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Glad to listen to this enjoyable concert. Good voice and also good accompanying Vidwans team. High quality audio and video recording deserve special mention and appreciation. Hearty thanks for uploading this wonderful concert. 🎉🎉🙏🙏

Very nice concert👏👏👏🙏

கோவிந்தன் அருள் கிடைக்கும் இந்த இன்னிசை பார்ப்பவர் கேட்பதற்கு.

Superb marvelous

Wow excellent saraswathi raga rendition...Great briha n akaram... Feel honey dipping rendition of such iconic raga of saraswathi.. Have best and bright future Lalithi...

Good ! Justice done to Thodi !

బాగా పాడారు. లలిత యడవల్లి. శుభాశీస్సులు.

చాలా బాగుంది అమ్మా లలితా. ఆశీస్సులు.

Very nice ... sumohanam...

Chaala bavundi Lalita

Chaala bavundi lalita

చాలా బావుంది లలిత

Chaala bavundi

Chaala bavundi

Super singing

Absolutely Divine One My Favorite MSS Ammas One of the Masterpiece All the Best Wishes and God's Blessings 🙌

Absolutely Divine One My Favorite MSS Ammas One of the Masterpiece All the Best Wishes and God's Blessings 🙌

Madam did you sing songs at srisailam dhramapadam in July.

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). I have tried to make this comparison as simple as possible, trying to avoid more technical matters of 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).Thank you all.

Excellent Lalitha

Karnataka Devagandhari Ragam: Karnataka Devagandhari or Abheri {22nd Mela (Khararaharapriya) Janyam} ARO: S G2 M1 P N2 S || AVA: S N2 D2 P M1 G2 R2 S || Many netters on this newsgroup have discussed the putative distinction between karnatakadevegandhari and abheri in the last few months -- this question had bothered me for a long time too. So, during the intermission at a Ramani concert sometime ago,one Rashika asked the violinist Kanyakumari about the difference between these two ragas and here is what she had to say about the two ragas: They're identical in their arohanam and avarohanam, the only difference being the way one holds the notes S and P. (This is what she said in Tamil: "svaram pidikkaratulataan vidyaasam"). She sang out the difference and this is what I concluded from it: in K.devagandhari, she landed on P in the avarohanma with more gamakam (it sounded more like PaDaPaa) whereas in Abheri, it was a straight Pa. Similarly, she landed on S in the avarohanam with SaRiSaa in K.devagandhari; in Abheri, it was a flatter Sa. I could be wrong in interpreting the differences from her singing. In particular, it could be PaNiPaa and SaGaSaa in K.Devagandhari. BTW, she sings very well.

P panchashat pItha rupini mam pAhi shrI raja rajeshwari She who is of the form of the fifty Pithas, please protect me, oh Rajarajeshvari AP panchadha sakshari pandyakumari padmanabha sahodari shahnkari ( pancha) She who is of the form of the fifteen-syllabled mantra, is the daughter of King Pandya, is the sister of Vishnu, she is benevolent. C devi jagajjanani chidrupini devadinuta guruguha rupini deshakala pravarttini maha deva manollasini nirahnjani Madyama kala devarajamuni shapavimochani devagandhara raga tosini bhava raga tALa vishvAsini bhaktajanapriya phala pradayini (pancha) Oh Devi, Mother of the universe, of the nature of consciousness, is the mother of Guruguha, and is worshipped by celestials. She is the cause of time and space, and delights the heart of Mahadeva. She is the spotless one, pleased with Raga Devagandhara. She is the embodiment of Bhava, Raga, and Tala. Beloved

This Kriti is in the eighth (Sambodhana Prathama) Vibhakti This is on Madurai Meenakshi This is based on Sakti pItha stotra of Adi Sankara The names ‘pancasat-pItha rupini’ and ‘raja rajes varI’’ are also found in the Lalita Sahasranama

Absolutely Divine & Blissful - Panchashat pitta roopini Raagam : Karnataka Devagandari Adi talam : Muthuswamy Dikshitar Krithi

Excelent... Ammaa 💐

హలో! లలిత! చాలా బావుంది.చక్కగా పాడావు.👌🤩👌.. శ్రీమతి సుధాకర్

Congratulations. Very nice lalitha

Really, very nice rendition , with clarity 🙏🔥🙏siddinchali sarvadàa

🙏🙏

హలో! లలిత! కంగ్రాచ్యులేషన్స్.బావుంది.చక్కగా పాడావు.చక్కటి కీర్తనలు , సెలెక్ట్ చేసుకున్నావు.శ్రీరంజని రాగాలాపన ఎంతో బావుంది.మరింత అభివృద్ధి లోకి రావాలని కోరుకుంటూ.... శ్రీమతి సుధాకర్

Inta andamu ga,mudduga piliste krushnudu yenduku radu? Yenta Baga padevo! Mee guruvu gariki na pranamamulu 🙏🙏🙏

Chala adbhutamuga padavu Lalita. God bless you Amma.

సిద్దివినాయక కరుణా కటాక్ష సిద్ధిరస్తు. లలితా ఆహ్లాద గాత్రం అద్భుతం. వాద్య సహకారం చక్కగా కుదిరింది.

Lalliii❤️

తియ్య తియ్యగా, ముడ్డు ముద్దూ గా పాడింది చిట్టి తల్లి. కచేరి బాగుండి.

How beautifully sung! Best wishes.

హాయ్! లలిత! శుభోదయం! శ్రీరామనవమి శుభాకాంక్షలు 💐💐.. చక్కటి కీర్తన ఆలపించావు.బావుంది.చక్కగా పాడావు.👌👌.... శ్రీమతి సుధాకర్

Inspired by this song 🎵 th-cam.com/video/O-Bb7B8vuw0/w-d-xo.html

Good to listen. Very nice. Have great future lalitha

Nice Vocal rendition good to listen this composition on Lord Sri Krishna. Best Wishes and Greetings.

Wonderful rendition 💐🙏❤️

Awesome I say... Awesome 😁

హాయ్!లలితా!తుంబ చెన్నాగిద్! శ్రీ కృష్ణ జన్మాష్టమి సందర్భంగా చక్కగా పాడావు..👌👏💐👏👌

Good

Mesmerising and soulful 👍

So Sweet! Enjoyed all through!!! God Bless You Dear!!!

హాయ్!లలిత! చక్కగా పాడావు! చిన్ని క్రిష్ణుడు దోగాడుతూ వచ్చేశాడు!👌💐👌నీ టాలెంట్ తెలుసు కదా!👏🥰👏...... అమ్మమ్మ, తాతగారు!

Amazing!!!!

Vinukonda

Very good amma