Vid. Smitha Srikiran (flute) & team from Mysore - Homage to Mysore Vasudevacharya Series
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- čas přidán 14. 06. 2024
- Special Carnatic Music concert - Birth Anniversary concert
Homage to Padma Bhushan Mysore Vasudevacharya
15th June 2024, 8:00 PM IST (10:30 AM EDT)
Exclusive Compositions of Mysore Vasudevachar
Vid. Smitha Srikiran (flute) - Mysore
(Disciple of Vid. A V Prakash, Dr. R N Srilatha & Vid. Vijaya Subramhanyam)
Vid. Prithvi Bhaskar (violin)
Vid. Mysore A Radesh (mridangam)
Vid. Sharat Koushik (ghatam)
(Concert held at Vasudeva Namana, on 26th May, 2024, at 10.30 AM IST) - Hudba
Absolutely Divine Blissful and Superb Concert All the Best Wishes 👋👌👋
Sri Hari Vallabe Adi Talam Mysore Vasudevachar Krithi
P vanajaksha ninne kori valachi vachchi yunnanu||
Oh Krishna, your eyes are beautiful like lotus. I loved you only and approached.
A gentle, contemporary composition about the very nature of grace, beauty and elegance describes her physical characteristics, at the same time bringing out the underlying strength and sheer power of being a woman.
Par Excellent Team !!!!
❤NAMASKARAM
P: shrI hari vallabhe mam pahi shrita bhakta hrdaye suvarnabhe
P shivE pAhi shrI cAmuNDEshvari shrI rAjarAjEshvari tripurasundari
पल्लवी - शिवे पाहि ! श्री चामुण्डेश्वरी श्री राज राजेश्वरी त्रिपुरसुंदरी शिवे पाहि ! माम्
Thank you Ma Singing Along !!!!!
The nature of ‘Lakshmi’ is to observe and uplift the very existence of the aims and goals of people who concentrate upon her.
Superb Start Ma !!!!
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
On Behalf of Mysore Vasudevachaya Homage Page We Whole heartedly Welcoming
Filmy Favourite Handeled by most Music Directors
No one can deny the fact that Chaarukesi was more popularized by M.K.Thyagaraja Bhaagawadhar, with his evergreen melody hit Manmadha leelaiyai venraar vundo in the film
Haridas The success of the song, `Manmatha leelayai’ sung by MKT confirms Charukesi’s poetic and phonetic vitality. `Aadal Kaaneero’ in “Madurai Veeran,” `Vasanthamullai pole,’
`Adal Kalaye Devan Thandadu’ in the film Sri Ragavendra, `Unakkum Enakkum Isaindha Porutham’ (of Ramalinga Adigal) are some of the hit songs in Charukesi.
But…the modern cine lovers will understand and cherish Chaarukesi only with Kaadhalin deepam onru in Thanbikki endha ooru, a Rajinikaanth super hit movie.
Charukesi is definitely A.R.R’s favourite raga. Among recent songs,’Udhaya udhaya’ song from tamil movie “Udhaya”, a mesmerizing song based on Charukesi raaga.
One of the best composition of A.R.Rahman which definitely is everyone’s favourite. Another A.R.Rahman composition ‘edho edho ondru’ from the tamil movie “enakku 20 unakku 18”.
This song is a nice melody and has a nice flavour of charukesi raagam.
It is interesting to note that most of the Krithis and film songs mentioned here have substantial period of sustenance in the higher octave.
For example, Manmadha leelaiyai begins in a higher octave note and swirls around higher notes; Nadanthaai Vaazhi Kaaveri also has its beginning in a higher octave note and Kaadhala Kaadhala goes as high as the panchamam.
As usual Charukeshi has been used by Bollywood in recent movies such as Swades.
Dhim dhim dhim Thillana Charukesi Adi Mysore Vasudevachar
My Name is Subramanian one of the Founder Admin and a very Short period Disciple of GNB Mama in 1964 !!
Vanajaksha - Mandari - Adi Mysore Vasudevachar
Mysore Vasudevacharya's first Varnam composition was Vanajaksha in Mandari.
palukavademi ra deva manohari Adi Mysore Vasudevachar
Charukesi , the 26th melakartha raga which belongs to Bana Chakra(the 5th Chakra) is an exotic and intriguing raga that invokes a meditative mood.
