Reethigowla / Ritigowla

[arunk]

wow! That was impressive Thanks mohan for sharing!

Arun

[vasanthakokilam]

Rithika is quite impressive, Mohan. Also, her stern look while shushing the noisy audience is cute.

[srkris]

As I already informed Mohan elsewhere, it's Rithikaula

[PUNARVASU]

srkris-

[Sreeni Rajarao]

Beautiful!
Mohan, Thanks for sharing!

[VK RAMAN]

Mohan - Rithika exudes confidence about her ability and prowess in rItigowLa

[arasi]

idE rItiyil, gauLai, nATTai--ena naDai pODuvAL! Bless her!

[Rasika911]

excellent!

[bhavarasa]

If we accept SSP as the gold standard for Dikshitar kritis, then I have to say that TMK's version of Shri Neelotpalanayike comes closest in terms of authenticity. Not only does he sing it with Suddha Dhaivatam (as it should be sung), he also adheres to the SSP very closely (almost note for note).

With all due respect to BMK et al, I don't know why anyone would sing it with D2.

Also, I noticed in the BMK version that he does not sing the SwarAksharams correctly.

For e.g. in the Charanam, "samasta vishvOtpatti sthiti layAdi kAlE", the "pa" in vishvOtpa needs to be sung at P. BMK sings it at S. Things like this tend to take away from the richness and grandeur of the kriti, IMHO.


TMK version can be found on YouTube: http://www.youtube.com/watch?v=T-_gDV_hUd0

[prashant]

What an excellent rendition with top-quality accompanying artistes! There could be no better support for a krithi of this scale [indeed for any Dikshitar krithi, especially] than Sri RKSK on the violin. The mrudangam and the ghatam by Sri KAP and Sri Udupa accentuate the song perfectly...

Dikshitar's genius is just incredible in this song, especially in the CaraNa... he just keeps determinedly exploring the mandhra sthAyi through the opening movements, and then comes the magical pivot that gives a whole new color to the song, that clear and strong panCama for 'tyA'in the line 'viTanka tyAgarAja mOhita viCitra lIlE' for a brief soar into the tAra sthAyi before the beauty that is 'pankaja nayana vishAlE' and the tender finish at 'shAradA gAna lOlE'...

Dikshitar at his finest! [Disclaimer: I tend to say this for pretty much every Dikshitar krithi ].

[shripathi_g]

When I heard that rendition for the first time in San Jose, I was bowled over and remained addicted to that krithi for a while. Sometimes, I'd be like a zombie listening to that krithi again and again. I had to update my blog after that dedicating it to that krithi. That was also the krithi that sort of revealed Dikshithar to me. I've been revering Dikshithar ever since. The beauty and intelligence in his krithis is simply amazing. I consider myself fortunate enough to be able to appreciate his krithis.

[vainika]

Moving a rItigaula digression over from yadukulakAMbhOji

#30 02 Sep 2010 20:48
vainika, quoting thenpaanan, wrote:
Another instance where sthayi matters is PNNS in rItigauLa which is mostly in the lower scale.

#31 04 Sep 2010 02:28
venkatpv, quoting vainika, wrote:
In this case, I think it is a question of having the ability (for a vocalist) to hit the lower M (M1 that too!)... rather than a "rItI" for rItIgauLa. no?

#32 04 Sep 2010 05:50
arunk wrote:
Lower ma should definitely be part of the range. For example, ragas like abhOgi use it (comes in varnam itself).

#33 07 Sep 2010 20:40
vainika, quoting venkatpv, wrote:
VenkatPV,
In my understanding the rIti is not about M1N2N2S being disallowed in the mandra octave but about PN2N2S' usage being disallowed/discouraged in the madhya octave. I'd like to hear others weigh in on this point... Incidentally, TMK makes this point for both RG and NRG in his 2008 MM'utsavam concert, clip at http://www.youtube.com/watch?v=T-_gDV_hUd0

#34 08 Sep 2010 09:01
prashant wrote:
The aTa tALa varNa in rItigauLa has no instance of NPNNS inthe madhya sthayi. The Cittaswara of janani ninnuvinA begins with an emphatic NPNNS in the mandra sthayi. A quick sampling of several popular krithis [dvaitamu sukhama, CEra rAvadEmirA, baDalika dhIra, rAga ratna mAlikaCE, nannu viDaci, tattvam ariya taramA] also does not reveal any NPNNS in the madhya sthayi. I agree with vainika that this usage is strongly discouraged.

