bEgadA

Rāga related discussions
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Vocalist
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#1

Post by Vocalist »

I couldn't find a thread specialising this rAgA, so I've started a new one. Any versions of Muthiah Bhagavathar's bEgadA piece available (Arukkum Adangada)? Thanks in advance.

Also, TNS apparently sang this a lot in his concerts, but I haven't found even one with it. Anyone with even a songlist where he has?


rshankar
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#3

Post by rshankar »

Kulkarni Sa'ab,
Great piece - I liked TRS' version better - probably a recording artifact - it was clearer...one of the not so usual HKMB kritIs in tamizh...
THANKS...
Ravi

arasi
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#4

Post by arasi »

Vocalist,
I haven't heard him sing it, but I do remember seeing it listed in one of Sanjay's concerts. I hear he is touring your part of the world this month. You could ask him to sing it, I suppose. Good luck...

Vocalist
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#5

Post by Vocalist »

Awesome!! Thanks so much coolkarni!! :D

arasi, I'd also seen it on a couple of Sanjay's songlists. But if he does perform in Oz, (and not >4 hours away by flight,) I'd probably want to request something else - a composition where imo, i'm sure that his version is really good ;)...but let's not count chickens before they've hatched, or even been laid! :/
Last edited by Vocalist on 05 Aug 2006, 11:18, edited 1 time in total.

venkatpv
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#6

Post by venkatpv »

TRS!!! quite a coincidence... was listening to his begada RTP, and i come back home to find yarukkum adangadha!! thanks for the treat, coolkarni :D i had another version of the same kriti, and you manage to come up with 2 other versions!!! :cool:

Vocalist
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#7

Post by Vocalist »

venkatpv, interesting, I remember you talking about how great TRS sang bEgadA in this krithi...now we know :)

jayaram
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#8

Post by jayaram »

To me, Subbaraya Sastri's "Sankari Neevani" ranks highest amongst all Begada compositions. The chittaswarams in this kriti are simply wonderful. My favorite is DKJ Shankukhananda Hall concert where he rendered this song so well.

prashant
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#9

Post by prashant »

Sharing something that's very precious to me. Nedunuri gAru has sung several memorable bEgaDAs, but none as lovely as this IMO. Listen and enjoy...

http://rapidshare.de/files/32138724/Ned ... A.mp3.html

jayaram
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#10

Post by jayaram »

http://www.carnatica.net/newsletter/beg ... letter.htm
great nuggets of info in this article.

"Nishada appears to be between the Kaishiki and Kakali Nishada swaras. This raga also permits, on a selective basis, Kaisika and Kakali Nishada."
Can someone give examples of these in specific kritis?

There's also mention of a rendition of 'Marachi itulundedi' by Titte Krishna Iyengar. Has anyone here heard it?

shishya
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#11

Post by shishya »

Two more majestic compositions by Sri Tyagaraja 'lOkAvana catura' and nAdOpAsana.

Lakshman
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#12

Post by Lakshman »

maraciTluNDEdi (varNa). rAgA: bEgaDa. aTa tALA.

P: maraciTluNDEdi meragAdurA manasEmi nIku rAya dEvarAya
A: sarasuDaina shrI venkaTEshvara cAladaya yunnarA mrokkEnurA
C: nimiSamaina ninnupAliyuNDalEnurA

arunk
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#13

Post by arunk »

jayaram wrote:"Nishada appears to be between the Kaishiki and Kakali Nishada swaras. This raga also permits, on a selective basis, Kaisika and Kakali Nishada."
Can someone give examples of these in specific kritis?
I dont know about examples in krithis but if you listen to kalpana-swaras then the differing usages should be clearer. A ni after mel-Sa as in S'N would be more kakali, but a phrase starting with N and going down N~DP (or PDN~DP etc.) would in-between with a kaisiki touch, and a NN~DP more like kaisiki.

My guess is the flexibility of Ni is sort of in tandem with the flexibility of Ma

Folks more knowledgeable can expand (and correct any mistakes in above interpretation).

Arun

srinidhi
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#14

Post by srinidhi »

Begada was the raga featured last night on Shruti- WorldSpace and I got to listen to 2 hours of the raga.

My guess is that in most cases the ni will be in between kakali and kasiki but when elaborated with gamakam it is likely to be closer to kasiki and when used in phrases like S'NDP- where the ni is 'glided over' it is likely to be kakali.

