BhAvayAmi raghurAmam by MDR

[kamalamba]

I am listening to this mesmerizing BhAvayAmi raghurAmam by MDR. Amongst the best versions of this kriti that I have heard.

http://sangeethamshare.org/kasturi/UPLO ... malika.mp3

Are there any other recordings of this kriti by MDR that members are aware of.

MDR unfailingly gives different interpretations every time he sings a kriti.

Thanks
Kamalamba

[Soundarya]

Not authorized... is the message i get when i click on the link

[vasanthakokilam]

Sangeethapriya does not allow direct access to links. go to sangeethapriya.org and search for "13_Bhavayami_Raghuramam_Bhavya_Suguna-Ragamalika.mp3" You can then click on the resulting link. They may ask you sign in with yahoo or google id.

[sruthi]

Sangeethapriya seem to have changed their settings for the past few months. You can access the mp3 files directly.
I was able to download from the link provided directly. (just right click, then save the file)

(It is possible you need to be logged into your gmail or yahoo account when doing this, because they do verify this when you go to their site.)

[venkatakailasam]

If you like it can be listened at this link:

http://myblogkumara.blogspot.com/2011/0 ... an_30.html


( serial number 67 )

venkatakailasam

[vasanthakokilam]

I was able to download from the link provided directly. (just right click, then save the file)

Sruthi, can you check the bytecount of the downloaded file to see if it is the full file? When I tried your method of right clicking and saving the file, I got only 399 bytes.

[sruthi]

VK, you are correct. The file I downloaded seems to be just a link, not the full mp3 file.

I tried the following:
1. clicked on the link provided by kamalamba
2. then stripped away the last part of the url, i.e. the directory:
http://sangeethamshare.org/kasturi/UPLO ... G_Jayaram/
3. once at the directory, choose the specific mp3 file and download it.
This resulted in the full file getting downloaded.

By the way, when I clicked on the original link (step 1), the song started playing straightaway.

[Ranganayaki]

Did anyone notice the moment of "hilarity" after the swaras in Mohanam? He returns to the first line of the pallavi, leaving out "raghuramam" to a great roar from the audience.. and then the next time around, he sings it as "Bhavayami Jayaramam", to a milder roar! Sounds like a moment in which he appreciatively teases Lalgudi Jayaraman, the younger accompanist. The second time around, (when he actually says "Jayaramam") he gets a smaller reaction, so I am guessing that when he left the "Raghuramam" out the first time, he must have pointed to "Jayaraman", to the amusement and delight of the audience. The wide roar makes me wish I'd been there to see Lalgudi's reaction!

Lovely version of the song, I enjoyed it, he makes the swarams so interesting, especially after years and years of hearing the famous MSS version. No one else's version has made much of a mark on me. My thanks to Kamalamba.

The method in posting # 4 (right clicking the link to "save target as") was the only one that finally worked for me. (Didn't try #5)

[rshankar]

Kamalamba (and Ranganayaki), bhAvayAmi raghurAmam is an absolutely stunning composition, and I absolutely love Sri SSI's tuning of it as a rAgamAlikA, and everyone knows that Smt. MSS immortalized it. There are a couple of grouses I have about some of the musical splitting - I know that it is dictated by the tALam, but I have always been irked by the fact that in the statement 'pampA tIra saMgata AnjanEya nAbhOmaNi-tanuja sakhya karam vAli tanu daLanam' [befriending (sakhya karam) AnjanEya and the son (tanuja) of the Sun (nAbhOmaNi), i.e., sugrIva, who went (gata) together (saM) to the shore (tIra) of the river pampA], while nabhOmaNi falls at the end of one tALa Avartana and tanuja comes at the start of the next, Sri SSI while tuning, set nAbhOmaNi and tanuja even further apart, by prolonging nabhOmaNi (by what looks like) one more Avartana. Everyone sings it that way, including Sri MDR.....

BTW, I am not sure if you have heard Smt. Gayatri Girish's version of bhAvayAmi (in the album, vaishNavam) - the padacchEdams and pronunciations are exquisitely done, but the nabhOmaNi and tanujam are still kept apart.

[shripathi_g]

MDR's Bhavayami, especially the one with LGJ and VR, is a huge favorite of mine. I love the way he takes his time to sing every single line and let the music soak in. In that rendition, he sings "Pataga Vara Jataayu nutam Panchavateevihithavasam" a few times and then pauses and says "Idhuku dhane kaathindrundhom. Ippo dhan varuvale enga amma" and sings "Athighorasoorpanagha". The whole concert is an absolute delight. He seems to have been in amazing form that day. The concert ends with an epic Varugalamo that we are familiar with.

I recently listened to Amrutha Venkatesh's rendition on youtube and it seemed similar to MDR's rendition - http://www.youtube.com/watch?v=OeFAfGyG260.

