Kum. Charulatha Chandrasekhar (veena) & team from Chennai - Homage to Mysore Vasudevacharya Series
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- čas přidán 17. 05. 2024
- Special Carnatic Music concert
Homage to Padma Bhushan Mysore Vasudevacharya
18th May 2024, 8:00 PM IST (10:30 AM EDT)
Kum. Charulatha Chandrasekhar (veena) - Chennai
(Disciple of her Grandmother, Dr. R. S. Jayalakshmi)
Vid. Vamsidara Anand (mridangam)
(Disciple of Vid. Pongulam Ramakrishnan) - Hudba
Such a wonderful concert. God bless you.😊
Absolutely Divine Blissful and Superb Concert All the Best Wishes 👋👌👋
P anupama gun mbudhi yani ninnu nera nammi anusarincina vADanaiti
You are unparalleled ocean of virtues,
I follow you faithfully)
Hat's off to You Wonderful Explanation !!!
P vanajaksha ninne kori valachi vachchi yunnanu||
Oh Krishna, your eyes are beautiful like lotus. I loved you only and approached.
Soooooper Ma !!! All the Best Wishes
Soooper Ma Absoltely Superb Explanation !!!
The composer, Mysore Vasudevacharya, uses simple words and a melodious ragam to paint a gentle picture of the goddess. The song "Sri Chamundeshwari" is performed on the ninth day of Navaratri, which is usually a day dedicated to celebrating peace and knowledge
Wah Thanam Soooooper Ma
Soooooper Explanation Ma Hat's off to you
Lovely Alapanai !!!
Khamas is a raga that brims with sringara rasa. It is enticing and graceful. It is an ancient raga mentioned in musical treatises.
In Tamizh pann system, this raga is called Panchachamaram. It is a vakra shadava-sampoorna raga (six notes in ascent, all seven in descent), a janya of the 28th mela Harikambhoji. Its arohana-avarohana pattern is SMGMPDNS/SNDPMGRS.
The notes featured in Khamas are sadja, antara gandhara, suddha madhyama, pancama, chatusruti dhaivata, and kaisiki nishada. In the modern interpretation of Khamas, the Bhashanga (foreign) note of kakali nishada also comes into play and adds charm.
There are several attractive pieces in classical music in Khamas. Thyagaraja’s ‘Sujana Jeevana’ and ‘Seethapathe’ are interpretative pieces that bring forth the innate beauty of the raga. Dikshitar’s ‘Sarasa Dala’ and ‘Santanagopalakrishnam’ are well structured pieces while Mysore Vasudevachar’s ‘Brocheva’ is hugely popular and features the kakali nishada.
Papanasam Sivan’s ‘Edathu Paadam’ is a well known Tamil kriti and ‘Mathe’ (Daru varnam) of Muthiah Bhagavathar merits mention. Most students of music would be well acquainted with ‘Sambasivayenave’, the famous Swarajathi in Khamas.
Ennnamma You are taking us Rashikas to heights !!!
Pranamamayaham Ragam Gowla 15th Mela Janya Mysore Vasudevacharya Krithi
In this keertana Rama is described as an ocean of virtues. Tyagaraja gives the examples of Draupadi and Gajendra whom Rama rescued.
On Behalf of Mysore Vasudevachaya Homage Page We Whole heartedly Thanking
Kum Charulatha Chandrasekhar (Veena) , from Chennai TN “Homage to Mysore Vasudevacharya Special Series Concert on Today the May 18th Saturday at 8.00 PM IST 10.30 AM EDT
Kum Charulatha Chandrasekhar (Veena) (Desciple of her Grandmother, Dr. R. S. Jayalakshmi)
Vid Vamsidara Anand (Mridangam) (Disciple of Vid Pongulam Ramakrishnan)
Enormous Ragams Covered .
Mandari,
Gowlai,
Khamas,
Chintamani,
Atana,
Bilahari,
Yamuna Kalyani,
Sowrashtram.
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..