For more expalnation refer to

http://www.carnatic-music.com/

jayaram
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#15

Post by jayaram »

Srinidhi - thanks for the link. I found the articles there so interesting, decided to excerpt some of it here.
I hope knowledgeable members like DRS can enlighten us more on the points mentioned below:

====================================================
Raga : Begada
Janya from 29, Dheerashankarabharanam
Arohana Avarohana:
S G3 R2 G3 M1 P D2 P S
S N* D2 P M1 G3 R2 S (see later discussions)
Vakra (arohana alone) shadava-sampoorna

This article has two parts:
1) Salient parts of discussion on the raga:

Srini Pichumani writes:
As the saying "bEgaDA mIgaDa" (Begada (is the) cream) goes, it is an exquisite raga, and one that provides great relish.

It is also quite a sphinx of a rAga i.e. defies any easy or simplistic attempts at being bracketed into categories - particularly due to the varied intonations of the svara N.
The M1 is quite idiosyncratic (as Lalita Ramakrishna says in her book "The Varnam: a special form in Karnatak music").
Nominally, the scale is given as
S G3 R2 G3 M1 P D2 P S
S N* D2 P M1 G3 R2 S
But there is a glaring D N S in the "inta calamu" varnam itself.

Am sure that there are padams, jAvaLis, etc... in Begada. RTPs in Begada are also quite common.
Prof.S.R.Janakiraman demonstrated this in a lucid manner while he visited Detroit in 93. He sang various phrases involving the N; the "S N D P S" phrase was one of those in which N3 was distinctly used. The N in the "D N S R S" phrase of the "inta calamu" varNam (corresponding to "pan . . . ta" of the lyric) is also raised enough that I suppose it can be called N3.

The caveat of course is that with ragas like this (unlike, say, Hamsadhvani) you need a "dense" description to convey any real flavor. This would include many prayogas which have gotten dropped due to over-standardization, changing views on raga lakshana, or increasingly rigid raga lakshana, etc. or else which lurk around under the name of "ArSha" prayogam, prAcIna/pazhaya piDi, ...

SRJ also sang the phrase "R N D P S" twice; in his own words, the first used "a touch of kAkali ni i.e. N3", and the second used the very low N3 (which may be called N2 by some) which
is NOW the patent N in Begada as in phrases like P D P N D D P. On another occasion, he sang a phrase with the kAkali N, adding that it was rare, and that "it may even be avoided", thus indicating a certain ambivalence for such archaic or rare usages.

>I am still doubtful if kakali nishada is used as an
>independent note with a distinct frequency.

If you are thinking of a stature for N3 similar to that in, say, kalyANI, yes, your doubt is very valid. But then, isn't it the case that even in Shankarabharanam, such an independent stature for N3 is not quite possible, or, at the least, would be jarring.

The usage is very subtle and those of you who play instruments will probably agree with me that, although ostensibly the note being played is nishada, in reality it is merely a jantaiswara of the shadja masquerading as nishada.

Enharmonic equivalence (I like the ring of this phrase - heard it first from Art Levine on this very newsgroup) in action !!!

>I wonder if it has something to do with the 22 sruthi concept.

Yes. In a manner of speaking, that is. It does have to do with shrutis (tones) and svaras (notes), even if we don't care about the 22 stuff. Throw in svarasthAnas (note positions) too for verbosity sake :-)

Since the post-Sangita ratnakara period (> 1250 AD or so), the positions of S/P became immutable so that, even in theory, the earlier variations in S intonation with accompanying
nomenclature like cyuta-Shadja (i.e. a lowered S) were dumped on the lower svara N, giving rise to names like cyuta-shadja-nishada.

Thus, in theoretical and practical discourse, anything intoned lower than the S in a subtle or overt manner has come to be regarded and verbalized as a N. Same is true in the case of P and M.

-Srini.

ps: A general comment here: I have observed various vidvans talk about or demonstrate subtle differences between ragas, or shrutis employed in certain phrases, or about janaka/janya relationships - each employing their own rhetorical devices. Everyone of them will split hairs over minute differences on certain occasions, while they will tend to gloss over variations on other occasions. While this can be maddening at times, it certainly adds to the richness of the whole experience...

pps: Last summer, an "uncle" of mine who is 80+ played Begada on the flute and said with full attendant rhetoric "this is not the garden variety Begada you hear these days... this is
strongly Shankarabharanam based, an older style". I think his whole bombast was based on the M/N usages.

-Srini.

