Namaste Rasikas,
Does any one know this Geetam and it's lyrics and meaning?
Thank you
Poonam
raagamaalika - Adi
pallavi
Shree Viswanatham bhajeham
Chatur dasa bhuvana roopa ragamalika bharana dharanaantha karanam
1
Sritha jana samsaarabhi tyaapaham
pa;; ma; ga ri; sa dha; pa ma ga ri ma ma bhithyaapaham
Aadhyaamikaadhi taapathraya manobhithyaapaham
Shree Viswanatham-caturdaSa ragamaika,Sri muttusvAmi dIkshit
-
Lakshman
- Posts: 14185
- Joined: 10 Feb 2010, 18:52
shrI vishvanAtham. rAgamAlikA. Adi tALA.
(rAgA: shrI)
1: shrI vishvanAtham bhajEham
(svarasAhitya)
caturdasha bhuvana rUpa rAgamAlikAbharaNa dharaNAnta karaNam
(rAgA: Arabhi)
2: shrita jana samsAra bhItyApaham
(svarasAhitya)
AdhyAtmikAdi tApatraya mano bhItyApaham
(rAgA: gauri)
3: shrI vishAlAkSI gaurIsham
(svarasAhitya)
sakala niSkala rUpa saccidAnanda maya gaurIsham
(rAgA: nATa)
4: citra vishvanATaka prakAsham
(svarasAhitya)
jagat prakAshaka bhAskara shashAnka koTi koTi prakAsham
(rAgA: gaula)
5: govindAdi vinuta gaulANgam kSIra kunda indu karpurAdi vi
(rAgA: mohana)
6: jaya bhasita uddhULita gaulAngam guruguha sammohanakara lingam
(svarasAhitya)
pancIkrta panca mahA bhUta prapancAdi mohanakara lingam
(svarasAhitya - mohana)
virinci viSNu rudra mUrTi mayam
(svarasAhitya - gaula)
viSaya pancaka rahitam abhayam
(svarasAhitya - nATa)
niratishayA sukhada nipuNataram
(svarasAhitya - gauri)
nigama sAram Ishvaram amaram
(svarasAhitya - Arabhi)
smaraharam paramashivam atulam
(svarasAhitya - shrI)
sarasa sadaya hrdaya nilayam
At this point sing the pallavi and then the following:
(rAgA: sAma)
7: sadAshivam sAma gAna vinutam
(svarasAhitya)
prakrtyAdi sapta rUpa sAmagAna vinutam
(rAgA: lalita)
8: sanmAtram lalita hrdaya viditam
(svarasAhitya)
kAma krodhAdi rahita lalita hrdaya viditam
(rAgA: bhairava)
9: cidAkasha bharavam puraharam
(svarasAhitya)
vidhi kapAla trishUladhara bhairavam puraharam
(rAgA: sAranga)
10: citsabhEshvaram sArangadharam
(svarasAhitya)
dArukAvana tapodhana kalpita sArangadharam
(rAgA: shankarAbharaNa)
11: sadA AshrayAmi shankarAbharaNam
(svarasAhitya)
cintitArtha vitaraNam dhurINatara mANikya maya shankarAbharaNam
(rAgA: kAmbhoji)
12: sadgati dAyaka ambhoja caraNam
(svarasAhitya)
dharmArthadi nikhila puruSArtha prada samarthatara ambhoja caraNam
(rAgA: dEvakriyA)
13: vadAnya devakriyA khelanam srSti sthiti vilaya tirodhAna anugraha karaNa kriyA khelanam
(rAgA: bhUpALa)
14: vaidyalinga bhUpAla pAlanam shrIpura nirrti bhAga gart tIra sthita vara bhUpAla pAlanam
(vilOma -bhUpAla)
14: guruguhesha suranaresham anisham
(vilOma - dEvakriyA)
13: kuja budhAdi graha gati vihitam
(vilOma - kAmbhoji)
12: varadam anala ravi shashi nayanam
(vilOma - shankarAbharaNa)
11: vanaja candra sannibha vadanam
(viloma - sAranga)
10: paramahamsam Anandanartanam
(vilOma - bhairava)
9: patita pAvana karaNam mada haraNam
(vilOma - lalita)
