Kavadi chindus are distinguished by their characteristic lilting rhythms. In general, these describe the beauty of Murugan temples, especially the six fortress temples known as Arupadaiveedu. Murugan worship was fostered by several devotional songs such as Tiruppugazh (Arunagirinathar), Deivamanimalai (Ramalinga Swamigal) and Skandapurana KIrttanaigaL (Kavi Kunjara Bharathi). Kavadi chindu was the latest addition to this segment. While singing of Kavadi chindus in concerts is relegated to the tail-end, they are by no means light-weight. They must conform to proper prosody rules, including rhythmic complexities. In this sense they are unique in Carnatic music compositions. The diction is sometimes hard to follow. Yet they are appreciated for their rhythmic beauty.
On Behalf of Mysore Vasudevachaya Homage Page We Whole heartedly Welcoming
Mangalam
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.
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.
Raga Kuntalavarali Janyam of 28th mela Hari Kambhoji.
Aro: S M1 P D2 N2 D2 S Av: S N2 D2 P M1 S
Kuntalavarali is a raga that includes five notes, a janya of the 28th melakarta Harikambhoji. The notes in this raga happen to be in a vakra pattern, and the aarohana-avarohana of this raga is SMPNDS/SNDPMS. The sadja-madhyama relationship in this raga is of vital importance and the notes in this raga include the sadja, suddha madhyama, panchama, kaisiki nishada, and chatusruti dhaivata.
The classical pieces in this raga include ‘Sara Sara Samarai’ of Thyagaraja, the Tamil kriti ‘Ennenna Vilaiyadal Amma’, ‘Thillana Nadridim’, a thillana of M. Balamuralikrishna, ‘Anjel Anjel’ of Mayuram Viswanatha Sastri, and ‘Bhogindra Shayinam’ of Swati Tirunal. ‘Maale Manivanna’ is a famous Thiruppavai set to this raga. Medium and fast-paced sangatis suit this raga. A vibrant and playful raga, Kuntalavarali came into prominence only in the 18th Century. It is minor raga, suited for small songs and folk numbers that enliven a concert.
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.
Originally part of the multilingual album 'Sathya Sai Sangitanjali', this Behag based song, was composed and written by Athmanathan
"Ananda Natamaduvar Tillai", which explains the cosmic dance (Tandava) of lord shiva as Natraja (Ananda tandavam of Nataraja) in Chidambaram. During one of these sessions, our guru asked us what the idol of Nataraja actually meant. Our answers were random. He then explained us the hidden meaning behind the divine symbol of Natraja.
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.
This keerthanam makes reference to the Padamanabha Swami temple in Trivandrum (to the Padma Theertham and the festival procession vehicle introduced by Swathi's illustrious ancestor, Marthanada Varma).
Niraval at padimat jothi
Popularised by Dr Semmangudi, Dr. M.S. Subbalakshmi and Dr. Palakkad K V Narayana Swami and many others.Swathi's role model, Margadarshi Shesha Iyengar has composed a song rhyming with this, which possibly inspired Maharaja SwathiThirunal.. The Krithi is 'Sriranga Sayinam' in Dhanyasi
Ananda natamaduvar thillai with raga alapana
P Sobhillu saptaswara sundarula bhajimpave manasa ||
Saptaswaras flourish in Gods, Oh my heart pray them.
Azhagu deivamAga vandu - kavadi Chindu
Next is the Main Krithi of the Concert !!!
Comments :-
sundarula bhajimpavE - ‘worship these sapta svara divinities’ - nAdOpAsana.
nAbhi, hRt, kanTha, rasana and nAsa - SrI tyAgarAja has only mentioned the abodes from where (or path through which) sapta svara are vocalised. Further, he also mentions ‘Adula’ meaning etc. It not clear whether this means ‘mUlAdhAra’.