VidyaSankar Sunderesan writes:

Regarding the kakali nishada in Begada. The varnam Inta chalamu is notated with a dns ris in the anupallavi. Veena Dhanammal plays it with a kaisiki nishada, not kakali. But I've heard another paThAnthara with pdp sns, which also utilizes kaisiki nishada. At least to my ears, the second one sounds closer to how Begada "should" sound. Furthermore, the dhaivata in
Begada is rarely handled as a straight note; even in phrases like ni da pa (e.g. Nee pada pankaja), the da is higher in its value than the straight note. Thus, even in the first paThAnthara, nns ris is how it really sounds. I would venture to say that "dns" as written down is more a limitation of the notation scheme used, than a real problem in the raga
itself. Note that this is not an appeal for standardization, even in the written notation! :-). Rather, musicians should follow their musical sensibilities about what sounds good here, rather than be worried too much about the dns notation. Whether something sounds good or not, is of course a subjective opinion.

There are many phrases in Begada where the arohana krama of pdps is violated. Like - gmpd nsdp mpgr sa, pdpd rsni da pa, dnrs ni dp, etc. In all these cases, the ni is kaisiki. The kakali nishada, when it is used, is very close to the shadja. I guess you could call it the chyuta shadja nishada i.e. the nishada "touching" the shadja. In many places, it sounds almost like two sa's in succession rather than like sa and ni. But I would still call it a nishada if for nothing else but the sake of consistency. A similar usage (janta sa, the second sa sounding almost like a ni) in Mohanam is frowned down upon, and is usually called an admixture of Kalyani! Though of course Maharajapuram Viswanatha Iyer got away with it.
:-)

S. Vidyasankar

Shivkumar writes:

Following up on the discussion of nishada in begada, I had a relook at some of the prayogas in the begada varnam and at my paataantara of "Tyagaraajaaya Namaste" by Dikshitar (semmangudi paddathi). Here's a set of opinions :

Notation :
---------- x
Kaisiki Ni is written as : N and kalali as N ...
I use hyphens to split a sangati ...
Capital letters are dheergam and small are hruswam ...

Kaakali N :
----------
In general I have found N (kakali) as more of a connecting note esp in sangatis like sndp - sndrs. It takes a more resonant tonality in the sangati sngr G ; . I noticed that there was hardly any janta swara at shadjam in the whole varnam. The kriti too has a couple of spots where SS occurs ( like the second madhayama kaala sanchara : "sakalaagama mantra tantra ..." which is tuned ssMmg Pm Dp ...) , but it is not a janta prayogam, in the sense the lower note is not even exposed momentarily. The kriti in fact stresses more on the kaisiki version and just flashes N at a couple of places. Perhaps this is because the krithi gave a lot more weightage to the flat D ( which in turn admits only of kaisiki N gamaka in combination with it ).

As a connecting note, N takes on a role of terminating the rest at AdhAra shadja. Eg : rSndp, SnDp, S - rndp, S - sngr G etc. Shankari Neevee has an interesting proyogam where DP (shan -- kari) is followed by sndp (in the refrain). It seems to be a very serene territory to venture into after a resting note esp. adhaara shadja.

Being a connecting note, it finds its place more in the change of
nadais encountered in the chitta swaras of the varnam. The tempo for
example in the 3rd chitta swaram picks up with : ndp - rsn - grs - mgr
. . x .. .
... upto sndrs (note that n doesnt appear here at all.
x
N however, finds its utmost beauty when it is used in contrast with N - either in a sequence of sangatis, or more so - in the same sangati! By far, my favorite prayoga in the varnam is in the 2nd chitta swaram
x
where we have : npd N dp - which sums up all the attributes of N. Further, it is one of the sangatis where N stands independently (before falling unto the enchanting gamaka of kaisiki n) without the help of s or r (eg : sndp or rndp or rnddppS ). Other contrasts with N (kaisiki) are :
. .. x . .
sndrS - pdp NDp (also a contrast between a S based sangati and a P based one)
. x . . .
S n R s - rndp

x
S n D p - S n R s
. . . .

x x
pmdp mgr snrs - rnd ( 2nd chitta swaram : also illustrates n in sarva
laghu prayogam) x

The introduction of N in the last chitta swaram which dwells on N is
also interesting : rSndp - sngrG ( characterises the use of the two Ns
again) ... .


Moreover, we dont encounter janta NN.

The two other extremely rare commodities with respect to N are dheergam and use in aarohana krama. However, the varna does provide examples : dnsRs (panthamElarA : subject of some discussion earlier) [ the same line also ends with dnsr - rSndp which is
( ---- gO-pA--)
also an ascent prayoga. ] The ascent N would also imply a x
shankarabharanam style gamakam for D, rather than its usual flat (pdN)
or pDp style gamakam.

