In 2015, I used to travel by Moffisil Bus for 1 Hr. to my Office. As soon as I board the bus and taken ticket, I would switch on this song in my Mobile. And get prepared for getting down. IN between, nothing else will be my concern. The travel was never tiring. IN fact enjoyable.
DK Jayaraman Thatha has became my life Ambiation .... now i am admiring him more than any one in the world ..... now i am not thinking any thing else other than Music .....thank you All legends for making me once again as a human being ......... Since 5 months i have been Practicing Vocal + Violin hope with blessings of Great people ...i can learn it .... #Endaro#Mahanubavulu #Andariki#Vandanamulu 🙏🙏🙏🙏🙏🙏🙏🙏
What a Lovely one by Synchronization of the Maestro's ! Kapali Ragam Mohanam Adi talam Papanasam Sivan Krithi One of the earliest memories of Carnatic Music is from the temple grounds of Kapaleeshwarar Temple in Mylapore, Chennai. Papanasam Sivan describes the Lord as the one with matted hair who is adorned by a snake, with a garland of skulls, wearing tiger skin, His body covered by ash. He is Kapali, meaning the one who holds a skull. Should not such an image be terrifying? But no! He who dances the dance of Time, His drum keeping the beat, His matted hair flying, His eyes flashing is the most attractive God of all! Though He is the God of destruction, He is life itself for does not each moment of our life die almost as we live it? There is much symbolism in the depiction of Shiva; I will leave that discussion for another day. Listening to Kapali by Papanasam Sivan takes me to the hallowed grounds of the Kapaleeshwarar temple. Those far off memories are joyful ones for me, and this joy is echoed in the happy notes of Raga Mohanam in which the song is set. The composer makes it clear that he too finds the Lord enchanting by setting the song in joyful Mohanam and saying in the last line of the song that ‘this enchanter captures the heart of all women who come before Him! I love the contrast of the rather frightening form of the Lord to the soft and lyrical notes of Mohanam. As a woman who has come before Him, I too have lost my heart to Him! pallavi: kapaali, karuNai nilavupozhi vadhanNa madhiyanoru (kapaali) In the pallavi, the composer describes the presiding deity of mylApUr (kapAlI) thus: He is the handsome (vadana - face, madiyan - like the moon - a handsome, charming man) one (oru) that grants/gives liberally/showers in abundance (pozhi) compasssion (karuNai) on his devotees on a permanent basis (nilavu). anupallavi: aapaala gOpaalam aazhisoozh thalaththavarum boopaalarum ashtadhik paalarum pORRum adhbudha (kaapaali) In the anupallavi, the poet continues to describe him as the amazing/wondrous (adbhuta) one that is praised (pORRum/pOTrum) by one and all: by children/cowherds (Ap(b)AlagOpAlam), those (avar) who inhabit this land/earth (talam) that is surrounded (SUr) by the seas (Azhi), kings (bhUpAlar) and the deities/demi-gods that gaurd (pAlakarum) the eight (asTha) directions (dik). charaNam: madhipunal aravukonRai thumbai aRugunN maththaipunai maasadaiyaan vidhithalaimaalai maarban uriththakariyin vempuliyin thOludaiyaan adhira muzhangum udukkaiyum thirisoolamum angiyum kurangamum ilangidu kaiyaan thyuthimigu thirumEni muzhudhum saambal thulanga edhirmangaiyar manNangavar JaganN mOHanNa In the charanam, SrI sivan goes on to describe him as the one whose matted locks (mASaDayAn) bear (punai) the moon (madi), the gangA (punal - river), and is adorned by konrai, tumbai, and unmattai (Umattai) flowers as well as the sacred aRuk(g)am grass, and a snake (aravam). He is the one whose chest (mArban) is adorned by a garland (mAlai) of heads (talai), one of which is brahmA's (vidhi) fifth head[1]. He wears garments made of skin (tOluDayAn) stripped (uritta) from an elephant (kariyin) and tiger (vempuli). He is the one who holds in his many bright/shining (ilangiDu) hands (kaiyAn) a drum (uDukkai) that sounds (muzhangum) very loudly (adira), a trident (triSUlam), the sacred fire (ank(g)i), and a deer (kurank(g)am). Even the ashes (SAmbal) that cover his skin (tirumEni) all over (muzhudum) seem to shine (tulangum) with the divine lusture that lights him up (dyutimigu) so much so, that this enchanter (mOhana)[2] of the world (jagam) captures (kavazh) the hearts/minds (manam) of women (magaiyar) who cross his path (edir). Mohanam ragam :- This raga is the signature of Oriental Music. It existed in ancient Tamil music as the Mullai pann, and much of Kung Fu Panda's re-recording is based on this all-attractive scale known to us South Indians as Mohanam. The Hindustani raga Bhup / Bhupali may be thought of as Mohanam's north-Indian counterpart. The notes that feature in this raga are Shadja, Chatusruti Rishabha, Antara Gandhara, Panchama, and Chatusruti Dhaivata. All of five notes, the harmonious notes being the Gandhara and the Dhaivata, this penatonic scale has the Panchama as it's significant anchoring note. The Classical beauty of this scale as a raga in itself unfolds when the characteristic gamakas are incorporated. Saint Thyagaraja has revelled in this raga and created several masterpieces including “Nannu Palimpa”, “Mohanarama.” While in “Ra ra Rajeevalochana Rama” Mysore Vasudevachar beseeches Lord Rama to save him, a concerned Arunachala Kavi questions Sri Ranganatha as to why he has decided to lie down in Srirangam in “En Palli Kondeerayya,” a famous piece that begins in Mohanam. Papanasam Sivan composed “Kapali” on Lord Kapaleeswara and “Narayana Divya Namam” both in beautiful Thamizh.
Delight to watch Mridangam Vidwan Sri.J.Vaidyanathan (DKJ Mama's son) on the Tambura, as a young, studious support artiste on vocal and Shruthi support 🙏
Tks to Sanjay subramaniam and rukmani because this song came out from utube from his carnatic vocal. God bless them and everyone. No appreciable word with me except wonderful.
I presume had Palghat Mani Iyer's mridangam evolved into modern day kutchi mridangam with resultant fine-tuning of fingering techniques, it would have sounded no different than this. Immaculate naadham & crisp finger-strokes of Shri UKS, reminding us that "the grace of guru is that which empowers all that we express - na guror adhikam tatvam;tapaha"
Extraordinary, outstanding, what a divine team performance, like all gods together with comic dancer, our the greatestAND the highest Nadarajar at thili / shanmugam/australia
Please. Ida madiri master piece upload pannavum. England madiri anda kalathil Katherine Pou ketka. Mudiadavargakukku you tube vvaraprasadam. Thank you very much
