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  @sujith484814 сағат бұрын

  wow ,feel the Krithi ❤

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  @MohanM-fi2zsКүн бұрын

  Let Lord Venkatesa bless her. She sang with high devotion and involvement

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  @prasannakumar7372Күн бұрын

  beautiful rendering of great song and for me this is like a pancha ratna Kruti Dhanyavadagalu 🎉

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  @thyagarajant.r.32562 күн бұрын

  Kaushikji,by singing at kalavai vriddhashramam you have acquired the merit of 1lakh godaanams....blessings from nanganallur

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  @vijimani11582 күн бұрын

  ❤nice singing

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  @anushav2723 күн бұрын

  ❤❤❤

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  @sundarmohana82713 күн бұрын

  Awesom e singing

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  @mysuruvasudevacharya3 күн бұрын

  ABHERI, KARNATAKA DEVAGANDHARI, BHIMPLAS - A COMPARATIVE STUDY Abheri is a fairly old raga; The present type is a pleasing and melodic raga, janya of mela (22) ragam Kharaharapriya, with notes : S G2 M1 P N2 S - S N2 D2 P M1 G2 R2 S. But the original Abheri, as described by Venkatamakhi and followed by Muthuswami Dikshithar had been different. The Sangeetha Sampradaya Pradarshini (SSP) by Subbarama Dikshithar shows the lakshna sloka by Venkatamakhi, as: “abheri sagraha purna syadarohe nivarjita”, which says it is losing Nishadam only in Arohanam; but from the geetham and tAnam, it can be derived that it has a Rishabha Dhaivatha varja, Gandhara-vakra arohanam as SMGMPPSS. Dikshithar followed this scale in his composition, “Veenabheri venu vadyadi vinodini”, which contains the raga-mudra also. The Dhaivatham used is D1, showing it is a janya of mela (20) NaTabhairavi. The Thyagaraja school used a different form of this, from the same mela, using SGMPNS as arohanam (Dikshithar system does not allow usage of SGM phrase; but only SMGM). The Abheri which Thyagaraja followed was also a janya of mela (20) NaTabhairavi, with structure as: S G2 M1 P N2 S - S N2 D1 P M1 G2 R2 S; this was the scale used to sing ‘Nagumomu’ in early years. How or when musicians started using D2 is unknown, it was a morphed or corrupted version of the original Abheri. Still, we can see that the arohanams of both the versions, as also avarohanam, except Dhaivatham, are same for both the old and new scales; so the renditions in both scales show much similarity than to Dikshithar scale. Hence it can be assumed that there were originally two different Abheris based on the different schools; both based on D1 only. It can be presumed that changing D1 to D2 had given a more melodic mood than the somber mood of D1; this may be the reason why musicians accepted this formula, which is followed even now. Now we come to an allied ragam - Devagandharam / Karnataka Devagandhari. Subburama Dikshithar, in SSP gives details of two ‘Devagandharis’; one under mela (22) and the other, under (29). The first is a janya of Shriragam mela, with murchana arohanam /avarohanam as: SRSGGMPDPNNS - SNDPMMGGRS. The details have to be learned from the geetham and suladi by Purandara Vittaladasa. The other is a janya of Sankarabharanam mela, with SRMPDDS - SNDPMGRSRGRS. This second one is also referred to as Desiya Devagandhari; the Dikshithar krithi ‘Kshithija ramanam’ is shown analysed. This is a bhashanga raga, with N2 coming at some places; also in the arohanam, G3 and N3 showing up in some places. In fact this scale is almost similar to the common Devagandhari; then what about the first scale? Muthuswami Dikshithar, in his krithi, “Panchashatpitha roopini” incorporates the raga-mudra as ‘devagandhara raga toshini’, which shows it is different than the ‘Kshithija ramanam’ or ‘SAlivAtiswaram’. Though the raga-mudra is not found in these two, in ‘Sri meenambikayah param’, Dikshithar includes it as’ SrI dEva gAndhAri pUjitA’. Hence, it is to be assumed that the differenciation is made to identify the raga, it is the ‘Devagandhari’ (mela 22 janya) same as the Devagandharam. This would have caused problems as in Suddha Saveri; musicologists began applying the same method of prefixing ‘Karnataka’ to it - raga began to be known as Karnataka Devagandhari. In course of time, it seems that this scale also has been modified as S G3 M1 P N2 S - S N2 D2 P M1 G3 R2 S; thereby making it a janya of mela (28) Harikambhoji. Still, some musicians have rendered the Dikshithar krithi with D2 only (MLV). Since the original Abheri began using D2, musicians began saying ‘nagumomu’ and ‘bhajare re manasa’ are in Abheri, while ‘panchashatpeetha roopini’ or ‘eppadi paadinaro’ is “sung” in Abheri; just to avoid the controversy. In fact, both the krithis are to be mentioned and sung in Karnataka Devagandhari only. The Hindustani ragam Bhimplas or Bhimpalasi is having a similar scale of the present version of Abheri; the arohanam beginning with lower Nishadam as : N2SG2M1PN2S - SN2D2PM1G2R2S. Another Hindusthani raga, Dhanasree (the Swathithirunal Tillana ‘gIdhu nadIkuand the krithi, ‘visweswar darshan kar’ are in this raga; the latter is sung in Sindhubhairavi also) also has the same notes (the only difference being the ‘VAdi’ notes). This comparison is as simple as possible, trying to avoid more technical matters for academic interest only. Hope this will be helpful in solving the mystery. In any case, now there seems no differenciation made between Abheri and Karnataka Devagandhari; saying both are same (which is incorrect, as you have seen above)