The dheergam N is provided in the last chitta swara ending : rNddp. But the effect is short lived as it is immediately contrasted and embellised by the lavish gamaka in the kaisiki nishadham :
. x . .
s n R - sndp

Kaisiki N:
----------
So much for kakali N. Kaisiki N however is the more unsubtle of the two and is hence more common in raga alapana renderings which I have heard. It is also the case that it admits of a lot more gamaka.

Further, there is a similarity in the gamakam employed for N and M (the characteristic begada M) and composers no doubt expoit this gamaka symmetry a lot. It also sets up a flat D usage which contrasts with the normal definition of D as pDp (in the aarohana of the raaga). The pallavi of the krithi has the following sangatis to substantiate this :
x
pd N D P ... ( the `d' though short is stressed with a sahitya syllable)
thya - ga rA ... ( and this fixes the flatness on the spot )
. . x . x
r s n s D P ... (more variety on n - this pragoya does not appear in
thya-- ga rA varnam)
x
The pallavi also has a vigorous eddupu of the N gamakam from G :
x
S G , r G - N dpm gR S ( this before refraining serenely : )
na ma s the nama- sthe - ( kathyayani pathe- ... ! )
x
The sarva laghu of n is exploited in :

..x. .x.. xx
rsns dp snrs - nn dp pm - gmpd ||
sim ha sa na pa the || thyAga ...

more Sarva laghu examples for kaisiki n are found in the chitta swaras of the varnam, eg: beginning of 2nd chitta (already quoted),
... .. x..
mgr sr - nrs pd - mdp gm - rgm ( 3rd chitta ending)

x
A rare gamakam for N is found in the anupallavi refrain :

; pd N ; dP, || P M dp gR, S ||
va ghee sha thya ki la the va ||

Perhaps it has a lot to do with the sahitya chosen.
x
This variety introduces possibility of ravva : Dnd P (the underlined portions sung at double tempo.) ---
x. .. .. .. x.
Dikshitar also uses rare dhatu prayogas like : ns mg rs - rs ns dp
yu -- kta va da na
which require Seshagopalan style note-to-note gamakam pulling capabilities :)

In the first madhyama kaala sahityam there is emphasis on the fact that there ought to be sanchaaras where n is omitted altogether in the aarohana (according to the raga definition of sgrgm pdps) :
. .
..R s - gm P d p d d p S s ||
.. vA ma bhA gas thitha shai la jA ya ...

xx
nnD in contrast with ddP or mpM is also found in both varnam and krithi. In fact dikshitar calls it a "prati bimiba" in the saahityam.
x x
; n N D - P
muku ra bim ... ba - pra ti bim bita mukha - sphur tha yE
x
The varnam also exploits the symmetry with sangatis like : mpdndp M (n
gamakam is similar to M, albeit shorter and more challenging)
x
The characteristic resting gamaka at N is seen in :
x
pdp N, D, p (pallavi ending region : varnam)
x
N, dpmgr (anupallavi ending region)

xx
nN, dpmgr (muktayi ending region)

x
N ; ; ( 4th chitta swaram beginning)

and of course the classic contrast :
x
npd N dp

The wait is perceptible only if it is 3 aksharas or more - else it seems to be rushing.

The krithi's termination also brings home a combination :
. x x x . . ..x.
r n N dp m G r G || m P m dd p- sn r S || rsns D
vikalpa bEdha yu ktaye vitanga roopa sha ktha yE || thyA ga
.x
(in simple form : rNdpm - dMgmr used frequently in chitta swaras to many krithis)

the sahitya of which has the emphasis on `bEdha', and I could not help wondering if the master composer was refering to begada - the raga of contrasts ...

Comments and further analysis welcome ...

It is surprising the Madurai Mani Iyer never ventured into this raaga too much, which was a favorite of Semmangudi, KVN, MDR and the ravva experts GNB, Voleti, Tanjore S. Kalyanaraman :)

-Shivkumar

Some further comments by Srini:

IMHO, this paThAntharam is more due to somewhat needless standardization that has taken place in Carnatic music in this century than anything else. The standard varNam book available - of A.S.Pancapakesa Iyer - gAnAmrta varNamAlikA - lists it as pdp ...

However consider this:
1. In the Pallavi Svara Kalpavalli of Tiruvottriyur Tyagayyar (the son of the composer of this varnam, Veena Kuppier), this Avartanam of the varnam contains not one, but 2 'D N S R's almost to reinforce the point. Now, Veena Dhanammal learnt and interacted quite a bit with Tiruvottriyur Tyagayyar and hence seems to play only this version.