On Behalf of Mysore Vasudevachaya Homage Page We Whole heartedly Welcoming
Mysore Vasudevacharya's first Varnam composition was Vanajaksha in Mandari.
CHINTHAMANI - JANYA OF MELA (56) SHANMUKHAPRIYA RAGAM
A very rare raga, created by Shyama Sastri; his lone composition still maintains the title of ‘Eka raga krithi’. It is not because there is no other composition in the raga, but no other krithi is heard sung nor become popular. This raga is considered normally as a janya of mela ragam (56) Shanmukhapriya (the prathimadhyama of Natabhairavi raga).
Accordingly, many consider ‘chinthamani’ raga as the prathimadhyama of ragam Bhairavi (containing both D1 and D2). There is little confusion made by many of the internet sites; though they state that Chinthamani as janya of Shanmukhapriya, but giving the notes of a Hemavathi origin.
The widely accepted ragaswaroopam is:
S R2 P M2 P D2 N2 S // S P D1 P M2 G2 R2 S
The normal specification from the various sites show the Hemavathi origin:
S G2 R2 G2 M2 G2 R2 G2 P M2 P D2 N2 S // S N2 D2 P M2 G2 R2 S
While SSP does not give any details about this raga, Ragapravaham shows this under various melas as below:
1. under mela (7) Senavathi,
S R1 G2 M1 S M1 P D1 N1 S // S D1 N1 P M1 G2 R1 S
2. under mela (26) Charukesi,
S R2 G3 M1 S M1 P D1 N2 S // S D1 N2 P M1 G3 R2 S
3. under mela (51) Kamavardhani,
S G3 M2 D1 N3 S // S N3 D1 M2 G3 R1 S
4. under mela (52) Ramapriya,
S G3 M2 P D2 N2 // D2 P M2 P G3 R1 S N2 S
5. under mela (56) Shanmukhapriya,
S R2 P M2 P D1 N2 S // S P D1 P M2 G2 R2 S
6. under mela (59) Dharmavathi,
S R2 M2 D2 N3 S // S N3 D2 M2 G2 R2 S
What imbues certain songs with an incredible sweetness which lingers forever in memory? What makes certain compositions much much more than the sum total of their ‘ingredients’ of notes, words and rhythm?
Brochevarevarura is composed in Telugu in Raga Kamas . Like so many bhaktas before him, and so many after him, the poet begs of Rama ‘O Sita’s husband, don’t you have regard for me?
Can’t you listen to my pleas? Aren’t you Vasudeva who rushed to rescue the king of elephants. Dispel my sins, hold my hand and do not let go’.
As we listen to this beautiful song, we too pray ‘Rama, I have neither beautiful words nor melody, but I plead the same; Please don’t let go of me’ !!
He entreats Rama not to be indifferent to protect him. He expresses that Rama's virtues and merciful nature are beyond any description.
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).
Oh Goddess Chamundeswari, please protect me. You are very merciful consort of Sankara. You are protector of those who seek refuge. You are the most powerful. You dwell on Himalaya mountain. You destroyed demon Mahisha.
Bilahari is a janya rāgam from the 29th melakarta scale Sankarabharanam.
Bilahari is an asymmetric rāgam that does not contain madhyamam or nishādham in the ascending scale. It is an audava-sampurna rāgam (or owdava rāgam, meaning pentatonic ascending scale) Its ārohaṇa-avarohaṇa structure (ascending and descending scale) is as follows:
Aro : S R₂ G₃ P D₂ Ṡ Av : Ṡ N₃ D₂ P M₁ G₃ R₂ S
The notes used in this scale are shadjam, chathusruthi rishabham, antara gandhara, panchamam and chathusruthi dhaivatham in ascending scale, with kakali nishadham and shuddha madhyamam included in descending scale. This rāgam also uses kaishiki nishadham (N2) as an external note (anya swara) in the descending scale. Hence it is considered a bhashanga rāgam, a scale with notes external to the parent scale.
