วีดีโอ

Great

Nice teamwork highlighted in the second song. Thank you all for being concerned in uploading this. Many more wishes to the vocalist.

Volume of violin is far below..

Beautiful. All the v best to all the artists

Soulful

Who is his guru..

What a beautiful singing,melodious as well as traditional. Thanks for loding.

What a concert. Always cherishing his.

Nice rendered...good team..best wishes..

Great Kuttaa❤❤❤

Great Nasikabjushani 👏 Excellent devaranama in Nalinakanti. Outstanding Bhairavi in all 3 octaves. Superb violin accompaniment by Raghul 👏 👏 👏

V nice

A very impressive rendering 🙌 👏👏👏👏

A very impressive rendering 👏👏👏

Nice to see your concert at Chennai, Bharadwaj

Very nice my dear Bharadwaj ❤❤

❤❤

Excellent performance kudos 👌👌👌👌

Arumai

Arumai inimai. Excellent voice.

Really awesome.Pleasure to listen to your singing ❤

Poorvi Kalyani A raga that is intense and brings forth the bhakthi rasa with verve is Poorvikalyani. A beautiful arrangement of notes makes this raga stand tall, rising above being a mere skeletal scale to something more complete and having personality. Poorvikalyani is derived from the 53rd Melakarta Gamanasrama and in Dikshitar’s nomenclature, Poorvikalyani is known as Gamakakriya. The Aarohana / Avarohana of this raga is a debatable issue but the widely accepted convention is SRGMPDPS / SNDPMGRS. It is a vakra raga, audava-sampoorna in scale (having six notes in ascent and all the seven in descent). The notes present in Poorvikalyani apart from the Sadja and Pancama include Suddha Rishabha, Antara Gandhara, Prati Madhyama, Chatusruti Dhaivata, and Kakali Nishada. This raga is suited for singing after dusk and makes the mind calm and meditative. Tyagaraja’s compositions in this raga include ‘Paraloka Sadhaname’ and ‘Paripoornakama’. It is interesting to note that while ‘Gnanamosagarada’ is widely sung in Poorvikalyani today, it was originally said to have been composed in a raga Shatvidhamargini. Dikshitar has composed brilliant pieces such as ‘Meenakshi Memudamdehi’ and ‘Ekamranatham’ in Gamakakriya. When his disciples were singing the charanam of ‘Meenakshi…’ - ‘Meenalochani Pasha Mochani’, Dikshitar is said to have breathed his last. Shyama Sastri’s ‘Ninnuvina Gamari’, Papanasam Sivan's ‘Ksheera Sagara’ and ‘Paradeivam’, and Neelakanta Sivan’s ‘Ananda Natamaduvar’ are popularly sung in concerts. Here is an interesting explanation for the name purvikalyani Raga. In the Hindustani system, Poorvi is a raga which is akin to our Panthuvarali (Kamavardhini) Mela. The poorvanga portion of purvikalyani has the same swaras of Panthuvarali or N.Indian Poorvi Raga. The Uttharanga of purvikalyani has the swaras of Kalyani Raga. Being a combination of Poorvi and Kalyani, the raga has come to be known as Poorviklayani. purvikalyani in Hindustani style is known as PuryaKalyan. The raga has a profound effect on reducing Anxiety and Abdominal pain. Also said to promote harmony and bring a pleasant feeling.

NATARAJA --- Lord of Dance & The king of Dancers... Lord Shiva as Nataraja, a cosmic dancer is believed to perform all the cosmic activities that are necessary for the existence of universe. According to the Hindu mythology, Natraja dances for the eternal bliss with wild and graceful gestures that project the cosmic illusion and explains the "Pancha Kritya" (5 works creation, maintenance, destruction, concealment and favor) performed by him. Theinbuilt meaning in the idol was explained as follows: Upper right hand of Natraja is seen with the drum (Dumrook), which explains the origin of sound and the rhythm of life, which couples with the 'Aether' (Akasha - first of the 5 elements according to Indian Philosophy). Upper left hand of the deity is seen as the 'Ardha Chandra hasta' (halfmoon) and is seen holding the flame, which symbolizes Fire (the second element), an element symbolizing the destruction. These two upper hands, explains the balance between creation and destruction seen in the universe. The lower right hand means the 'Abhaya Hasta', which explains that he is the savior of all the life. the opposite hand is stretched (similar to that of the elephant trunk, reminding Ganesha, who removes obstacles) and points the uplifted left foot. Both together signifies that he offers salvation to his devotees, when they seek his help. One can also see a demon 'Apasmara Purusha' (named Muyalaka) under the right foot of the lord. The dwarf demon represents ignorance and forgetfulness in human. The posture of the deity explains that the ignorance will be stamped under his feet. The arc of flames (Prabhavati/prabhamandala), signifies the energy, perpetual motion of the earth (another element) and also the transcendental light of knowledge and wisdom. The crescent moon projects the benevolence and the beauty as coupled factors of existence. River Ganga flowing through his matted hair explains the water element and signifies the eternity of life. His right, left and the third eye explains the sun, moon and the fire and the snake around his waist is believed to be the inbuilt energy (kundalini) in every living organism. And, most importantly, his peaceful face represents neutrality and thus the overall balance.