2. Similarly, the Sampradaya Pradarshini of Subbarama Dikshitar notates it only as D N S R.

3. Lalita Ramakrishna in her book "The Varnam" makes this point about the 2 DNSR's in the same Avartanam of the anupallavi but says that it is mostly out of vogue now. She also draws attention to the usage of the higher sruti N in certain phrases and the lower shruti N in P D P N D D P etc...

As for what Veena Dhanammal intones when she does D N S R . S, I am not convinced that it can be called kaisiki nishada - it seems somewhat higher than that; for example, if you slacken the tempo of what she plays to a point where you could enounce the individual svaras with a decent kArvai or elongation, then, intoning the N as a "canonical" N2 would be jarring.

In any case, these vexed issues are what seems to prompt Subbarama Dikshitar to write at least 1.5 pages of detailed intro to this rAga, and the highly complex quality of madhyama-nishAdas... He says that sometimes the N svara will speak (sic) with the quality of kAkali, sometimes with that of kaisiki, and sometimes an in-between.

And it also why we keep hearing stories about how a Tiger or a Dhanammal could produce real mIgaDa (cream) out of this rAgam without paying too much attention to the ArohaNa-avarohana krama, as you have pointed out, or the "standard" intonation of the svaras.

-Srini.

>But I've heard another paThAnthara with pdp sns, which also utilizes
>kaisiki nishada. At least to my ears, the second one sounds closer to
>how Begada "should" sound.

This is certainly a widely held preference and is indicative of a changing (or already changed) scenario vis-a-vis Begada.

In any case, I heard the tape of my "rhetorical uncle" once again last evening. He says that there is one school of thought which considers Shankarabharanam as the karta ragam and gives little or scant attention to the bhashanga svara (foreign note) kaisiki N. And the other school of course considers N2 to be the right svara and N3 as the bhashanga svara. He states that in the kriti "nAdopAsanA" - which he claims is the only maDi or kosher kriti left of Tyagaraja's Begada creations - little or no N2 should be employed.

Then he plays various phrases of Begada, one of which has quite a "hook" - a phrase that goes like G G G G G M P D SN3 SN3 G -, and mentions that these sort of prayogams don't form a part of Begada alapanas these days. He also points out certain overworked phrases of Begada from contemporary practice.
====================================================
Last edited by jayaram on 26 Feb 2007, 05:38, edited 1 time in total.

vasanthakokilam
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#16

Post by vasanthakokilam »

Sowkya ragas like Begada are the thorn on the side of psycho-acoustical concepts like Consonance and Dessonance of the various tuning theories, especially the hard-nosed prescriptive ones.

knandago2001
Posts: 645
Joined: 05 Sep 2006, 10:09

#17

Post by knandago2001 »

I have a nice recording of Anudinamunu kaavumaiyya by Madurai Mani Iyer in the mp3 format (~10 MB). However, I need help / instructions on how to upload it. Would appreciate some input in this regard from Coolkarni Sir.
Regarding padams and javalis in Begada, Brindamma and Muktamma have often sung Yalapadhare, Yarikkaagilum and Idi neeku mariyadaga in their concerts.

Nandagopal

coolkarni

#18

Post by coolkarni »

nandagopal.
http://www.sendspace.com
http://www.badongo.com
Visit one of the two sites mentioned aove.
In the slect File-Browse window ,select your file which may be on your hard disc, Fill up the other details like you email ID etc-most of them are optional and hit on the upload button.
and look for te progress bar.
at the end of the upload-duration,depending on your internet speed-you will get a link.Save it in a file and post it here.
Let us know if you have any probelms.

knandago2001
Posts: 645
Joined: 05 Sep 2006, 10:09

#19

Post by knandago2001 »

Hope you enjoy Madurai Mani Iyer's Anudinamunu Kaavumaiyya
Here's the link
http://www.badongo.com/file/2333933

vageyakara
Posts: 602
Joined: 01 Dec 2006, 20:24

#20

Post by vageyakara »

Hallo rasikas,
Please view and listen the one in begada composed by me and sung so beuitifully By Smt.Rajee The song is in glorification and seeking HIS solace. Ref:karnatik.com
Ramaraj(vageyakara)

manakkalsriram
Posts: 88
Joined: 10 Feb 2006, 11:00

#21

Post by manakkalsriram »

Have a taste of Appa's Begada.
http://www.badongo.com/file/2711146

vasanthakokilam
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#22

Post by vasanthakokilam »

Thanks Sriram. Just wonderful.

jayaram
Posts: 1306
Joined: 30 Jun 2006, 03:08
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#23

Post by jayaram »

Wow, my favorite kriti 'Sankari Ni' sung by my favorite artiste...definition of heaven! :)
Sriram, do you know the pakkam for this?