This raga clearly brings out the flavours of Sringara (Romance), Soka (Sorrow), Saantha (Tranquil, Peace) and Bhakthi Rasa (devotion)with equal felicity.
It can also be said that the raga essentially conveys the feeling of “nenjai urukkum “ quality . Charukesi rejuvenates the mind helping one to age gracefully. It enlivens the singer and listener. This raga is suitable for singing at all times.
In Mind, Body and Soul Chakra - Chakra 5 is the spirit Chakra: This chakra is located between the Solar Plexus and the Heart and is the energy center that contacts, and gets guidance from heavenly bodies.
Charukesi give relief from heart ailments. Hence it is said that Charukesi is a raga close to the heart.
It is also known as “Tarangini” in the “Dikshitar Asampoorna Mela System. Charukesi is usually referred to as combination of Sankarabharanam and Thodi.
The first half (purvanga) has the swaras of Sankarabharanam and the second half (uttaranga) has the swaras of Thodi.
But the transition of first half to the second is very graceful and not mechanical.
Charukesi has the following Arohana and Avarohanam.
Arohanam: S R2 G3 M1 P D1 N2 S
Avarohanam : S N2 D1 P M1 G3 R2 S
(chathusruthi rishabham, anthara gandharam, shuddha madhyamam, shuddha dhaivatham, kaisiki nishadham)
The major notes of the scale in this raga gives it a personality of strength only to be followed with the minor notes D1 and N2 which gives a touch of softness and kindness that show limitless delicate potential.
Rishabham is the Jeeva Swaram and the Nyasa Swaram for this raga.
Prayogas - pdndpgr - srgmgrns - pdpnd - rgmg rsd - pdsrg mggrr srgmgrsrgrs -grrsrns
Classical Compositions:
Innam en (varnam)-Lalgudi G. Jayaraman
Adamodi -Thyagaraja
Kripaya palaya - Swati Tirunal
Ayiram ayiram -Ambujam Krishna
Mayil meedhu -Calcutta Gurumurthy
Thillana - Charukesi - Adi by Mysore Vasudevachar
Pranamamyaham - ranjini- mishratriputa tala
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.
(Concert at Mysore Vasudevachar Heritage Home took place on 26th May 10.30 AM IST)
Raga Ranjani Widely Accepeted as Janyam of 59th mela Dharmavati.
Aro: S R2 G2 M2 D2 S Av: S N3 D2 M2 G2 S R2 G2 S
It is an asymmetric pentatonic scale, which is pleasing and has been more popular.It figures in ragamalikas, slokams, vrittams and light popular songs, as it is a pleasing scale.
The notes in this scale are chathushruthi rishabham, sadharana gandharam, prati madhyamam, chathusruthi dhaivatam in arohana and additional kakli nishadham in avarohanam, in place of sadharna rishabham
From Dharmavati scale (59th melakarta), the panchamam is removed in this scale and the rest are used in asymmetrical manner which gives the pleasing aspect to this ragam.
Ragapravagam book by Smt D Pattammal describes this as
1)Janya of 31st Mela Yagapriya
Aro S R G M D S // Av S N D M G S R S
2 ) Janya of 59th Mela Dharmavati with 3 Aro/Av as
S R G M D S/ S N D M G S R S…. S R G M D S/ S N D P G S R S.. and
S R G M P D S/ S N D M G S R S
There are so many Ragams ending with Ranjani
Some of the more known ones are:
ranjani/manOranjani/cittaranjani/karnaranjani/SrIranjani/mEgharanjani/janaranjani/ Sivaranjani/chAyaranjani/mAraranjani
Less common ones include:
jeevaranjani/madhuranjani/mAturanjani/nAdaranjani/sukharanjani/illAranjani/
bhOgaranjani/rAjaranjani/niranjani/tAmasuranjani/tridaSiranjani/bhuvanaranjani/caitakaranjani/ saikataranjani /dEvaranjani /dhAmaranjani /pratAparanjani /prakAraranjani /
tAlaranjani/viyOranjani /rasikaranjani /maruvaranjani /rAmaranjani /rEkharanjani / Suraranjani 29 dhIra shankarAbharaNam janya Aro: S G3 P R2 M1 D2 S Av: S N3 D2 P M1 G3 R2 S… gaurIranjani-23 Mela Gauri Manohari--S R G M P N S--S D M G R S/ Sumanesaranjani/Moharanjani
Further to add Confusion there are
Balamuraliranjani/KVNranjani/MDRranjani/Sanjayaranjani/Krishnaranjani/Sudharanjani/
Patriranjani/Abhishekaranjani/Sayeeramaranjani/Fiddleranjani/Ghataranjani/ Academyranjani/Kamalaranjani/Rajaniiranjani
Shivepahishri Ragam suruti khanda triputa Mysore Vasudevachar
This Song was one of the Compositions in Sanskrit
AP nadhirtani tomdhirtani tajham jham takita udani tani tanaka tanaka takahjam tari takataka
jhanuta sa ni dha pa dha dhiri dhirita takanaka takadhimi takundari takajhanu dhimiginatom
C pahi ma devadeva bhakta bandhava madhava sehi satva hita keshava varananga shri vasudeva
Senjurutti
The Raga known as as Chenchurutti, Shenjurutti etc. It is a janya raga, derived from Raga Harikambhoji 28th Mela
Aro : D2 S R2 G3 M1 P D2 N2 Av : N2 D2 P M1 G3 R2 S N2 D2 P D2 S
This raga derived from folk music and has a pleading note to it. An example of traditional folk music is the delightful Kavadi Chindu Valli Kanavan Perai set to this raga.