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  @mysuruvasudevacharya3 күн бұрын

  The following is a plainer and simpler translation that captures the gist. . Lost am I, Vexed am I, O Valiant Prince, Sans Thy smiling face! Grant Thy saving grace! . In the days of yore, My Lord, A mountain bore, For the hosts of Heaven and Hell. Needeth He, His council's tell? . Does not the king of birds Hasten to do Thy bidding? Or did he find, Heaven to Earth, A distance too forbidding? . Lord of All, my sole refuge, Forsake me not, by subterfuge!

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  @mysuruvasudevacharya3 күн бұрын

  Nagaraaja is frequently interpreted as the Govardhana hill of the Krishnaavatara. But Govardhana is only described as a hill. Nagaraaja literally means king of mountains. So, Mount Mandara, which is one of the 7 major mountains, and can be called the king of mountains, is more appropriate. Vishnu in the Kurmavatara, as the Great Tortoise, supported Mandara on his back, when it was used to churn the Ksheera Saagara or ocean of milk. The king of the birds is Garuda. Also, there are more references to Vishnu and Heaven in the kriti, like retinue, Garuda's abode in the heavens etc, than to Krishna and Earth. So, Mandara is again more consistent. Rather than give the literal but convoluted, "one praised by Tyagaraja" for the last line, I have given the much nicer "bard". I have similarly varied my rendition of his "mudra" or lyrical stamp, in the remaining kritis too.

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  @mysuruvasudevacharya3 күн бұрын

  Gist :- Knowing that bereft of Your smiling face, Distraught is my state, Foremost of the Raghus, won't You Come to me, to alleviate? Bearer of the king of mounts! The members of Your retinue, They who give good counsel, Could they fail to remind You? Does not the king of birds Hasten to do Your bidding? Or did he find, Heaven to Earth, A distance too forbidding? O Supreme Self who rules over all, Who else but You, can I invoke! Elude and leave me not in a pall, Take your bard under Your yoke.

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  @mysuruvasudevacharya3 күн бұрын

  P nagu momu gana leni na jali thelisi nanu brova rarada aree raghuvara nee || I am not able to see your smiling face. You know my pitiable state. Why don't you come to protect me Oh Raghuvara. AP naga raja dhara needu pari varu lella vogi bodhana chese varulu gare atulunda dura nee || You lifted (Govardhana) mountain. Your kinsmen may not advise you to be unhelpful to me. C khaga raju nee anati vini vega chana ledo gagananiki ilaku bahu doorambani nado jaga mele para matma yavari to mora lidu du vaga choopaku talanu nannelu kora tyagaraja nuta nee || Garuda the king of birds obeyed your orders and flew at once. Did he say that sky is too far from the earth. Oh the protector of the world, who else can I approach. Do not ignore me. I cannot bear. Protect me, Oh Lord of Tyagaraja.

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  @mysuruvasudevacharya3 күн бұрын

  In this keertana, TyagarAja says that he is not able to see the ever smiling face of Rama because of his pitiable condition and requests him to protect. He says that the God protected Gajendra without any delay and questions him why he is delaying in his case.