Recently I listened to a lovely rendering by Balaji Shankar of 'Bhakthuni Charithramu', a Tyagaraja composition. Wonder how come this kriti is not heard that much at concerts.
Last edited by jayaram on 28 May 2007, 18:33, edited 1 time in total.

vageyakara
Posts: 602
Joined: 01 Dec 2006, 20:24

#24

Post by vageyakara »

Hallo Every Devotee of music,
the arohanam and avarohanam for BEGADA can just be modified to give a full flavour of that Ragam by : SA GA RI GA MA PA DA NEE DA PA SA
RI NEE DA PA MA DA MAA GA RI SA NI DA PA SA
nOTE:tHE NI IS PURPOSEFULLY given as NEE for better understanding of the inbuilt strength of the ragam.If vidhyaardhis are taught this way it would give a better avenue for taming this Great Raga because the Kaarvai of Nishada is unique in this Raaga .Since this is my own view , I am not contradicting other versions anyway !!
Ramaraj
Last edited by vageyakara on 29 May 2007, 06:08, edited 1 time in total.

vageyakara
Posts: 602
Joined: 01 Dec 2006, 20:24

#25

Post by vageyakara »

Hallo Every one
What a unique Madhyamam Begada has. !!! The uniqueness of this madhyamam has been specifically termed as BEGADA MADHYAMAM since it is also jocularly known as reNDumkeTTaan madhyamam !!! Just like varaaLi Madhyammam -the unique feature and proprty of our divine CM !!
Ramaraj

Ahiri
Posts: 90
Joined: 06 Aug 2006, 08:26

#26

Post by Ahiri »

There is one recording of Mali Sir's where he plays an alapana with Ma
where Da Maaaa Ga Ri Sa is used so beautifully the
Ma seems to glide in gracefully making it sound surreal.
We used to rewind the bit and listen to it
many times over for that pideee.

An enjoyable RTP of his which is set to
Misra Jathi Jumpa Talam (3 gathi)
flows thus :

(L1)||SNDPS,
tha ki ta thakita
NSGRG,
tha ki ta thakita
MPDPS,
tha ki ta thakita
P,DPPS,
P,DPPR,
S ,,,,,(L7)
(O1)RN,DPM
(O2)DM,GRS||

I am not sure if i have understood it right .
Please correct me if i have it wrong.

Sri Tyagaraja's krithi Samiki Sari cheppajala velpula set to Rupakam is another treasure.
Last edited by Ahiri on 30 May 2007, 14:53, edited 1 time in total.

kmrasika
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#27

Post by kmrasika »

There is also a kriti on lakshmi in this rAga by sadAShiva rAu: "sAgara kanyakA." Any renditions?

vageyakara
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#28

Post by vageyakara »

Mr.Jayaram Sir,
I have listened to recorded version of the famous Varnam Intacaalamu by the great Veena Dhanammal, where she seems to deploy slight tinge of Kaakalinishadam at "Emaa ..ni..e..e..". This recording I heard at Mr.Akondi Rajarao of Pithapuram(East Godavari Dist).during late 50's
Mr.Raja rao was a close neighbour of Sri Nedunoori garu
Ramaraj

jayaram
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#29

Post by jayaram »

Ramaraj sir, thank you for that anecdote. I feel jealous of those who were lucky to have spent time with the maestros of yesterday.

Speaking about the Begada madhyamam, the way Shri MDR handles the Ma in the navarAga varnam is just lovely. It's sheer ecstasy to watch the video of him render this varnam!

Ahiri - do you have the Mali audio clip available for u/l?

vasanthakokilam
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#30

Post by vasanthakokilam »

Jayaram: That RTP has been released commercially by AVM. It looks to be this release (basing it on the ragams in the RTP ). It is quite a lovely, engaging and uniquely structured Pallavi.

http://www.celextel.com/maliflutetrmaha ... -1646.html

shripathi_g
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#31

Post by shripathi_g »

jayaram wrote:R
Speaking about the Begada madhyamam, the way Shri MDR handles the Ma in the navarAga varnam is just lovely. It's sheer ecstasy to watch the video of him render this varnam!
Totally agree!! The entire video is awesome and gives an insight into how he'd have sung his songs. The way he uses his hands to describe the music!! Aha!! Especially at the point where he sings Ma Ma (..Ga Ri Sa Sa). It's as if he's describing the exact position of the note.

vageyakara
Posts: 602
Joined: 01 Dec 2006, 20:24

#32

Post by vageyakara »