Bilahari based music therapy on anxiety, sleep disturbances and somatic symptoms among caregivers of cancer patients,
Carnatic raga-Bilahari based intervention is a music therapy technique that enhances relaxation and positivity by reducing anxiety. With extensive empirical evidence pointing out the detrimental challenges faced by the caregivers of cancer patients, the present study intends to find out the effectiveness of a Carnatic raga based music therapy on reducing anxiety, sleep disturbances, somatic symptoms and distress level among this population A single group pre-post research design was was used to conduct the study
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
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 .
MODERN RAGA LAKSHANA OF YAMUNA KALYANI:
This raga’s current or modern day attributes/lakshana can be summarized as :
A sampurna bashanga janya of the 65th mela/raaganga Kalyani with usage of suddha madhyama in descent or avarohana phrases.
Given the current treatment of Yamuna Kalyani on concert platforms, one can additionally ascribe the following attributes:
• Yamuna Kalyani almost as a rule, is today sung in madhyama sruti & thus having its sancara restricted in the upper octave.
• Apart from the usage of suddha madhyama, Yamuna differs from Kalyani on two additional grounds:
• Kalyani is rendered with more intense usage of kampita gamakas in the so called “sampurna varika style” by which every note is invested with kampita gamakas. On the other hand Yamuna Kalyani is rendered with more jarus and with vakra sancaras rather than sequential progression of svaras.
• In terms of performance Yamuna Kalyani is relegated to lighter compositions, shlokas or javalis but is never taken up for a detailed exposition or for tillanas.
The modern form of Yamuna Kalyani is best illustrated by the following 3 compositions:
• The Dasar pada “Krishna nee begane” as immortalized by Smt T Balasarasvathi,
• Annamacarya’s composition “Bhavayami Gopalabalam” as popularized by Smt M S Subbulakshmi
• Semmangudi Srinivasa Iyer’s music setting of Sadasiva Brahmendra’s composition”Pibare Ramarasam”
TEXTUAL REFERENCES TO YAMUNA:
There are two references to the raga lakshana of this raga, which one can refer to:
1. First is the raga lakshana as outlined by Subbarama Dikshitar in his monumental work, the Sangita Sampradaya Pradarshini (1904), SSP for short.
2. The raga lakshana as documented by Subba Rao in his work Raga Nidhi (1996), which is a comparative study/documentation of ragas featured in the Carnatic and Hindustani idiom.
There are no references to this raga ( that is Yamuna)in older texts including Caturdandi Prakashika or Sangita Sudha or the works of King Shahji or King Tulaja. The raga name figures as a desya raga in the listing found in the Anubandha to the Caturdandi Prakashika.
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.
Main Krithi of the Concert !!!
Kum. Charulatha Chandrasekhar (veena) - Chennai
(Disciple of her Grandmother, Dr. R. S. Jayalakshmi)
P Pranamaamyaham Sree gaureesutham
phanithal_pa-vaasudaeva-bhaktham-sathatham
We have one more please stay with us
P Bhavayami Gopala Balam ... Mana Sevitham ,
Tat padam chintayeyam sada
Think of the Cow-herdmen's child (Krishna), serve (HIM) in heart, and think His word always.
The word "padam" means word while the word "paadam" means foot. Well in almost all the renditions, "padam" is sung and so I am going to take that as reference. This line is self explanatory.
C1 kaṭi-ghaṭita-mēkhalā khacita-maṇi-ghaṇṭikā paṭala-ninadēna vibhrājamānam
kuṭila-pada-ghaṭita saṅkula-śiñjitēnatam caṭula-naṭanā-samujvala-vilāsam
His waist has a girdle/belt studded with gems and small tinkles. His forehead with the sandal paste mark echos the splendor.His curved feet has crowded tinkles. His loveable dance/acts radiate pleasure.
