Maha vaidyanatha sivan

Carnatic composers (other than performing vidwans)
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satyabalu
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Joined: 28 Mar 2010, 11:07

Maha vaidyanatha sivan

Post by satyabalu »

* I could not find a similar thread under this caption. I intend sharing this information. If there is a thread already ,Please merge the same. MAHA VAIDYANATHA SIVAN - A LEGEND IN CARNATIC MUSICIAN.

(1844-1893)

Upon the 105th death anniversary of Maha Vaidyanatha Sivan, which was on 27.01.1998, his great grand son, Mr. M N Srinivasan, Retd Deputy Commissioner of Income tax, recalls some events from his life and style.

EARLY LIFE

The 18th and 19th centuries may be considered as the golden age of Carnatic music. Great giants were born in Tanjore district in Tamil Nadu. The Musical Trinity, Sri Thyagaraja (1767-1847), Sri Muthuswami Diskshatar (1775-1847) and Sri Shyama Sastri (1762-1827) adorned the field. After Sri Thyagaraja, the greatest singer-composer was Maha Vaidyanatha Sivan of Vaiyacheri.

Vaiyacheri is a small village in Tanjore district. One has to get down at Tittai railway station, cross over the Vattar river and reach the hamlet. It was a great Sivasthala. Agatheswarar and Mangala Nayaki were the presiding deities.. It gave birth to famous musicians like Anai Ayya, etc. Duraiswami Iyer alias Panchanatha Iyer lived there with his wife Arundathi. Duraiswami himself was a great musician and proficient in Tamil, Telugu and Sanskrit. Once while he was singing Thyagaraja's "Chakkani Raja" (Kharaharapriya), Sri Thyagaraja, who was passing by, blessed him saying that his two sons would become very famous in music.

Duraiwami had four sons - Sambamurthy, Ramaswami, Vaidyanathan and Sivaraman (or Appaswami). Vaidyananthan was born on 26.05.1844 at 8.42 p.m in the star Ashlesham (Ayilyam) 3rd padam. They belonged to Koundinya Gothram and Brahacharanam sect. Duraiswami found that Ramaswami and Vaidyanathan evinced keen interest in music. Accordingly, he trained them in singing. He taught them the fundamentals of Carnatic music. He took them to great musicians in Tanjore district for further lessons. One such was the direct disciple of Sri Thyagaraja - Sri Manambusavadi Venkatasubramania Iyer.

UPANAYANAM

Ramaswami was eleven and Vaidyanathan seven when their upanayanam was celebrated at Vaiyacheri. Great musicians like Sivagangai Periya and Chinna Vaidyanatha Iyer, Erattai Pallavi Siva Rama Iyer etc were present on the occasion. Duraiswami Iyer desired that his two sons should sing in their presence. Accordingly, Vaidyanathan gave a mini concert. They all praised him and blessed him heartily.

Shortly thereafter, there was a house warming ceremony atthe house of Kudiyalam Vasudeva Iyengar, a great patron of music. Peria Vaidyanatha Iyer told Iyengar about the achievements of Vaiyacheri Vaithi and his pandithyam. Duraiswami with his two sons were invited for this function. The boys gave a scintillating performance. This was their first concert. Pallavai Siva Rama Iyer rendered a Pallavi Siva Rama Iyer rendered a pallavi in Saveri set to Tisra laghu, two Tisra gati, Misra Chapu talam. Vaidyanathan in his turn rendered rendered this effortlessly and to the utter bewilderment of the great musicians present there. His name and fame spread far and wide. This led to a series of concerts at various temples, marriages, mutts and palaces. His meteoric rise to fame in very young age is like the Western Composer Mozart (1756-1791) whose precocious rise to fame became the envy of his contemporaries.

Vaidyanatha Iyer's voice was rich in harmonics. It had a charming ring in it. It had a wide compass of three and a half octaves extending from Anumandra Panchama to Atitara Shadja. He sang to the pitch of 5. The ringing and fascinating character of his voice and his ability to sing in all the six degrees of speed charmed one and all beyond measure. His was a naturally gifted voice and not a cultivated voice. He sang continuously in his concerts. He sang at a stretch brigas comprising a range of 2 and 1/2 octaves with surprising rapidity and fluency and they gave one the impression of brilliant sparks of dazzling beauty witnessed in fireworks. His music was gandharva ganam. After Thyagaraja, the one voice that reminded all of the sterling voice of the great composer of South India was that of Vaidyanathan only. During his concerts the audience would be in a state of musical trance.

VISITS

Before the age of ten, Vaidyanathan had given concerts in many places in Tanjore district. Ramachandra Thondaiman, the ruler of Pudukkotai, invited Ramaswami and Vaidyanathan to his samasthanam. Veena Subbu Kutty, well known musician, was tthe Asthana Vidwan. The concert of Vaidyanathan was greatly appreciated. For some years they took part in the navarathri celebrations of the palace. During one such visit, Veenai Subbu Kutty Iyer and Subba Iyer requested Vaidyanathan to sing the 72 melaragamalika sung by them in the court of Sakaram Saheb. As it would take long to sing it, Sivan rendered it in Adi Talam, nine avartanams (cycles). In one avarthanam, from Kanakangi to Thodi - eight melakarta ragas were sung. He kept sixteen kalais per avartanam. All were astonished at this feet.

The Raja gave luxurious costumes and presents. He had them seated in the Durbar Carriage and had them taken out in procession round the mada streets to the accompaniment of music. The carriage was drawn by the horses of the royal household.

Near comparisons to Vaidyanathan were there who lived as contemporaries. They were Sivagangai Peria and Chinna Vaidyanathan, Patnam Subramanya Iyer, Kunnakudi Krishna Iyer, Thiruvananthapuram Veena Kalyana Krishna Bagavathar, Mysore Veena Subbanna, Flute Saraba Sastri, etc. Undoubtedly, Vaidyanathan topped them all in kural valam.

Vaidyanathan next went to Madurai. Shrestadar Venkatasami Naidu and Thasidar Sitarama Iyer arranged the concerts for this little boy of sixteen. The first concert was in the precincts of Meenakshi Temple. The Raja of Ramanathapuram, Muthuramalinga Sethupathy made Ramaswmai and Vaidyanathan the Chief examiners of the Vidwat Sadas held there annually. The Raja also gave Vaidyanathan a palm leaf on Kandapurana Surrukkam and asked him to read it. They gave many concerts at the invitation of the Raja of Ettayapuram. Once Vaidyanathan was singing Diskahtar's "Aanatha Natanprakasam" in Kedaram. Ramaswami signalled to him make it into a pallavi in Tisra chapu, Khanda chapu and Misra chapu talam. This talam is called "dattaryeyam", that is one with three faces. All showered their praise on the young singer.