SrI tyAgarAja specifically mentions the place of origin of sapta svara as ‘mUlAdhAra’ (mUlAdhAraja) in kRti ‘svara rAga sudhA’ - rAga SankarAbharaNaM. In the same kRti, SrI tyAgarAja mentions about the abodes of sapta svara - ‘sapta svara gRhamulu’; it is not clear whether the seven cakras (of kuNDalini yOga) are meant to represent the sapta svaras ; if that be so the correspondence would be - mUlAdhAra - sa; svAdhishThAna - ri; maNipUra - ga; anAhata - ma; viSuddhi - pa; AjnA - da; sahasrAra - ni. Further, it is not clear how they are to be related to mUlAdhAra, nAbhi, hRt, kanTha, rasana and nAsa mentioned in this kRti.
In lalitA sahasranAmaM, mother is called ‘parA’, ‘paSyanti’, ‘madhyamA’, ‘vaikharI rUpA’.
The transcendent Word - above other lower stages of speech known as paSyanti (inaudible stage), vaikharI (uttered audible speech) and madhyamA (intermediate stage between paSyanti and vaikharI)”. (Translation by Swami Tapasyananda)
Discourse of Kanchi Paramacharya Chandrasekharendra Saraswati (Page 30) on ‘parA’, ‘paSyanti’, ‘madhyamA’, ‘vaikharI.
Article on 'sapta svaras' and their relation to the seven cakras.
Details regarding ‘anAhata nAda’ may be found in the e-book ‘kuNDalini yOga’ by Swami Sivananda.
As sapta svara belong to the category of 'ahata nAda' (caused sound), it is only at vaikharI stage that audibility is possible.
gAyatrI hRdayamuna - This refers to nAdOMkAra which is the nature of the parabrahman (sadASiva mayamagu nAdOMkAra) - kRti ‘rAga sudhA rasa’. In the kRti ‘mOkshamu galadA’, SrI tyAgarAja states -
prANAnala saMyOgamu valla
praNava nAdamu sapta svaramulai paraga
“Due to fusion of vital force with fire (energy), the sound of OM has elaborated into sapta svara.”
Mohanam alapana followed by Ra ra rajiva locana and kalpana swaram
Swaram for padimadi jothi
We have two more Songs Please Stay with us Thanks !!!
Swaram for sobillu
Desh is the janya raga of the 28th Melakarta Raga Harikambhoji/Harikedaragowla
Aro: S R₂ M₁ P N₃ S // Av: S N₂ D₂ P M₁ G₃ R₂ S
This raga is Hindustani in origin and used mainly for bhajans and tukkadas in Carnatic Music. In Hindustani music, it is considered a night-time raga. Even there, it is more popular in the ‘lighter’ side of classical music.
Desh also called as Des. It is a Hindustani classical music raga, which belongs to the Khamaj thaat. This raga is very similar to raga Khamaj.
This raga is a monsoon raga. It is often played at night. Desh is a popular raga, well suited for light classical and seasonal compositions.
This Raag is a very sweet melody that announces itself with the combination D s m G R - G ,N s S. The musical compositions in this Raga bear the Shadja-Pancham (S-P) and Shadja-Madhyam (S-m) bhava and therefore very pleasing and essentially melodic.
This raga is very similar to raga Sorath, except for the use of Ga. In this raga shuddha Ni (in aaroha) and komal-ni (in avaraoha) are used.
Re is the most prominent note (Vaadi) and Pa is next most prominent note (Samvaadi). Vaadi, samvaadi and nyaas notes are generally the resting point of the musical phrases. Proper 'conversation' between vaadi and samvaadi allows for the systematic improvisation (samvaad) based on the rules of the raga.
Desh or Des bears a close resemblance to raga Kedaragaula of the Carnatic (South Indian) tradition. Although Desh has similarities with Tilak Kamod and Khamaj ragas, the proper use of vaadi helps differentiate them.
For Carnatic Music lovers, Lalgudi’s Thillana in Desh is well-loved and familiar. Aside from this, Tunbam Nergayil by Bharati Dasan, Rama Namame by Tanjavur Shankara Iyer are also sung in Desh.
