jujAvanti/dwijAvanti
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Arun,
Enjoyed reading it. Learning a bit too, which is always the case when it comes to you and other knowledgeable members on the forum. Your daughter is not only fortunate to have you as a guide but can also also guide, it seems. More musical power to her! I am always learning, especially from the little ones. She made me focus on the big difference between the two krutis!
Enjoyed reading it. Learning a bit too, which is always the case when it comes to you and other knowledgeable members on the forum. Your daughter is not only fortunate to have you as a guide but can also also guide, it seems. More musical power to her! I am always learning, especially from the little ones. She made me focus on the big difference between the two krutis!
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A lovely write-up Arun!
You daughter does have discerning taste!
I always thought how soothing and lilting the rAga was, until I was introduced to another facet of this rAga by Sri Lalgudi Jayaraman - in his dance drama 'jaya jaya dEvi', under the chapter of umA pariNayam, he has brought out the plaintive pathos this rAga can so wonderfully evoke, by using it to tune pArvatI's dejection at Siva's rejection after the kAma samhAram episode - 'urugi, kalangi ninrALE umai sOgam koNDu'!
You daughter does have discerning taste!
I always thought how soothing and lilting the rAga was, until I was introduced to another facet of this rAga by Sri Lalgudi Jayaraman - in his dance drama 'jaya jaya dEvi', under the chapter of umA pariNayam, he has brought out the plaintive pathos this rAga can so wonderfully evoke, by using it to tune pArvatI's dejection at Siva's rejection after the kAma samhAram episode - 'urugi, kalangi ninrALE umai sOgam koNDu'!
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Arun, great write up. Quite an endearing imagery of how you and your little one have gotten this "our song". That is always special. I am sure it will be that way forever.
Regarding similarity to Kedaragowla, I mentioned about this in a different thread but here is a good opportunity for me to bring that up.
Regarding similarity to Kedaragowla, I mentioned about this in a different thread but here is a good opportunity for me to bring that up.
I personally do not relate to those similarities when I am listening to the song in dwijavanthi itself but if someone points out specific portions, I can sense it. But the relationship with KedaraGowla came in the opposite direction. I was listening to Sowmya's Nilothpalamba Gowlantha Krithi of MD, the kedaragowla piece. Both the alapana and the song rendition had quite a bit of similarity to Dwijavanthi. I never felt that similarity with other KG krithis.Similarities to other Ragas
jujAvanti supposedly can exude flavors of other ragas like SahAna and kEdAragauLa. I do not see the kEdAragauLa connection.
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Thanks ravi, bk
ravi - yes, now that you mention it, I sort of can picture how it can used for pathos.
vk - i will give that a listen later. I have that CD. thanks! Actually today I was sort of humming the kalpana-swaras of that semmangudi version (still in a jujavanti mood), and briefly I think I perceived a glimpse of kedaragowla, but now "i have lost that feeling" - i think it had do with p m r\ (ri slide) - but not sure now.
Arun
ravi - yes, now that you mention it, I sort of can picture how it can used for pathos.
vk - i will give that a listen later. I have that CD. thanks! Actually today I was sort of humming the kalpana-swaras of that semmangudi version (still in a jujavanti mood), and briefly I think I perceived a glimpse of kedaragowla, but now "i have lost that feeling" - i think it had do with p m r\ (ri slide) - but not sure now.
Arun
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tOm tOm tOm. rAgA: dvijAvanti. Adi tALA. Composer: S.Kalyanaraman.