8: parataram parama manolaya jayam
(vilOma - sAma)
7: parAdi vAk prakAsha Anandamayam
conclude by singing: virinci viSNu rudra"¦(mOhana) and ending with sarasa sadaya "¦ (shrI)
and repeating the pallavi
(rAgA: shrI)
1: shrI vishvanAtham bhajEham
(svarasAhitya)
caturdasha bhuvana rUpa rAgamAlikAbharaNa dharaNAnta karaNam
(rAgA: Arabhi)
2: shrita jana samsAra bhItyApaham
(svarasAhitya)
AdhyAtmikAdi tApatraya mano bhItyApaham
(rAgA: gauri)
3: shrI vishAlAkSI gaurIsham
(svarasAhitya)
sakala niSkala rUpa saccidAnanda maya gaurIsham
(rAgA: nATa)
4: citra vishvanATaka prakAsham
(svarasAhitya)
jagat prakAshaka bhAskara shashAnka koTi koTi prakAsham
(rAgA: gaula)
5: govindAdi vinuta gaulANgam kSIra kunda indu karpurAdi vi
(rAgA: mohana)
6: jaya bhasita uddhULita gaulAngam guruguha sammohanakara lingam
(svarasAhitya)
pancIkrta panca mahA bhUta prapancAdi mohanakara lingam
(svarasAhitya - mohana)
virinci viSNu rudra mUrTi mayam
(svarasAhitya - gaula)
viSaya pancaka rahitam abhayam
(svarasAhitya - nATa)
niratishayA sukhada nipuNataram
(svarasAhitya - gauri)
nigama sAram Ishvaram amaram
(svarasAhitya - Arabhi)
smaraharam paramashivam atulam
(svarasAhitya - shrI)
sarasa sadaya hrdaya nilayam
At this point sing the pallavi and then the following:
(rAgA: sAma)
7: sadAshivam sAma gAna vinutam
(svarasAhitya)
prakrtyAdi sapta rUpa sAmagAna vinutam
(rAgA: lalita)
8: sanmAtram lalita hrdaya viditam
(svarasAhitya)
kAma krodhAdi rahita lalita hrdaya viditam
(rAgA: bhairava)
9: cidAkasha bharavam puraharam
(svarasAhitya)
vidhi kapAla trishUladhara bhairavam puraharam
(rAgA: sAranga)
10: citsabhEshvaram sArangadharam
(svarasAhitya)
dArukAvana tapodhana kalpita sArangadharam
(rAgA: shankarAbharaNa)
11: sadA AshrayAmi shankarAbharaNam
(svarasAhitya)
cintitArtha vitaraNam dhurINatara mANikya maya shankarAbharaNam
(rAgA: kAmbhoji)
12: sadgati dAyaka ambhoja caraNam
(svarasAhitya)
dharmArthadi nikhila puruSArtha prada samarthatara ambhoja caraNam
(rAgA: dEvakriyA)
13: vadAnya devakriyA khelanam srSti sthiti vilaya tirodhAna anugraha karaNa kriyA khelanam
(rAgA: bhUpALa)
14: vaidyalinga bhUpAla pAlanam shrIpura nirrti bhAga gart tIra sthita vara bhUpAla pAlanam
(vilOma -bhUpAla)
14: guruguhesha suranaresham anisham
(vilOma - dEvakriyA)
13: kuja budhAdi graha gati vihitam
(vilOma - kAmbhoji)
12: varadam anala ravi shashi nayanam
(vilOma - shankarAbharaNa)
11: vanaja candra sannibha vadanam
(viloma - sAranga)
10: paramahamsam Anandanartanam
(vilOma - bhairava)
9: patita pAvana karaNam mada haraNam
(vilOma - lalita)
8: parataram parama manolaya jayam
(vilOma - sAma)
7: parAdi vAk prakAsha Anandamayam
conclude by singing: virinci viSNu rudra"¦(mOhana) and ending with sarasa sadaya "¦ (shrI)
and repeating the pallavi
-
mnsriram
- Posts: 418
- Joined: 02 Feb 2010, 21:59
sri vishvanAtham, in praise of Lord Viswanatha at Kuzhikkarai in 14 rAgAs.