Dear JAYARAM ji, and Sripathi_G, aHIRI, k.MRASIKA, Vasanthakokilam and others,
may I request u to kindly view and listen to one of my creations in the raaga BEGADA to have an idea as to how I have handled the salient and exclusive features pertaining to this great Raaga.. This is available in www.karnatik.com/c3491shtml Please do post your views in this forum
RAMARAJ
Last edited by vageyakara on 02 Jun 2007, 16:27, edited 1 time in total.

vageyakara
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#33

Post by vageyakara »

Hallo CM Devotees,
I wish to detail the SALIENT features of my Kriti:-

sadguru nAthA manam irangaadaa mAl marugA singAara vElmuruga
( in praise of Lord Muruga.)
The starting line itself Swar-Aksharam deployed in SaGaRi Ga
again at mAlmaruga the Exclusive Madyamam has been deployed as
SwarAksh.
again at "Bhaktar manam (magizhum)=Ma Ga Ri Sa-Sw.Aksh.
again at anbEkaDavul (God is Love)=the Raga mudhra BEGADA has been DEPLOYED
rAMARAJ
Last edited by vageyakara on 02 Jun 2007, 16:44, edited 1 time in total.

coolkarni

#34

Post by coolkarni »

http://www.sendspace.com/file/oie1bh

I tend to associate Begada a great deal with Doreswami Iyengar and Voleti.
Here is one from a Dor Iyengar concert-an RTP- from a Hubli concert in 1986.

manakkalsriram
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#35

Post by manakkalsriram »

Jayaram,
Just now happened to see your appreciation about Begada as usual. The accompanists are
Coimbatore Dakshinamurthy on the violin and Madras Kannan on the Mridangam and Umayalapuram Narayanaswamy on the Ghatam.

jayaram
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#36

Post by jayaram »

Ramaraj-sir,
as usual your Begada kriti is great! Btw, the correct url link is: http://www.karnatik.com/c3491.shtml (suggest you 'cut and paste' the links instead of writing them out here. And pls don't put a full-stop at the end of the sentence or it will get included as the link address.)

vageyakara
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#37

Post by vageyakara »

Hallo JRji, Thank for your complements.and feed back.Please listen to other kritis too, so that u will have an idea as to how I have handled S.warakshara aspects with reference different ragaas.
Ramaraj

ragam-talam
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#38

Post by ragam-talam »

Lovely exposition on Subbaraya Sastri's masterpiece 'Sankari neeve' by Shri Neyveli :
http://uk.youtube.com/watch?v=KTzrCl-eGvw
http://uk.youtube.com/watch?v=__pz0ozNjXk

blackadder
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#39

Post by blackadder »

Can anyone tell me if Sundari nannindarilo (hope I got that right) in Begada is a Patnam composition? I heard BV Raman and BV Lakshmanan sing it many years ago but have not heard it since. Any links to recordings would be nice.

blackadder
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#40

Post by blackadder »


ramakriya
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#41

Post by ramakriya »

Isn't it one of the Tiruvottriyoor pancharatna kritis of Tyagaraja?

blackadder
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#42

Post by blackadder »

I think you are right.

gvauma
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#43

Post by gvauma »

Can you please share the lyrics for this song "yarukkum adangadha" with me? I couldn't find it elsewhere on this site....

Lakshman
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#44

Post by Lakshman »

Arukkum aDangAda. rAgA: bEgaDa. Adi tALA. Composer: Muttiah Bhagavatar.

P: Arukkum aDangAda nIli ponnambalattADum kALi
A: pAruL parabhrammattai aDakkiya
shAyaipaDum vEdangaLAlum ariyAda mAyai
C: paramAnandanaip-pAdiyAi mATrinAL parandAman
mukhamadil pal vilangETrinAL shiramadaru paDavE vinai
tanait-tUTrinAL harikEshanagar vAzhum emmaik-kAppATrinAL

narayan
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#45

Post by narayan »

Begada is always welcome, even through this thread started years ago! What I wanted to say was that quite an amazing number of Tyagaraja songs start with the identical G,MPDP or MGMGD,P. Too many to just be a coincidence. Nadopasana, Tanavari, Gattiganu, Samiki sari, Neeverakula. Any others?

narayan
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#46

Post by narayan »

Sorry, want to add Bhaktuni charitra to my earlier post above. Would like any info on Patnam or other songs.

gvauma
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#47

Post by gvauma »

Thanks a lot for sharing the lyrics....
regards
Uma

keerthi
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#48

Post by keerthi »

narayan wrote:Would like any info on Patnam or other songs.