#35 08 Sep 2010 17:10
venkatpv wrote:
obviously, MNNS is always allowed... but why is PNNS allowed only in the mandra octave? my conjecture is that singing mandra M might be difficult (for some), and hence the "rule"... or is it a rule for aesthetic purposes?

#36 09 Sep 2010 01:01
arunk wrote:
There is a TMK "short lecdem note" somewhere on Youtube where he explains a bit about nArirItigowLa and he says for it no pnns in madya, but only in mandra (and I think no mnns in mandra), and says that rule is the same for rItigowLa as well. So I suspect this rule for nArirItigowLa may be found in SSP - and further corroborates the historical connection between the two

#37 09 Sep 2010 01:07 Re: yadukulakambhoji
arunk wrote:
yes confirmed in SSP (guruguhap.org) that npnns is only in mandra stayi for nArirItigowLa - but doesnt explicitly rule out (nd)mnns in madya stayi. The tanam of venkatamakhi seems to have n n d m p s (mandra stayi) as well as n n n d m n n s.

[vainika]

Prashant thanks very much for the quick scan of compositions, and Arun for the SSP lookup. The youtube you mentioned was the same link I'd posted a few messages ago.

I wonder if a search of rItigaula AlApanAs would turn up the same finding. Volunteers could listen to their favorite musicians/recordings and report...

[ratanabhinav]

hi whenever i hear songs based either in carnatic or filmbased in reethigowla i feel more energised and great happiness why is this?

i have also tried to feel the same in other raagams but not able to feel the same effect.

same for me ! any explaination ? perhaos the swaras / nature of swaras in ritigaula themselves !

[UmaShankarr]

Hi Friends,
I am a carnatic music practitioner and am bit struggling with writing notations for the Kritis which i am practicing... so can i get any help on this please... I will be happy if someone helping me to get the notaions for "Paripalaya Paripalaya"(Thyagaraja kriti) and "Paripalayamam" (swati Tirunal kriti) on reeti gowla raga.... Thx

[UmaShankarr]

Hi Friends,
I am a carnatic music practitioner and am bit struggling with writing notations for the Kritis which i am practicing... so can i get any help on this please... I will be happy if someone helping me to get(my mail id "[email protected]") the notaions for "Paripalaya Paripalaya"(Thyagaraja kriti) and "Paripalayamam" (swati Tirunal kriti) on reeti gowla raga.... Thx

[Lakshman]

umashankarr: This request should be posted in the Identification/Translations thread as two separate posts (one for each song) . I will be pleased to send you the notations then. Thanks.

[sangitadasan]

Hi everyone,

I got a copy of Pallavi Swara Kalpavalli by Tiruvottriyur Tyagayyar.

In that book, there is a section called Ragachhayaswaramulu where he notes the following for Reetigaula (provided as a janya of Natabhairavi)

S G2 M1 N2 D2 M1 N2 S - S N2 D2 M1 G2 M1 D1 P M1 G2 R2 S - N2 P N2 N2 S
Are there any renderings with the mix of D2 and D1 as mentioned above?

Thanks in advance.

[RSR]

Long long back ( sometime in 1962), I had heard 'janani ninnu vinA', in a radio program ( Semmangudi Srinivasa Iyer). Elders in my family, then told me that it was a masterpiece. ( composer was Subbaraya Sastry..son of Shyama Sastri and desciple of both Thyagaraja and Dikshithar). It was very slow and moving rendition.
Has anyone mentioned it in this long thread? have I missed?
(edit)
Went through all the posts in this thread just now, and found that Semmangudi Srinivasa Iyer's rendition ,of janani ninnuvina , has been referred to by a few . almost right in the first page!