Given below is the meaning of the composition.
Pallavi
shri vishvanAtham bhajEham caturdasha bhuvana rUpa rAgamAlikAbharaNa dharaNA antahkaraNam:
I worship Sri Viswanatha who wears the garland of 14 ragas that is of the form of the 14 worlds and cherishes it in his Heart. The raga mudra is the beginning word shrI itself.
srita jana samsAra bhItyApaham; AdyAtmikAdi tApatraya manO bhItyApaham:
The Lord destroys the fear of samsArA of his devotees and the three kinds of human miseries arising out of physical, mental or psychological and supernatural factors. The rAga mudra is in the phrase samsAra bhItyApaham.
Anupallavi
shri visAlAkshi gaurIsham; sakala niShkaLa rUpa saccidAnanda maya gaurIsham:
The Lord of Goddess Visalakshi who is Gauri Herself, He is both with and without form. gaurIsham carries the name of the rAga.
citra vishva nATaka prakAsham; jagat prakAsaka bhAskara shashAnka kOTi kOTi prakAsham:
The gross world of infinite variety constitutes a theatre and is illumined by the Lord. The Lord shines millions of times more than the sun and the moon that light the world. The rAga mudra is in the word nATaka.
gOvindAdi vinuta gauLAngam; kshIra kundEndu karpUrAdi vijaya bhasitOdhULita gauLAngam
The Lord of fair countenance is worshipped by Vishnu. The Lord's countenance is adorned with vibhUti (sacred ashes) which is more radiant than other white objects like milk, the jasmine flower and camphor. The third word gauLAngam carries the mudra. The correct term for white is gaura, but in Sanskrit ra and La can interchange. Dikshitar makes use of this.
guruguha sammOhana kara lingam; pancIkrita pancamahAbhUta prapanhAdi mOhana kara lingam:
The Linga of Lord Viswanatha gives happiness to Lord Subramanya and to the composer Muttuswami Dikshitar. This Linga delights the Universe that is made up of the pancabhUtAs, the five elements of earth, water, fire, air and ether. Here the rAga is referred to in the word sammOhana.
virinci viShNu rudra mUrti mayam:
The Lord is of the form of Brahma, Vishnu and Rudra. (This passage is in mOhana)
viShaya panchakara hitam abhayam:
The Lord bestows his grace and protection to those who are afflicted by the ignorance arising out of the five sense-objects namely, sound, touch, sight, taste and smell. (This passage is in gauLa)
niratishaya sukhada nipuNataram:
The Lord is adept at bestowing the Highest Bliss. (This passage is in nATa)
nigama sAram Ishwaram amalam:
He is the underlying truth of the Vedanta, He is the Lord, He is pure. (This passage is in gauri)
smara haram paramashivam atulam:
He destroyed Manmatha, the God of love; He is Paramashiva; He is incomparable. (This passage is in Arabhi)
sarasa sadaya hridaya nilayam anisham: (This passage is in shrI)
The Lord is ever-present in the lotus-hearts of devotees who are compassionate and loving.