Dr. Harini Srivatsa (vocal) - Chennai
(from Illustrious Parur family of musicians)
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 has other names like Poorvakalyani, Poorikalyani. The scale that is followed today is s r g m p d p s - S n D p M g r s. Even while singing the Arohana - Avarohana, the raga should be brought forth.
The first so-called physical format that brings out in bold relief or in a nutshell the melodic entity and individuality of a raga is the Arohana - Avarohana, which was originally called its Moorchana. The scale mentioned in the Sangeeta Sampradaya Pradarsini is s r g m p D s - S n d p m g r s, which is Gamakakriya and which is also called Poorvakalyani.
Scientifically speaking, when the scale has been purposely fixed as s r g m p d p s, the prayogas g m d s, m d s, p d s, m p d s are prohibitory. Or else the scale could have been fixed as s r g m p d s. That perhaps leads us to conclude that there is should be a definite difference between Poorvikalyani and Gamakakriya. In the kritis in Gamakakriya, prayogas like d s p d s, d d S n d, R S R S n d, p d S, d G R S n d, s r r g m d m g r s would come.
Suddha Rishabha and Chatusruti Dhaivata are not Samvadi swaras. Suddha Rishabha - Suddha Dhaivata and Chatusruti Rishabha - Chatusruti Dhaivata are only Samvadi swaras. But in Poorvikalyani the prayoga d d R S R is very common. The Rishabha in the phrase d d R S R, d d R R R sounds in two different (sruti) values. In the phrase d d G R R and g m r g the Rishabha, although Suddha Rishabha is slightly higher in its value. It would not stick to the exact sruti value of Suddha Rishabha. In one way even Prati Madhyama and Suddha Rishabha also would match, even though they are not Samvadi. Samvadis are either fourths and fifths. But Dr. Rajinikanth Rao's contention is that sometimes it is also Sapta Sruti Samvadi as in Poorvikalyani. A comfortable Chatustruti Dhaivata in the Mandra Sthayi and Antara Gandhara are extraordinary nyasas. The curvature of Dhaivata and Gandhara is very beautiful. There are no restrictions as to range as in Kamavardhani where one normally doesn't go beyond the Tara Sthyai.
Ninne Kori, a Varnam by Sonti Venkatasubbayya and Karanam Kettuvadi (Suddhananda Bharati) start with the stop phrases in the Mandra sthayi which is very common in Poorvikalyani, but for a change, Tyagaraja's Paripoorna kama starts with a phrase in the Madhya sthayi. While talking about the melodic entities, in Syama Sastri's Ninnu vinagamari, the raga just floats in the 7 beats. We talk about the melodic entities and other aspects, but the classification of ragas on utilitarian value of the composition struck only Ramamatya, to classify ragas as Uttama (superior), Madhyama (moderate) and Adhama (inferior). Poorvikalyani is suitable for all the 3 orders.
Subbarama Dikshitar says that Poorvikalyani is a Raganga and Desiya raga. It is also said that it is also a rakti raga. Whether we take it for granted that it is a Raganga or Desiya raga, we have to swear that Poorvikalyani is only a rakti raga of pre-eminence absolutely suitable and for all kinds of compositions and all kinds of manodharma sangeeta.
On Behalf of Mysore Vasudevachaya Homage Page We Whole heartedly Thanking
Dr Harini Srivatsa (Vocal) & Team, from Chennai Padma Bushan Mysore Vasudevacharya Page 400th Milestone Grand Concert on Today the March 31st Sunday at 8.00 PM IST 10.30 AM EDT
We are blessed to have Dr Harini Srivatsa for this Special 400th Milestone Concert. The Inagural Concert on this page was given by her on 28/01/21
Dr Harini Srivatsa (Vocal) (From Illustrious Parur family of musicians)
Vid.T. Chandramouli (Violin) (Prof Parur M.S.Anantharaman)
Vid Ajeet Sridhar (Mridangam) (Disciple of Vid Chrompet G.Suresh)
Vid K. Krishnaveni (Tambura) (Disciple of Dr Harini Srivatsa.)