P: tOm tOm tOm tatAni taddhimi tajhaNu tOm takajhaNu tOm tajhaNutaka
A: tom dhrudhru tAni tiranadhIm dhru dhru dhru dhIm nAdhru dhru tAni taka
tajhaNU tom dhrudhru dhIm jhaNUtari kiTataka jhaNuta dhIm tadhIm
dhittlAngu tarikiTa takadhIm tarikiTa takadhIm tarikiTataka
C: Om enum praNava meip-poruLai anru OdiyE tandaik-kupadEsham sheidAi
Om sharavaNa guhanE enru OyAmal tudikka enakkaruLvAi inru
(sholkaTTu)
tOm tadhimi tajhaNu takadhIm tAnitOm tAnitOm tAni tAni tOm
ga ma pa gA ma tOm tahjaNu taka tOm tOm ri ga ma pA , tajhaNU tOm
takajhaNu tOm taritajhaNu tOm jhaNutaka tAnitOm tajhaNutaka
tAnitOm tOm takajhaNu takatAni
BMK and Lalgudi have also composed tillAnAs in this raga.
P: tOm tOm tOm tatAni taddhimi tajhaNu tOm takajhaNu tOm tajhaNutaka
A: tom dhrudhru tAni tiranadhIm dhru dhru dhru dhIm nAdhru dhru tAni taka
tajhaNU tom dhrudhru dhIm jhaNUtari kiTataka jhaNuta dhIm tadhIm
dhittlAngu tarikiTa takadhIm tarikiTa takadhIm tarikiTataka
C: Om enum praNava meip-poruLai anru OdiyE tandaik-kupadEsham sheidAi
Om sharavaNa guhanE enru OyAmal tudikka enakkaruLvAi inru
(sholkaTTu)
tOm tadhimi tajhaNu takadhIm tAnitOm tAnitOm tAni tAni tOm
ga ma pa gA ma tOm tahjaNu taka tOm tOm ri ga ma pA , tajhaNU tOm
takajhaNu tOm taritajhaNu tOm jhaNutaka tAnitOm tajhaNutaka
tAnitOm tOm takajhaNu takatAni
BMK and Lalgudi have also composed tillAnAs in this raga.
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It is worth listening to the jaijaivanti/dvijavanti section in "Hymns from the Rg Veda" set to music by Rangasami Parthasarathi and sung by KJ Yesudas:
http://en.wikipedia.org/wiki/Albums_by_ ... e_Rig-Veda
SR
http://en.wikipedia.org/wiki/Albums_by_ ... e_Rig-Veda
SR
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Arun deserves words of appreciation and admiration for the good write up on dvijAvanti.
It is surprising to learn that there are some disputes about "akhilANDeshvari rakShmAm". I am not a scholar of Sanskrit. Yet I want to share some views.
The words "lambodara guuguha pUjite" has some special reference to that shrine. If we go along these lines, words like "vAkdevatArAdhite" or "shArade" can also be justified. Providing these subtle references are typical of MD's compositions.
The rAgamudra figures only in this composition. ( MD seems to be very particular about this ) We know that the vasantA of "rAmacandram bhvayAmi" is different from " harihara putram"
Mohan
It is surprising to learn that there are some disputes about "akhilANDeshvari rakShmAm". I am not a scholar of Sanskrit. Yet I want to share some views.
The words "lambodara guuguha pUjite" has some special reference to that shrine. If we go along these lines, words like "vAkdevatArAdhite" or "shArade" can also be justified. Providing these subtle references are typical of MD's compositions.
The rAgamudra figures only in this composition. ( MD seems to be very particular about this ) We know that the vasantA of "rAmacandram bhvayAmi" is different from " harihara putram"
Mohan
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Re: the earlier discussion about dwijavanti similarity to kedaragowla, the similarity is more with Narayanagowla.
Compare Akhilandeswari with, say, Sri Ramam (SSI's favorite) in Narayanagowla and you can notice it.
Compare Akhilandeswari with, say, Sri Ramam (SSI's favorite) in Narayanagowla and you can notice it.
Last edited by ragam-talam on 12 Aug 2008, 21:12, edited 1 time in total.