Charanam
sadAshivam sAma gAna vinutam; prakrityAdi sapta rUpa sAma gAna vinutam:
He is Sadashiva worshipped through the sAman chant which is of the nature of the seven-fold divisions of manifestation. Here, the second word is the rAga mudra.
tanmAtram lalita hridaya viditam; kAmakrOdAdi rahita lalita hridaya viditam:
The Lord is known by those who possess a pure heart which is devoid of desire, anger etc. Here too the second word announces the rAga.
cidAkAsha bhairavam puraharam; vidhi kapAla trishula dhara bhairavam puraharam:
The Lord is the Bhairava (a manifestation of Siva) who is of the form of Pure Consciousness. He is the Bhairava who destroyed the three cities and who carries Brahma's skull and the Trident. Again the second word is the rAga of this passage.
cit sabhEshwaram sAranga dharam; dArukAvana tapOdana kalpita sAranga dharam:
He is the Lord of the citsabhA at Chidambaram. He wears as His ornament the deer produced by the Rishis of the Daruka forest from the sacrificial fire in order to attack the Lord. The third word is the mudra.
sadAshrayAmi shankarAbharaNam; cintitArtha vitaraNa durINa tara mANikya maya shankarAbharaNAm:
I always seek refuge in the jewels of the Lord (the serpents). For they are all cintAmaNis that grant all that I seek. Here the second word is the mudra.
sadgati dAyaka ambOja caraNam; dharma artha Adi nikhila puruShArtha prada samastatara ambOja caraNam:
Four aims in life are called puruShArthAs. These are: dharma, artha, kAma and mOksha. Dharma is the law of being; wealth (artha) has to be earned and life enjoyed (kAma) according to dharma. The final result will be mOksha, that is Liberation from bondage and that is the highest puruShArtha or aim. The Lord possesses Lotus-Feet that are capable of bestowing all these and Liberation. The rAga mudra occurs in the two words dAyaka ambOja.
vadAnya dEvakriyA kElanam; sriShTi stithi vilaya tirOdAna anugraha kAraNa kriyA kElanam:
The Lord is the benefactor of the dEvas as He helps them perform their functions. The Lord performs the five-fold functions of creation, protection, destruction, unveiling and bestowing Grace. The second word is the rAga mudra. This rAga is now commonly called shuddha sAvEri. In Venkatamakhi's scheme which Dikshitar followed it is dEvakriya.
vaidyalinga bhUpAla pAlanam; shrIpura niruti bhAga garta tIra stiratara bhUpAla pAlanam:
The Lord is the protector of Vaidyalinga (the then trustee and owner of the Kuzhikkarai temple); The Lord resides at gartatIra situated to the North-West of shrIpuram, i.e., Tiruvarur. Again the second word is the mudra.
guru guhEsha sura narEsham anisham: (bhUpAla)
He is ever the Lord of Guru Guha as also of the devAs and humans.
kuja budha Adi griha gati viditam: (dEvakriya) He determines the transit of Mars, Mercury and other planets
varadam anala ravi shashi nayanam: (kAmbOji)
The Lord has for His three eyes, fire, the sun and the moon.
vanaja candra sannibha vadanam: (shankarAbharaNam)
The Lord possesses a face that is as beautiful as the lotus and the moon.
paramahamsa Ananda nartanam: (sAranga)
The Lord revels as the Supreme Self in blissful dance.
patita pAvana karaNam mata haraNam: (bhairavam)
The Lord rescues the sinful, protects them and destroys their ego.
parataram parama manOlaya jayam: (lalita)
The Lord is the Supreme Being. He is beyond manOlaya, the temporary subsidence of the mind. Which means that the Lord is the Supreme ~gnAni who has destroyed his arrogance and is therefore beyond ego and ignorance.
para Adi vAk prakAshananda mayam: (sAma) There are four kinds of speech, parA, pashyantI, madhyamA and vaikarI. The Lord illumines these.
After this, the composition continues with mOhana etc., the rAgAs of the anupallavi and pallavi and finishes with the first line of the pallavi in shrI.
as posted by meena
Is it just me or we no longer have any rich text editor options and we have to format manually using code?
