mahAdEva shiva shambhO-Revathi - Tanjore Sankara Iyer - DK Jayaraman 

This one - Mahadeva Siva Sambho, the class composition of Thanjavur Sankara Iyer is the master-piece for DKJ as well as for MDR. The composition is rightly in Revathy ....a symmetric n audava ragam that does not have Gndharam or Dhaivatam, thus with 5 notes... S R₁ M₁ P N₂ Ṡ/ Ṡ N₂ P M₁ R₁ S. The Ragam is branded as a janya of Ratnangi, the 2nd Melakarta despite it can be derived from Vanaspati, Hanumatodi, Natakapriya, Vakulabharanam or Chakravakam, by dropping both gandhāram and dhaivatam. It lends lends itself for elaboration and exploration and has many compositions. Apart from this one- 'Mahadeva shiva shambho' ( Very much popularized by Maharajapuram Santham too) penned by Thanjavur Sankara Iyer, most popular krities are -'Bho shambho shiva shambho svayambho' by Swami Dayananda Saraswati, 'Jagannatha anatharakshaka' by TV Subba Rao (who, probably the first 'Sangita Kalanidhi- Tirupasoor Venkata Subba Rao),'navaratna bhushanalankrte'(popularized by MS Subbulashm) composed by Kollegal R Subramanian, 'Nanati brathuku' by Annamacharya,'Mohana vamshi vadana ' composed by Dr.BMK,...n of course, the famous Thillana composed by the legendary violin maestro Sri Lalgudi Jayaraman Sir on Lord Muruga! Thanjavur Sankara Iyer compositions that were popularised by legendary musicians such as D.K. Jayaraman and M.L. Vasanthakumari marked by a certain lyrical simplicity, but they project the grandeur of the raga! Examples are...this one-‘Mahadeva Sivasambho’ (Revati), and others- ‘Muruga Tirumalmaruga’ (Harikhambodi) and ‘Paamalai’ (Shanmukhapriya)! One of his disciple and renowned nagaswaram vidwan Injikudi E.M. Subramaniam did remark that when Sankara Iyer composes, it is a natural continuation of his musical introspection and brings out a raga’s unexplored aspects. Senior vocalist Neyveli Santhanagopalan points out that each of his compositions has a musical intention. ‘Natajanapalini’, for instance, projects the gandharam of Nalinakanti in its Pallavi in contrast to Tyagaraja’s ‘Manavyala’ which stresses the madhyama. Here DKJ did present a very soulful rendition with perfect tone and diction; maintained the Madhyama sthai in tact.....could proliferate lovely eloquence in the exposition of ragam.. The kalpanaswaroms were with simple combination of the audava ragam's five sworas. Did justice to his master-piece song! Pranams....

Umayalpuram Sivaraman on mridangam!

Great

mahaadhEva siva raagam: rEvati 2 ratnaangi janya Aa: S R1 M1 P N2 S Av: S N2 P M1 R1 S taaLam: aadi Composer: Tanjavur Shankara Iyer Language: Sanskrit pallavi mahAdEva shiva shambhO mArakOTi sundara prabhO shrI anupallavi sahasrakOTi jana pAlana sAdhu samrakSaNa pAvana caraNam sarvEshvara karuNAkara mUrtE sAmagAna priya vEda pUrtE paramEshvara gangAdhara kIrtE patita pAvana shrI pashupatE

🙏🙏🙏

Violin seems like M Chandrasekaran.

Thank u