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That's right. Long back in one of his concerts SSI while singing an alapana for Sri Ramam jokularly remarked 'Rombha Jagaradai Erakkanum,Ellata Dwijavanti vo Sahana vo poyee sheNdum' (one has to be very careful or else it will land in Dwijavanti or Sahana)ragam-talam wrote:Re: the earlier discussion about dwijavanti similarity to kedaragowla, the similarity is more with Narayanagowla.
Compare Akhilandeswari with, say, Sri Ramam (SSI's favorite) in Narayanagowla and you can notice it.
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Re: jujAvanti/dwijAvanti
An excellent by Charulatha Mani (I will link to more of her writing for the rAgAs I've already covered) : https://www.thehindu.com/news/cities/ch ... 884619.ece
I'm resharing arunk's article at the top (not much to add after such an excellent essay, but let's try) : https://sunson.wordpress.com/2008/07/03 ... ittle-one/
This rAgA is (or should I say these 2 rAgAs are) essentially the poster child for tenderness, delicate and moving grace in CM - ideally suited for vAtsalya rasa. It excels at the slow tempo. One can't help but fail to melt into a pool of jelly at the soft and bubbly nature of dwijAvanti. This rAgA is known to have moved many to tears, including the 1st President Dr. Rajendra Prasad.
The rAgA alternates between smiling and jovial using the G3 and switches to sad and absorbing with the G2 - its use of the two gAndharams is unique. Although kApi also uses G3 and G2, dwijAvanti is very distinct from kApi and is unique in the handling of the two Gs. In particular, phrases like RG3S or RG3MP use the G3 while this phrase - MG3M RG2R (the switch to G2 is so distinctive it is the key phrase to the recognition of the rAgA. NDPD,P with a graceful shake on the second D2 is yet another moving phrase. Overall, the rAgA swaroopa is understood by lakshya and experience rather than theory and scales.
The R2 is a crucial note in the rAgA, it can be sung plain, used to end many phrases or shaken weakly or very strongly as well and connects to the P in the phrase ndp-R. The rAgA actually revolves around the R2.
It also has a more bubbly (and even hyperactive) side to its character that has come out recently (specifically after Lalgudi Jayaraman composed a tillAnA in it). All in all, jujAvanti / dwijAvanti can be said to be truly a child in its nature, sometimes laughs, sometimes cries, sometimes plays, but is always very sweet.
The phrase RG3MP tends to overlap with modern sahAnA (and might sound like that if one stops on the P) , but going up to PDND quickly wipes away that suggestion. A phrase like RG3M PDN2D PMG3M RG2R S-R-N2DP (G2)R-G3 S can completely cover the entire rAgA swaroopa in one stroke. Some of the notes allow playing micro-trills on them.
Although dwijAvanti and jujAvanti (actually jaijaivanti in HM, called jujAvanti by the Dikshitar school) are popularly considered to be the same rAgA, there are some notable differences in their handling, enough differences for which I would actually split them into 2 threads and call them as two different rAgA allotropes.
1) dwijAvanti is actually associated with the kriti akhilAnDeshwari (which while being a very beautiful composition, it has been explicitly said by the Dikshitar parampara that it's NOT actually Dishitar's composition). jujAvanti is associated with the kriti chEtashri bAlakrshNam of Muthuswami Dikshitar
2) dwijAvanti uses both the N2 and N3 (sparingly) in phrases like SN3S, N3SR - N2DP or N3RSS. jujAvanti doesn't use anything other than N2, even in SNS. Both the rAgAs use DNP.
3) The phrase N2DP is a very characteristic phrase of the rAgA. But in dwijAvanti, it's kind of a dead end. After that, some of the possibilities are NDP-S and more commonly NDP-R or NDP G2R (with some soul stirring slides from G2 to R2). I have tried NDP - DNR and it does seem possible, but while both phrases exist separately, I have never seen NDP being used as anything other than a dead end phrase.