At the invitation of friends, the brothers went to Tirunelveli. The first concert was in the temple precints. It was usual for them to compose a song in praise of the presiding deity wherever they visited. Accordingly, a thillana was composed in praise of Nelliappar and Kanthimathi amman in Vasantha Ragam. The opening words were "guhadasanukku arul sankari". "Guhadasan" was their mudra. They were in Tirunelveli for 9 months. There was a concert in the temple premises in Kuttalam. A new pallavi was sung at the occasion. It was in Nadanakriya ragam set to Panchagathi talam or gopuchayathe talam - 28 mantras. The opening words were "sankara siva sambha pahimam nataraja mampahi." At Tiruchedur temple, Ramaswami composed "Tiruchedur sandha virutham, Thiruchendil yamaha-anthathi." Vaidyanathan sang them.

Ramanathapuram Raja Bhaskara Sethupathi once visited Tiruchendur. In the presence of Temple scholars, Sabhapathi Navalar gave a discourse with strange ideas on Vedas, etc. No one was bold enough to condtradict him. The Raja asked Vaidyanathan for his comments. In his own inimitable style, Vaithianathan expounded contrary views with drishtanams and apt quotations. All were thrilled at this.

THE TITLE OF "MAHAN"

The junior pontif of Kalldakurichi athenam, Sri Subramanya Dikshathar, was a great scholar. The brothers stayed at the athenam for two months. Guru pooja was celebrated in the month of Thai or aswini star. There was to be a concert by Peria and Chinna Vaithianatha Iyer at this function in the year 1856. Pandara Sannidhi desired that the Vaiyacheri lad should sing with these veterans. Thandavaraya Thambiran was the judge. Veenai Chinnaiya Bagavathar was there. First Periya Vaithianatha Iyer sang followed by Chinna Vaithi. Thandavaraya Thambiran asked whether Chinna Vaithi and Vaiyai Vaithi could be asked to sing together. They were told to point out mistakes, if any, noticed in the singing of one another. Nattai etc gana ragas were ably sung by both. Vaiyai Vaithi noticed a flaw in the singing of chinna Vaithi, the swara prayogam being vargam. Chinnaiya Bagavathar asked chinna Vaithianathan to sing again and accompanied him on the veena. Then it was realised that Vaiyai Vaithi was correect in locating the error. Then Vaiyai Vaithi had to sing separately. Starting from anumandaram, he reached mandrammadimam, tharam and repeated it thrice. The raga he sang was Chakravaham. Vaithi explained it laxanam from sangeetha rathnaharam. He sang "Sugunamule Cheppukondi" of Sri Thyagaraja. The three sang sankarabaranam elaborately and did thanam also. The pallavi sung was "mandahasa vadana hare krishna." Periya Vaithianatha Iyer started it. The young lad's performance was universally acclaimed as the best.

Pandara Sannidhi wanted to bestow a suitable title on the boy. It was decided the title "mahan" would be most appropriate. Ever since, he became Maha Vaidyanathan. In the history of Indian music, he is the only person to be honoured with the title of "mahan". He was then twelve years old.

The Pontif of Thiruvaduthurai asked Maha Vaidyanathan to sing his own thillana in Kalyani raga in Kaanada raga. The opening lines were "gowri nayaka chitsabanayaka." At the request of Siruvayal Zamindar to sing a rare pallavi, he took up bairavi raga and elaborated it very well. He stopped at the swaras - dha ni dha and used the prayogam - kaishiki nishadham and thrilled the audience. It was novel in those days. The opening words of the pallavi were "sankara sivasankara sadhanandha" in Parithapaekaram thalam - 17 aksharas.

At the age of sixteen, Maha Vaidyanathan had the blessings from Kodahnalur Sundara Swamigal, a great saint of those days. From his upanayanam days, Maha Vaidyanathan was doing Panchakshara japam told to him by his father. Now the Swamigal initiated him into several mantaras, taught him Chatur Veda Thatparya Sangraham, Siva thatva vivekam, Sudha samhitai, etc. He taught him the daily pooja vidhi.

Before the age of twenty two, Maha Vaidyanathan had given concerts in all the eleven districts of the then Madras Presidency.

Aayilyam Thiruanl, the Maharaja of Travancore, invited the Sivans. Their stay was for two months and they gave twenty concerts. Maha Vaidyanathan was 22 then. In one concert, the palace asthana vidwan Kalyana Krishna Bagavathar could not reproduce the Thodi ragam sung by Vaidyanathan. The Raja gave Vaidyanathan a green silk peethambaram which I have seen in Vaiyaicheri. Vishakam Thirunal, who succeeded Aayilyam Thirunal also invited the Sivans to his court where they gave forty concerts.

72 MELARAGAMALIKA

In the palace of Sakaram Saheb of Tanjore, there was an ancient marathi manuscript in 72 mela ragamalika composed by the court poet Venkata Rao. The Raja desired that this should be sung. Pattinam Subramanya Aiyar and Namakkal Narasimha Iyengar tried it but in vain. Maha Vaidyanathan set it to music in a week's time and sang it before the Raja. The Raja was very pleased and gave large presents. But Vaidyanathan was not pleased with himself. The whole composition in Sakaram's Court was a mere nara-stuthi. So he reached Thiruvayaru and in the temple precints composed the 72 melaragamalika in praise of the presiding deity, Pranatharthiharan.

These 72 ragas were divided into twelve chakras with six ragas in each. It begins in Sri Ragam with the opeining words "pranatharthi hara prabo purare". It is set to adi talam. It begins with Kanakangi and ends with Rasikapriya. Ramaswami Sivan added chitta swarams to this piece. After singing the first mela ragam, the swara amaippu of the second mela raga would follow, and in this fashion the entire swarams were made.

The 72 melaragamalika, the pride of Carnatic music, and the longest single composition, ranking along with Muthuswami Dikshitar's 108 ragatalamalika, is an achievement without parallel in the sphere of musicial composition. This is his magnum opus and has both a lakshna and lakshaya value.

Sakaram Saheb learnt music from Maha Vaidyanathan for some time. The asthana vidwan, Veena Adimurthi Iyer desired Maha Vaidyanathan to sing a pallavi in Laxmisam Talam. Sivan detailed Ananda Bairavi and sang the pallavi with the words "sambo umapathe pahimam".

