Niroshta

Sivaraman · Post by **Sivaraman** » 27 Apr 2006, 00:58

Niroshta is a unique raga, invented by the Late genius Harikesanallur Muthiah Bhagavathar.
It is a janya of 29th mela, Dheera Shankarabaranam.
The specialty of this raga is that it does not have madhyamam and panchamam.
The other uniqueness of this raga is that while singing this raga, the upper and lower lips never meet.The raga name is derived from this specialty.(Nir=without, and Oshta= lips).
Muthiah Bhagavathar's krithi, "RAja raja radhithe, Nadha nidhe Sharadhe" has been masterfully sung by the great TNS.
I am not aware of any other krithis in this raga. If there are, shall appreciate knowing about them.

Song: raajaraja radithE
raagam: nirOshTa

29 dheera shankaraabharaNam janya
Aa: S R2 G3 D2 N3 S
Av: S N3 D2 G3 R2 S

taaLam: tishra gati Eka
Composer: H.N. Mutthiah Bhaagavatar
Language: Sanskrit

pallavi

rAjarAja rAdhitE nAdanidhE shAradE
(rAja)

anupallavi

tEjAshrtE shrI lalitE shrI Isha sahajAtE
(rAja)

caraNam

nInE harikEsha rAgjni nInE nitya kalyANi nInE shrI krSNEndrana rakSaNashaNE jaya janani
(rAja)

drshrikaanth · Post by **drshrikaanth** » 27 Apr 2006, 01:11

----The specialty of this raga is that it does not have madhyamam and panchamam.
The other uniqueness of this raga is that while singing this raga, the upper and lower lips never meet.The raga name is derived from this specialty.(Nir=without, and Oshta= lips).----

The two are interrelated- M and P ivnvolve the lips(they are labial consonants) and are hence omitted. Thi applies to sAhitya as well as otherwise the concept of nirOShTha will become redundant. Also consonant "v" is excluded as also the vowels "u", "U" and "o". "O" and "au" as pronouncing these also involve effort from the lips.

Song: raajaraja radithE-----Language: Sanskrit

The language is kannaDa, not sanskrit.

kiransurya · Post by **kiransurya** » 27 Apr 2006, 01:12

I remember reading somewhere that HMB composed a tillana as well in the same raaga..

Sivaraman · Post by **Sivaraman** » 27 Apr 2006, 01:29

DRS,
Thanks for the clarification.
Kiransurya,
Can you give any link to the thillana available anywhere on the net?

Lakshman · Post by **Lakshman** » 27 Apr 2006, 01:49

The nirOSTa tillAnA is by TNS:

tanana dhIranA. rAgA: nirOSTa. Adi tALA. Composer: Madurai T.N.Seshagopalan.

P: tanana dhIranA tadara tani tananana nananana nananana dhIranA (3 times)
tadana dhIranA tana dhiIanA tadhIranA dhru dhru tata tadhru
A: dhrukiTa dhrudhrukiTa dhrudhrudhrukiTa dhiranA (2 times)
dhrudhrudhrukiTa dhrudhrukiTa dhrukiTa tanana dhiranA
dhru dhru takiTa dhru dhru takiTa dhru dhru takiTa tanana dhiranA (3 times)
C: kandA untAzh enakkaruL sukhalayAnandA sendil nAthA guruguhA vand-
enaiyAL vikhasita vadana vinOda rAga jnAna harikEsa dAsanuta
(chiTTa svara)
[S, , R n S d n g d r g s r n r s, , s r r g gd d n n S S R G (repeated)] (alternate version?)

sA ni ni sa ni dha ni dha dha ri ga ni ri sa sa ri ri ga ga dha dha ni ni sa sa ri ga sA
ni ni sa ni dha ni dha dha ri ga ni ri sa sa ri ri ga ga dha dha ni ni sa sa ri ga sA sA
dhrukiTa dhrudhrukiTa dhrudhrudhrukiTa dhiranA (2 times)
dhrudhrudhrukiTa dhrudhrukiTa dhrukiTa tanana dhiranA
dhru dhru takiTa dhru dhru takiTa dhru dhru takiTa tanana dhIranA (2 times)
dhrikiTa takiTa dhrikTa takiTa dhrikiTa
(optional sholkaTTu)
tanana dhIranA tadara tani tananana nananana tananana dhIranA
tadara dhIranA dhru dhru dhru tani tananana nananana tananana dhIranA
tadara dhIranA dhru dhru tatara tani tananana dhIrana dhru dhru tatara tani
dhru dhru tatara tani thOn dhru dhru tatara tani thOn dhru dhru tatara tani