C2 niratakara-kalitanavanītaṃ brahmādi- suranikara-bhāvanā-śōbhita-padam
tiruvēṅkaṭācala-sthitamanupamaṃ harim paramapuruṣaṃ gōpālabālam
(He) always has butter in his hands;His word/feet adornes the thoughts of the Brahma and other Gods collectively. Residing on Thiru Venkata Hill, the gopala bala(cowherdsman's child) is the unparalleled Hari, the Supreme Man.
This keerthana is one of Annamayya's sanskrit keerthanas, describing Krishna as the cowherdsman's child.
The first stanza urges people to focus/meditate on His word and serve him in heart.
The second describes the costume of Krishna, especially the waistband, anklets,etc. This is mostly self-explanatory keerthana with no difficult interpretations.
The tradition of worshipping Krishna as a Bala Krishna or Bala Gopala (child Krishna) is an old one. There is evidence as early as 4th BC of this.
The stories of his Leelas or miraculous play are widely known throughout India. In contrast to Rama, the previous avatar of Vishnu, who always followed rules and regulations, Krishna’s Leelas describe someone who broke many rules.
While Rama’s life is about obligation, Krishna’s life is about play and delight.
I believe that the stories of Krishna’s play have deep symbolic meaning.
For example, his love for butter symbolises God’s love for a pure and unsullied heart. His leela of duplicating himself for all the gopikas symbolises the multiplicity of God who is with every soul though he is One.
Even keeping aside the symbolism, the endearing nature of the leelas allow us to bring forth the purest form of love that we human beings know - the love of a parent towards his/her small child - and allow us to transform that love into a love for the divine.
I meditate upon the Baby Gopala, Who is served by my mind. I always meditate on those feet. I meditate upon the Baby Gopala,
Who is glittering forth due to immense rhyming sound coming from jewel and bell studded waist girdle, and Who is shining forth trembling dances adorned by the sound of feet running in curved trajectoriesI meditate upon the Baby Gopala,
Who is engrossed in the beautiful new butter-ball in His hand, Whose feet are adorned by the various devoted emotions of Brahma and demi-gods, Who is situated at the mountain of Tirupati¹ as Venkat, Who is without a comparison, Who is Hari, and Who is the best person
Bhavayami Gopala Balam composition by Annamacharya, set to Raga Yamuna Kalyani by Kayanallur Venkataraman
Sri chamundeswari Ragam bilahari Adi Talam Mysore Vasudevacharya krithi
Very Interesting Episode :-
During Sharabhoji’s reign (1777 AD - 1832AD), a musician named Bobbili Keshavayya, visited his court. Keshavayya with his Flag on the intrument was well known for challenging musicians to the King . Since no other musician in Tanjavoor court were ready to face Keshavayya who was known for his expertise at singing pallavis with extremely complicated rhythmic structures, the responsibility fell on Syama Sastry.
In the music-duel that followed, Keshavayya sang a pallavi in Simha nandana tALa, which Shama Sastry comprehended and reproduced. Now, it was Shama Sastry’s turn to challenge Keshavayya next day. That night during his prayers to Goddess Kamakshi, Syama Shastry sang a new composition in a brand new raga - Chintamani, pleading her to protect him at this critical moment (dEvI brOva samayamidE ati vEgamE vacci)
In Fact Syama Sastry has saved the King, Kingdom and Court Musicians. Kingldom would has otherwise fallen into the hands of Keshavayya
Now Super Thani by Vid. Vamsidara Anand (mridangam)
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 .
Raga Yamuna Kalyani, also called as Yamuna, is a supposedly lighter melody and a minor raga today, under the Kalyani raganga/melakartha. A look at the musical history as available to us and also given the fact that we have major compositions from both Tyagaraja and Muthusvami Dikshitar, would show that this raga was not a minor one. In fact there is even an authoritative reference that one of the kritis of Syama Shastri (“Birana Varalichi”) was composed in Yamuna Kalyani, implying that this raga should have been a member of that exalted list of 28 ragas (making it 29) that were utilized by the Trinity in common for their compositions. Many of the 20th century authorities such as Justice T L Venkatarama Iyer have been of the firm opinion that Yamuna Kalyani was an import from Hindustani Music and that the melodic equivalent of our Yamuna Kalyani was Yaman or Iman as it is referred to. In fact the “import” is ascribed to Muthusvami Dikshitar himself with the storyline that he learnt it during his Kashi sojourn.