RECORDING DESTROYED

The Mysore Maharaja invited the Sivans to his durbar. There were three such visits. It was customary to wear a coat and a turban while going to the royal presence. Knowing the habits of Maha Vaidyanatha Sivan, the Maharaja ordered a special gown of silk to be stitched and in the turban a special kalki saram was attached. In the concert, while singing Bhairavi raga song "Chintaya Ma", without Sivan's knowldege, the Maharaja managed to record the music on Edison's Phonograph. After the concert was over, the record was played to the Sivans. The Sivans were pleasantly surprised. Unfortunately, however, this record got destroyed in the fire outbreak in Jahan Mohan Palace some years ago.

The Venkatagiri Samasthanam Raja asked Sivan to sing a pallavi in "gopuchathi thalam - 33 matras." Accordingly, Sivan took up Arabi Ragam, sang a thanam and then the pallavi came in that thalam. The opening lines were "sambo sapathe pahimam sambasiva kunchithapada mampahi.

CONTESTS AT MADRAS

Venugopala Naidu, a powerful singer and an adept in the intricacies of thala system, challenged Vaidyanathan to face him in a contest. The contest was held at George Town. Vaithianathan was asked to sing first and rendered the raga Narayanagowla. Venugopala Naidu could not recognise the raga. Sivan sang the his own pallavi "sambha siva sankara vibho, sambhasadasiva ma hara hara" set to adi talam, mukkal edam, nangu kalai chowkam. Sivan was 47 then.

At Madhava Perumal Koil in Mylapore, there was a contest between Mayuram Veena Vaithianathan and Namakkal Narasimha Iyengar with Pattinam Subrmanya Iyer as the judge. Veena Vaithianathan took up Kalyani Ragam and rendered a pallavi in laxmicham thalam. Pattinam Subrmanya Iyer ruled that this thalam was against the rules of pallavi singing. At the request of some friends, Maha Vaidyanatha Sivan came to the temple and clarified that thought the thalam war rare, pallavi could be rendered in it. Namakkal Narasimha Iyengar could not reproduce the pallavi. Then Iyengar rendered a pallavi in Bairavi which Veena Vaithianathan could not reproduce. Both were adjudged victorious. Maha Vaidyanatha Sivan spoke with a heavy heart that such contests were unhealthy and unsuited to Karnatic music and there should be no competi-tive spirit among musicians.

LARGE HEARTED

A concert was arranged in Triplicane. The organisers had, without the knowledge of Maha Vaidyanatha Sivan collected money at the gates. Noticing this, he refused to sing at that place. He said that the next day he would sing free at the Parthasarathy Temple and all could come and here it free. He sang for three days immersing the listeners in aesthetic bliss.

Maha Vaidyanatha Sivan sang for two hours at a marriage house in Palghat. Parasu Bagavathar who sang next wanted the same accompanists. He sang exceedingly well. Sivan who was asleep then got up from bed and came to listen to Parasu Bagavathar and praised him heartily.

PERIYAPURANA KRITHIS

Ramaswami Sivan composed Periyapurana Krithis. It was released in the Thiruvadudurai Adhinam. Both Ramaswami and Vaidyanathan composed the Guruvanakkam. Vaithi started it and Ramaswami completed it. Maha Vaidyanathan composed the four lines of pallavi and anupallavi and four lines in the second charanam. This song is in Punnagavarali ragam and Misra chapu talam.

Maha Vaidyanatha Sivan was good at doing pravachanam in Siva kathai, stories of nayanamars, etc. The programmes used to be pravachanam on one day and a musical concert on the next day. A portrait of Aruvathimoovar was presented to him at Devakottai where he stayed for five months. This portrait is still there in at his house at Thiruvayaru.

In the temple precints at Vaiyacheri, a prakaram was erected for Nataraja. The idol given to him by Thiruvadudurai Adheenam was intalled there. A matching idol of Sivakama Sundari was found while renovating the temple tank. This was also installed. The Kumbabishekam function was for 11 days in 1891-92.

HIS GREATNESS

Maha Vaidyanatha Sivan was very proficient in manodharma sangeetha - that is alapana, tana, pallavi, niraval, and kalpana swaras. Therefore, his repertoire of classical compositions was not very large. However, being yekasandhakgrahi, he would quickly grasp whatever was sung before him and reproduce it to perfection. His repertoire included the following:

SONG RAGAM

Vatapi Ganapatim - Hamsadwani
Sri Subramanya Namasthe - Kambhoji
Thyagaraja Namasthe - Begada
Najivadhara - Bilahari
Chintaya Ma - Bhairavi
Kanjadalayadakshi - Kamalamanohari
Ananda Sagarame - Garudadvani

His varnam in Kambodi - Pankajakshipai in adi talam is a remarkable piece of craftsmanship. The sparkling gems of swarakshara as well as the phrases in sama yati and mridanga yati invest it with remarkable beauty. His kriti Pahimam Sri Raja Rajeshwari in Janaranjani has fine chitta swarams. His tamil songs Muthukumarayyane in Sankarabaranam and Malmaruganai in Bilahari are very famous.

He was a master of laya. His expertise in alapana was remarkable as he knew inside out of raga lakshanas.

Thiruvadudurai Adhina Vidwan, Dr U VE Swaminatha Iyer and a few others have composed verses in praise of Maha Vaidyanatha Sivan.

THE CONCERT PATTERN

Sitting erect with closed eyes and with no gimics oof head or hand the concert would look like a yoga nishtai. He would put thalam with his fingres with no sound. He would avoid vikara chorkal like "ya" "ra" "la" "va" "om" in doing alapana. Ramaswami sitting to his right would keept the tambura in a horizontal position and keept sruthi. He wore yoga veshti and panchakacham, with rudraksham and vibuthi. The concert would begin with Vatapi Ganapatim in hamsadvani followed by Ramaswami Sivan's "Ekkalathilum Maraven" and then by songs of the Trinity and Aayilyam Tirunal. About four kirthanais would alone be there. Then the main raga for the day would start with alapana, thanam, pallavi, niraval and swarams. More than three fourths of the concert time would be devoted to this aspect. Then there would be his own thillana, a ragamaliga slokam or songs from thevaram/thiruvachagam and end with mangalam.

THE LAST DAYS

The two brothers had two houses in Vaiyacheri. I have seen these houses. They are in ruins now. They had two houses in Tiruvayyaru in Bavaswami Agraharam in one of which the Aruvathi-moovar portrait is still there. These houses are in tact. The properties in Tiruvayyaru were bought when Maha Vaidyanatha Sivan was 43/44 years old. Sivan fell ill at Vaiyacheri and was bed ridden for some time. Ambalavana Desikar and Bhaskara Sethupathi helped the family a lot. Sivan once again fell ill at Tiruvayyaru when he was 49. On 27.01.1893 at 1.30 p m Maha Vaidyanatha Sivan breathed his last uttering siva siva and with folded hands.