Patnam's Ayyar's iconic varnam 'MarachItlunde' was all he taught his student Vasu (Sangeeta kalAnidhi Mysore Vasudevacharya) in the raga he was famous for..
Vasudevacharya in his book 'With masters of music' says


" He then taught me his varna Marachitlundide. I learnt it by heart in three days. Yet for about three months thereafter he didn't take up any new lesson....
......After some days he made me sing one avarta of the varna a day and explained to me the raga sanchara inherent in that particular avarta and asked me to do alapana within the swara structure of that avarta.
At the end of the course he said : " Vasu,I don't have to teach you begade separately.I have revealed the raga in all its minute details.You casn amplify it now according to your own ability."


Vasudevacharya in his preface to his compilation of Mysore sadAshiva rao's songs for the academy, states that SadAshiva rAya conferred the prefix of Begade to Patnam Subrahmanya Ayyar, impressed by his uncommon felicity in handling the raga..

Besides this varna, which is still occasionaly sung, Patnam ayyar has two masterpieces, the live and kicking AbhimAnamennaDu galgu and the lovely Manasuna nera which is on a ventilator and is gasping for resuscitation..
There is supposed to be another piece, NAyeDa neekabhimAnamu lEda.. which could call out is own pallavi as a cri de coeur towards musicians for the neglect it has suffered..

Manasa vachasa shirasanisham is VasudEvacharya's masterpiece in his master's rAga.. It is in composed in Sanskrit and the Raga bhava and Sahitya coalesce perfectly in this song on Narasimha..

Shri raghukula jaladhi sucharitra shrita is Sadashiva rau's offering. He also has a charmingly sweet krti on lakSmi - SAgarakanyaka which abounds in rAga bhava..


Amba alankari, Bale paripalisau and Chaya devi priya tanayam are the sumptuous pieces muttaiah bhagavatar whipped up. The former two on mahishasuramardini, and the latter in praise of Shani..There should be a recording of bale in his own voice.. Arukkum adangada nIli in praise of mavur kaLi has already been discussed..

Chalu lera nee neSTamu isn't in vogue so much as Idi niku mariyadaga both of which are part of the Javali suite in begaDa. I suspect Rama Ravi knows both..

Kamakshi nato vada and another doubtful song on SaNmukha at Vaidiswaran koil are attributed to
ShAma shastri, besides the varnam DayAnidhe.. the first and last are really good, with all the unusual prayogas of Begada..

There is an interesting incident surrounding the tamizh padam - Yarukkagilum bhayama..

When balasaraswati's name came up for sangeetakalanidhi, the Veena maestro Balachander protested, saying she was a dancer, and dance wasn't sangeeta..

Counter-arguments were offered, from the simple fact that everyone in that family could sing exceptionally well,(All of them, T.Viswanathan, ranganathan,Sankaran and of course Balasaraswati had lovely, high pitched clear-as-a-bell voices) to the hoary dictum of Bharata muni - GItam vAdyam tathA nrtyam Etat sangItam-ucyatE; meaning that sangeeta is the combination of oral melody, instrumental music and dance/dramatic expression..

BAlasaraswati was given the Kalanidhi, and was slotted for a performance on the day of her acceptance. the performance was attended, by Balachander and he sat in the first row..
BAlasaraswati who was aware of the objection raised, and who probably couldn't care less for the kalAnidhi or any such honorifics; noted him and began with the padam Yarukkagilum bhayama, Summa sollatum.. and she sang this one herself as she did the Abhinaya.. The Veena maestro retired, as they say in deep dudgeon, muttering 'I am not afraid of anybody'..!
Last edited by keerthi on 02 May 2009, 13:22, edited 1 time in total.

knandago2001
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#49

Post by knandago2001 »

Swati Tirunal's "kalyaami raghuraamam" has been a favourite with the GNB school (the tune for the opening line is very similar to that of idi neeku mariyaadaga yera naasami); Ramaswami Sivan's "kadaikaNi" evokes a mood of prayer when sung by KVN; The Alathur Brothers popularized "lambodara sodara navamani hara", an RTP in Begada; DKJ and MLV were among the earliest to present Spencer R. Venugopal's "vaa muruga" in their concerts; MLV made Andal's "elle ilangkiliye" a super hit..

Sreeni Rajarao
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#50

Post by Sreeni Rajarao »

Veena Raja Rao has a composition in bEgaDe rAga composed on June 21st, 1942.

It is in kannaDa language with the pallavi line "anugAlavu nInE kAyabEkO kRShNa"

I can share the swara (in kannaDa script) and sAhitya (kannDa or English script), if there is any interest.

Sreeni Rajarao

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