Sri Gana Nadha Keerthi in Esha manohari raagam
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Sri Gananatham (Dikshitar) sung by KVN
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and navigate to Music Categories > Carnatic - Vocal > Ragas I... > Isamanohari
Sri Gananatham (Dikshitar) sung by KVN
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Last edited by thanjavur on 12 Jun 2007, 17:49, edited 1 time in total.
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Yep it is, link given below.
http://www.musicindiaonline.com/music/c ... artist.40/
In the same concert he sings a brilliant Sri Sathyanarayanam with neraval and swarams. MSG is equally brilliant. Same for the Nagalingam Bhajegam in Shankarabaranam. These two are defo available commercially.
http://www.musicindiaonline.com/music/c ... artist.40/
In the same concert he sings a brilliant Sri Sathyanarayanam with neraval and swarams. MSG is equally brilliant. Same for the Nagalingam Bhajegam in Shankarabaranam. These two are defo available commercially.
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Sri Gananatham by Appa (Ramanathapuram Kandaswamy on the Mridangam)
http://www.badongo.com/file/3402833
http://www.badongo.com/file/3402833
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It is Sri GaNa naatha. btw Is it in Esha manohari?
As I have heard many times, the kriti looks more like HarikAmbOji, the parent rAg. More so, there is no raag mudra too in this kriti so to clearly associate with.
The arOhaNa prayOgA of Esha manohari (Sa ni dha pa ma ri ma ga ri sa) is not heard.
Whereas Sri TyAgarja's kriti ' ManasA Sri Raamachandruni' has clear usages of Esha Manohari aro-ava haNams.
When in the avarOhaNam Sa ni dha pa ma ga ri sa is sung/played, it is a pure 28th MK rAg.
As I have heard many times, the kriti looks more like HarikAmbOji, the parent rAg. More so, there is no raag mudra too in this kriti so to clearly associate with.
The arOhaNa prayOgA of Esha manohari (Sa ni dha pa ma ri ma ga ri sa) is not heard.
Whereas Sri TyAgarja's kriti ' ManasA Sri Raamachandruni' has clear usages of Esha Manohari aro-ava haNams.
When in the avarOhaNam Sa ni dha pa ma ga ri sa is sung/played, it is a pure 28th MK rAg.
Last edited by sindhu on 13 Jun 2007, 14:50, edited 1 time in total.
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ISamanOhari employs N3 (in phrases like S-N3-S) and hence is also quite different from straight harikambhOji. The version I learnt has enough N3 to make it not quite harikambhOji.
The aro/avaro has given in SSP is a straightfoward 28th mela like one:
S R2 G3 M1 P D2 N2 S*
S* N2 D2 P M1 G3 R2 S, S
(note: double sa at end of avarohanam is intentional. Subbarama dIkshitar opines that this perhaps implies abundance of sa as nyasa)
But subbarama dIkshiktar notes that in spite of this straightforward aro/avaro (thus perhaps implying that the aro/avaro wasnt a fair representation), there are sancharams which employ vakra prayogas that give the raga beauty. He also notes the use of kakali nishadam in S* N S* and R N# S and other phrases etc.
My teacher gave aro/avaro as:
S R2 G3 M1 P D2 P S* N3 S*
S* N2 D2 P M1 G3 R2 S
but also said it was quite "approximate".
BTW, in the mela scheme dIkshitar followed, there is no raga called harikAmbhOji raga. The 28th mela was (hari)kedAragowLa. This is the main reason why he didnt (or most probably wouldnt have composed) in harikAmbhOji. Same applies to kharaharapriya.
Arun
The aro/avaro has given in SSP is a straightfoward 28th mela like one:
S R2 G3 M1 P D2 N2 S*
S* N2 D2 P M1 G3 R2 S, S
(note: double sa at end of avarohanam is intentional. Subbarama dIkshitar opines that this perhaps implies abundance of sa as nyasa)
But subbarama dIkshiktar notes that in spite of this straightforward aro/avaro (thus perhaps implying that the aro/avaro wasnt a fair representation), there are sancharams which employ vakra prayogas that give the raga beauty. He also notes the use of kakali nishadam in S* N S* and R N# S and other phrases etc.
My teacher gave aro/avaro as:
S R2 G3 M1 P D2 P S* N3 S*
S* N2 D2 P M1 G3 R2 S
but also said it was quite "approximate".
BTW, in the mela scheme dIkshitar followed, there is no raga called harikAmbhOji raga. The 28th mela was (hari)kedAragowLa. This is the main reason why he didnt (or most probably wouldnt have composed) in harikAmbhOji. Same applies to kharaharapriya.
Arun
Last edited by arunk on 13 Jun 2007, 20:17, edited 1 time in total.
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Thanks Manakkal Sriram for the excellent recording. I am happy that someone like you has even preserved your father's recording besides my guru's recordings also. Kindly post the other songs in another thread in Kutcheri Reviews and Recordings wherein i have started our Guru Puja Remembrance day thread.
Thanks again.
Mannarkoil J.Balaji
Thanks again.
Mannarkoil J.Balaji
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Shri Manakkal conducted a workshop last year during his trip to London, and the one kriti that was explored in some detail was SrI gaNa nAtham. I sat in a corner listening and observing, and it was fascinating to watch the maestro demonstrate the nuances of the kriti and the ragam. Sriram would surely remember the blissful look on my face at the end of the session!
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Jayaram,
How can I forget that. Even now during Kutcheries here I visualise you seated in the front row and enjoying the concert. How a Kutchery cannot be complete without the composition of Thyagaraja likewise Appa's Kutchery cannot be complete without his true admirer Jayaram. Such is your fascination for Appa.
How can I forget that. Even now during Kutcheries here I visualise you seated in the front row and enjoying the concert. How a Kutchery cannot be complete without the composition of Thyagaraja likewise Appa's Kutchery cannot be complete without his true admirer Jayaram. Such is your fascination for Appa.