When one traces our musical history, it can be deduced that Yamuna Kalyani had its roots in the old mela of Venkatamakhi called as Kalyana or Suddha Kalyan. This Suddha Kalyana spawned modern Kalyani even while it metamorphosed into Yamuna Kalyani as evidenced by the Dikshitar’s “Jambupate Mam Pahi”, the Panchabhuta kshetra kriti on the Lord at Tiruvanaika (Trichy) in this raga. Thus it would be erroneous to state that Yamuna Kalyani is a janya or offshoot of Kalyani. Rather Yamuna Kalyani was Kalyani’s precursor or at least Kalyani’s sibling, having been spun off from Suddha Kalyan. To suit the convenience of modern day classification it came be bundled under the Kalyani Ragaanga, in other words as a member of the Kalyani clan.
Coming back to the main thread, this Yamuna Kalyani as envisioned by Dikshitar underwent a further modification in the 20th century as evidenced by the melodic setting of the two current day famous compositions, “Krishna Nee Begane” and Annamacharya’s “Bhavayami Gopalabalam”. This modern Yamuna Kalyani can also be seen in modern interpretations of Tyagaraja’s better known compositions namely “Haridasulu vedale” and “Vidhi Chakradulaku”.
This blog post is an attempt to outline this history or metamorphosis as understood from the study of the musical history of Yamuna Kalyani through the ages from the time of our music’s great patriarch Venkatamakhi to Muddu Venkatamakhi to Muthusvami Dikshitar to Subbarama Dikshitar & to our times.
Chintamani is another rarely heard ragams. This is a janya of Shanmukhapriya. A night raga that evokes karuna rasa. Syama Sastri is believed to be the only composer to have composed a kriti in this raga as of earlier. This song is also rendered in different styles with different notations by various vidwans. The only krithi available in this ragam is Shyama Sastri's Devi Brova. There does not appear to be any Hindustani raga close to this. Similarly there are no film songs in this ragam.
P Broche varevarura ninu vina raghu vara
nee charanambuja munu ne vidajala karunala vala |
Oh Rama, who else will protect me, Oh esteemed one of the Raghu dynasty? Oh embodiment of mercy, I can never leave your lotus feet..
Vid. Vamsidara Anand (mridangam)
(Disciple of Vid. Pongulam Ramakrishnan)
P Sri chamundeswari palaya mam krupakari Sankari Sritajana palini mahabaladri vasini mahishAsura mardini ||
When Vid GNB Mama performed Brochevarevarura, Mysore Vasudevacharya is supposed to have remarked, “my modest little girl has been bedecked with finery and transformed into a princess
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.
Vanajaksha - Mandari - Adi Mysore Vasudevachar
Vid Vamsidara Anand (Mridangam) (Disciple of Vid Pongulam Ramakrishnan)
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.
Kum Charulatha Chandrasekhar (Veena) , from Chennai TN “Homage to Mysore Vasudevacharya Special Series Concert on Today the May 18th Saturday at 8.00 PM IST 10.30 AM EDT
Pavamana Suthudupattu - Sowrashtram - Thyagarajaja Krithi
YAMUNA KALYANI AS OUTLINED IN THE SSP:
The SSP offers the first glimpse into this scale, wherein Subbarama Dikshitar refers to this raga as Yamuna. Let’s review first the information presented by SSP in connection with this raga.
• In the (Shantha) Kalyani Raganga lakshya gitam it is given that Imma Kalyani and Mohanam are the bashanga janyas of Kalyani. As a side note, we do not see Hamir Kalyani and Saranga mentioned as Kalyani’s janyas in this raaganga raga lakshana gitam. However Subbarama Dikshitar lists out Hamir Kalyani and Saranga as Kalyani’s janyas subsequently in SSP.