[Ranganayaki]

Shankar, I didn't know that this version was set to music by SSI. It's great work, though I agree with you that the words are not well highlighted for their meaning.. In that same line, mdr splits sangataanjaneya as "Sanga" or "Sangat" (not sure whether he pronounces the t at the end) and then "Anjaneya".. either way, it can't be right, it has to be (as you have written it) either "samgata Anjaneya... " or "SangatAnjaneya..." - I guess I have inexplicably recovered my tolerance for poor exposition of the sahityam - all the things mdr does with the sahityam used to annoy me so much I could not listen. He just goes "Waaaaa" for a good part of the lyrics . I can't believe I don't mind it any more, because I know that I enjoy good pronounciation. I used to find him disrespectful of the lyrics and the composer, but now I find it all idiosyncratic and perfectly enjoyable for the music. Thanks for pointing me to GG's version, will try to find it.

@Sripathi: enjoyed that part about welcoming shoorpanakha! Reminds me of the times when my sister and I (as tiny kids) used to pick up this huge animal kingdom book with huge picture spreads and our anticipation would be heightened with each page-turn for that one page which would scare us with a monstrous looking snake-like creature that seemed to be staring us down and baring teeth..

[Enna_Solven]

I recently listened to Amrutha Venkatesh's rendition on youtube and it seemed similar to MDR's rendition - http://www.youtube.com/watch?v=OeFAfGyG260.

Thank you. It is very nicely done.

I used to find him disrespectful of the lyrics and the composer, but now I find it all idiosyncratic and perfectly enjoyable for the music. Thanks for pointing me to GG's version, will try to find it.

I heard SSI saying in one of the youtube videos from DD that MDR sang for himself. Looks like he even took liberties with tAlam. For me nothing matters: I just listen to him hanging on to every syllable from him whether it was there in the song or not

You can take only some people to task for not adhering to lyric shuddham, not MDR, Madurai Somu!

[venkatakailasam]

Post # 11:

I am not able to reconcile between the earlier part and the later part of first para.

I think my comprehension is getting poorer due to -perhaps- old age -this is what my grand children are also complaining about of late !

I am 100% with enna_ solven- Lyric shuddham is not applicable to MDR, Madurai Somu!

[Ranganayaki]

Venkatakailasam,
I agreed that the words are not well split. Not much of what I said was important. What I meant was: I used to find the liberties taken with the sahityam rather irritating and was unable to listen to artists like MDR (and some others), but these days, I am surprised by my acceptance and my ability to actually enjoy what used to irritate me. I find MDR'S "blurring" of the sahityam rather cute, and it doesn't bother me too much any more. I was just expressing surprise at the evolution of my reactions.

On the other hand, I don't understand what you mean by lyric shuddam is not applicable to MDR, and M. Somu. Is that just a humorous remark meaning that it cannot be EXPECTED of them, and they sang however they chose to?

[Enna_Solven]

On the other hand, I don't understand what you mean by lyric shuddam is not applicable to MDR, and M. Somu. Is that just a humorous remark meaning that it cannot be EXPECTED of them, and they sang however they chose to?

I said that, not sri venkatakailasam. It is a humorous remark based on how often lyrics are blurred in their singing. Not always but often. My point was their music stands tall over these 'blemishes'. Their music makes me forget myself even through the poor quality recordings that I have. So, when I listen to them I don't expect the lyrics to be crystal clear. But my yardstick is different for others, especially for current vidwans/vidushis. I am not without parapaksham.

[Ranganayaki]

I think we are in agreement.. I too would have different standards for today's musicians. I think that kind of "blurring" is a almost a thing of the past. I tried to find out the meaning of your word "parapaksham", and nothing came up. Does the word mean "partiality"? Or would it rather mean something on the lines of "multiple standards"?

I just listened to one of msakella's postings of kalpana swarams by his students, and listening to the initial presenter, I found myself really envying that comfortable spot in the mouth from which the words "pakkala nilabadi" came out. It sounded so perfectly and effortlessly pronounced... like a plum.

[pattamaa]

Did anyone notice the moment of "hilarity" after the swaras in Mohanam? He returns to the first line of the pallavi, leaving out "raghuramam" to a great roar from the audience.. and then the next time around, he sings it as "Bhavayami Jayaramam", to a milder roar! Sounds like a moment in which he appreciatively teases Lalgudi Jayaraman, the younger accompanist. The second time around, (when he actually says "Jayaramam") he gets a smaller reaction, so I am guessing that when he left the "Raghuramam" out the first time, he must have pointed to "Jayaraman", to the amusement and delight of the audience. The wide roar makes me wish I'd been there to see Lalgudi's reaction!

LOL..I have heard about this before, not sure i heard the recording though. If UKS on mridhangam, may be he would have sung bhavayami sivaramam after mukhari swarams

[Sundara Rajan]

pArapaksham simply means BIAS or prejudice, I guess.

