Charulatha Mani - A Raga's journey

A descendant of Musiri Subramania Iyer has pointed out that the 1938 movie "Sant Tukaram" features a song in Raga Hamsanadam, and has also provided the audio clip:
http://youtu.be/8QzWDplruik

clmweb · Post by **clmweb** » 10 Mar 2013, 11:45

A Bright Start - Raga Hamsadhwani

clmweb · Post by **clmweb** » 10 Mar 2013, 11:46

Charulatha Mani is touring the US in June 2013. 22/23 and 29/30 weekends are still open. Organisations interested in booking (purely Carnatic and/or Isai Payanam concerts) please contact [email protected]

clmweb · Post by **clmweb** » 16 Mar 2013, 14:14

Mood Enhancers - Ragas Kedaram and Bahudari

clmweb · Post by **clmweb** » 30 Mar 2013, 14:32

For a Calm Mind - Raga Purvikalyani

clmweb · Post by **clmweb** » 15 Apr 2013, 12:07

Valour and Worship - Ragas Arabhi, Devagandhari, Sama

clmweb · Post by **clmweb** » 28 Apr 2013, 15:21

Harmonious Symmetry - Raga Kiravani

clmweb · Post by **clmweb** » 19 May 2013, 13:30

Light and Melodious - Raga Sindhubhairavi

clmweb · Post by **clmweb** » 07 Jun 2013, 15:43

Endearing Khamas

clmweb · Post by **clmweb** » 08 Jun 2013, 16:10

Morning ragas - Bilahari and Malayamarutham

clmweb · Post by **clmweb** » 22 Jun 2013, 15:31

Tale of Two Varalis

clmweb · Post by **clmweb** » 06 Jul 2013, 12:05

A Complex Beauty - Raga Dwijavanti

puru00047 · Post by **puru00047** » 17 Jul 2013, 19:20

I find most examples in the metro plus is grossly wrong. Many film songs eschew gamakas and only contain scales. It is not right to quote them as raagas at all.

RaviSri · Post by **RaviSri** » 18 Jul 2013, 12:04

Important compositions of Muthuswamy Dikshitar in Dwijavanti include ‘Akhilandeswari’ (the goddess of Thriuvanaikkaval) and ‘Chetasri Balakrishnam’ (composed on Lord Krishna at Guruvayoor kshetra)

Who said 'chEtasri' was composed on Guruvayurappan. There is no internal evidence. It is only a generic kriti on Krishna.

This apart, your assertion that Dwijavanti has similarities with Sahana and Kapi. Sahana yes, but Kapi? How? Dwijavanti has similarities with Sahana, Yadukulakambhoji and Durbar. I hope you will study the various aspects of a raga, especially as given in the SSP before writing.

clmweb · Post by **clmweb** » 20 Jul 2013, 09:09

Auspicious Sri

clmweb · Post by **clmweb** » 11 Aug 2013, 18:22

Distinctly Classical - Ragas Gowla and Lalitha

clmweb · Post by **clmweb** » 18 Aug 2013, 12:41

Wake up to Valaji

clmweb · Post by **clmweb** » 14 Sep 2013, 12:08

Joy of Hamirkalyani

clmweb · Post by **clmweb** » 28 Sep 2013, 13:05

The Royal Durbar

clmweb · Post by **clmweb** » 12 Oct 2013, 12:44

Kedaragowla’s Many Moods

clmweb · Post by **clmweb** » 27 Oct 2013, 11:07

Godly Gowrimanohari

clmweb · Post by **clmweb** » 10 Nov 2013, 11:42

Of Love and Longing - Chandrakauns and Surya

tanapp · Post by **tanapp** » 10 Nov 2013, 12:17

Hindolam - Surya - Chandrakauns one after the other. The interludes are all in Hindolam with the appropriate chords highlighting the melody. Another gem from the Maestro.

http://www.saavn.com/p/song/tamil/Manit ... D4xYSwGaFo

tanapp · Post by **tanapp** » 10 Nov 2013, 13:46

Ilaiyaraaja’s liking for this raga (Hamsadhwani) is evident from the way he has handled ‘Sri Ranga Ranga’ from Mahanadhi. The last lines in the charanams culminate with a phrase that goes like ‘R,R N,P NN P,GPP…’, and such swara patterns are very sound and highly creative.

The one thing we should be very careful in analyzing Raaja sir's songs is sweeping carte blanche - calling this song is this raga etc. definitively. Yes, there are songs he has composed in '100%' Gowlai, Kaanada, Rasikapriya etc.

Raaja sir's songs demand active listening if we are to go into raga guessing mode. E.g. Sri Ranga Ranganathanin starts off in Mohanam (after the initial chanting ends). First interlude is in Mohanam. Hamsadhwani only begins from the first charanam line 'kollidam neer meedhu nartanam aadum'.

The quoted extract from the Hindu article on Hamsadhwani seems to suggest that the song is in the said raga. However mentioning the appearance of Mohanam here would be more accurate and helpful for potentially discerning rasikas to appreciate how these two ragas (which will almost be never sung back to back in a Carnatic concert) have been so well handled without confusing the general listener but yet the N3 leaves the impression that the song is tuned in Hamsadhwani alone - to even some of the discerning rasikas, till one looks into it more keenly.

vasanthakokilam · Post by **vasanthakokilam** » 11 Nov 2013, 01:30

RaviSri wrote: This apart, your assertion that Dwijavanti has similarities with Sahana and Kapi. Sahana yes, but Kapi? How? Dwijavanti has similarities with Sahana, Yadukulakambhoji and Durbar.

RaviSri, I do not think of dwijavanti and kApi together either, but here is one intriguing thing. Ms. Charlulatha writes that the Viswaroopam song 'unnai kANamal' is based on Dwijavanthi, but to me it sounded like piloo in some places. piloo and kApi are related, aren't they?

RaviSri · Post by **RaviSri** » 11 Nov 2013, 11:00

I don't listen to the recent film songs so I don't know about the song you have mentioned.

Piloo is what they call Hindustani Kapi in CM. Almost all songs in the original (Karnataka) Kapi have been changed to Hindustani Kapi or more appropriately Piloo by introducing G3 and N3. Unfortunately the original Kapi is almost lost excepting for 'jUtAmu rArE', the nauka charitram song of Thyagaraja, venkaTAchalapatE of Dikshitar ad akhilANDEshwari of Shyama Sastri.

In Dwijavanti, the handling of that raga by the Dhanammal family is different from that by SSI, KVN etc., and mostly resembles the SSP notation. Subbarama Dikshitar has said that besides Yadukulakambhoji, Sahana and Durbar, Dwijavanti has shades of Bhairavi too which I forgot to mention in my last post. Dwijavanti has got nothing to do with (Karnataka) Kapi.