Given below is the meaning of the composition.
Pallavi
shri vishvanAtham bhajEham caturdasha bhuvana rUpa rAgamAlikAbharaNa dharaNA antahkaraNam:
I worship Sri Viswanatha who wears the garland of 14 ragas that is of the form of the 14 worlds and cherishes it in his Heart. The raga mudra is the beginning word shrI itself.
srita jana samsAra bhItyApaham; AdyAtmikAdi tApatraya manO bhItyApaham:
The Lord destroys the fear of samsArA of his devotees and the three kinds of human miseries arising out of physical, mental or psychological and supernatural factors. The rAga mudra is in the phrase samsAra bhItyApaham.
Anupallavi
shri visAlAkshi gaurIsham; sakala niShkaLa rUpa saccidAnanda maya gaurIsham:
The Lord of Goddess Visalakshi who is Gauri Herself, He is both with and without form. gaurIsham carries the name of the rAga.
citra vishva nATaka prakAsham; jagat prakAsaka bhAskara shashAnka kOTi kOTi prakAsham:
The gross world of infinite variety constitutes a theatre and is illumined by the Lord. The Lord shines millions of times more than the sun and the moon that light the world. The rAga mudra is in the word nATaka.
gOvindAdi vinuta gauLAngam; kshIra kundEndu karpUrAdi vijaya bhasitOdhULita gauLAngam
The Lord of fair countenance is worshipped by Vishnu. The Lord's countenance is adorned with vibhUti (sacred ashes) which is more radiant than other white objects like milk, the jasmine flower and camphor. The third word gauLAngam carries the mudra. The correct term for white is gaura, but in Sanskrit ra and La can interchange. Dikshitar makes use of this.
guruguha sammOhana kara lingam; pancIkrita pancamahAbhUta prapanhAdi mOhana kara lingam:
The Linga of Lord Viswanatha gives happiness to Lord Subramanya and to the composer Muttuswami Dikshitar. This Linga delights the Universe that is made up of the pancabhUtAs, the five elements of earth, water, fire, air and ether. Here the rAga is referred to in the word sammOhana.
virinci viShNu rudra mUrti mayam:
The Lord is of the form of Brahma, Vishnu and Rudra. (This passage is in mOhana)
viShaya panchakara hitam abhayam:
The Lord bestows his grace and protection to those who are afflicted by the ignorance arising out of the five sense-objects namely, sound, touch, sight, taste and smell. (This passage is in gauLa)
niratishaya sukhada nipuNataram:
The Lord is adept at bestowing the Highest Bliss. (This passage is in nATa)
nigama sAram Ishwaram amalam:
He is the underlying truth of the Vedanta, He is the Lord, He is pure. (This passage is in gauri)
smara haram paramashivam atulam:
He destroyed Manmatha, the God of love; He is Paramashiva; He is incomparable. (This passage is in Arabhi)
sarasa sadaya hridaya nilayam anisham: (This passage is in shrI)
The Lord is ever-present in the lotus-hearts of devotees who are compassionate and loving.
Charanam
sadAshivam sAma gAna vinutam; prakrityAdi sapta rUpa sAma gAna vinutam:
He is Sadashiva worshipped through the sAman chant which is of the nature of the seven-fold divisions of manifestation. Here, the second word is the rAga mudra.
tanmAtram lalita hridaya viditam; kAmakrOdAdi rahita lalita hridaya viditam:
The Lord is known by those who possess a pure heart which is devoid of desire, anger etc. Here too the second word announces the rAga.
cidAkAsha bhairavam puraharam; vidhi kapAla trishula dhara bhairavam puraharam:
The Lord is the Bhairava (a manifestation of Siva) who is of the form of Pure Consciousness. He is the Bhairava who destroyed the three cities and who carries Brahma's skull and the Trident. Again the second word is the rAga of this passage.
