Raga "rAmapriyA"

Sundara Rajan · Post by **Sundara Rajan** » 23 Sep 2009, 06:36

Recently I heard an elaborate rendition of rAmapriA by Hyderabad brotheres at Tampa, FL. During the AlApana, I noticed shades of pantuvarALi/kAmavardhini. Are there any similarities between the two ragas or is it just my imagination/mistake ?!

mohan · Post by **mohan** » 23 Sep 2009, 07:06

rAmapriya (or rAmamanOhari) is the 52nd melakarta raga that takes the notes S R1 G3 M2 P D2 N2 S.

The dha and ni are different from 51st Mela raga Pantuvarali (D1 and N3) but the other notes are the same. Some people may confuse it with Vachaspati (which takes R2) or Gamanashrama (or Purvikalyani) which takes the N3.

VK RAMAN · Post by **VK RAMAN** » 23 Sep 2009, 07:43

Can some one share an audio on rAmapriya raagam?

srinivasrgvn · Post by **srinivasrgvn** » 23 Sep 2009, 09:25

Here, VKR sir:

A varnam in the raga by BMK:
http://www.youtube.com/watch?v=s0dRn531rIM

vs_manjunath · Post by **vs_manjunath** » 23 Sep 2009, 11:24

"kOrinavara" is a Patnam Subrmanya Iyer's popular composition in this raga.

vs_manjunath · Post by **vs_manjunath** » 23 Sep 2009, 11:27

mohan wrote:rAmapriya (or rAmamanOhari) is the 52nd melakarta raga that takes the notes S R1 G3 M2 P D2 N2 S.

A detailed rendition of "smarAmyham sadA rAhum(rAmAmanOhari)" of MD by MMI is available.

rajeshnat · Post by **rajeshnat** » 23 Sep 2009, 14:09

I personally the gold standard for ramapriya-ramamanohari is Tanjore S KalyAnarAman. Also a long time back I had heard a lovely main from tiruvenkadu jayaraman, a dikshitar krithi forgot those lines.

vs_manjunath · Post by **vs_manjunath** » 23 Sep 2009, 14:22

The dikshitar song what u r referring must be "mAthangi sri rAja rAjeshwari ".
MLV has sung in a commercial.

Sundara Rajan · Post by **Sundara Rajan** » 23 Sep 2009, 19:45

Thank you all for the clarification and examples. So I was not far off ! The brothers sang Sri rAjarAjEswari ramAmnOhari, which is said to be one of very few compositions of Dikshitar in Telugu.

VK RAMAN · Post by **VK RAMAN** » 23 Sep 2009, 19:53

Thanks srinivasrgvn

Sreeni Rajarao · Post by **Sreeni Rajarao** » 24 Sep 2009, 06:49

VK Raman sir,
Another popular kRti in rAmapriya is sandEhamu dIrpavayya (Tyagaraja's). I will email you an audio file but the audio quality is poor. You might still find it helpful.

Sreeni

bilahari · Post by **bilahari** » 24 Sep 2009, 10:55

Malladi Brothers - mAtangi - rAmapriya
Bangalore 2007

http://www.sendspace.com/file/g7kza5

raviraj · Post by **raviraj** » 24 Sep 2009, 12:38

Sundara Rajan wrote:Thank you all for the clarification and examples. So I was not far off ! The brothers sang Sri rAjarAjEswari ramAmnOhari, which is said to be one of very few compositions of Dikshitar in Telugu.

Sundara Rajan Sir,

The ramAmanOhari kriti starting with the words "Sri Rajarajesvari" is a telugu kriti of Ponniah of the Tanjore Quartet which is found notated in the SSP.

The ramAmanOhari kriti (in Sanskrit) attributed to Muthusvami Dikshitar as found in Veenai Sundaram Iyer's books is "Matangi Sri Rajarajesvari", which is not found in the SSP. The benchmark rendition of this composition can be of B Rajam Iyer's.

IIRC, T K Govinda Rao's book of Dikshitar's compositions gives both of these compositions as Dikshitar's which is not the case.

Raj

rajeshnat · Post by **rajeshnat** » 24 Sep 2009, 13:26

vs_manjunath wrote:The dikshitar song u must be referring must be "mAthangi sri rAja rAjeshwari ".
MLV has sung in a commercial.

Yes Manjunath it is the same , I just digged to find out that day tiruvenkAdu jayarAman also sang a neraval for this krithi as a submain
4. mathangi srirAja rAjeshwari(R,N,S) - rAMamanOhari
neraval in "rAmamanOhari raakendu rAkendu sekhari sukhAkari"

Sundara Rajan · Post by **Sundara Rajan** » 25 Sep 2009, 20:35

Thank you, Raviraj. I too had doubts about the authorship for, I vaguely remembered that the telugu composition Sri rAja rAjEswari is one of Ponniah Pillai's. However, the brothers ANNOUNCED that it was a rare compositon in telugu of Muthuswami Dikshitar ! Perhaps they too got the wrong information from TKG's book. Any way, this was the first time I heard the rAga in such elaboration.