Tyagaraja has composed Rama Rama Rama RaRa and Navaneeta Chora in this raga. Oothukadu Venkata Subbaiyer’s Pullay Piravi and Maadu Meikum Kanna are popular. Though there are other Krithis
As generally percived Hindustani Jhinjoti is nowhere close to Senchuriti . In that respect, it is more like yadhukula kambhoji , which shines well in vilamba kala
This is on Lord Narayana composed in Sanskrit
Exclusive Compositions of Mysore Vasudevachar
Thani by Vid. Mysore A Radesh (mridangam) and Vid. Sharat Koushik (ghatam)
ninnu bAsi nimiSamaina nEnendu jIvintunE -Javali Ragam Senjurutti Mysore Vasudevachar
There is one more Javali with Same name Composed by him in Yadukulakambojhi.
AP nivArita nija bhakta pApanicayE nikhilAgama vEdya mahimAtishayE
निवारित निज भक्त पाप निचये ! निखिलागम वेद्य महिमातिशये !
C pAvana yadukula bhAgya dEvatE parama puruSa vAsudEva sahajatE
bhAvuka phaladAyini suma maNi mAlini dEvAdi sakala lOka paripAlini
kOvidha hrdaya vikAsini kalyANi kAtyAyani mahiSAsuramardini
dEvI shrI maj-jayacAma rAjEndra kAmita dAyini
पावन यदुकुल भाग्य देवते ! परम पुरुष वासुदेव सहजाते ! भावुक फल दायिनी सुम मणि मालिनी देवादि सकल लोक परिपालिनी कोविद हृदय विकासिनी कल्याणी कात्यायनी महिषासुर मर्दिनी देवी श्रीमद्जयचामराजेंद्र कामित दायिनी
Surutti :- This beautiful ragam is a Janya of 28th Mela Harikambhoji. surutti is an ancient raga.
It is a highly classic melody and is referred to as a scholarly raga The Arohana/avarohana is: SRMPNS/SNDPMGPMRS
ArohaNa : S, catushruti R, shuddha M, P kaishiki N,S
Avarohana :S, kaishiki N, chatusruti D, P, M, antara G, R, S
Subbarama Dikshitar classifies this a bhashanga raga and cites certain phrases in the higher octave where sadharana gandhara makes its appearance.
The beauty of surutti lies in long karvais on the pancama, extended long karvais on the nishada and the nyasa on the rishabha.
The phrase MGPMR is a characteristically beautiful one and brings out the deep beauty of the raga. Some of the other characteristic phrases of this raga are MPP,MR, DPMGPMR, SNDPNNS, NSRM,GR etc.
surutti is considered an auspicious raga and therefore joins the league of ragas such as madhyamavati, shri, vasanta and saurashtram and there are a number of mangaLam songs in this raga.
Next is the Main Krithi of the Concert !!!
(Exclusive Compositions of Mysore Vasudevachar)
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'.
We Have one more Krithi Please Stay with us Thanks !!!