But in jujAvanti (of which chEtaSri bAlakrshNam is the example), the phrase PD2S with a strong kampita on the D is possible and this part overlaps a bit with yadukula kAmbhOji - these overlaps have been mentioned by Subbarama Dikshitar in the SSP ("...Besides its own shadow, this jujAvanti shines with the additional shadows mixed from erukalakAmbhOji, darbAr, sahAnA, and bhairavi.."). I don't know how darbAr and bhairavi come in, maybe it's the old darubAru and the phrase P-GR that overlaps with bhairavi.
The phrase RG3S, NDP, RDS and many others in jujAvanti overlap with yadukula kAmbhOji (called erukalakAmbhOji by the Dikshitar school) - but in practice there's no way one would mistake one for the other, especially once the G2 comes in. jujAvanti also uses SN2D2N2S as well, a phrase that does not exist in dwijAvanti. It also uses phrases like MG3MPMDP (like yadukulakAmbhOji). The handling of the D2 is also similar to yadukula kAmbhOji. Another unique phrase is - SNGR
In conclusion, all the phrases of dwijAvanti barring the rare N3 can fit into jujAvanti, but not vice versa.
4) jujAvanti is the name from the Dikshitar school featuring in the SSP. dvijAvanti is the name from the sangraha chUDAmaNi (the text that kind of started the modern school of rAgAs)
So first - dwijAvanti - akhilAnDEshwari - a soulful rendition by MS Amma : https://www.youtube.com/watch?v=kDjYZcCOhvA - observe that dwijAvanti completely eschews the D2, preferring PS and PR instead and by doing so, eliminates the overlap with yadukulakAmbhOji altogether.
LGJ brings his own touches to it here ; https://www.youtube.com/watch?v=uI7ByLHYllk
Speaking of LGJ, his tillAnA in dwijAvanti is a masterpiece that brings out the hidden abilities and swara combinations of the rAgA in madhyamakAlam : https://www.youtube.com/watch?v=VYiYBsI7GJ8
Now coming to jujAvanti, here's chEtashri by both T Brinda and T Mukta, followed by MMI (uploader uploaded it like that) : https://www.youtube.com/watch?v=5r7gcuHygV4
Note the PDS in "bhajarE" and the other different phrases from dwijAvanti and the handling of the fine gamakas in it. MMI's version is more bubbly.
Ranjani & Gayathri once sang a very delicate chEtashri that I heard live that's been in my ears ever since, so here : https://www.youtube.com/watch?v=5SgB3nQ6Q2g
MS Amma sang this one as well, here's a private recording with the veena at home (an amazing vainikA she was) : https://www.youtube.com/watch?v=34ATbwYr_4s - the PDS prayogam clearly differentiates jujAvanti.
Unfortunately I am not able to get DKP's rendition. That was the one that moved Dr. Rajendra Prasad so much he wanted to listen to it twice.
For two rAgAs having a single composition in each, these 2 have a huge wealth of detail and are among the most organic rAgAs you'll still see in CM.
And with this one, I believe I have come to the end of the list with D (I'll come back if I left anything). Phew!
I'm resharing arunk's article at the top (not much to add after such an excellent essay, but let's try) : https://sunson.wordpress.com/2008/07/03 ... ittle-one/
This rAgA is (or should I say these 2 rAgAs are) essentially the poster child for tenderness, delicate and moving grace in CM - ideally suited for vAtsalya rasa. It excels at the slow tempo. One can't help but fail to melt into a pool of jelly at the soft and bubbly nature of dwijAvanti. This rAgA is known to have moved many to tears, including the 1st President Dr. Rajendra Prasad.
The rAgA alternates between smiling and jovial using the G3 and switches to sad and absorbing with the G2 - its use of the two gAndharams is unique. Although kApi also uses G3 and G2, dwijAvanti is very distinct from kApi and is unique in the handling of the two Gs. In particular, phrases like RG3S or RG3MP use the G3 while this phrase - MG3M RG2R (the switch to G2 is so distinctive it is the key phrase to the recognition of the rAgA. NDPD,P with a graceful shake on the second D2 is yet another moving phrase. Overall, the rAgA swaroopa is understood by lakshya and experience rather than theory and scales.