[smala]

Chitra has rendered this in her tribute to MSS and so has Vani Jayaram for dance recital. Given the deep connectedness with the celluloid world for these artists, their renditions might not find takers. |( OTOH, MLV's version might appeal.

http://ishare.rediff.com/music/entertai ... bhavayami-
raghuramam-mlv/1464467

S. Kandasami production for the same :
Part 1
http://www.youtube.com/watch?v=UiFFC7ms-kc
Part 2
http://www.youtube.com/watch?v=x86sOmw8 ... re=related

[Enna_Solven]

parapaksha (in Tamil we say pArapaksham) simply means other side. But it is used to mean 'double standard'.

[gardabha_gana]

I listened to it again after a long...time. Can someone tell me what is being said twice (once after saveri and once during mohanam) by MDR ? I felt that jatayu was indeed coming

[gardabha_gana]

MLV's version might appeal.

http://ishare.rediff.com/music/entertai ... bhavayami-
raghuramam-mlv/1464467

This is the SSI version. MLV is always nice to listen. Who is supporting vocally here - Charumathi ?

[nag2]

Prince Rama Varma told an interesting thing about the tuning of Bhavayami in a LecDem about Swati Tirunal's life and works. It is believed to be composed entirely in Saveri by Swati Tirunal. But SSI did not like the possibility that only a single charanam of that will be sung as is the norm for most krithis. Bhavayami being the story of Ramayana in a nutshell, he felt, it should be sung in entirety. He came up with this idea of setting it to Ragamalika to encourage full rendition.

[vasanthakokilam]

Let us indulge in a bit of contra factual thoughts.. What if SSI did not do it? Would musicians have taken up the original Saveri more frequently than they do with the ragamalika version? We rarely hear Bhavayami in concerts because of its length and unique structure. It does not lend itself to traditional alapana, song niraval etc. It has to be pretty much a stand-alone song. It probably fits in as one of the pre-main items. But the fact is, in spite of its popularity, we do not hear it much in concerts. The other side of this issue is, there are scores of other krithis that rarely get sung and the original saveri version could have gone that way for a net loss. I wonder how many were aware of the original Saveri version before SSI retuned it.

Thoughts?

[Neeraja veni]

Bhavayami Raghu Ramam... brings back memories of childhood, of growing up in a household which revered the kriti, placing it next only to Vishnu Sahasranamam. By default I associated both with the much adored MS mami's name. Couldn't care less who composed it, what language it was composed in, etc, etc. It was MSS's song all the way and there ended the matter.

So I thought.

Until one fine day I landed on MDR's rendering. What a complete turnaround! I started noticing the nuances, the ragams, the bhavam and the way each ragam, each sangathi, each swaram flowed from him . My heart brims each time he sings Sri Ramam after the pallavi line. Such an endearing rendition.

I am quite surprised and even amused that people fuss about how MDR pronounces and splits words. In the state that he elevates me to, I barely notice whether he sings samgata anjaneya or sangatanjaneya!

It is the extraordinary beauty of Mukhari he sings that I notice.
Such is the bliss in his music.

I have a version that says that the concert took place at SRR sabha(??), Allepy, Kerala. Dont have any other detail. I feel it is a far more superior version and has a better audio quality and clarity. I can upload it if someone can tell an ignoramus like me how to do it in this website. I would be happy to share it with others.

I thank you very much Kamalamba, for posting the audio and starting this topic.

[vasanthakokilam]

Neeraja: you can upload the file to sites like http://www.mediafire.com/ or http://www.sendspace.com/ and post the link here. If you need further help with this, let us know.

[Lakshman]

Neeraja: Please check your email.

[Neeraja veni]

So here is another version of the delectable rendition of Bhavayami raghuramam by MDR.

Hope you enjoy it as much as i do

http://www.mediafire.com/?oa9ev3kwmdn3qm8

Lakshman-sir, you have been so admirably meticulous in your instructions. Thank you

[Ragjay]

There is a wonderful rendition of this krithi with clear diction by Mrs K.S.Chitra in youtube link for part http://www.youtube.com/watch?v=-sRQtVxdrH8 Regards Ragjay

[kamalamba]

Thanks Neeraja
indeed this recording is fantastic, really enjoyed it.
Kamalamba

[Vijayakumar]

thanks for this link. this is really a beautiful rendition

[dipukaruthedam]

...while nabhOmaNi falls at the end of one tALa Avartana and tanuja comes at the start of the next, Sri SSI while tuning, set nAbhOmaNi and tanuja even further apart, by prolonging nabhOmaNi (by what looks like) one more Avartana. Everyone sings it that way, including Sri MDR.....

@rshankar,
I recently heard a bhAvayAmi by MDR from https://shankarkrish.blog/carnatic-voca ... amanathan/ (check the one titled "Navaratri concert with Chalakudy Narayanaawamy (?) – Incomplete" - search for this in the page) and in this rendition, he takes care of your grouse. When he sings the second line, he starts from "nabhOmaNi"

Lovely rendition as usual, in his usual style.