cit sabhEshwaram sAranga dharam; dArukAvana tapOdana kalpita sAranga dharam:
He is the Lord of the citsabhA at Chidambaram. He wears as His ornament the deer produced by the Rishis of the Daruka forest from the sacrificial fire in order to attack the Lord. The third word is the mudra.
sadAshrayAmi shankarAbharaNam; cintitArtha vitaraNa durINa tara mANikya maya shankarAbharaNAm:
I always seek refuge in the jewels of the Lord (the serpents). For they are all cintAmaNis that grant all that I seek. Here the second word is the mudra.
sadgati dAyaka ambOja caraNam; dharma artha Adi nikhila puruShArtha prada samastatara ambOja caraNam:
Four aims in life are called puruShArthAs. These are: dharma, artha, kAma and mOksha. Dharma is the law of being; wealth (artha) has to be earned and life enjoyed (kAma) according to dharma. The final result will be mOksha, that is Liberation from bondage and that is the highest puruShArtha or aim. The Lord possesses Lotus-Feet that are capable of bestowing all these and Liberation. The rAga mudra occurs in the two words dAyaka ambOja.
vadAnya dEvakriyA kElanam; sriShTi stithi vilaya tirOdAna anugraha kAraNa kriyA kElanam:
The Lord is the benefactor of the dEvas as He helps them perform their functions. The Lord performs the five-fold functions of creation, protection, destruction, unveiling and bestowing Grace. The second word is the rAga mudra. This rAga is now commonly called shuddha sAvEri. In Venkatamakhi's scheme which Dikshitar followed it is dEvakriya.
vaidyalinga bhUpAla pAlanam; shrIpura niruti bhAga garta tIra stiratara bhUpAla pAlanam:
The Lord is the protector of Vaidyalinga (the then trustee and owner of the Kuzhikkarai temple); The Lord resides at gartatIra situated to the North-West of shrIpuram, i.e., Tiruvarur. Again the second word is the mudra.
guru guhEsha sura narEsham anisham: (bhUpAla)
He is ever the Lord of Guru Guha as also of the devAs and humans.
kuja budha Adi griha gati viditam: (dEvakriya) He determines the transit of Mars, Mercury and other planets
varadam anala ravi shashi nayanam: (kAmbOji)
The Lord has for His three eyes, fire, the sun and the moon.
vanaja candra sannibha vadanam: (shankarAbharaNam)
The Lord possesses a face that is as beautiful as the lotus and the moon.
paramahamsa Ananda nartanam: (sAranga)
The Lord revels as the Supreme Self in blissful dance.
patita pAvana karaNam mata haraNam: (bhairavam)
The Lord rescues the sinful, protects them and destroys their ego.
parataram parama manOlaya jayam: (lalita)
The Lord is the Supreme Being. He is beyond manOlaya, the temporary subsidence of the mind. Which means that the Lord is the Supreme ~gnAni who has destroyed his arrogance and is therefore beyond ego and ignorance.
para Adi vAk prakAshananda mayam: (sAma) There are four kinds of speech, parA, pashyantI, madhyamA and vaikarI. The Lord illumines these.
After this, the composition continues with mOhana etc., the rAgAs of the anupallavi and pallavi and finishes with the first line of the pallavi in shrI.
as posted by meena
Is it just me or we no longer have any rich text editor options and we have to format manually using code?
Last edited by mnsriram on 23 Apr 2009, 13:08, edited 1 time in total.
-
mnsriram
- Posts: 418
- Joined: 02 Feb 2010, 21:59
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rshankar
- Posts: 13754
- Joined: 02 Feb 2010, 22:26
Poonam,
If you click on any authors name (which appears on the panel to the left of their posting) you will be taken to a page that has the author's profile, and in there will be a 'button' to send email - just use that to contact me or Lji or anyone else you might want to.
Ravi
PS: You can reply to the email I sent you through the forum...