He led a simple life. His habits were simple. He was scrupulous in doing his daily siva pooja, chanting mantrams and doing Sandhya Vandanam.

M N SRINIVASAN

satyabalu
Posts: 915
Joined: 28 Mar 2010, 11:07

Re: Maha vaidyanatha sivan

Post by satyabalu »

Today on Radioweb






Composer Showcase – Maha Vaidyanatha Sivan
At a very young age, Sivan became proficient in rendering alapana, tanam, pallavi, neraval and kalpanaswaras. Vaidyanatha Sivan and his brother, Ramaswamy Sivan, were close collaborators as both artistes and composers.. This programme, in connection with Maha Vaidyanatha Sivan's death anniversary, features his compositions and also a couple of compositions of his brother and collaborator, Ramaswamy Sivan.



Popular Melodies
A selection of evergreen songs , including Maha Ganapathim , Bhaavayaami Raghuramam, Yaaro Ivar Yaaro and more and performed by Sikkil Gurucharan , Semmangudi Srinivasa Iyer , Nisha Rajagopal and others

Earlier This Week

· A selection of Tyagaraja’s compositions in rare ragas

· Renditions on the Veena by artistes down the ages , from Veena Dhanammal to Jeyaraaj & Jaysri

· A concert in two parts by D K Jayaraman

· Feature on compositions to the Lord of the Cosmic Golden Hall at & on Chidambaram.


Login : www.radioweb.in

Pasupathy
Posts: 7868
Joined: 26 Jan 2013, 19:01

Re: Maha vaidyanatha sivan

Post by Pasupathy »

An article about Maha Vaidyanatha Sivan by Sulamangalam Vaidyanatha Bhagavathar ( who knew him) ( in Tamil) ( from 1940-s "Kalki")
840. சங்கீத சங்கதிகள் - 132
மகா வைத்தியநாதய்யர்
சூலமங்கலம் வைத்தியநாத பாகவதர்
http://s-pasupathy.blogspot.com/2017/09/840-131.html

rajeshnat
Posts: 9906
Joined: 03 Feb 2010, 08:04

Re: Maha vaidyanatha sivan

Post by rajeshnat »

I wish I was born when mahavaidhyanatha sivan was alive to hear him. He spent his life only to get into the depth of classical music . Write up in The Hindu dated May 2019.
https://www.thehindu.com/entertainment/ ... 221418.ece

Pasupathy
Posts: 7868
Joined: 26 Jan 2013, 19:01

Re: Maha vaidyanatha sivan

Post by Pasupathy »

An account of Dr U V Swaminathayyar (in Tamil) about his meeting of M V Sivan
https://s-pasupathy.blogspot.com/2016/0 ... st_55.html

RSR
Posts: 3427
Joined: 11 Oct 2015, 23:31

Re: Maha vaidyanatha sivan

Post by RSR »

Just today, came across a very fine article by V.Sriram
https://sriramv.wordpress.com/2019/01/1 ... ment-54589
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I found the following snippets very informative. ( this style is unique to Sriram). Quoting.
1)That he was a firm adherent to the sampurna melaraga scheme is well known from his Melaragamalika, the subject of this book. He was one of the key people in making this system the standard for raga classification in Carnatic music.
2)Sivan’s proficiency in Tamil was probably one of the reasons for his popularity as a performer. His concerts, as evinced in contemporary accounts, had something for everyone. There were Dikshitar kritis, a rarity then, verses from the Thevaram or Thiruvachakam, and the Tiruppugazh of Arunagiri, apart from Tyagaraja and Anai-Ayya compositions. For the cognoscenti there was the ragam tanam pallavi, undoubtedly the centrepiece, set invariably in talas of mind boggling complexity.
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3) Sivan rarely sang beyond an hour and a half!
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4)TS Sabhesa Iyer was a third student who became a performer known for his niraval skills. He later turned pedagogue, teaching at the Annamalai University. It was Sabhesa Iyer who made Sivan’s Melaragamalika famous and also published it. He received the Sangita Kalanidhi from the Music Academy in 1934.
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It is interesting to note that the Sabhesa Iyer line is among the most
represented in the Sangita Kalanidhi list – Harikesanallur Muthiah Bhagavatar, Musiri Subramania Iyer, Madurai Mani Iyer, Mani Krishnaswami, TK Govinda Rao, TN Seshagopalan and the Bombay Sisters, are all from this lineage
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his mother was a kinswoman of the Anai-Ayya brothers. A famed singing duo of the times, Sivagangai Periya and Chinna Vaidyanatha Iyers, were his cousins.

RSR
Posts: 3427
Joined: 11 Oct 2015, 23:31

Re: Maha vaidyanatha sivan

Post by RSR »

Another wonderful web page on Maha VaidyanathaSivan.
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http://carnatica.net/special/mahavaidyanathaiyer.htm
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some snippets
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Editor's note: Since there is an interesting discussion going on in the Rasika Forum on Maha Vaidyanatha Iyer and his 72 - Mela Ragamalika , we felt it would be relevant to give some more details about both. Dr. P P Narayanaswami, a Professor of Mathematics from Canada, has taken a keen interest in this subject, and sent us the article reproduced here and also the lyrics of the 72-mela ragamalika in text as well as pdf formats. Carnatica takes this opportunity to thank him.
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Maha Vaidyanatha Iyer wrote in praise of Lord Pranatarthihara (Siva) of the mammoth temple at Tiruvarur. This is the version currently in vogue as the 72-mela ragamalika.
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This is not a piece we hear often in concert platforms. Occasionally in the past, one or two Chakras of this lengthy composition has been rendered by Musiri Subramanya Iyer and M S Subbulakshmi.
Recently (June 1989), the Gramaphone Co. of India (HMV) released an album (LP No. ECSD 40552), and simultaneously a
60-minute casette (No. HTCS 03B 3346) under the title 'Mela Ragamalika Chakra', where M S Subbulakshmi has melodiously rendered this divine ragamalika, with all the above-mentioned features and Chittaswaras.
http://carnatica.net/lyrics/e72malika.pdf (eng-translit)
http://carnatica.net/lyrics/72malika.pdf (sanskrit)
=====================================

RSR
Posts: 3427
Joined: 11 Oct 2015, 23:31

Re: Maha vaidyanatha sivan

Post by RSR »