Enormous Ragams Covered .
Kalyani,
Jaganmohini,
Poorvikalyani,
Kunthalavarali,
Mohanam,
Behag,
Desh,
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..
JAGANMOHINI - JANYA OF MELA (15) MAYAMALAVAGOULA
Jaganmohini, though there are a few compositions, is not a very familiar ragam - except for the Thyagaraja krithi, “Shobhillu Sapthaswara”. This raga is a janya of mela (15) Mayamalavagoula, with following notes:
Aroh: S G3 M1 P N3 S // Avaroh: S N3 P M1 G3 R1 S
Ragapravaham also confirms the same scale; but it is also shown as a janya of mela (64) Vachaspathi raga :
S G P N S - S N D P M G R S
Also, a raga with name, ‘Jaganmohana’ also is shown under mela (66) Chithrambari, with similar notes as the conventional specification:
S G M P N S - S N P M G R S
This raga is not to be confused with ‘Jaganmohana’, which is a janya of mela (38) Jalarnavam, known as Jaganmohanam in Dikshithar system. (Dikshithar krithi, “Sri Vidya Rajagopalam” is composed in Jaganmohanam).
Govindacharya has written a Lakshana Geetham for Jaganmohini raga, “ArE murArE garuDagamana”:
"ArE murArE garuDagamana sarasija nayana jagannAthurErE antara gAndhAra kAkali
svara itara shuddha ArOha ri dha varjita avarOha dha varjita sagrahanyAsAmsha tripuTa yukta
mAyAmALavagauLa mEla janita jaganmOhini rAgamavadhAraya shrI rAma namO namO".
As already said, there are considerable number of compositions available in this raga; but many of them are not heard at all; some are seen sung by musicians, but not heard in concerts.
Compositions available:
Shobhillu sapthaswara - Thyagaraja
Mamava sathatham Raghunatha - ,,
Daya Juda samayamithe - Shyama Sastri
Sivakama sundari - G.K.Bharathi
Pahi Tharkshupuralaya - Swathithirunal
Pari pahimam - Mysore Vasudevacharya
Gajanana pahi sada - Lalitha dasar
Daya payo nidhe mampahi - Meesu Krishna Iyer
Pranoumi sathatham - Dr. V.V.Srivatsa
Arivila pittar - Arunagirinathar
Kalai magale - Periyasami Tooran
Marudamalai vasan - Kovai Subri
Kalai Vani arula - Sudhananda Bharathi
Sree shubhadevi - Muthaiah Bhagavathar
Dr Harini Srivatsa (Vocal) (From Illustrious Parur family of musicians)
Thani by Vid. Ajeet Sridhar (mridangam)(Disciple of Vid. Chrompet G. Suresh)
Vid K. Krishnaveni (Tambura) (Disciple of Dr Harini Srivatsa.)
Starting with Dakishnamoorhy Slokam
Vid. Ajeet Sridhar (mridangam)
(Disciple of Vid. Chrompet G. Suresh)
Vanajakshi varnam
Kalyani ragam
Shobillu saptha swara Ragam Jaganmohini Thyagarajaru Krithi
Ra Ra Rajeeva Lochana Mohanam Ragam 2 Mysore Vasudevachar
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.
Vid Ajeet Sridhar (Mridangam) (Disciple of Vid Chrompet G.Suresh)
Sobillu saptaswara
Vid.T. Chandramouli (Violin) (Prof Parur M.S.Anantharaman)
Dr Harini Srivatsa (Vocal) & Team, from Chennai Padma Bushan Mysore Vasudevacharya Page 400th Milestone Grand Concert on Today the March 31st Sunday at 8.00 PM IST 10.30 AM EDT
Vid. T. Chandramouli (violin)
(Disciple of Prof. Parur M. S. Anantharaman)
NATARAJA --- Lord of Dance & The king of Dancers...
