My dad visited MS at her home unannounced and requested her audience . She did not know him but seeing his earnestness her husband allowed him a few minutes meeting. When he entered her room she was sitting with her tanpura like a goddess according to my dad . She asked what he wanted to hear and he asked for Meenakshi bhajan which she sang for 15 minutes. In the end when he was praising her both she and her husband folded their hands and bowed their heads almost to touch the ground. She’s truly out of this world.
Smt. M.S. Subbulakshmi, the 'Bharatharathna' and the eminent Carnatic Sangeetha Vithwaamsini sings the kruthi in the ragam 'PoorvikalyaNi' entitled "Meenakshimemudam" . Happy to see 'Sudha Raghunathan' singing along with her. "Kuttup pattaalum mOthirak kaiyaalE kuttuppadaNum enRu choluGinRathu pazhamozhi." Quite enjoyable to hear this presentation. of Smt. M.S. Subbulakshmi. Indeed, it's a memorable one.. -- "Mandakolathur Subramanian", Juliet Court, Chapel Hill, North CarOlina, USA."
Sojugada and now this.. Ofcourse She's a legend.. But when she starts with the Minalochani stanza particularly that is on a different level altogether.. Tears roll out!
love u amma , i don't think there can ever be another ms amma . the perfection , bhakthi , pronunciation , sangathis , manodharma ..everything is just so beautiful . love u amma......
We younger generation of carnatic Music lovers are Blessed with smt MS AMMA and her team for the melodious Performance and thank you tube forthe efforts taken by them
What a Lovely Composition ! Meenakshi me mudam dehi Ragam Poorvi kalyani Adi Talam Muthuswami Deekhithar Krithi Purivikalyani is a janya raga from the 53rd mELakarta gamanashrama. It is a Vakra Shadava sampurna raga, i.e. it has six notes on the ascent and seven notes in the descent. purvikalyani has another name Poorvakalyani. 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. Despite being a raga that can be rendered at all times, rasikas know that the effect is profound when this raga is rendered just after sunset. .. This song is composed in ragam Gamakakriya, the mela (53) in the Asampoorna mela system of Dikshitar. Though it is cansidered to be equivalent to Gamanashrama mela ragam, it lacks Nishadam in the arohanam. Due to its very close similarity with Poorvikalyani, this composition is mistakedly referred as same. Please see the charanam, which says "...vINA gAna daSa gamaka kriyE", clearly indicating it is in Gamakakriya only. Gamakakriya : S R1 G3 M2 P D2 S - S N3 D2 P M2 G3 R1 S Purvikalyani : S R1 G3 M2 P D2 P S - S N3 D2 P M2 G3 R1 S Same in the Krithi kASI viSAlAkshIm bhajEham bhajE SrI also The 2nd P in Purvikalyani is apparently the difference He has only one demand of the Goddess - Meenakshi, Me Mudam Dehi - Give me eternal bliss. The rest of the song describes Meenakshi in many ways. What a beautiful song it is! Listen carefully and the raga will draw you in, to your centre, to a place of peace and bliss This kruti is in praise of the Goddess Meenakshi.Dikshitar prays to her to bless him with eternal happiness and says that she dispels the earthly bondages. She is the beloved consort of Sundaresa and the sister of Sri Maha Vishnu. In English we talk of almond-shaped eyes. In Sanskrit, it is instead referred to as fish-shaped eyes. When I think of beautifully elongated eyes, I think of no other than Meenakshi (meena = fish, akshi = eye), the Goddess of Madurai. There has been a temple at this location for about 2000 years but the current structure, or most of it, was built in the 14th century after the older structure was destroyed by Muslim invaders. The deities in the temple, Shiva & Parvati, are called Sundareshwarar and Meenakshi. It is said that the idol of Meenakshi is made of emerald and so she is represented as a green-skinned Goddess. How many Gods and Goddesses we Hindus have!! And to complicate matters, each God or Goddess has many avatars and ever more names! We should not forget however that Hinduism is a monotheistic religion, just with apolymorphic God. There are many references in the Vedas which talk of one God but with many forms and