May I have some clarification?
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Koteeswara Iyer has composed one kriti each for the 72 parent ragams of the meLakartha scheme.
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Maha Vaidyanatha Sivan 's meLakartha Ragamalika is a single kriti.
Smt.MS has sung Koteeswara Iyer compositions in successive concerts as it is not possible to sing all the 72 kritis in a single concert.
--------------------------------------------------------
The casette which runs for about one hour is labelelled MeLakarta Ragamalika . of Maha Vaidyanatha Sivan.
Is this what is mentioned in the article cited above?
@CRama is requested to kindly clarify.

rajeshnat
Posts: 9906
Joined: 03 Feb 2010, 08:04

Re: Maha vaidyanatha sivan

Post by rajeshnat »

https://kpjayan.wordpress.com/2010/06/2 ... vedavalli/

This mega ragamalika is broken down as 12 chakras. ms amma and bit later r vedavalli have sung in full this pranathathi hara. refer our forumite review of this masterpiece of maha vaidyanatha sivan

RSR
Posts: 3427
Joined: 11 Oct 2015, 23:31

Re: Maha vaidyanatha sivan

Post by RSR »

@9
@rajeshnat
Sir, Thank you.
When I googled, I got this tube link.
Is it the right one?
https://www.youtube.com/watch?v=SM_YpopYO-E
---------------------------------------------
There used to be some anecdote about encouraging words from Kanchi Munivar to Smt.MS about singing the MK kriti.
Is it about this or the Koteeswara Iyer kritis?

RSR
Posts: 3427
Joined: 11 Oct 2015, 23:31

Re: Maha vaidyanatha sivan

Post by RSR »

Would like to share this link. A book published by Music Academy. Now out of print, About Maha Vaidyanatha Sivan's MeLaRagamalika.
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https://musicacademymadras.in/reading_r ... ga-malika/
---------------
Published in1989, the Mela Ragamalika of Maha Vaidyanatha Sivan is one among the many valuable publications of the Music Academy, Madras. This is however out of print now but there is a solitary copy available in our renovated and re-organised library.

This book was edited by T.S. Parthasarathy and contains an introduction by him to the Maratha Rulers of Tanjavur around the time of the evolution of the 72 mela concept. He also gives a brief note about Venkatamakhi and his Chaturdandi Prakasika and Govindacharya and his Sangrahachudamani. He goes on to talk about the ‘Bahattara Melakarta’ by Lavani Venkata Rao and about how Mahavaidyanatha Sivan was invited to set the tune to the text that was in praise of Sakharam Saheb, son-in-law of Sivaji II. Subsequently, Mahavaidyanatha Iyer composed a Mela ragamalika on the same lines in Sanskrit in praise of Pranatartihara of Tiruvaiyaru.

The book contains the text of the Melaragamalika in Devanagari and in Tamil. There is a detailed introduction to the ragamalika by V.S.V. Gurumurthy Sastrigal, who was a great Sanskrit scholar and retired as the head of the department of Vedanta in the Sanskrit College at Trivandrum. TSP mentions that the original idea was to have a word to word meaning so that musicians could relate to the meaning of the song. But when Gurumurti Sastrigal went through the text , he felt that it had great literary beauty and merited a full fledged commentary. ‘Sivapriya’ in Tamil, is his commentary on the work and is very insightful and detailed. Apart from giving the meaning of the verse, he goes on to give literary allusions.

The ragamalika is structured in a very simple manner. Each of the 72 ragas is rendered in two lines. The raga name is encapsulated within these two lines sometimes in an explicit manner or sometimes very subtly in the lines of Muthuswami Dikshitar. This is followed first by an avarta of svara in the same raga and the sahitya is repeated. After this there is a svara passage in half an avarta of the raga just rendered and the next half in the ensuing raga. This is to ensure a transition to the next raga. It is believed that Ramaswami Sivan, elder brother of Mahavaidyanatha Sivan was the architect of this svara passage.

Many questions have been raised as to whether all 72 melas have the status of ragas or whether many of them just remain as scales. That apart, the ragamalika gives a clear picture of each mela in a very concise manner. The svara patterns are very inspiring and will certainly be a lesson for those who want to innovate in kalpana swara singing.

The 72 ragas are arranged in 12 chakras, six in suddha madhyama and six in pratimadhyama. Each chakra also has a suitable name – Indu for the first as there is one moon, netra for the second as there are two eyes, Agni for the third chakra and Veda for the fourth and so on.

The sahitya contains several Puranic references. There is reference to Brahmas search for the ends of the Sivalinga in the raga Dhavalambari, In Navaneetam there is reference to churning of the ocean and Siva swallowing poison. It is interesting to see the way the raga name is split in the sahitya – Cāru ké Śivalingamanārcya or Sarasām gītim kīrtim .

There is reference to characters in Tamil literature as well. Nakkiran is mentioned in Kiravani and Karaikkal Amaiyyar in Ragavardhani who is referred to as Punitavati. Being a musician he refers to tanam as pranavasvarupa in the raga Tanarupi.

This book also contains the text of the Bahattara Melakarta in Marathi, a brief note on Tanjavur Lavani Venkata Rao by B. M. Sundaram and the notation as rendered by Sangita Kalanidhi M.S. Subbalakshmi.

This book is a compendium and a must read for rasikas and musicians.

Dr. Sumathi Krishnan

RSR
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Re: Maha vaidyanatha sivan

Post by RSR »

The MeLaRagamalika kriti by Maha Vaidyanatha Sivan sung by Smt.MS.Subbulakshmi , from a concert recording , has been placed in youtube by Sankar Rajasekaran as well as Kartheek Sarma., though not covering the full kriti.
-------------------------------------------------
indu chakra
===========
1) kanakangi
2) ratnangi
3)ganamurthi
4) vanaspathi
5)manavathi
6) tanarupi
======================================
netra chakra
============
7)senavathi
8) hanumath thodi
9) denuka
10)natakapriya
11) kokilapriya
12) roopavathi
---------------
MS ubbulakshmi-Melaragamalikachakra-
Kanakangi-To-Rupavati ( first two chakras)
https://youtu.be/80dedub-8_Q
sankar rajasekaran upload)

RSR
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Re: Maha vaidyanatha sivan

Post by RSR »

agni chakram
=============
13) gayakapriya
14) vakulabaranam
15) mayamalavagowla
16) chakravakam
17)suryakantham
18) hatakambari
------------------------------
veda chakram
--------------
19) jankaradhvani
20) natabairavi
21) kervani
22) karaharapriya
23) gowrimanohari
24) varunapriya
==========================
MS Subbulakshmi-Mela-Ragamalika-Chakra--Gayakapriya-to-Varunapriya-
https://youtu.be/u_5mFp75Ch4
SANKAR RAJASEKARAN