Suddha Dhnanyasi and Udaya Ravichandrika Ragam
Suddha Dhanyasi. They look alike with only a minor variation in the Nishadam and the swaras are
Suddha Dhanyasi Aro S G2 M1 P N2 S Av S N2 P M1 G2 S
Udaya Ravichandrika Aro S G2 M1 P N3 S AV S N3 P M1 G2 S
While the former is a Janya of Karaharapriya, the latter originates from Dhenuka. According to experts, the former is sung with lot of gamakas whereas the latter is always presented with plain notes.
Udayaravichandrika is a symmetric rāgam that does not contain rishabham or dhaivatam. It is a pentatonic scale (audava-audava rāgam in Carnatic music classification - audava meaning 'of 5').
Its ārohaṇa-avarohaṇa structure Udayaravichandrika and Suddha Dhanyasi are closely related, so much that many performers treat the two as interchangeable.
Some contemporary practitioners consider Shuddha Dhanyasi as more inflected (i.e., using more gamakas), and Udayaravichandrika to be more in the Hindustani tradition with almost bare (i.e., uninflected) notes. Puritans,
however, refer to the fact that Udayaravichandrika is an ancient raga in the Venkatamakhin tradition and was reputed to be created by Muthuswamy Dikshitar himself.
However, at that time, it had kakali nishadam rather than the kaisiki nishadam of Suddha Dhanyasi.
In recent years this distinction seems to have blurred, and both ragas are considered roughly equivalent.
11:00 Devamahohari palukavedemira (MVD)
Vid. Smitha Srikiran (Flute) & Team, from, Mysore KA Padma Bushan Mysore Vasudevacharya Birth Anniversary Special Concert on Today the June 15th Sunday at 8.00 PM IST 10.30 AM EST
Vid. Smitha Srikiran (flute) - Mysore
(Disciple of Vid. A V Prakash, Dr. R N Srilatha & Vid. Vijaya Subramhanyam)
Vid. Mysore A Radesh (mridangam)
Shri’ the singular most feminine syllable in Sanskrit, is a reference to a popularly worshipped goddess, also considered the wife of the god ‘Vishnu’.
Vid. Smitha Srikiran (Flute) (Desciple of Vid. A V Prakash Dr R N Srilatha & Vid Vijaya Subramhanyam)
Illayaraja - Tamil
Aadal Kalayae - Sri Raghavendra (what a song !)
Amma Nee Sumandha - Annaiyor Aalayam
Arumbagi Mottaagi - Enga Ooru Kavalkaaran
Chinnanjiru Kiliye - Mundhaanai Mudichu
Kadhalin Deepam Ondru - Thambikku Entha Ooru
Manamaalayum Manjalum - Vathiyaar Veetu Pillai
Mayanginen Solla Thayanginen - Naane Raja Naane Manthiri
Nallathor Veenai Seithe - Marubadiyum
Nandhavanam - illam
Petha Manasu - Enna Petha Rasa (taking carnatic music to the masses)
Sakkara Katti Sakkara Katti Ullae Veliye
Siriya Paravai - Andha Oru Nimidam
Thoodhu Selvadharadi - Singaravelan
Uyire Uyirin Oliye - En Bommukkutti Ammavukku
Vaanathila Velli Ratham - Enga Ooru Maapilla
Raveendran - Malayalam
Hey Krishna-Kizhakkunaraum Pakshi-Raveendran
Yaathrayay-Aayirapara-Raveendran
I conclude this review by saying that Chaarukesi is a very soulful raga having a universal appeal with her charming beauty.
She induces a soft mood but kindles deep rooted subtle emotions. Charukesi is capable of holding the listener in an enthralling appeal with it’s simple arrangement of swaras and great emotional impact .
Charukesi is known to incite feelings of pathos and devotion in the listener.
A: ehi me sadanam samodam dehi me dhana dhanya sampadam
C: brahma rudradi varadayini brahmanda vyapini padmini
brahma janani jaganmohini bhava ragadi toshini
(Madyama kalam)
mahita kIrti shalini tavapade ratirastu me manimalini
mara janaka vasudeva hrtkelini mangala pradayini
Vid. Sharat Koushik (ghatam)
Vid Sharat Koushik ( Ghata)
Vid Mysore A Radesh (Mrianga)
Vid. Prithvi Bhaskar (violin)
Vid Prithvi Bhaskar (Violin)
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 nannu viDacuTa nyAyamA nIku nAmOdurA
C1 nI manasu karagadEmi nApAli daivamE
C2 vAsudEva manOhari jnAnadEva vEgamE
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.
P ninnu bAsi nimiSamaina nEnendu jIvintunE