Lakshman · Post by **Lakshman** » 27 Apr 2006, 01:53

niroSTa songlist:

Giri putrika gaura varni-Rupaka-Bangalore S.Mukund
Jayati jayati jayashankara-Rupaka-Ashok R.Madhav
Raja raja radhite nada nidhe sharade-T/Eka-Muttiah Bhagavatar
Tillana (tanana dhirana)-Adi-T.N.Sheshagopalan

drshrikaanth · Post by **drshrikaanth** » 27 Apr 2006, 01:56

Link to TNS tillAna

http://www.musicindiaonline.com/p/x/5UQ ... As1NMvHdW/

coolkarni · Post by **coolkarni** » 27 Apr 2006, 05:52

I have read somewhere that HMB composed this when he saw the Mysore Maharajah was unwell and had swollen lips.

cmlover · Post by **cmlover** » 27 Apr 2006, 07:36

That was the story!
I wonder whether DRS can add more info!

rshankar · Post by **rshankar** » 27 Apr 2006, 07:50

giri putrikA gaura varNI has a very nice sound to it...anyone with a sharable version? I thought it was shivA who was ponnArmEniyan, and pArvati was green hued (maragadavallI).
Ravi

Sivaraman · Post by **Sivaraman** » 27 Apr 2006, 16:56

Lakshman,
Thanks for the TNS thillana lyrics and the songlist.Who has sung these songs and where can we find them?
Thanks to DRS for the thillana link of TNS.
And Coolkarni that was an interesting info regarding the origin of niroshta.Is that info recorded anywhere?

srinidhi · Post by **srinidhi** » 27 Apr 2006, 17:02

Goddess Parvati was indeed very fair. However, when the time came for the destruction of Shumbha/Nishumbha, a glowing form emanated from the Mother's body and came to be called Kaushiki : that which has come from the kosha . As a consequence, the original form of the goddess became dark in colour. This story is related in the devi mahatmiyam

cmlover · Post by **cmlover** » 27 Apr 2006, 21:09

Interesting Srinidhi

could you give the rference in devi mahatmyam?

srinidhi · Post by **srinidhi** » 27 Apr 2006, 22:19

The reference is found in the fifth chapter of Devi Mahatmiyam. When Indra and other devas found the power of Shumbha/Nishumbha to be invincible, the seek the refuge of the Mother Goddess. They begin by eulogising her and then follow the now- famous "yaa devi sarva bhooteshu...'"string of verses.

Whilst they are at it, Goddess Parvati comes to the Ganga for a bath. She asks the devas who was it thatt they were praising. At once a glowing form appears from the Mother's body and replies that it was Her (the glowing form) that the devas were praising, for the destruction of Shumbha/Nishumbha.

nAtumabhyAyayau toye jAhnavyA nR^ipanandana || 84||
sAbravIttAn.h surAn.h subhrUrbhavadbhiH stUyate.atra kA |
sharIrakoshatashchAsyAH samudbhUtAbravIchchhivA || 85||
stotraM mamaitatkriyate shumbhadaityanirAkR^itaiH |
devaiH sametaiH samare nishumbhena parAjitaiH || 86||

Since the form appeared from the kosha of the Goddess, she came to be known as koushiki.

sharIrakoshAdyattasyAH pArvatyA niHsR^itAmbikA |
kaushikIti samasteShu tato lokeShu gIyate || 87

As a consequence, the Body of Parvati became dark in colour and she retreated to the Himalayas

tasyAM vinirgatAyAM tu kR^iShNAbhUtsApi pArvatI |
kAliketi samAkhyAtA himAchalakR^itAshrayA || 88||

mahesh33 · Post by **mahesh33** » 05 May 2007, 22:22

http://www.musicindiaonline.com/p/x/7qp ... As1NMvHdW/

In this link, the strength of early TNS seems enshrined! He sings it so wonderfully with beautiful pronuniciation....

vgvindan · Post by **vgvindan** » 05 May 2007, 23:51

Goddess Parvati was indeed very fair.

srinidhi,
I doubt very much whether your quotations prove that Parvati was fair. In Chapter 4 of Devi mahAtmya 'gauri' is mentioned. But 'gauri' does not necessarily mean 'fair'.