• Subbarama Dikshitar does not provide any lakshana shloka for Yamuna as he usually does. It’s indeed a puzzle for us that (Muddu)Venkatamakhi gives a reference to Imma Kalyani in the Kalyani raagaanga gitam, but no lakshana shloka or prabandha or tana or gita of (Muddu)Venkatamakhi is provided for this raga!
• Subbarama Dikshitar gives the murccana arohana/avarohana as SRGMPDNS/SNDPMGRS under the Kalyani raagaaga. However he defines the lakshana with the following caveats.
• Arohana is usually SRGPDs or SRGPMPDs
• Avarohana is usually sNDPGRS or sDPMGRS
• Sa is grahasvara and Ga, Ri and Dha are jeeva svaras
• Suddha madhyama occurs in the prayogas GmRS or GmGRS
• The oldest lakshana providing composition given by Subbarama Dikshitar is the “Khabay Prabandha” attributed to pUrvikAs or old timers. This composition has the ‘udgraha’ or refrain as “tha thai thaiyya”.
• Subbarama Dikshitar provides 4 other compositions to illustrate the raga:
• ‘Jambupate Mampahi’ of Muthusvami Dikshitar
• ‘Chintaye Janakiramanam’ of Krishnasvami Ayya
• Jatisvaram beginning with ‘SDPM’
• His own sancari set in matya tala
• The anubandha to the SSP lists out a ragamalika with 10 ragas starting with the words “Priyamuna” which has the raga mudra itself in its pallavi refrain, composed by Subbarama Dikshitar in the ragas Yamuna Kalyani, Todi, Sri, Hamir Kalyani, Durbar, Padi, Huseni, Sahana , Mohanam & Bhupalam.
Chamundeswari is known for her fierce and forceful strength, who wears garland of skulls, drinking blood from a skull cup and who has killed demons Chanda and Munda, thereby attaining her name. She is referred to as one of Parvati's forms. It is said that she attained fierceness from her association with Rudra, an angry form of lord Siva. In contrast to her attributes, Chamundeswari is depicted as very delicate, kind and beautiful in this krithi. It is typically said that the fierce force is always complemented with a kind gentle side. That is exactly what the composer portrayed - painting such a beautiful & gentle picture for this fierce goddess, unseen by laymen, in very simple words and a melodious raagam. You may notice how the swara sancharam ascends up for "Mahaabalaadri vaasini" when referring to the mountain.
AP vachama gochara mahima virajite varaguna bharite
vakpati mukhasura vandite vasudEva saha jate ||
Your powers are indescribable by words. Your virtues are excellent. Brahma and other Devatas bow to you. You are Maha Vishnu's sister.
C raka nisakara sannibha vadane rajeeva lochane
ramaneeya kunda radane rakshita bhuvane mani sadane
mooka vak pradana vikhyate munijana nuta
supreeeE Srikara taraka mantra toshita chitte sada namaste ||
You face is beautiful like full moon. Your eyes are like lotus petals. Your teeth are like jasmine buds. You are the protector of the world. Your abode is gem studded. You bestowed voice to dumb. All sages worship you. You are auspicious and pleasant. You are delighted with blissful "Taraka Mantra" which bestows salvation. I always bow to you.
This Kriti was originally composed in Sanskrit
Anupama gunambudhi Ragam Atana 29th Mela Janya Adi Talam Thyagarajar Krithi
Devi brova samayamide Ragam Chintamani 56th Mela Janya Adi Talam Syama Shastri Krithi
One of the Best Krithi This is the only song Syama Sashtri has written in this Raga
Brochevarevarura Ragam Khamas Adi (2 Kalai) Talam Mysore Vasudevachayar Krithi
Bhavayami Gopalabalam Ragam Yamuna Kalyani Annamyya Krithi
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 .