108talas · Post by **108talas** » 30 Oct 2009, 09:50

rag 'rAmapriyA' and no contribution from our RAMAPRIYA ! (VK) RAMAN's presence is there though.

thenpaanan · Post by **thenpaanan** » 31 Jan 2015, 20:06

Recently I have been attempting alapanai in rAmapriya and am struggling to give it any swarUpa. It seems like an ad hoc mix of pantuvarALi in the lower half and vAchaspati in the upper half of the octave. Any pointers on phrases unique to this ragam? I have some elementary doubts - is the nishAdam a flat one (a la S Kalyanaraman) or an oscillating one (Nedunuri shakes it all the way from the dha to the upper sa)? I also find sancharas ending in "ma" in the Tyagaraja kriti sandEhamu (sung by a friend) that I have not seen in use in other kritis -- in most kritis the sanchAras come to rest on "pa". Is this just coincidence?

Would like to hear some ideas on what makes for an unmistakable (and correct) rAmapriya.

-Thenpaanan

Ranganayaki · Post by **Ranganayaki** » 01 Feb 2015, 21:42

Also the pratimadhyama equalent of Chakravakam..

Two alapanas in this ragam: MDR followed by accompanying violinist (can someone tell who it is): https://www.youtube.com/watch?v=KSYq3_xdtfo

MDR's is lovely (in spite of the silence around 3:40) but the violinist performs a very fluent, imaginative and confident alapana that makes the raga unmistakable from start to finish, making it completely distinct from both vachaspati and pantuvarali.

Sreeni Rajarao · Post by **Sreeni Rajarao** » 02 Feb 2015, 07:27

thenpaanan:

I am sharing this audio file with a lot of hesitation as the recording quality is poor, but I hope it will be of some help

Please use Head Phones to listen to this recording - that might help a little bit with your listening experience.

https://archive.org/details/VeenaRajaRa ... 1972Edited

Sreeni Rajarao

thenpaanan · Post by **thenpaanan** » 20 Feb 2015, 22:02

Thanks for posting, Sreeni.

A very nice recording of sandehamunu (which is what I presented). I wonder why this song is not sung more often. The kriti follows a standard desAdi template of Tyagaraja. The difficulty is that neraval lines are not easy to find. I chose 'bharatArchanache pAdukalu dharani ninno sange tyagaraja bhagyama" which is clearly too many words but I could not find a shorter meaningful phrase. But swaram singing is an absolute delight in madhyamakala.

Thenpaanan

arasi · Post by **arasi** » 21 Feb 2015, 06:34

Thenpaanan,
Ambujam Krishna's nilichiyunnAnu rAmA, nI sannidhilO daya kORi inka--is another one.

Rsachi · Post by **Rsachi** » 21 Feb 2015, 16:17

Ranganayaki, what a lovely piece of MDR music you've shared! Thank you. It was so soothing to listen to on this hot afternoon.
My guess is Sri TNK on the violin. His strong bowing, his unique modulation, a minimalist approach to phrases.
My guess about the mridangam is Sri TVG. He loves to play near vocal phrases, likes to do a lot of pitch-bending gumkis, and characteristic flourishes to end swara passages.
Hope I am right. Will Raj please speak up?

malavi · Post by **malavi** » 23 Feb 2015, 21:27

Ramapriya in Dikshitar sampradayam is Ramamanohari as it appears in the charanam of the Kriti Matangi Sri Rajarajeswari.there is another Raamamanohari raga which is not a sampoorna raga.Tyagaraja s Kriti Seetamanohara is a beautiful Kriti in Raamamanohari.

Lakshman · Post by **Lakshman** » 24 Feb 2015, 02:23

Dikshitar's shrngAra shaktya yudhadhara and smarAmyaham sadA rAhum are both in rAmamanOhari rAgA.

Ranganayaki · Post by **Ranganayaki** » 25 Feb 2015, 17:53

So glad you enjoyed it too, Rsachi..

ramamantra · Post by **ramamantra** » 04 Jun 2015, 12:44

Sundara Rajan wrote:Recently I heard an elaborate rendition of rAmapriA by Hyderabad brotheres at Tampa, FL. During the AlApana, I noticed shades of pantuvarALi/kAmavardhini. Are there any similarities between the two ragas or is it just my imagination/mistake ?!

The common antara gandhara plays an important role in Kamavardini and weaves sancharas around it whereas you just slip your way through it in ramapriya and weave your sancharas around Pa. The panchama varja prayogas are a beauty to Kamavardini whereas no such thing exist in Ramapriya. If you'd noticed Kamavardini shades, its probably during the slide down between Pa and Sa, although the musician has to keep the phrases of ni and da as ending commas.

My niece says (Student of Suguna Varadachari) Suguna mam says there is no sanchara above high ga in Kamavardini. But, I've heard many musicians touch high Pa and also do major sancharas in that region.

carnaticwriter · Post by **carnaticwriter** » 05 Jun 2015, 09:32

thenpaanan wrote: I have some elementary doubts - is the nishAdam a flat one (a la S Kalyanaraman) or an oscillating one (Nedunuri shakes it all the way from the dha to the upper sa)?

-Thenpaanan

nishadam is not shaken all the way to upper sa except in phrases: PDn..; Snn,DPM, etc. Even there it is a light shake from dha to sa, i.e., one or two osciallations. In Snn, DPM phrase, the first n has the big oscillation and the second one close to dha (not a big one). In other phrases requiring the big oscialltion like GMPDnSR, S,RSnD etc., the n is a fast and light go-between dha and sa and not a prominent oscillation.

Hope this helps.

rasikas.org

Raga "rAmapriyA"

Re: Raga

Re: Raga

Re: Raga

Re: Raga

Re: Raga

Re: Raga

Re: Raga

Re: Raga

Re: Raga

Re:

Re: Raga