The R2 is a crucial note in the rAgA, it can be sung plain, used to end many phrases or shaken weakly or very strongly as well and connects to the P in the phrase ndp-R. The rAgA actually revolves around the R2.
It also has a more bubbly (and even hyperactive) side to its character that has come out recently (specifically after Lalgudi Jayaraman composed a tillAnA in it). All in all, jujAvanti / dwijAvanti can be said to be truly a child in its nature, sometimes laughs, sometimes cries, sometimes plays, but is always very sweet.
The phrase RG3MP tends to overlap with modern sahAnA (and might sound like that if one stops on the P) , but going up to PDND quickly wipes away that suggestion. A phrase like RG3M PDN2D PMG3M RG2R S-R-N2DP (G2)R-G3 S can completely cover the entire rAgA swaroopa in one stroke. Some of the notes allow playing micro-trills on them.
Although dwijAvanti and jujAvanti (actually jaijaivanti in HM, called jujAvanti by the Dikshitar school) are popularly considered to be the same rAgA, there are some notable differences in their handling, enough differences for which I would actually split them into 2 threads and call them as two different rAgA allotropes.
1) dwijAvanti is actually associated with the kriti akhilAnDeshwari (which while being a very beautiful composition, it has been explicitly said by the Dikshitar parampara that it's NOT actually Dishitar's composition). jujAvanti is associated with the kriti chEtashri bAlakrshNam of Muthuswami Dikshitar
2) dwijAvanti uses both the N2 and N3 (sparingly) in phrases like SN3S, N3SR - N2DP or N3RSS. jujAvanti doesn't use anything other than N2, even in SNS. Both the rAgAs use DNP.
3) The phrase N2DP is a very characteristic phrase of the rAgA. But in dwijAvanti, it's kind of a dead end. After that, some of the possibilities are NDP-S and more commonly NDP-R or NDP G2R (with some soul stirring slides from G2 to R2). I have tried NDP - DNR and it does seem possible, but while both phrases exist separately, I have never seen NDP being used as anything other than a dead end phrase.
But in jujAvanti (of which chEtaSri bAlakrshNam is the example), the phrase PD2S with a strong kampita on the D is possible and this part overlaps a bit with yadukula kAmbhOji - these overlaps have been mentioned by Subbarama Dikshitar in the SSP ("...Besides its own shadow, this jujAvanti shines with the additional shadows mixed from erukalakAmbhOji, darbAr, sahAnA, and bhairavi.."). I don't know how darbAr and bhairavi come in, maybe it's the old darubAru and the phrase P-GR that overlaps with bhairavi.
The phrase RG3S, NDP, RDS and many others in jujAvanti overlap with yadukula kAmbhOji (called erukalakAmbhOji by the Dikshitar school) - but in practice there's no way one would mistake one for the other, especially once the G2 comes in. jujAvanti also uses SN2D2N2S as well, a phrase that does not exist in dwijAvanti. It also uses phrases like MG3MPMDP (like yadukulakAmbhOji). The handling of the D2 is also similar to yadukula kAmbhOji. Another unique phrase is - SNGR
In conclusion, all the phrases of dwijAvanti barring the rare N3 can fit into jujAvanti, but not vice versa.
4) jujAvanti is the name from the Dikshitar school featuring in the SSP. dvijAvanti is the name from the sangraha chUDAmaNi (the text that kind of started the modern school of rAgAs)
So first - dwijAvanti - akhilAnDEshwari - a soulful rendition by MS Amma : https://www.youtube.com/watch?v=kDjYZcCOhvA - observe that dwijAvanti completely eschews the D2, preferring PS and PR instead and by doing so, eliminates the overlap with yadukulakAmbhOji altogether.
