Narayana gowlai

srikant1987 · Post by **srikant1987** » 11 Mar 2009, 14:09

A raga closely allied to surutti. Can someone explain distinguishing features? I would like to know about some compositions in this raga other than
1. maguva ninne = aTatALa varNam, Veenai Kuppaiyyar,
2. shrI rAmam = AditALa?, MD?

rbharath · Post by **rbharath** » 11 Mar 2009, 15:42

kadalE vAru kADE rAmuDu
darsanamu

shrijith149 · Post by **shrijith149** » 29 Mar 2009, 23:42

Sree Ramam Ravikula somam is by Deekshithar

vijay · Post by **vijay** » 30 Mar 2009, 16:03

Disclaimer - Please refer to Uday's thread on raga quiz #2 to get a sense of my qualifications in this area...

But having acknoledged that...the raga is close to both Surutti and Kedara-gowla. PNDNS and the halt on gandharam on the descent distinguish it from K Gowla...Surutti Ni is quite distinctive - I don't suppose anyone could miss that...but hey, I did!

arunk · Post by **arunk** » 30 Mar 2009, 17:13

I believe there is a youtube view of Prof SRJ rendering the varnam - and he explains the intricacies of the raga (including differences and similarities to kedaragaula)

Arun

bilahari · Post by **bilahari** » 02 Apr 2009, 12:16

KadalEvADu is here: (Chitoor's rendition, not the best IMHO but sufficient)
http://sangeethamshare.org/sunil/thyaga ... manian.mp3

Thread on the varnam maguva ninnE:
http://rasikas.org/forums/viewtopic.php? ... ninne.html

Salient points about the ragam as I've gathered from these threads:
1. N-G slide (especially evident in varnam), with G3 slightly lowered
2. GRGS phrase
3. NDNS phrase
4. Strength of the gandharam in descent as mentioned by vijay
5. Slide to N (start of the charanam in varnam- especially evident in TNK's renditions) (in Surutti, the Ni seems to oscillate rapidly with Dha after the upward slide- at least that's my perception. In NG, the Ni appears to be played plain after the glide)

Aside from the NDNS, GRGS phrases, what makes NG so tricky is that it differs from KG/Surutti by virtue of subtly varying emphases of swaras, and given we're all so much more acquainted with KG and Surutti, we'd probably think a NG rendition which even goes close to the border of its neighbours rather risky and off-base! Pull the R a bit and it becomes KG, oscillate the N rapidly and it's Surutti, emphasise the G in a RGS phrase too long and it even sounds like dwijAvanthi! I'm still waiting for some artiste to come along and take ownership of this ragam and wrench it free from the suffocating grasp of its none-too-forgiving neighbouring ragas.

narayan · Post by **narayan** » 04 Apr 2009, 16:13

One distinguishing feature through Sri Ramam is the start with Dha (in the anupallavi). Any halting on the plain dhaivatam is a complete no-no in Surutti. Even Voleti would not be able to do that (in Surutti)!
I can testify that Narayanagowlai is an expansive ragam, and if not for days such as Veenai Kuppaiyar and other musicians are said to have rendered it, it is capable of many minutes of flowing elaboration. The ata tala varnam is of course evidence of this possibility.
A strange thought that struck me once is that an equivalent of this in the other gandharam is this obscure Madhavamanohari of Mahalakshmi karuna rasa lahari fame. Shades of the PNDNS and perhaps NGRM (if not NGRGM) in that one too.

vasanthakokilam · Post by **vasanthakokilam** » 04 Apr 2009, 22:21

Bilahari: Good summary of the relationship of NG to KG and Suratti. I do not know of NG much but I can keep KG and Suratti apart without confusion and it was a surprise to me when I learnt that they are such closely allied ragas ( and the same with Desh and its relationship to these two ). Echoing your wish, it is possible for NG to get the mindshare of most rasikas for its independent identiy if enough artists sing the raga frequently with a few minutes of raga sketch.

uday_shankar · Post by **uday_shankar** » 06 Apr 2009, 11:52

narayan
Are you narayan rangaraj ? If so, I remember learning quite a bit about narayana gowla (a one song SSI rAga to me till then) from your knowledgeable posts in sangeetham. As I understood from your(?) posts (or was it Srini Pichumani) Narayana gowla was much more popular in the late 19th century than it is now when it's place has been usurped by cousins kedara gowla and suratti.
Uday

prashant · Post by **prashant** » 06 Apr 2009, 16:02

Uday_Shankar wrote:I remember learning quite a bit about narayana gowla (a one song SSI rAga to me till then) from your knowledgeable posts in sangeetham.

Count me in as another whose major exposure to this rAgA is from 'nArAyaN's nArAyaNagauLa'

. I can testify from personal experience that he's not kidding when he says it's capable of 'many minutes of flowing elaboration'. A great raga which shines in seasoned hands.

snk · Post by **snk** » 30 Jul 2009, 08:08

we learnt one more song- sri nilotpalanayike in this raga from Govinda Rao Sir. though in its beauty sri ramam wins us over.

balusatya · Post by **balusatya** » 30 Jul 2009, 22:40

In recent times ,the Ragam Narayana Gowlai reminds me of atleast two persons. SSI for his Sree Ramam &Sowmya for her elaborate RTP (In all gowlais) in a MA concert couple of years back.

ragam-talam · Post by **ragam-talam** » 31 Jul 2009, 02:03

It's appropriate to include SRJ's lec-dem on Narayanagowla varnam here:
http://www.youtube.com/watch?v=vaKWukOEzG0

ragam-talam · Post by **ragam-talam** » 19 Oct 2010, 02:50

Soulful rendition of Sree Ramam by V Sankaranarayanan: http://www.youtube.com/watch?v=CyfSwoX1id0

vs_manjunath · Post by **vs_manjunath** » 19 Oct 2010, 05:04

Thanks for the URL. Yes Indeed a Soulful Rendition.
Maha Vaidyanatha Sivan supposed to have been a master in singing this raga in those days !

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Narayana gowlai

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