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  @mysuruvasudevacharya3 күн бұрын

  Absolutely Awesome Rendition of the Krithi Nagumomu Ganaleni Raga Abheri, Taalam: Adi Thyagarajar Krithi All the Best Wishes to her 👋👌👋

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  @rangarajan.seshadri3 күн бұрын

  Excellent... 🎉.

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  @parthasarathyrangaswamy1703 күн бұрын

  Nice rendering best wishes

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  @user-vb7zq9cw7i3 күн бұрын

  The accompanying artists did very well.I wish you get such a team who enhance your commendable performance.God Bless❤

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  @user-vb7zq9cw7i3 күн бұрын

  Excellent Abheri raga song..very nicely rendered.God Bless❤❤

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  @chandrasekarann43833 күн бұрын

  Very good singing for noble cause at Viruthasramam🎉May God's blessings be with you🎉

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  @sreenivasasharma51253 күн бұрын

  My feverite song Sangeetha Saraswathi God bless you

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  @usha61703 күн бұрын

  Excellent radhekrishna

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  @rkvasan81643 күн бұрын

  கலவையில் கலந்த ஆலாபனைகள். பெரியவா அனுக்கிரஹம். 🙏🙏🕉️🕉️ Excellent Audio..🎻🥁

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  @parthasarathyrangaswamy1704 күн бұрын

  Excellent rendering wishes

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  @saisampat6 күн бұрын

  Sooooooper Sowbhagayavathi bhava Excellent

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  @sreenivasasharma51256 күн бұрын

  AHAH EXCELLENT

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  @vathsalasampath78086 күн бұрын

  SOWBHAGYAVATHI BHAVA Sòooooper performances Krishna is watching and enjoying ur songs

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  @vathsalasampath78086 күн бұрын

  Lord Krishna is with U Pl .continue to do . Especially Nagarsangeerthanam. All 33 crores of Devas R blessing U God bless U

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  @saisampat7 күн бұрын

  Sooooooper sowbhagyavathi Bhava let God give u More wealth and good health Keep it up Really excelent

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  @MrMusicswami8 күн бұрын

  What a rich voice with bhakthi, bhaavam..... May God bless you..

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  @mcsubbaramusubbaramu76158 күн бұрын

  Has become a well appreciated bhajan singer in carnatic musical 🎵🎵🎵🎉🎉🎉

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  @ponnuthurairatnakumar99548 күн бұрын

  Excellent presentation of Divine music. Jai Sri Ram.

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  @vathsalasampath78088 күн бұрын

  M,s.subbalakshmi has come back

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  @SreeranjaneKaushik7 күн бұрын

  @@vathsalasampath7808 so blessed to hear this from you ! Namaskarangal 🙏🏻🙏🏻

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  @vathsalasampath78088 күн бұрын

  Soòoooooooper Sowbhagyavathi. Let God give moe wealth and good health.

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  @vathsalasampath78088 күн бұрын

  SOWBHAGYAVATHI BHAVA

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  @SreeranjaneKaushik7 күн бұрын

  @@vathsalasampath7808 Aneka Namaskarangal !! Romba santhosham ! Jayashree conveyed your wishes and blessings. Thank you so much, pranams to you 🙏🏻🙏🏻

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  @rajeswariswaminathan691010 күн бұрын

  Excellent and very divine voice mam. All the best ❤❤❤❤❤

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  @parthasarathyrangaswamy17011 күн бұрын

  Sriman narayana padama saranam

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  @parthasarathyrangaswamy17011 күн бұрын

  Nice rendering wishes

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  @sreenivasasharma512511 күн бұрын

  Madhura kantam

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  @subrayamogra365012 күн бұрын

  Excellent ma ,no words to express my feelings 🎉🎉🎉🎉🎉🎉

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  @subrayamogra365012 күн бұрын

  Excellent rendering Sri ranjane kaushik🎉🎉🎉🎉🎉🎉🎉

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  @subrayamogra365012 күн бұрын

  Very good rendering🎉🎉🎉🎉🎉

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  @shridharhegde663913 күн бұрын

  Too good a performance by Sriranjane

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  @balaravi739914 күн бұрын

  Hare Vittala 🌷

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  @rajeshwarikrishnan226214 күн бұрын

  GURU POORNIMA WISHES

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  @rkvasan816415 күн бұрын

  🕉️GnanaNanda. Jai Vittala.✌️🪷

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  @sreenivasasharma512515 күн бұрын

  Super