"Ananda Natamaduvar Tillai", which explains the cosmic dance (Tandava) of lord shiva as Natraja (Ananda tandavam of Nataraja) in Chidambaram. During one of these sessions, our guru asked us what the idol of Nataraja actually meant. Our answers were random. He then explained us the hidden meaning behind the divine symbol of Natraja.

Anandha natam aaduvar raagam: poorvi kalyaaNi 53 gamanashrama janya taaLam: roopakam Composer: Neelakaanta Shivan

The raga is best presented in the slow tempo or cauka kAla. Short phrases are its speciality and care is to always be taken that shades of kEdAra gauLa do not creep in. Some of its characteristic phrases include sa-pa-dha-sa, sa-ri-ma-ga-sa, sa-ri-ma-ma, ga-ma-pa-pa, sa-ri-ma-pa-dha-dha-pa, pa-dha-sa-pa-ma-ga,sa-sa-ni-sa-ri-ma-pa-dha-sa,ma-pa-ma-ga-ri-ma-ga-sa, sa-ni-pa-dha-sa. Subbarama Dikshitar adds that the phrase sa\ pa dha sa gives a special pleasing effect to this raga. Dikshitar also gives a lakshya gItam arE gajavanavAsa composed on Lord Jambukeswara of Tiruvanaikka and attributes it to Venkatamakhi.

Yadukula kamboji This is an ancient raga in Indian music and was known as Sevvazhi paN in the Tamil music system of yore. Today it is classified as a janya or derivative of the 28th mELa harikAmbOji.

eesan vaLLi deyvayaanai nEsan bakta hrudaya daasan shaNmugan raamadaasan kuladeyvak (kumaran) He is God, lover of Valli and Devayanai , He lives in the heart of his devotees, He is six headed one and so bow before, Kumaran who is the clan deity of Rama Dasa.

C1 samarandinil sooranai taarakanODum sankaaram sey veera singaara sankara (kumaran) In the war he killed Soora and Taraka, And exulted in a loud tone, bow before,)

P kumaran taaL paNindE tudi adikOra samsaarattil yaarE gati (kumaran) Bow before and pray the feet of Subrahmanya, For who else is your support in this ghastly birth death cycle.

Kumaran thaal Ragam Yadukula kambojhi 28th Mela Janya Adi talam Papanasam Sivan Krithi

Wah ! Superb

C Pankajasanaadhi vanditha, bhaktharthi harana mudhaa, Kunkumapa guna nidhe, Harikesa kumara mandhara. One saluted by Lord Brahma and others, One who destroys the worries of devotees happily, One with saffron colour and treasure of good qualities, The flower like lad of Harikesa.

AP Angusa dhara, mangalakara , pankaja charanavarana Holder of goad, doer of the auspicious , one who has lotus like feet.

P Gam ganapathe namo nama, Sankari thanaya namo nama Gam salutations to Ganapathi, Salutations to the son of Goddess Parvathi

Gam Ganapathe Hamsadmani Adi Dr HMB

“Innam Manam Ariyadhe means “Oh Lord Dont you know my mind yet” in this particular raga is an examplory blend of raga, bhava, rhythm and lyrical beauty. The unique feature about Lalgudi is that his music is very expressive.

But the transition of first half to the second is very graceful and not mechanical.

The first half (purvanga) has the swaras of Sankarabharanam and the second half (uttaranga) has the swaras of Thodi.

It is also known as “Tarangini” in the “Dikshitar Asampoorna Mela System. Charukesi is usually referred to as combination of Sankarabharanam and Thodi.

Charukesi , the 26th melakartha raga which belongs to Bana Chakra(the 5th Chakra) is an exotic and intriguing raga that invokes a meditative mood.

C kuzhal udum azhaga kann kurai tIrayo O beautiful (azhagA) Krishna will you not alleviate my grievances ?

AP munnam payindrado in natakam ellam manna kamalak-kanna mani vanna Is all this acting/drama something you rehearsed before O King , O Lotus-eyed , coloured like a gem ?

P innum/innam en manam ariyadavar pola irundidal gnayama yadava madhava Is it just to behave as if you do not know my mind (en manam)?

Is it just to behave as if you do not know my mind? Is all this acting/drama something you rehearsed before, O Lotus-eyed Lord, coloured like a gem? O beautiful Krishna, will you not alleviate my grievances?

Innim en manam ( Varnam) Lalgudi Jayaraman Krithi

Absolutely Awesome 👋👌👋

Excellent. Our wishes to the team

Pramaadam. Congratulations to Madhumitha, Pranathi and Rajeshwari / Abinaya / Srividhya for your beautiful singing. Namasankeertanam parts and virutthams enhanced the programme. Beautiful tuning by Shyamala maami. 🙏

I am blessed to attend the session. Thanks for uploading. வாழ்க வளமுடன்