LGJ brings his own touches to it here ; https://www.youtube.com/watch?v=uI7ByLHYllk
Speaking of LGJ, his tillAnA in dwijAvanti is a masterpiece that brings out the hidden abilities and swara combinations of the rAgA in madhyamakAlam : https://www.youtube.com/watch?v=VYiYBsI7GJ8
Now coming to jujAvanti, here's chEtashri by both T Brinda and T Mukta, followed by MMI (uploader uploaded it like that) : https://www.youtube.com/watch?v=5r7gcuHygV4
Note the PDS in "bhajarE" and the other different phrases from dwijAvanti and the handling of the fine gamakas in it. MMI's version is more bubbly.
Ranjani & Gayathri once sang a very delicate chEtashri that I heard live that's been in my ears ever since, so here : https://www.youtube.com/watch?v=5SgB3nQ6Q2g
MS Amma sang this one as well, here's a private recording with the veena at home (an amazing vainikA she was) : https://www.youtube.com/watch?v=34ATbwYr_4s - the PDS prayogam clearly differentiates jujAvanti.
Unfortunately I am not able to get DKP's rendition. That was the one that moved Dr. Rajendra Prasad so much he wanted to listen to it twice.
For two rAgAs having a single composition in each, these 2 have a huge wealth of detail and are among the most organic rAgAs you'll still see in CM.
And with this one, I believe I have come to the end of the list with D (I'll come back if I left anything). Phew!
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Re: jujAvanti/dwijAvanti
@19-> The best of the lot.
=======================
Charulata Mani 's write up may be wrong. Smt.MS 'enathu uLLame' is simply, a great composition ( both lyrics and tune by PapanAsam Sivan).in CHENCHURUTTI ( film tamil Meera 1945)
------------------------------
Everyone familiar with HM and Hindi film music classics says that the classic 'man mohana bade juthe' by Lataji is in Jaijaivanthi. Does it differ from the tunes and notes of the two kritis discussed here?
https://sites.google.com/site/hindustha ... ijaivanthi
-----------------------
https://youtu.be/uXGMxTTB_Dg
------------------------------------------------------------MS Amma sang this one as well, here's a private recording with the veena at home (an amazing vainikA she was) : https://www.youtube.com/watch?v=34ATbwYr_4s - the PDS prayogam clearly differentiates jujAvanti.
.
A great loss. Will keep searching.Unfortunately I am not able to get DKP's rendition. That was the one that moved Dr. Rajendra Prasad so much he wanted to listen to it twice
=======================
Charulata Mani 's write up may be wrong. Smt.MS 'enathu uLLame' is simply, a great composition ( both lyrics and tune by PapanAsam Sivan).in CHENCHURUTTI ( film tamil Meera 1945)
------------------------------
Everyone familiar with HM and Hindi film music classics says that the classic 'man mohana bade juthe' by Lataji is in Jaijaivanthi. Does it differ from the tunes and notes of the two kritis discussed here?
https://sites.google.com/site/hindustha ... ijaivanthi
-----------------------
https://youtu.be/uXGMxTTB_Dg
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Re: jujAvanti/dwijAvanti
The MS rendition of Chetasri Balakrishnam with Veena was a program in AIR commeorating the cntenary of Dikshitar in 1975 which was compered by Dr.Narayana Menon. The other pieces were Vatapi Ganapathim,Chandram Bhaja, Bhajare rechitta , Sri subramanyaya Namsathe(Only pallavi vinyasam),Nee sati Daivamendule
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Re: jujAvanti/dwijAvanti
Yes. that must be a mistake. senchuruTTi also uses both G3 and G2 and switches between them, but the transition them is differently handled there.RSR :
Charulata Mani 's write up may be wrong. Smt.MS 'enathu uLLame' is simply, a great composition ( both lyrics and tune by PapanAsam Sivan).in CHENCHURUTTI ( film tamil Meera 1945)
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