names. If you then bring in the concept ofNirguna Brahman (God of No Attributes) and Saguna Brahman (God with attributes) and the different interpretations by Advaita & Dvaita philosophies, we are in deep waters indeed. I like to think of it in terms of refraction of light; though light is colourless, it is made up of so many colours! Like that, God though without attributes, is made up of many selves and attributes. So when our Saint composers sing of one deity or the other, each is a perfect description of one facet of God. It is well known to many people that when Muthuswami Dikshitar was on his death bed, he asked his disciples to sing this song and he shed his mortal coils and attained Moksha when they were singing, 'meenalocani paashamochani'. Gowri Ramanarayan, when she gave a lecture on MS Subbulakshmi, played an excerpt of this song, sung by MS in the Meenakshi temple Madurai. You will be excused if you feel that giving up your mortal coil hearing this rendition is as good a way to depart from this earth as any. Such is the intensity and the devotion in MS's voice.Pallavi mInAkshi mE mudam dEhi mEchakAngi rAja mAtangi Anupallavi mAnamAtR mEyE mAyE marakata CHAyE shiva jAyE mIna lOchani pAsha mOchani mAnini kadamba vana vAsini Charanam madhurApuri nilayE maNi valayE malayadhwaja pANdya rAja tanayE vidhuvilamabana vadanE vijayE vINA gAna dasha gamakakriyE madhu mada mOdita hrdayE sadayE mahAdEva sundarEsha priyE madhu muraripu sOdari shAtOdari vidhi guruguha vashankari shankari Meaning: O Meenakshi, O dark-hued one !(mechaka anga) [alternatively one who wears jewels on her limbs] O Raja Matangi (one of the forms of Devi) ! Give (dEhi) me (mE) bliss (mudam) ! The knower (mAtR) of the concept (mAna) as well as the object the knowledge (mEyE), and the limit of knowledge (mAyE), emerald (marakata) complexioned (CHAyE), the wife (jAyE) of Shiva, with eyes (lOchani) shaped like fish (mIna), the one who releases (mOchani) from bondage (pAsha), the respected one (mAnini), who lives (vAsini) in the kadamba forest (vana). She who dwells (nilayE) in Madhurapuri, who wears gem-studded (maNi) bangles (valayE), who was the sister (tanayE) of the Pandya king (rAja), with a face (vadanE) which makes a mockery (viDambana) of the moon (vidhu), the victorious one (vijayE), the one who created (kriyE) the ten (dasha) modulations (gamaka) of Vina music (gAna), she who brings delight (modita) to one’s heart (hRdayE), the compassionate one (sadayE), the beloved of great God (mahAdEva) Sundaresha/Shiva, the enemy (ripu) of the demons Madhu and Mura, sister (sOdari) of Lord Vishnu (implied), slender-waisted (shAtOdari), she who captivates (vashankari) Lord Brahma (vidhi) and Lord Guruguha (also signature of composer), she is the auspicious one (shankari). Gist : - Meenakshi, (one with fish shaped eyes) bestow me happiness. You are blue complexioned royal goddess. You are the embodiment, source and bestower of knowledge.You are incomprehensible. You have emerald complexion. You are the consort of Siva. Your eyes are fish shaped.You dispel the earthly bondage. You are the revered one that dwells in Kadamba forest. The city of Mathura is your abode. You are the beloved daughter of Malaya dhwaja Pandya raja. You are glorious with your beautiful face outshining the moon. Your Veena recital is embellished with the ten types of gamakas (rendering of musical notes mellifluously). You reside in my heart in all compassion. You are the beloved consort of Sundaresa (Maheswara). You are the sister of Vishnu, the enemy of the demons Madhu and Mura. Your waist is slender. Oh Sankari, Brahma and guru Guha are your subordinates. Composer Muttusvami Dikshitar (1775-1835) - The youngest of the Carnatic Musical Trinity was born in 1776, brought up with 2 brothers and a sister with great care and acquiring proficiency in both music and Sanskrit. His family moved to Manali, where he became a disciple of Cidambaranaata Yogi and went to Varanaasi. For 5 years he stayed there and learned Hindustani music, especially the Dhrupad style of music. After his guru died, he returned to the south and came to the holy shrine of