Lord Shiva as Nataraja, a cosmic dancer is believed to perform all the cosmic activities that are necessary for the existence of universe. According to the Hindu mythology, Natraja dances for the eternal bliss with wild and graceful gestures that project the cosmic illusion and explains the "Pancha Kritya" (5 works creation, maintenance, destruction, concealment and favor) performed by him. Theinbuilt meaning in the idol was explained as follows: Upper right hand of Natraja is seen with the drum (Dumrook), which explains the origin of sound and the rhythm of life, which couples with the 'Aether' (Akasha - first of the 5 elements according to Indian Philosophy).
Bhogeendra saayinam Kunthala Varali Ragam Swati Thirunal Krithi
Varṇam: Vanajākśi - Kalyāṇi - Ādi Ramanathapuram Srinivasa Iyengar
Nerval @ C3 pAdi madi jyOti
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.
This I think is on auspicious day of Kandha shashti that marks the victory of Lord Murugan over the demon sura padhman. Please correct me iof I am wrong !!
Desh Thillana Aadi Lalgudi Jayaraman
We all know the importance of AUM, I shall not venture there. The Vedas themselves are also called Shruti meaning ‘That which is heard‘, emphasising both their divine origin and their oral tradition. Samaveda, in particular, ‘the Veda of Songs‘ includes notated music, perhaps the oldest surviving tunes of this world.
न नादेन विना गीतं न नादेन विना स्वराः
न नादेन विना नृत्तं तस्मान् नादात्मकं जगत्
नादरुपः स्मृतो ब्रह्मा नाद रूपो जनार्दनः
नादरूपा पराशक्तिः नाद रूपो महेश्वरः
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.
O lady with lotus eyes, i cannot tolerate the pain of separation from Krishna, please fetch
and bring along with you. listen, o king of beauty, the one who resides in the place of the hill (srinivasa/venkatesa). unenduring love has happened to me.
P Ananda naTam ADuvAr tillai ambalam tannil aDi
paNIbavark kapajayam illai (Ananda)
The lord performs a blissful dance. In the golden hall of Cidambaram the devotees who worship the lord’s feet have no fear of defeat in life.
AP tAnandam illAda rUpan tajjam takajham takajhaNu taLAngu taka tatingiNatOm taLAngu taka tatingiNatOm taka dhimi taka tatingiNatOmenRu (Ananda)
He is forever and he dances rhythmically.
C3 pAdi madi jyOti paLir paLIrena pAda silamboli ghalIr ghalIrena
Adik kaRai uNDa nIlakaNTham minna harapura harasiva sundara aruLpuri gurupara shiva shankaraaNDamum piNDamum ADiDa eNdisaiyum pugazh pADiDa (Ananda)
The crescent moon on his head shines brilliantly. His anklets make a resounding noise. His (blue) neck shines as a result of the primordial poison (which came out of churning the ocean for nectar) he consumed. The whole universe trembles as he dances. His fame is sung in all directions.
Bogindra saayinam
AP nabhi hrut kantha rasana nasadulayandu ||
Saptaswaras emanate from the navel, the heart, the throat and the tongue.
C dhara ruksamadula lo vara gayatri hrudayamuna
surabhoosura manasamuna subha tyagarajadulalo ||
Saptaswaras evolved from Rigveda and other Vedas. They are in Gayathri mantra.
They are in the hearts of Gods and learned men as well as in Tyagaraja and other singers.
Anandha natam aaduvar ragam: poorvi kalyaaNi 53 gamanashrama janya taaLam: roopakam Composer: Neelakanta Shivan
Sruti smriti
Super Replication on Vilolin
Gist :-
I prostrate the immortal one who reclines on the king-serpent, bestower of prosperity to the Puru dynasty.