RSR
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Re: Maha vaidyanatha sivan

Post by RSR »

prathimadhyamam
bramma chakra
-------------
49) davalambari
50) namanarayani
51) kamavardhini
52) ramapriya
53) gamanasrama ( poorvi kalyani)
54) viswambari
-------------------------------------
disi chakra
-----------
55) shamalangi
56) shanmugapriya
57) simmendra madhyamam
58) hemavathi
59) dharmavathi
60) neethimathi
-----------------
MS Subbulakshmi-Mela ragamalika chakra-Dhavalambari-to-Neetimati
12 minutes
https://youtu.be/d-SRlBDyzTQ
sankarRajasekaran.
===================
( searching for the missing instalments)

RSR
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Re: Maha vaidyanatha sivan

Post by RSR »

https://www.thehindu.com/news/New-life- ... 628559.ece
----------------------
This is a TheHindu article published in 1989 on the occasion of the release of casette, compact disc and LP record, of Smt.MS rendition of MeLaRagamalika of Maha Vaidyanatha Sivan. It gives a brief life sketch of Maha Vaidyanatha sivan and the speciality of this composition by him.

RSR
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Re: Maha vaidyanatha sivan

Post by RSR »

I was searching for some information about Naraayana GowLa ragam and came across this anecdote about MahaVaidyanathaSivan.

http://guruguha.org/blog/author/raviraj/
(at the end of page1)
---------------------------------------------------------
"We always like some sort of an apocryphal/sensational/spicy story or two about melodies or musical personages. And chroniclers both present and past seem to have a predilection for exaggerating the facts or events as they go about recording them during their lifetimes. I end this rumination blog post with one such story/event, probably true, about how the vocalist nonpareil Maha Vaidyanatha Iyer (1844-1893) used this raga Narayanagaula to stump his opponent in a musical contest. True or untrue, the raga becomes the pivot of the story which is recorded for posterity by Vidvan Gomathisankara Iyer ( “Isai Vallunargal” published in 1970) as told to him by his musician father Pallavi Subbiah Bhagavathar, who was a disciple of Maha Vaidyanatha Iyer being his pupil between the years 1876-1882. In his almost panegyric narration, Vidvan Gomathi Sankara Iyer provides all the elements of suspense and intrigue.

In the late 1880’s, Maha Vaidyanatha Iyer was on an extended stay at Madras on a musical sojourn enjoying his popularity, the adulation and patronage extended by the denizens of the city and the of the officials of the administration including the Governor of Madras. A special dinner was hosted in his honor by the Governor Robert Bourke known more by his peerage name of Baron/Lord Connemara along with his wife Baroness/Lady Connemara. Post the dinner, the invited celebrities were treated with a sumptuous concert by the legend, who apparently even sang English notes for the benefit of the assembled English speaking glitterati. Perhaps they must have been the nottusvara sahityas of Muthusvami Dikshitar !

This public display of adulation for Maha Vaidyanatha Iyer did not fail to make a few of the vidvans envious or jealous, for so popular and sought after he was that many thought, never mind if music emanated or not, thousands would gather at the mere move of his mouth! Vidvan Venugopal Das Naidu, a vocalist of not so well known provenance and a citizen of the City, was one of those who viewed the entire spectacle with envy. A man who prided himself by decking in a royal demeanour, Venu as he was endearing called vented his fury to his violinist friend ‘Photograph” Masilamani Mudaliar. His opinion was to the effect that “Maha” was a fake appellation which Vaidyanatha Iyer did not at all deserve and he was simply putting up a charade without an ounce of practical musical worth. According to Subbiah Bagavathar, Venu and Mudaliar acting “in concert” so as to put it, decided that forthwith Maha Vaidyanatha Iyer should be challenged for a contest and went public with that. In pursuance to that, a fund raising spree was launched, mopping up a princely sum of more than Rs. 2000/, which was to defray the cost of a huge silver salve and gold ear studs which the winner would eventually take. Notices were printed and distributed as advertisement, fixing the terms of the concert, unilaterally, virtually rigging up the entire contest. Thus the duo put it out that the residence of Fiddle Ramayya Pillai, a wealthy musician of George Town would be the venue, Maha Vaidyanatha Iyer would be given the first opportunity to sing first, choosing the raga of the Pallavi and elaborating it. Venugopal Naidu will then sing a Pallavi in that raga following which Vaidyanatha Iyer would have to elaborate it. If he could not he would have to relinquish his title in public. The duo set the rules of the game, the time, date and venue as well to their advantage apparently and threw the gauntlet at the great vocalist.

The stratagem was not too complicated. Given that pallavis were traditionally sung in the heavy ragas namely Bhairavi, Kambhoji, Sankarabharanam or Kalyani, the idea was to entrap Maha Vaidyanatha Iyer with Venu setting the Pallavi in a complicated rhythmic setting, without openly putting the tala so that it would stump the veteran vocalist. As if to result-proof this contest even further, Masilamani Mudaliyar himself was anointed as the arbiter/referee of this contest!

When Maha Vaidyanatha Iyer and his elder brother Ramasvami Sivan, who was his alter ego and accompanying junior partner/vocalist in his concerts, heard of the challenge, they grew extremely uncomfortable. Subbiah Bagavathar’s version has it that Vaidyanatha Iyer’s ardent & leading rasikas/admirers would have none of it and they goaded Vaidyanatha Iyer into accepting the challenge.

On the appointed day and time at the venue in George Town, rasikas agog with excitement had assembled to watch the proceedings with bated breath. With Masilamani Mudaliar as referee the proceedings commenced in right earnest and in deference to protocol, Vaidyanatha Iyer asked Venu his challenger if he had any raga as his preference for the Pallavi exposition. We do not have any evidence if there was any premeditated strategy on tackling the situation on his part. On Vaidyanatha Iyer’s seemingly innocuous question, Venugopal Naidu perhaps haughtily, responded “Any raga of your choice”. Vaidyanatha Iyer in line with the prevailing practice had planned to sing the Pallavi in Sankarabharanam and he prepared himself to do so. Perhaps as fortune would have it, a brainwave struck Ramasvami Sivan who was sitting behind next to his brother, strumming the tanpura perhaps. In a trice he leaned forward and whispered into Vaidyanatha Iyer’s ears to junk the plan to sing the Pallavi in Sankarabharanam. He proceeded to suggest Narayanagaula as the raga of the Pallavi and he said so in their secret coded language (pAnDava bAshA is the name, Pallavi Subbiah Bagavathar gives for that coded language that was used by the brothers), lest it may be over heard & understood by Venu. Apparently the rarity of the raga and the equally rare practice perhaps to use it as a vehicle of Pallavi exposition was the plan that what Ramasvami Sivan had to win this contest, hands down. Gomathi Sankara Iyer records further that the raga Narayanagaula with its vakra sancaras or its “turn of notes” makes it difficult for manipulation in a Pallavi and this proved to be a master stroke! As the great titan held in awe by his contemporaries, began humming (Vaidyanatha Iyer had a ‘hUmkAra way of raga elaboration) the raga and began his exposition, a cloud of silence descended on the venue. The unique and and not so frequently heard raga coming forth from the vocal chords of the Prince Charming of Music of those days, cast a spell on the crowd.

