What a Lovely Alapana followed by the Krithi !...Literally taken me off to Sublimiation ! Ninne nammitinayyA. rAgA: simhEndramadhyam. cApu tALA. Mysore Vasudevachayar Krithi P: ninnE nammitinayyA shrI rAma Oh Sri Rama, I have immense faith in you only. A: pannagEndra shayana pannagAri vAhana pannagAcala bhavya sadana praNatArti haraNa nipuNa You (Vishnu) recline on the king of serpents, Adisesha. Your vehicle is eagle the foe of serpents. Seshadri is your prosperous abode. You are adept in ameliorating the afflictions of those who seek refuge. C1: parama krupAsAgara para tatvAdhAra varamulosagi brOvavayya vAsudEva || You are ocean of compassion. You are the basis of spirituality. Oh Vasudeva, protect me bestowing boons. C2 neeraja nEtra neeraja nibha gAtra girirAja suta vara Sankara sannuti pAtra satcharitra || You are lotus-eyed and your body is bright like lotus. You deserve worship by Sankara the consort of Parvati, the daughter mountain-king. You are known for excellent character. A raga that is grand in every way, regal, meditative, bold and striking is Simhendramadhyamam. Chiselled with utmost beauty, every facet of this raga brims with passionate appeal. The notes taken up by this raga are Sadja, Chatusruti Rishabha, Sadharana Gandhara, Prati Madhyama, Pancama, Sudhha Dhaivata, and Kakali Nishada. It is a Melakarta raga, complete in every way, and its notes lend themselves to gamakas, symmetric patterns and clever permutations while singing alapanas , niraval and kalpanaswaras . This raga in Dikshitar Paddhati is called Sumadyuti and it is also prevalent in Hungarian folk music and the music of the Spanish gypsies. Such ragas that are loved across the length and breadth of the world are testimony to the universal appeal of music, and the fact that such scales have been explored with great attention to detail in classical music certainly shows that Indian music is one of the most enlightening forms of art upon this earth. In Carnatic music, “Kamakshi Kamakoti,” “Pamarajana” and “Neelachala Natham” are Dikshitar's brilliant creations in this scale. Other popular kritis include “Needu Charanamule” attributed to Thyagaraja, “Nata Jana Paripalaka,” “Unnaiyallal” of Koteeswara Iyer, “Ikaparam ennum” of Papanasam Sivan, “Ninne Nammiti” of Mysore Vasudevachar and “Rama Rama” of Swati Tirunal. Singers like N. C. Vasantakokilam and M.S. Subbulakshmi, possessing high-pitched and sweet voices, sang many of these songs and made them super hits in their day. One such masterpiece in this raga that my octogenarian grandmother often hums is Suddhananda Bharati's “Kanneduthagilum .” The huge popularity acquired by these classical pieces in those days may be likened to that enjoyed only by film songs today, thanks to the spell-binding voices of the divas. Oothukadu Venkatakavi's “Asaindadum Mayil” is very well-known in this raga, and the fast passages in this piece make a dramatic impact and are ideal for orchestration.
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Pure music at it's best
🙏🙏🙏
What a Lovely Alapana followed by the Krithi !...Literally taken me off to Sublimiation !
Ninne nammitinayyA. rAgA: simhEndramadhyam. cApu tALA. Mysore Vasudevachayar Krithi
P: ninnE nammitinayyA shrI rAma
Oh Sri Rama, I have immense faith in you only.
A: pannagEndra shayana pannagAri vAhana pannagAcala bhavya sadana praNatArti haraNa nipuNa
You (Vishnu) recline on the king of serpents, Adisesha. Your vehicle is eagle the foe of serpents. Seshadri is your prosperous abode. You are adept in ameliorating the afflictions of those who seek refuge.
C1: parama krupAsAgara para tatvAdhAra
varamulosagi brOvavayya vAsudEva ||
You are ocean of compassion. You are the basis of spirituality. Oh Vasudeva, protect me bestowing boons.
C2 neeraja nEtra neeraja nibha gAtra
girirAja suta vara Sankara sannuti pAtra satcharitra ||
You are lotus-eyed and your body is bright like lotus. You deserve worship by Sankara the consort of Parvati, the daughter mountain-king. You are known for excellent character.
A raga that is grand in every way, regal, meditative, bold and striking is Simhendramadhyamam. Chiselled with utmost beauty, every facet of this raga brims with passionate appeal. The notes taken up by this raga are Sadja, Chatusruti Rishabha, Sadharana Gandhara, Prati Madhyama, Pancama, Sudhha Dhaivata, and Kakali Nishada. It is a Melakarta raga, complete in every way, and its notes lend themselves to gamakas, symmetric patterns and clever permutations while singing alapanas , niraval and kalpanaswaras .
This raga in Dikshitar Paddhati is called Sumadyuti and it is also prevalent in Hungarian folk music and the music of the Spanish gypsies. Such ragas that are loved across the length and breadth of the world are testimony to the universal appeal of music, and the fact that such scales have been explored with great attention to detail in classical music certainly shows that Indian music is one of the most enlightening forms of art upon this earth.
In Carnatic music, “Kamakshi Kamakoti,” “Pamarajana” and “Neelachala Natham” are Dikshitar's brilliant creations in this scale. Other popular kritis include “Needu Charanamule” attributed to Thyagaraja, “Nata Jana Paripalaka,” “Unnaiyallal” of Koteeswara Iyer, “Ikaparam ennum” of Papanasam Sivan, “Ninne Nammiti” of Mysore Vasudevachar and “Rama Rama” of Swati Tirunal.
Singers like N. C. Vasantakokilam and M.S. Subbulakshmi, possessing high-pitched and sweet voices, sang many of these songs and made them super hits in their day. One such masterpiece in this raga that my octogenarian grandmother often hums is Suddhananda Bharati's “Kanneduthagilum .”
The huge popularity acquired by these classical pieces in those days may be likened to that enjoyed only by film songs today, thanks to the spell-binding voices of the divas. Oothukadu Venkatakavi's “Asaindadum Mayil” is very well-known in this raga, and the fast passages in this piece make a dramatic impact and are ideal for orchestration.