Hamsanadham
http://rapidshare.de/files/24640204/RJ_1.MPG
http://rapidshare.de/files/24643727/RJ_2.MPG
video of radha jaylaxmi singing bantureethi
no prizes for identifying the mridangam artist though
http://rapidshare.de/files/24643727/RJ_2.MPG
video of radha jaylaxmi singing bantureethi
no prizes for identifying the mridangam artist though
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kalyANarAma in hamsanaadam is sree Oothukkadu Venkata Kavi comp.can some onle please upload "Kalyana Rama" in Hamsanadha Ragam. I think the author is Uthukkadu Subraminya Iyyer
Kji, thanks for the wonderful clip.
kalyANarAma. raga: hamsanaadam. taLa: adi
P:kalyANarAma raghurAma rAma kanaka makuTa marakata maNi lOla hAra dasharatha bAla sItA
A:mallikAdi sugandha maya nava mAlikAdi shObhitagaLEna
ulhAsa parishIlana cAmara ubhaya pArshvEna kuNDala kElana
C1:Agata suravara munigaNa sajjana agaNita janakana ghOSita mangaLa
rAghava raghurAma rAma janakajA ramaNa manOhara sItA
C2:gautama vashISTa nArada tumburu kAshyapAdi munigaNa vara pUjita
aupavAhya skanda dEsha alankrta haima simhAsanasthita sItA
C3:bhAgadEya bahumAna sudhAya ubhatArpita dishi dishi rakSakavara
mEgha vAhanaravAhanAdhinuta EkarAja mahArAja mamarAja
(shankar pl. take up this comp. also)
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Here is one for hamsanadham fans
http://rapidshare.de/files/29445718/Ham ... m.mp3.html
As coolkarni said..no prizes for guessing the artist.
http://rapidshare.de/files/29445718/Ham ... m.mp3.html
As coolkarni said..no prizes for guessing the artist.
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Muthupattar,
Here is a file containing Bantureethi by Chembai that I uploaded sometime back and posted in another thread - you may be interested
Here is a file containing Bantureethi by Chembai that I uploaded sometime back and posted in another thread - you may be interested
http://rapidshare.de/files/26591697/Che ... s.m4a.html
Note: Here he sings 4 songs continuously without a break in the tala. Hear it!
manavyakinchara - nalinakanthi
bantureethi - hamsanadam
enthaveduko - saraswathymanohari
janakiramana - shudha seemanthini
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hi Ramakrishnan
I had Bantureethi sung by Chembai..thanks.. after listening to this song, my aim was to search for all the artists who have sung this song.. I just brought a lot of audio cassettes...various other songs in those cassettes.. thus the ever hungry quest for listening to Carnatic music began.. still this song as well as Hiranmayeen Lakshim of MD deeply moves me...
I had Bantureethi sung by Chembai..thanks.. after listening to this song, my aim was to search for all the artists who have sung this song.. I just brought a lot of audio cassettes...various other songs in those cassettes.. thus the ever hungry quest for listening to Carnatic music began.. still this song as well as Hiranmayeen Lakshim of MD deeply moves me...
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the song kalyanarama in hamsanadham can be got in www.musicindiaonline.com under vocal karnatic sung by kasturirangan, an excellent disciple of TNS, BUT NOT IN LIMELIGHT GOBILALITHA
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This post was motivated by a rendition of the raga by Sri TS Kalyanaraman in the Charsur 3 CD album of a concert in 1963. I noticed distinct D3 usage in an alaapana for Bantureethi. Although I realize that the raga is classified under Mela 60 the latter part of which is PD3N3S, I was not aware that the raga itself employs D3.
I looked up TKG and neither the raga aro/avaro nor the notation of the krithi itself includes the note. However the aro-avaro provided in Karnatik.com contains D3 in the descent. What is the stand of the SSP?
So is there a school/version which accepts the usage of D3 in this raga? Is this is also true for the krithi itself? Any others which use D3 as a standard prayoga? I am guessing there has to be since one cannot understang classification under Mela 60 otherwise (Kalyani or Simhendramadhyamam/Dharmavathi make more sense).
Finally is this raga Thyagaraja's creation or do we have compositions that predate Bantureethi?
I looked up TKG and neither the raga aro/avaro nor the notation of the krithi itself includes the note. However the aro-avaro provided in Karnatik.com contains D3 in the descent. What is the stand of the SSP?
So is there a school/version which accepts the usage of D3 in this raga? Is this is also true for the krithi itself? Any others which use D3 as a standard prayoga? I am guessing there has to be since one cannot understang classification under Mela 60 otherwise (Kalyani or Simhendramadhyamam/Dharmavathi make more sense).
Finally is this raga Thyagaraja's creation or do we have compositions that predate Bantureethi?
Last edited by vijay on 17 Jan 2009, 14:36, edited 1 time in total.