Shriranga natha pundarikaksha sarangapanim (g)-Triputa-Vinai Shesha Iyer
P devi, brova samayamide. ati-vegame vacci
na vetalu dIrcci karunimpave. zagkari! kamaksi!
O Goddess! This is the very time to protect me; to come very quickly,
remove my grief, and have mercy. O Śaṅkarī! O Kāmākṣī!
AP Gananaathha-amara-vrnda-saevitham
phaNihaara-bhooshitham munivara-vanditham
AP O chaturananadi vandita neeku parakela nayya
nee charitamu pogada lenu na chinta teerchi varamulichchi vegame||
Oh lord that is bowed by Brahma and other Gods, why is this indifference towards me? Your life and nature are beyond my description. You please assuage my agony. Bestow me your grace soon.
C1 Seetapate na pai nee kabhimanamu leda
vatatmaja rchita pada na moralanu vina rada ||
Oh lord of Sita, have you no interest in me? Anjaneya, the son of the wind God, worships your feet. Why don't you pay heed to my lamentation?
C2 Aturamuga kari rajuni brochina vasu devude neevu kada
Na pataka mella pogottI gattiga na cheyi batti viduvaka
Are you not the same Vasudeva who rescued the king of elephants expeditiously? Kindly dispel all my sins and hold my hand firmly
Credit to your grandmother.
He composed the most beautiful krithi on Sree Chamundeswari, the prime deity in the nearby temple on Mount Mahabala. In pallavi, he says, oh! kind Sankari, please protect me and you do take care of the righteous. You have made Mount Mahabala as your abode and you are the one who killed the demon Mahishaasura. He later describes her in anupallavi as the one who has powers that can not be described in words, one with many virtues, as the sister of Vasudeva and is worshiped by Brahma and other celestial bodies. The charanam is the lynchpin of her qualities. He elaborates as her face is as radiant as the full moon, with vibrant eyes and beautiful teeth like jasmine buds, the protector of the world and dwells in a gem studded home, is famous for bestowing speech/knowledge to the dumb/ignorant, she is praised and favored by all the sages, she is delighted by the sacred taraka mantra, and he says to that powerful one, he bows to always.
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!
C1 lōkajanani, nāpai daya lēdā?
nī dāsuḍu gādā?
śrī kāñci-vihāriṇi! kalyāṇi!
ēkāmrēśvaruni priya-bhāmayaiyunna
nīkēmammā? entō bhāramā? vinumā? talli!
O mother of the world! Do you not have kindness towards me?
Am I not your devotee?
You who reside in Kāñci! Auspicious one!
What is it to you, who are the beloved of Ēkāmrēśvara?
Is it such a burden? Will you listen to me? O mother!
C2 rēpu-māpani ceppitē, nē vinanu, dēvi
ika tāḷanu nēnu, ī proddu daya cēyavē, kṛpa jūḍavē
nī padāmbujamulē madilō sadā yeñci
nī prāpu kōriyunnānammā, mudamutō, mā talli
If you say [you will protect me] tomorrow or the day after, I will not listen, O Goddess.
I cannot bear it any longer. Always thinking of your lotus feet in my mind,
I ask you for your cheerful support to immediately show me mercy and compassion.
O my mother!
C3 śyāmakṛṣṇuni sōdari kaumāri bimbādari gauri
hēmāpāṅgi5 lalitē paradēvatē
kāmākṣi, ninnu vinā
bhūmilō prēmatō kāpāḍēvārevarunnārammā?
talli!
Sister of Krishna! Youthful one! One who carries the moon! Gauri!
One with golden eye-corners! Beautiful one! Greatest goddess!
O beautiful-eyed one, except for you,
who is there in the world who will protect me with love?
O mother!
MANDARI - JANYA OF MELA (50) RAGAM NAMANARAYANI?
Can we include Ragam Mandari in Rare ragas? This was a doubt, since, with so many compositions in this raga, which prevents it to be called so, only a handful of krithis are heard - even among them only a couple heard in concerts.
Still, it is not that much popular also, mostly the krithis are sung as fillers in gaps. The next question is that different books quote this raga as from different origins. Let us see the various definitions.