One can easily envision Vaidyanatha Iyer performing his alapana in a grand and eloquent manner, for Soolamangalam Vaidyanatha Bagavathar and Dr U Ve Svaminatha Iyer in their respective memoirs, provide that vivid picture of Vaidyanatha Iyer’s inimitable way of singing. Subbiah Bagavathar records that on that day, Vaidyanatha Iyer had performed a complete alapana of Narayanagaula for about 45 minutes perhaps spanning the three octaves he was known for. Needless to add it must have been a veritable feast for the celestials.

The narration goes on to say that not surprisingly, Venu had no clue as to the raga. So bedevilled and muddled he was that even as Iyer was immersed in his exposition, he retired from the stage to a quiet corner to re-plan by retrofitting his preplanned pallavi to the melody that he was hearing, without any success. By then Vaidyanatha Iyer had finished his tour-de force alapana and perhaps the tanam as well and Venu was nowhere to be seen. It must have been a great tanam, par excellence, as the raga is so amenable to madhyama kala exposition for which Vaidyanatha Iyer was justly famous for during his heydays. And with the challenger Venu who went missing from the stage, not seen at all, the referee Masilamani Mudaliar grudgingly requested Vaidyanatha Iyer to complete the rendering with his own Pallavi which the veteran did as if like a fish taking to water. The final Pallavi rendition must have been a proverbial icing on the cake for the assembled cognoscenti of Chennapattana. And not surprisingly at the end of the performance, Vaidyanatha Iyer was felicitated and presented with the prize money and gifts.

Thus ends the story of Vaidyanatha Iyer leveraging this great raga Narayanagaula to defend his title ‘Maha’ conferred on him by the Pontiff of the Siva Mutt at Tiruvavaduthurai, decades prior. Needless to add, he returned home adding one more exotic event to his already legendary reputation and also richer by the gifts bestowed on him. So much for the raga Narayanagaula!

RSR
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Re: Maha vaidyanatha sivan

Post by RSR »

Maha Vaidyanatha Sivan - MeLaragamalika- one sixth of the krithi
from an old recording.by Musiri Subramanya Iter
( from the archives of (late) Sri.Venkata Kailasam
Time may be around 15 minutes.
https://youtu.be/jaGpgLbdN6Q

RSR
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Re: Maha vaidyanatha sivan

Post by RSR »

Very nice blog post in Tamizh by Gamakam 'Lalitha Ram'- Parivadhini
https://mail.google.com/mail/u/0/h/oke1 ... 7b97fe&v=c
-------------------------
'சிறு வயது முதல் கச்சேரிகளுக்காக தென்னாடு முழுவதும் பயணம் செய்த சிவன், 1891-ஆம் வருடம், ஓய்வின்மையாலும், பயணங்களின் பொழுது சரியாக உணவு அருந்தாமல் வருத்திக் கொண்டதாலும் நோயுற்றார். நினைவிழந்த நிலையில் பலமாதங்கள் கழித்த மஹா வைத்தியநாத ஐயர், 1893-ஆம் வருடம், ஜனவரி 27-ஆம் நாள் இயற்கை எய்தினார்.'

Rajani
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Re: Maha vaidyanatha sivan

Post by Rajani »

The magnificent Mela Ragamailka of Maha Vaidyanatha Sivan is filled with references to stories connected to Shiva, as well as many philosophical thoughts.

A few weeks back I completed translating the song with its Pallavi and 72 Charanams and found that there are many beautiful sculpures and paintings that bring out these references visually too, and included them where possible.

I have put it up at, and I hope it will benefit music students and rasikas.

http://mela-ragamalika.blogspot.com/

bhakthim dehi
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Re: Maha vaidyanatha sivan

Post by bhakthim dehi »

Great work. Much thankful for you to get this to our notice.

RSR
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Re: Maha vaidyanatha sivan

Post by RSR »

@Rajani
The blog created by you on MeLakartha Ragamalika is a wonderful treasure. If I am not mistaken, this is the first time that the translation especially in English has been made available free in the web. The site is stunningly beautiful . It must have taken a month of your precious time and is a labour of love and dedication. Serious students of CM are beholden to you for this great contribution.
The explanation for the nomenclature of the 12 chakras is very illuminating.
Such a scholarly work needs quite some time to study and grasp.
So, I will add a few posts after diligently reading through all the posts.
--------------------------
Here is a very humble suggestion about the creation of an index page.
The index page will mention the topic of the blog post in the exact order and then give the link for that post. This will enable the students to have direct access to the blog post of the required ragam.
The link to the index page can be placed prominently at the beginning and end of each page.
This is a common problem in all the great blogs.
I will try my best to create such an index page before 15th Jan and post it here. If you do not mind, you can check it up and then edit your blog posts accordingly after creating the index page. and making it the landing page.
Best Regards,

Rajani
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Re: Maha vaidyanatha sivan

Post by Rajani »

Thank you very much, Bhaktim Dehi and RSR Sir.

I thought that the list of other pages (Chakra-wise)placed on the side-bar may be sufficient. But I look forward to your suggestion on the index page and will try to incorporate that.