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Vijay,
SSP doesn't list hamsanada. it only has rAgas in which Dikshitar has composed
There is a version of HamsanAda with shatshruti dhaivatam, and people from theGNB-TSK school sing it that way. as does Balamuralikrishna. There are renditions by MS where it (D3) can be discerned as an anuswara.
'Kalyanarama' is a song in Hamsanada by UthukAdu venkatasubbayar which has both the rare prayogas of the raga - pDn and rgr. GNB has composed two songs BhArama Ee bAluni brOva and Dasha-shata-dala or something like that. I have heard the former and have seen the notation too.
It includes both these sanchAras.
There are musicians who sing the songs Kalyanarama and bhArama in a bowlderized, politically correct srmpns/snpmrs way.
If you subscribe to the idea that u.Venkatasubbayar predates thyAgaraja and that the tunes we sing his songs in now, are his tunes, then you have a hamsanada piece which predates Thyagaraja.
And presence or absence of a note doesn't make a janya-janaka logic complete. srmpns/snpmrs version of swan-song would still be a janya of nItimathi.
SSP doesn't list hamsanada. it only has rAgas in which Dikshitar has composed
There is a version of HamsanAda with shatshruti dhaivatam, and people from theGNB-TSK school sing it that way. as does Balamuralikrishna. There are renditions by MS where it (D3) can be discerned as an anuswara.
'Kalyanarama' is a song in Hamsanada by UthukAdu venkatasubbayar which has both the rare prayogas of the raga - pDn and rgr. GNB has composed two songs BhArama Ee bAluni brOva and Dasha-shata-dala or something like that. I have heard the former and have seen the notation too.
It includes both these sanchAras.
There are musicians who sing the songs Kalyanarama and bhArama in a bowlderized, politically correct srmpns/snpmrs way.
If you subscribe to the idea that u.Venkatasubbayar predates thyAgaraja and that the tunes we sing his songs in now, are his tunes, then you have a hamsanada piece which predates Thyagaraja.
And presence or absence of a note doesn't make a janya-janaka logic complete. srmpns/snpmrs version of swan-song would still be a janya of nItimathi.
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Thanks Keerthi. It makes sense now. But about the classification of the raga (sans D3), is it appropriate to classify a varja janya which does nto have a Vivadhi swara under a Vivadhi Mela? Even if we assign it to "the first mela to which the swaras correspond", perhaps it should go to Simhendramadhyamam (57) rather than Chalanata (60)? Or is the classification based on how a particular swara/usage of anuswaras in Hamsanadam corresponds with their counterparts Chalanata (i. e Hamsadhwani/Mohanam -> Kalyani logic)
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Also found this interesting link from another forum (still in existence?). Fascinating how discussions veer around to the same topics every once in a while! Guess all of us have our learning curves!
http://www.forumhub.com/indcmusic/7769.10.05.59.htm
http://www.forumhub.com/indcmusic/7769.10.05.59.htm
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Vijay - yes the topic has repeated. Here is my post in RMIC from 1995 (wow I have been on these forums for 14 years!): http://groups.google.com/group/rec.musi ... ?lnk=gst&q
Sanjay Sub has mentioned to me that Sri Kalayanaraman was a preponent of the use of the D3 in Hamsanadham. Other musicians I have spoken to suggest that the D3 is more of a gamakam deviation from the N3 and hence does not strictly appear in the avarohanam.
Sanjay Sub has mentioned to me that Sri Kalayanaraman was a preponent of the use of the D3 in Hamsanadham. Other musicians I have spoken to suggest that the D3 is more of a gamakam deviation from the N3 and hence does not strictly appear in the avarohanam.
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In addition to points made by Mohan, Srini Pichumani, and others in that 1995 rmic thread...
1. S. Balachander played hamsanAda with an occasional ShaTshruti dhaivata in AlApanA as well as in the kRti baNTurItikoluviyavaiyyarAma.
2. Smt. Kalpakam Swaminathan's pAThAntara includes an D3 in every ascent phrase, both in AlApanA and in the same kRti.
3. Some excerpts from the comments page of the Marwa article by Rajan Parrikar on sawf.org, circa 2002:
* Rajan Parrikar: The shatshruti dhaivatam in Hamsanada is rarely sung these days but great musicians such as Muthiah Bhagavatar were known to take in that swara.
* Chitravina Ravikiran:Interesting discussion on prayogas. Even recently, there have been artistes like Veena Balachandar and S Kalyanaraman who used the D3 in Hamsanadam as a rare phrase. I endeavour to follow this practise too (in my own compositions and concerts) as it gives the raga a striking identity. We can safely place it under 60.
4. Smt. Vedavalli's 2005 IIT lec-dem coverage by Bharath on his blog:
The presence of shatsruti dhaivadam in banTu rIti was mentioned and sancarams like 'p d n s n p' were clearly shown both while rendering the kriti and while singing kalpanai svarams. The usage of the dhaivatam was very evident right in the pallavi line and thereafter all thro' the kriti.