Mandari is said to be a Dhaivatha-varja janya of mela (50) ragam Namanarayani, with following specification in many books:
S R1 G3 M2 P N2 S // S N2 P M2 G3 R1 S
Invariably, it should contain Kaishiki Nishadam (N2). But many of the musicologists and books prefer it to be called a Dhaivatha-varja janya of mela (51) ragam Kamavardhani (Panthuvarali); so that it contains Kakali Nishadam (N3) in place of N2.
S R1 G3 M2 P N3 S // S N3 P M2 G3 R1 S
Hence for all the uses, this specification is chosen by many.
Out of the Trinities, only Saint Thyagaraja has composed in this raga; but this was used earlier by composers like Oothukad Venkatakavi. There is no reference found in SSP, but Ragapravaham by D.Pattammal places it under three mela ragas,
Under mela (50) Namanarayani :
S R G M P N S // S N P M G R S
S R G M P N S // S N P M R G R S
Under mela (51) Kamavardhani as:
S R G M P N S // S N D P M G R S
And under mela (52) Ramapriya as:
S R G M P N S // S N P M G R S
It can be seen that the difference between the currently followed specification of Mandari is quite close to ragam Amritavarshini, a janya of mela (66) Chitrambari; only short of Suddha Rishabham (R1), the notes being S G3 M2 P N3 S // S N3 P M2 G3 S. The well-known musician and musicologist,
Prof. S.R.Janakiraman is of opinion that “Amritavarshini can be considered Janya of any of these melas: 51,53,54,63,65,66,69,71,72 -can be fitted into as a
Janya of 9 melakarthas. However, as per convention the earliest number is to be accorded ie.,51-Kamavardhani”. In any case, the difference between Amritavarshini and Mandari is the presence of R1 in the latter.
By beleieving that you are the repository of all auspicious attributes, I have now become your full-fledged follower, yet you hesitate to protect me! O Lord of Manu race! Unfortunately for me, I have none of standing, compassionate enough to convey to you my helplessness and the urgent need for your grace. Should you not on your own initative? O son-in-law of the great king Janaka! Your forbearance is reputed to equal that of Mother earth, the mother of Sita devi. O my father! My plight cannot stand further delay.
One adorned with rich golden ornaments, why the duplicity in behaviour towards me? Is it because I constantly think of this treasure of the physical body?
O prop of all the worlds! Even in dreams I think of you as my only God. I have heard that enslaved by their unalloyed devotion to you, you have protected Draupadi and the Gopis in their hour of shame by copious supply of saris and clothes.
You are the moon risen out of the royal lineage. You are the Protector of Devas. You had protected Gajendra. You are worshipped by Tyagaraja.
AP manupakayE yunnAvu; manupati! vrAsi mEmanupa mA kevaru vinumA dayarAni
If you do not protect us, who is there for us
to show kindness, Oh Master of the Manus (Vishnu)
C1 janaka jAmAtavai janaka jAmatavai janaka jAlamu cAlunu cAlunu, hari!
You are the son-in-law of Janaka, Oh father Hari, enough is your delay
C2 kanakapaTadhara nannu kanakapaTa mEla tanu kanaka paThanamu sEtugAni bUni
Oh golden dressed Rama, why don't you see me, you can study me latter on
C3 kalalOnu nIve sakala lOka nAtha kOkalu lOkuvaga nicci gAcinadi vini
You are in my dreams, Oh Lord of all lokas.
I heard that you protected Draupadi from humiliation by giving sarees.
C4 rAjakula kalashAbdhi rAja! surapAla! gajarAja rakSaka! tyAgarAjavinuta
You relate to the Kshatriya kings, just as moon is to the ocean. You are the ruler of all gods and the saviour of Gajendra. You are worshipped by Tyagaraja
Kum Charulatha Chandrasekhar (Veena) (Desciple of her Grandmother, Dr. R. S. Jayalakshmi)