In Chapter 1 - Madhu-Kaitabha vadha - she is called 'tAmasi dEvi'

This may further be verified from uttara bhAga - wherein mahAlakShmi (tapta-kAncana varna - molten gold hued) assumes a darkish form (anjana sankAShA) who was named 'mahA mAyA', 'mahA kALi' etc.

mahesh33 · Post by **mahesh33** » 11 May 2007, 06:50

More Niroshta-ness...

Dagar, Adbhuth Kalyan, soulfulness...

http://www.esnips.com/doc/0aa60bc1-a798 ... hut_Kalyan

Music · Post by **Music** » 11 May 2007, 21:15

drshrikaanth wrote:The two are interrelated- M and P ivnvolve the lips(they are labial consonants) and are hence omitted. Thi applies to sAhitya as well as otherwise the concept of nirOShTha will become redundant. Also consonant "v" is excluded as also the vowels "u", "U" and "o". "O" and "au" as pronouncing these also involve effort from the lips.

Interesting. Looks like not all composers have followed this in the sahitya. TNS' tillana has a 'v' in the charanam. The beginning of 'giri putrikA gaura varNI' has a 'p' and 'v' in the very beginning. HMB's 'Raja raja Rajite' of course follows the concept of not using the lips all through the sahitya. An innovative concept indeed!

thanjavur · Post by **thanjavur** » 11 May 2007, 21:24

Niroshta thillana by TNS (Sangeethapriya - Vasu Srinivasan link)

shankarank · Post by **shankarank** » 05 Aug 2020, 11:52

Sivaraman wrote: ↑27 Apr 2006, 00:58 Niroshta is a unique raga, invented by the Late genius Harikesanallur Muthiah Bhagavathar.
It is a janya of 29th mela, Dheera Shankarabaranam.

A question came up in a whatsapp group about which side of 72 this can fall if M is not present. By convention the first rAgA in sequence - right?

That says a lot about the mELa system of 72 sampURNa variety.

First off, in the 72 we can simply derecognize that they are any rAgam. rAgam is gone in this notion. We are left with svarams. Well are we? The svarams have no intrinsic musical value.

If you at least allude to some natural tuning vAdi / samvAdi is in the picture, but we don't need that actually.

We can think of them as just pitches. S < R1 < R2 < G2 < G3 and so on with an inequality specified in frequencies. We can think in terms of equi-tempered system of 12th root of 2 where next note is derived from prior note.

Actually we don't even need that. We can drop the inequality and simply state they are ordered symbols with an ordinal number 1, 2, 3 etc:

S, R2, G3, M1, P , D2, N3, S' - where no relation need specified between the notes except that they are on ordered set. Just some logical categories or buckets based on symbols to classify other symbol sequences . We make a symbol sequence out of all other tunes before we do this and find the FIRST search hit!

The Sanskrit term ShaTja loses it's meaning - i.e. the generator of other 6 svaras.

That's how meaningless this system is to put nirOSHTa under dhIRaSankarabharaNam - which itself refers to an ordered set and not any rAgA.

A meaningful system would examine the nature of N3 in nirOSHTA and see that it is not an anusvara like in real SankarabhaRaNam rAgA and place it under or shAntakalyANi or simply kalyANI. N3 of that kind is samvAdi with M2.

I said shAntakalyANi simply because mEcakalyANi is an ordered set - nah ! it has an "m" in it

. Removing that doesn't sound good like EcakalyAni.

Somebody joked in the whatsapp group that this group of rAgas without ma or pa fall under ELakarta ragas

apacAram, apacAram!! To absolve my sin and yours :

You and I can read : viewtopic.php?t=17079 as parihAram!

KKishore · Post by **KKishore** » 07 Sep 2021, 22:10

Some good audio links for Niroshta based on my limited exposure to carnatic music

Raja Raja Radhite by T Lakshmi Murthy
1https://youtu.be/bzUxQuJZZPA

Thillana by Geetha Shankar
2 https://youtu.be/aItpE_VQOAQ

Some swarakalpanas
3 https://youtu.be/xIXaJj0ViT8

rasikas.org

Niroshta

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