Tiruttani to pray and meditate before Lord Subramanya. One day the Lord appeared to him, asked him to open his mouth, placed a piece of sugar candy in his mouth, and disappeared. After this, Dikshitar began composing beautiful kritis. The first piece he sang was "ShreenataDi guruguhO jayati jayati." Then he went to Kaanceepuram and sang songs in praise of Ekaambaratanaata and Kaamaakshi. He visited various temples to compose songs, from the TaamrapaaNi River (Shree kaantimateem) and Rameshwaram (Raamanaatham bhajEham) to Kaasi (Kaasi visaalakshi). Then he returned to Tiruvaaroor, where he gathered disciples and taught them his composition. His brothers became proficient at rendering his compositions as well and went to Madurai to teach these songs. Once, because of poverty, Dikshitar did not have the means to make his offerings to the deity. His disciple, the famous dancer Kamalam, offered to pledge her jewels and raise the money. He refused and composed "Tyaagaraajam bhajarE," trusting in God. Soon 2 cartloads of food and articles reached his house as a gift from the manager of the choultry. After the death of his brother Cinnaswaami, his brother Baalaswaami left and was made a Samastaana Vidwaan at ETTayapuram in 1824. Dikshitar left to meet his suriving brother, and on the way fervently sang "Aanandaamruta" in amritavarshini, seeing the dry condition of the land. Apparently, there was a heavy downpour soon afterward. Dikshitar met his brother and attended his marriage as well. Then he returned to Tiuvaaroor. His group kritis include the navagraha kritis in praise of the 7 principal planets and the Kamalaambaa navaavarana kritis - 9 songs in praise of the deity of Tiruvaaroor. He also composed small kritis with SamaashTi caraNams (which include both Anupallavi and CaraNam). 461 songs in 191 raagams are available today. He used characteristic phrases of raagam and was a master of rhyme. He often chose a slow tempo. In 1835 he went to ETTaiyapuram to attend a marriage in the royal family and stayed there. "Meenaakshi mE mudam" is supposed to be one of his last compositions, created in Madurai on his way to ETTaiyapuram, where he passed away on October 21, 1835
very amazing!!!....deeply mesmerized her rythm in MS amma’s perfect sanskrit pronunciation in her own graceful way as if Goddess Saraswathi singing in front of us....🕉🕉🌹🌹🌹🙏🙏🙏❤️❤️❤️
MS AMMA is Rajamathangi's incarnation as quipped by no less a person than Semmangudi the Sangitha Pithamaha of our times. She was born at Madurai by the grace of Goddess Meenakshi. This song is in praise of Rajamathangi by Dikshitar. He attained Mukthi while this Krithi's verses Meenalochani Papamochini was singing by his Sishyas, under his directions on Deepavali day.
Dikshidhar had an inkling on deepavali that his end was nearing and requested his sishyas surrounding him to recite this song(his own created one).When the lines "meenalosani pasamosani"were sung,he smiled&left to eternity.Really blessed soul!
The violinist is S. Seshagiri Rao, a prodigious talent from Bangalore (he is now in his 70's). Always cheerful during concerts, his friendly smile was his second trademark after his playing virtuosity. He was quite a favourite for accompaniments.
வடலூர் என்றால் அது வள்ளலார்; காஞ்சி என்றால் நினைவுக்கு வருவது ஏகாம்பரேஸ்வரர் ; காஞ்சி பெரியவா; ஆன்மீக சொற்பொழிவென்றால் அது தவத்திரு வாரியார் சுவாமிகள் தான்; கருநாடக இசை என்றால் அது எம்.எஸ்.சுப்பு அம்மாதான் ; அன்பே சிவம்.
Label of the post describes the raga as Poorvi Kalyani. But, in the charanam, Dikshitar specifies the raga as Gamakakriya. Will some knowledgeable person clarify which is right. Several artists have rendered this composition. This rendition stands apart.👍
From what I have read by SR Janakiraman, the Dikshitar school name, gamakakriya, is associated with s r g m p d s, whereas the common appellation poorvikalyani is associated with s r g m p d p s. It can be deduced that the vakra aspect is less enforced in Gamakakriya.
Gamakakriya is a melakarta raga. purvikalyani is a janya ragam of it. Actually, it is called gamanaashrama but in muthuswamy school of music, it has different name.