If you click on any authors name (which appears on the panel to the left of their posting) you will be taken to a page that has the author's profile, and in there will be a 'button' to send email - just use that to contact me or Lji or anyone else you might want to.
Ravi
PS: You can reply to the email I sent you through the forum...
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ajaysimha
- Posts: 834
- Joined: 19 Apr 2018, 18:16
Re: Shree Viswanatham-caturdaSa ragamaika,Sri muttusvAmi dIkshit
hello rasikas,
the structure of this composition is like:
(as per SSP)
there are 14 eka-raga-khandikas (sections)
and will return to the first khandika after the 6th raga and the 14th raga with the viloma pattern.
here each eka-raga-khandika has:
1 line of sahithyam and
1 line of swaram-sahithyam
and each viloma line is a swaram-sahithya of half avartha length.
i found different ways of rendering this ragamalika:
(usually sung as)1.the first khandika is usually sung as sahithya with out the swara-sahithaya
(supposed to be)2.but, the swara-sahithaya for the first line has to be sung
(usually sung as)3.they follow the sequential pattern of (sri-arabhi-gowri-nata-varali-mohana-...)
(supposed to be)4.but, there is one more version of singing (sri-arabhi-sri-gowri-nata-varali-mohana-...)(as in SSP)
(usually sung as)5.only sahithya is sung for viloma pattern (half avartha each)
(supposed to be)6.singing both swara and sahithya for viloma pattern (half avartha swara+half avartha sahithya)
i referred to the following videos:
https://youtu.be/wu8kV-THDrw(TS Sathyavathi)(covers pt1, pt4, pt6)
https://youtu.be/pT8cNpbZ7SE(G Ravikiran)(covers pt2, pt3, pt5)
https://youtu.be/1-1dgKw3Ijs (MLV)(covers pt1, pt3, pt5)majorly followed version
https://youtu.be/6SihjaJ9BWY(ramakrishnan murthy)(covers pt2, pt4, pt6)syntactically correct one
note: i'm not pointing out anyone, just searching for authentic versions!
is there any other recording were it is sung as it is supposed to be?
may i know from when on this ragamalika became famous in concert circuits ?
who started popularizing it ?
the structure of this composition is like:
(as per SSP)
there are 14 eka-raga-khandikas (sections)
and will return to the first khandika after the 6th raga and the 14th raga with the viloma pattern.
here each eka-raga-khandika has:
1 line of sahithyam and
1 line of swaram-sahithyam
and each viloma line is a swaram-sahithya of half avartha length.
i found different ways of rendering this ragamalika:
(usually sung as)1.the first khandika is usually sung as sahithya with out the swara-sahithaya
(supposed to be)2.but, the swara-sahithaya for the first line has to be sung
(usually sung as)3.they follow the sequential pattern of (sri-arabhi-gowri-nata-varali-mohana-...)
(supposed to be)4.but, there is one more version of singing (sri-arabhi-sri-gowri-nata-varali-mohana-...)(as in SSP)
(usually sung as)5.only sahithya is sung for viloma pattern (half avartha each)
(supposed to be)6.singing both swara and sahithya for viloma pattern (half avartha swara+half avartha sahithya)
i referred to the following videos:
https://youtu.be/wu8kV-THDrw(TS Sathyavathi)(covers pt1, pt4, pt6)
https://youtu.be/pT8cNpbZ7SE(G Ravikiran)(covers pt2, pt3, pt5)
https://youtu.be/1-1dgKw3Ijs (MLV)(covers pt1, pt3, pt5)majorly followed version
https://youtu.be/6SihjaJ9BWY(ramakrishnan murthy)(covers pt2, pt4, pt6)syntactically correct one
note: i'm not pointing out anyone, just searching for authentic versions!
is there any other recording were it is sung as it is supposed to be?
may i know from when on this ragamalika became famous in concert circuits ?
who started popularizing it ?