Oh PADMANABHA! Your feet are worshipped by BRAHMA, SIVA, INDRA and other celestials.
One who resides in the gem studded mansion in the snow white island amidst the milky ocean. One who is forever worshipped by NARADA, GARUDA and the devoted ascetics. One who is adorned with the radiant divinely weapons SUDARSANA and NANDAKA.The embodiment of prosperity, having lotus like feet which are worshipped by celestials. Oh PADMANABHA!
You took the adorable child like form due to the extreme devotion of the meritorious sage DIVAKARA; Your pranks were restrained by the hands of the YOGI while snitching away the SALAGRAMA of daily worship. Out of compassion for the swiftly searching sage, you became steadfast near the tree in ANANTHAPURA. Oh PADMANABHA!
You, being extolled by the sage, took a beautiful form for the sake of his devotion. You are surrounded by the holy PADMATIRTTHA, redeeming all woes and miseries. You are praised by AGASTYA, MAHENDRA, TRIKUTA and MALAYACALENDRA. You are resplendent on the golden VIMANA made by VANCI MARTHANDA VARMA - the annihilator of wickeds.
You are adorned by the crown, lusterous as the sun, the fish-shaped ear-rings, pearl garlands, KAUSTUBHA, shining PITAMBARA, golden girdle around the waist and beautiful VANAMALA. You delight in LAKSHADIPA-festival of lamps in lakhs-and other daily UTSAVA-rituals done by the sinless and unparallel Kings of VANCI. Oh! PADMANABHA, whose eyes brim with the nectar of compassion and which are akin to the softest inner petals of the lotus.
P:Taka dhim tadhim nadrudhim tatom tru dhim dhirana tana dhirana
A:Nadrutani tomtrudhim tarikitadhim tarikitadhim tarikita dhim tanatadhim dhiranadhiranatakita tatdhim tatakatanam tajham takadhim talangu takadhim talangu takadhim talangu
C: Tanjam nin padam dayala ini aneEl enr-adaravod-arulvai
konjum valli kunjari kanava shenshevalasura kavala vEla
taka tarikitajham ri ma ri pa ma ga ri tarikitajham ri ma pa ni sA* kitajham
ni dha pA takadhIm takajham takaNam taka sa* ni ri* sa* ni dha pa ma ga ri sa ni* sa
takita kitataka jhanuta dhimita jham ma ma pa pa ni ni sa* ; takajhanu dhIm
kitataka jhanu dhim tarikita taka jhanudhim dhimi tarikita takajhanu
I have reached out to your feet as my only succour , the compassionate one . Please bless me that there is nothing to fear henceforth .
You are the husband of the lovable valli and devasena , one who has the red rooster, the protector of celestials and the wielder of spear.
Anupallavi: vinavē nāgapuramuṉa velayu saundara rājuṉi
listen in the place of the hill resident king of beauty
Caranam: nilupa rāṉi mōhamāyē
unable to hold / endure love/ fascination happened
Muzhudai unarndavar yaro Sayee
Without Nada, there is no music. Without Nada, there are no musical notes. Without Nada, there is no dance. Therefore the whole universe is composed of Nada. Brahma is known to be incarnate in Nada, as is Vishnu, Parashakti and Shiva.
In this kruti, Tyagaraja spiritualizes the seven notes of music as gods. Further, he says that they evolved from the Vedas. He also says that the saptaswaras should be worshipped. (i.e nadopasana) SrI tyAgarAja describes the greatness of music (sangItam).
Pallavi: vanajākśirō ī viraha mōrvana vāsudēvuni dōḍi dēvē
lotus eyed lady this pain caused by separtion of lover cannot tolerate of son of vasudEva, krishna fetch bring along
Sai Bhajan muzhudai unarndavar Behag Adi Composer Muzhudai Atmanathan
Wah !!! Superb
Vid. K. Krishnaveni (tambura)
(Disciple of Dr. Harini Srivatsa)