RSR
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Re: Maha vaidyanatha sivan

Post by RSR »

p-22
@Rajani
WISHING YOU A VERY HAPPY NEW YEAR 2021
-------------------------------------
I too am for sidebar but as the user's systems come in various sizes, the sidebar may be missed sometimes.
Each blog post In google google blogger can give the link to the PAGE for each post at the top of each post prominently.
Google blogger archives te posts and it becomes more difficult then after one year even to locate the specific topic.
We can and must provide tags-preferably short and specific for each page.
At the end of each post, we can give link to previous pos and next post along with the link to index page.
A great work like this should be made widely known to all students .by google search.
I request you to permit me to give the link to your great blog in General discussion, Internet resources and even in Sanskrit sections of rasikas.
For novice learners, we can mention the raga names in each chakra and the corresponding lines.
As the landscape is ever shifting , it is safe to replicate in WordPress and google sites.
Kindly excuse me if any of these points are wrong.
And the scholar that you are in Snskrit and Tamizh as well, it would be great if you yourself can give a brief thamizh translation of each passage separately .ND A LINK TO sMT.MS rendering of the chakras available in youtube. which was blessed by the sage of Kanchi

RSR
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Re: Maha vaidyanatha sivan

Post by RSR »

@Rajani

A sample is given for illustrating the method.

https://shakespeare4tamils.blogspot.com ... -page.html

=========================================

https://shakespeare4tamils.blogspot.com ... amizh.html

please note that the index is a 'page' and the link to the index page is mentioned at the beginning of each post.
At the end of each post, the links to all the other posts also are given.
If the number of posts is less than 20, this method can be followed.
There is no sidebar and so we get more space and less danger of the posts being archived by blogger.

RSR
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Re: Maha vaidyanatha sivan

Post by RSR »

@Rajani
Just now created the suggested index page, showing links to the introduction, first and second chakras only.
at
https://sites.google.com/site/4techstri ... lika-index

The remaing links can be likewise added by you.
The link to the index page can be added to the beginning and end of each post.
The index should be a 'PAGE' and not a post.
--------------------------------------
All the posts are showing the link to the seventh chakra only. --evidently an oversight.
Kindly correct it.
There is a fine image of Maha Vaidyanatha Sivan at the site page cited.
If possible, it can be added to the index page itself and landing post.
The raga names in each chakra also can be mentioned in the respective posts as has been done but in the introduction page, for novice students. Most (42) are vivadi. The notation can be given for the swaras as s R1 R2 G1 G2 M1 M2 P D1 D2 N1 N2 S pattern.
Best Regards

RSR
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Re: Maha vaidyanatha sivan

Post by RSR »

https://sites.google.com/site/homage2ms ... lika--1989

------------------------------
very nice and informative article in The Hindu.
--------------------------------------
some passages are given below from that article.
---------------------------------------------
in instalments

The mela raga malika set to Adi tala is divided into six parts of 12 ragas each. The first half features suddha madhyama ragas and the second their at times repetitive pratimadhyama counterparts. Each successive raga is varied by just a single note. The high-seriousness of its theoretical intent offers intellectual stimulation of a high order in both the music and the meaning. But this in no way lessens the aesthetic value of the raga and artha bhava.

Rajani
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Re: Maha vaidyanatha sivan

Post by Rajani »

RSR Sir. Thank you. I have replied by mail

RSR
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Re: Maha vaidyanatha sivan

Post by RSR »

p-27
@Rajani
Thank you for the mail. Glad that the suggestions were taken in the right spirit.
Best Regards

Lakshman
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Re: Maha vaidyanatha sivan

Post by Lakshman »

Those interested in the notations of this composition, in Devanagari and English, can download it from here:
https://ia802804.us.archive.org/30/item ... haIyer.pdf

RSR
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Re: Maha vaidyanatha sivan

Post by RSR »

For the First time, the complete set of renderings of M.V.SIVAN's MeLakartha raagamaalika sung by Smt.MS , has been compiled from her concerts in Music Academy and presented here,. free in the web.
with full and authentic details
.

https://youtu.be/OHwG-pkxCMQ
======
<quote>
Nādabhṛṅga presents the evening session of the grand finale of MSS 105, a week long celebration on the occasion of the 105th birth anniversary of Sangita Kalanidhi Vidushi Smt. M S Subbulakshmi. We present here the complete collection of recordings of the Melaragamalikachakra of Mahavaidyanatha Iyer, performed by Smt. Subbulakshmi at The Music Academy, Madras, beginning with her Sangita Kalanidhi concert in 1968. Our sincere thanks to the family of Smt. Subbulakshmi for the recordings as well as the photographs.

Programme details

M S Subbulakshmi
Radha Viswanathan - Vocal Support

1. Indu and Netra Cakra-s (Kanakāṅgī to Rūpāvatī) [00:00]

Date: 22.12.1968 Sangita Kalanidhi Concert
Accompanists:
V V Subramanyam - Violin
T K Murthy - Mridangam
T H Vinayakaram - Ghatam
Pudukottai S Mahadevan - Morsing

2. Agni and Veda Cakra-s (Gāyakapriyā to Varuṇapriyā) [12:30]

Date: 25.12.1969
Accompanists:
V V Subramanyam - Violin
T K Murthy - Mridangam
V Nagarajan - Kanjira
T H Vinayakaram - Ghatam

3. Bāṇa and Ṛtu Cakra-s (Mārarañjani to Calanāṭṭa) [25:19]

Date: 25.12.1970
Accompanists:
V V Subramanyam - Violin
T K Murthy - Mridangam
V Nagarajan - Kanjira
T H Vinayakaram - Ghatam

4. Ṛṣī and Vasu Cakra-s (Sālagam to Divyamaṇi) [36:47]

Date: 25.12.1971
Accompanists:
Kandadevi S Azhagiriswamy - Violin
T K Murthy - Mridangam
V Nagarajan - Kanjira
T H Vinayakaram - Ghatam

5. Brahma and Diśi Cakra-s (Dhavalāmbarī to Nītimatī) [47:46]

Date: 24.12.1973
Accompanists:
V V Subramanyam - Violin
Karaikkudi R Mani - Mridangam
V Nagarajan - Kanjira
T H Vinayakaram - Ghatam

6. Rudra and Āditya Cakra-s (Kāntāmaṇi to Rasikapriyā) [59:11]

Date: 19.12.1976
Accompanists:
Kandadevi S Azhagiriswamy - Violin
T K Murthy - Mridangam
V Nagarajan - Kanjira
T H Vinayakaram - Ghatam

Note: The respective photos used for each concert are from different concerts, roughly corresponding the period of each recording. The 1968 and 1969 tapes were quite dilapidated. We have digitally restored each of the recordings to the best possible extant.

</quote>

Pasupathy
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Re: Maha vaidyanatha sivan

Post by Pasupathy »

A Speech by Mudikondan Venkatarama Iyer on Maha Vaidyanatha Sivan at Music Academy in 1971. ( Tamil article)
1947. சங்கீத சங்கதிகள் - 293
மஹா வைத்தியநாத சிவன்
முடிகொண்டான் வேங்கடராம ஐயர்
https://s-pasupathy.blogspot.com/2021/10/1947-293.html

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