5. Ashwin on rasikas.org 2006, possibly based on his guru Prof. SRJ : As I understand it, the archaic form of hamsanAdam, as given in sangraha cUDAmaNi and employed by tyAgarAjA, contained ShaTSruti dhaivatam - I believe the original name of what we sing today as hamsanAdam is "varadA".
1. S. Balachander played hamsanAda with an occasional ShaTshruti dhaivata in AlApanA as well as in the kRti baNTurItikoluviyavaiyyarAma.
2. Smt. Kalpakam Swaminathan's pAThAntara includes an D3 in every ascent phrase, both in AlApanA and in the same kRti.
3. Some excerpts from the comments page of the Marwa article by Rajan Parrikar on sawf.org, circa 2002:
* Rajan Parrikar: The shatshruti dhaivatam in Hamsanada is rarely sung these days but great musicians such as Muthiah Bhagavatar were known to take in that swara.
* Chitravina Ravikiran:Interesting discussion on prayogas. Even recently, there have been artistes like Veena Balachandar and S Kalyanaraman who used the D3 in Hamsanadam as a rare phrase. I endeavour to follow this practise too (in my own compositions and concerts) as it gives the raga a striking identity. We can safely place it under 60.
4. Smt. Vedavalli's 2005 IIT lec-dem coverage by Bharath on his blog:
The presence of shatsruti dhaivadam in banTu rIti was mentioned and sancarams like 'p d n s n p' were clearly shown both while rendering the kriti and while singing kalpanai svarams. The usage of the dhaivatam was very evident right in the pallavi line and thereafter all thro' the kriti.
5. Ashwin on rasikas.org 2006, possibly based on his guru Prof. SRJ : As I understand it, the archaic form of hamsanAdam, as given in sangraha cUDAmaNi and employed by tyAgarAjA, contained ShaTSruti dhaivatam - I believe the original name of what we sing today as hamsanAdam is "varadA".
Last edited by vainika on 17 Jan 2009, 19:25, edited 1 time in total.
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Vijay,
The swarUpam of a vivAdi rAga is not characterised by the vivAdi swara(s).{Yes, this is a vivAdable topic}
It is the anuswaras and their use creating characteristic motifs that prove raga-pedigree.
If one can smoothly go into the Janaka rAga by introducing the extra notes into a janya rAga in the course of an Alapa or tana, it will confirm the janaka-janya relationship.
Jigyaasa,
I have it from a reliable source that the R-J sisters didn't learn from GNB. they learnt from a student, and might have occasionaly learnt a song or two from GNB.
The swarUpam of a vivAdi rAga is not characterised by the vivAdi swara(s).{Yes, this is a vivAdable topic}
It is the anuswaras and their use creating characteristic motifs that prove raga-pedigree.
If one can smoothly go into the Janaka rAga by introducing the extra notes into a janya rAga in the course of an Alapa or tana, it will confirm the janaka-janya relationship.
Jigyaasa,
I have it from a reliable source that the R-J sisters didn't learn from GNB. they learnt from a student, and might have occasionaly learnt a song or two from GNB.
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Vijay,
I have the greatest respect for chroniclers like Rangaramanuja ayyangar, Dr. Pinakapani, TKGovinda rao , Manchala jagannatha rao etc; who have taken great pains to collect, annotate and publish 'complete' works of the vaggeyakaras.
It has been my observation that sometimes, when only sAhityam has been known, a notation has been cooked up. Often alternate pAtantaras don't even merit a mention.
TKG must have just known about one version/arbitrarily chosen one.
I have the greatest respect for chroniclers like Rangaramanuja ayyangar, Dr. Pinakapani, TKGovinda rao , Manchala jagannatha rao etc; who have taken great pains to collect, annotate and publish 'complete' works of the vaggeyakaras.
It has been my observation that sometimes, when only sAhityam has been known, a notation has been cooked up. Often alternate pAtantaras don't even merit a mention.
TKG must have just known about one version/arbitrarily chosen one.
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Hamsanadam has been described by Dr. S. Bhagyalakshmy in her book on Raga Lakshanas as a shadava vakra shadava janya raga derived from the 60th mela Neetimati with the following aarohana - s r m p d n s* and avarohana - s* n d n p m r s. She notes that R and N are jiva swaras. The example given for sanchara is intriguing:
R m p d N d n p m R - s r M , r s n.d. n. p. d. n. s R - R m p D p m R -m p d n d p - n d m p m R - S r M p d n s*- s* n n d d n n p p m R s
R m p d N d n p m R - s r M , r s n.d. n. p. d. n. s R - R m p D p m R -m p d n d p - n d m p m R - S r M p d n s*- s* n n d d n n p p m R s
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