Thank you for all your kind words! I would like to clarify that *my guru is Sri. V. Sanjeev.* Namaskarams to him. Thank you to Venkat Anna, Vaidhyanathan sir, Ravichandran sir, and Jaya mami for a memorable experience!
Shri VKS Raghavan avarGaL paadiyathu ellOrudaiya uLLanGaLukkum maghizhchchiyinaith thanthathE aagum enRu prathyEgamach chollavum vENdum. So also it equally applies that their programs ellaiyilla maghizhchchiyaith tharuGinRathu enbathu uNmaiyE aagum. ‘Emergy’s - yil Jai Shankar full-fledged owner-aaga iruntha pOthu paNiyil amarththinaan. Bear me I entered into a different topic. I should return to this Carnatic Sangeetham part. In spite of her age ‘Smt. SuGuNaa Varadaachari swims beautifully (in her singing) ellOr uLLanGaLum maghizhum vagaiyil. Naan cholvathu Sariyaa? ChollunGaL. Also enjoy hear ‘SugaNa Varadachaariyin’ paattukkaLai.” -- “M.K.Subramanian.”
On Behalf of Mysore Vasudevacharya Homage Page We Whole heartedly Thanking Kum Ishaani Ramaswamy (Veena) from Sandiego CA & team - Homage to Mysore Vasudevacharya Page Being Premiered on Today the17th August Saturday at 8.00 PM Ist 10.30 AM EDT 7.30 AM PDT Kum Ishaani Ramaswamy (Veena) (Desciple of Sangeetha Kalacharya Dr R S Jayalakshmi) Vid Puttur T Nikshith (Mridangam) Vid CP Vyasa Vittala (Kanjira) Vid CP Vyasa Vittala (Kanjira) (Concert at Mysore Vasudevachar Heritage Home held on 28th July Sunday at 10.30 AM IST) Enormous Ragams Covered . Navaragamalika :- Kēdāram, Śankarābharaṇam, Kalyāṇi, Bēgaḍa, Kāmboji, Yadukula Kāmboji, Bilahari, Mohanam, Śrī Gowlai, Khamas, Hindolam, Bilahari, Dhanashree, Sindhubhairavi. 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..
This ragam is a janya of Natabhairavi. It is believed that this ragam is an import from Hindustani Music where it is a very popular raga, especially in the Sikh tradition. As mentioned in one of my previous write ups, the Sikh religious hymns are set to 31 classical ragas and this raga is mentioned as the tenth raga and 36 hymns are set to this raga. It has close resemblance to Abheri/karnataka devaghandari,When the ragam is sung in the Hindustani style, its closeness to Bhimplasi could be easily seen. According to the Hindustani scholars, both the ragas use the same notes but with different chalans ( movements ) which makes the difference. Aroh: ni Sa ga Ma Pa ni Sa Av: Sa ni Dha Pa Ma Pa ga Re Sa
P Geeth Tha dhu Ni ku tha dha theem thathru Ki ta thom Naa charahe Ko ri Thaam thai Tha thai Thith thai Kita thaka ; G ; ; R ; S ; S ; R N ; S ; ; P ; ; P ; N; M ; P ; S ; ; N ; S ; S ; G R S N N; P; S ; R N S ; P N M P ; G M D P AP bAj pAyal kahE jhanana jhanana bAja pAyal kahE jhaNana jhanana jhanana nanana tOm jhaNana jhanana jhanana nanana tOm jhaNana jhanana jhanana nanana And as she dances, her ringing anklets are intoning/saying the syllables jhanana jhanana... N N P ; N; S ; S; ; S ; S ; S R RSNN S ; ; G ; R ; S ; S ; RSN; SNNR SSGGGGRN S;NPP SNNR SSND P; ; GSSM GG PMMNP P;P; GM PSSN D;P; G; M; N P G ; ; R S ; P; P N P S N R S N D P G; M; N P G ; ; R S ; P; P N N ; S G ; M S G M P ; G ; M P N P M P ; N ; N S G R N S ; G ; S G R R S P ; S R ; P N P ; N P C1tAn gAvE takata tai ta tai taitta taitta tana tadhAm dhImna kiTa taka dhI dhImna kiTa taka dhIm dhImna kiTa takadhIm hata tOm hata tOm hata And the aria (tAn) goes/sings) 'takata tai.....' P ; M ; P ; G ; M ; G ; M P ; ; ; P ; ; ; S N D P ; M P S N D P C2 padumanAbh tumhAri lIlA-kyA kahUn mein sAnvarO tAp sankaT SaraN AyO sOh hamArO tum harO Oh dark-hued (sAnvarO) lotus (paduma)-naveled (nAbh) one, what (kyA) can I (mein) say (kahUn) about your (tumhArI) divine antics (lIlA)? We have come (AyO) to you with all of our worries/crises (sankaT) and miseries (tAp) seeking refuge (Saran) - you (tum) please destroy (harO) our (hamArO) sorrows (sOh). P; M ; N P G M G M P ; P ; P R R S N D P PNP;NS RSN; ;NGRS; N S G ; R S ; R N S ; NRSNDP SNDPG; ; SNS; PNMP G;M; NPMGG; R S ; ; N S ; G S ; G M P ; N S G M P N P G ; M N P ; S N ; G R S ; ; (ciTTasvara) tadhim tadhIm dhirana udanita tAni tAni tadhIm tadhim dhiranA nA dhittOm tata kata tari tattAra tara tAni dhIm alari kalari takata dhatAra tataka mAm tAni tanika tAm tAmta dhIm dhIm dhIm tanana alari tAm tAmta takatari alari tOm tOm tOm takanaka tani udari ; P; N; S ; N S G R S R N S ; N D P G ; M ; P ; G G M G R S N S || M G ; G ; M G M N P P ; ; N M P S N ; N ; S G S G S G ; ; S G N || G S N P N P N; N S P N M P P ; G S G S G ; P S N S P N M N ; P ||
This Tillana- Geet Dwanit taku deem nadir kit tum - one of the gems of divine ancient art of Thanjavur style Bharatanatyam Dhanashri Thillana is composed by Maharaja Sri Swathi Thirunal from Early 18th century.
It is a unique thillana in its structure and expression (for instance the stanza which says "listen to what the anklet is saying … followed by a beautiful string of jathis … jhanana jhanana jhanana thom, jhanana jhanana jhanana thom, jhanana jhanana jhanana
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
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.
P Sri chamundeswari palaya mam krupakari Sankari Sritajana palini mahabaladri vasini mahishAsura mardini || 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.
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.
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.
