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The best one so far was by Sameer Nandan Bhavanibhatla : here

I think this song is an impressionistic view on the essence of the sounds of life and how life happens in a rhythm. The creator has created the epic poem that we living beings sing in our daily life as a melody.

> I need info regarding the raaga of a Dikshitar song Thyagaraja yoga

> vaibhavam. If anyone knows the raaga of this song can you please

> email it to me or post it in this group.

> thanks

> chandrika

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The kriti Thiagaraja Yoga Vaibhavam, by dikshithar is in the raga

Ananda Bhairavi. It is rendered in rupakam(2 kalais). It is really

a masterpiece so far as the grammar behind it is concerned.It is not in praise of saint Thiagarajar, but is on the lord Thiagarajar

who is the residing deity of Thiruvarur, Tanjore district.Dikshithar has composed several krithis on this lord. Some of them are,Thiagaraja Yoga Vaibhavam: AnandaBhairavi-Rupakam

Thiagarajaya Namaste: Begada-Rupakam

Thigaraja Palayamsumam: Gowla-AdiI have heard these krithis rendered by Semmangudi Srinivasa Iyer

and also by Ramnad Krishnan.The fact that it is not on St. Thigaraja is well revealed in the

anupallavi of the begada song "kathyayani pathe, pasupathe, simhasanapathe,

thiagarajaya namaste".I would like to know more about these.--Anand.

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Time is nature's way of making sure that everything

doesn't happen at once.

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I have heard this sung in AnandaBhairavi.

One of the reasons I remember this song

very well is also because of the very

unique "sangathi-s" of the pallavi -I have heard the pallavi being sung as -thyagaraja yoga vaibhavam

yagaraja yoga vaibhavam

raja yoga vaibhavam

yoga vaibhavam

vaibhavam

bhavam

vamActually, I am not sure whether I am technically

accurate in calling these as "sangathi-s". If anybody

knows the technical trerm for sucha lyric, please

post the info. I would also be interested in knowing

about other similar compositions .-- S. Ramesh

> I have heard this sung in AnandaBhairavi.

> One of the reasons I remember this song

> very well is also because of the very

> unique "sangathi-s" of the pallavi -

> I have heard the pallavi being sung as -

> thyagaraja yoga vaibhavam

> yagaraja yoga vaibhavam

> raja yoga vaibhavam

> yoga vaibhavam

> vaibhavam

> bhavam

> vam

>This kind of lyrical structure is known, for obvious reasons, by the

>charming name of "GoPuccha", ie cow's tail. The quoted lyric is an

>example of Sri Muthuswamy Dikshithar's erudition in Sanskrit, as well

>as his fondness for word play.

>Another example occurs in his krithi, "Sri Varalaksmi", in Sri Ragam. I

>believe it's something like this:

>Sarasapadhe

>Rasapadhe

>sapadhe

>padhe

>padhe.

>Sriram

>--------

>In article

>Ramesh writes:

>> I have heard this sung in AnandaBhairavi.

>> One of the reasons I remember this song

>> very well is also because of the very

>> unique "sangathi-s" of the pallavi -

> > I have heard this sung in AnandaBhairavi.

> > One of the reasons I remember this song

> > very well is also because of the very

> > unique "sangathi-s" of the pallavi -

> >

> > I have heard the pallavi being sung as -

> >

> > thyagaraja yoga vaibhavam

> > yagaraja yoga vaibhavam

> > raja yoga vaibhavam

> > yoga vaibhavam

> > vaibhavam

> > bhavam

> > vam

> >

>>As an avid fan of Marathi Light Classical music, I can safely

>say that some of the best songs have Rupak as accompaniment.

>In a faster tempo,

>it is played as "Ti Ti Na / Dhi Dhi Na Na / Dhi Dhi Na Na".

>As an avid fan of Marathi Light Classical music, I can safely say that

>some of the best songs have Rupak as accompaniment. In a faster tempo,

>it is played as "Ti Ti Na / Dhi Dhi Na Na / Dhi Dhi Na Na".

>enta maathramuna evvaru thalachina

>anta maathrame neevuHowever much we think of YOU (venkateswara) YOU are that much

(more) to us.>antharaantharamu lenchi chooda

>vindanthe nippadi annatlu (enta ..)As I probe my mind, YOU are "vindanthe nippadi" ...could mean

something satisfying. Vindanthe could mean a banquet or a spectacular

view or something totally unrelated.>kolu thuru mimu vaishnavulu koorimitho vishnudaneThe followers of God Vishnu are called Vaishnavas. They

worship Venkateswara as though he was Vishnu incarnate.>paluku thuru mimu vedhaanthulu parabramham vanusuVedantas (a middle group between devotees and atheists) think of you as

the Parabrahma (the procreator).>thala thuru mimu shaivulu thagina bhaktudulu shivudanusuThe followers of Shiva think of you (Venkateswara) as the Vishnu

incarnate>alari pogadu thuru kavaali kolu aadi bhairavudanusu (enta ..)And so on... others will think of you as the Adi Bhairava

(I don't know why Annamacharya has to invoke Shiva twice, but

it is a good rhyme... to a concept that is taken to a logical

conclusion by now as: you are what we think you are)>sari ninnu thuru saaptheyulu sakthi roopu nee vanusuSome other group called saaptheyulu call Venkateswara a Sakthi

roopa (Sakthi could mean the progenitor).>darisanamulu mimu naana vithulanu thala pula koladula bajinthuruThis is merely stretching the facts to make the point that people

worship, pray and sing about Venkateswara...>sirula vimu ae alpa budhdhi thalachina vaariki alpam bhavuthusirulu means wealthy artifacts; alpa budhi is "small mind set";

by the way the verbs throughout this song: thalachina, talachuta,

talapu all mean some way of remembering or invoking something or

someone. >karimala vimu ae gana mani thalachina gana budhdhulaku thanudavuThose who think of you as a great source for their songs, you become

manifest that way.>ee valana korathae lethu mari eeru polathi thaamaravu

>aamala bhaaheerathi thari bhaavula aalela mae oorina etluAs the lakes naturally nurture the lotuses and the

the river Bhagheerata normally fills up the wells around it

with water...>sri venkatapathi nee vaithae mamu chekoni unna theivmu

>ee valanae nee charananiyathanu giriae para thathvamu naaku you Venkateswara fill up my mind and conscience; you are the

"para tatva" to me and so on.

While this song is one of the thousands of Annamacharya's kritis,

it is nevertheless a sample of the complex mind Annamacharya has.

He was always trying to elevate Venkateswara to a God, without actually

mentioning what little or great things Venkateswara, the human, had done

in his earthly life. I think anyone who tried to elevate Venakteswara to a

Godly status

ran into this bottleneck (e.g. Tyagaraja's terateeyagarada meanders

around). But these songs do come with great lyrics. There are some songs where

Annmacharya makes a social call for equality among castes, social and

economic

classes in the society (e.g.: the song Brahmamokkate- parabrahmamokkate).

He must have been really ticked-off with something to write such a

wake-up-call

song. By the way, the life story of Lord Venkateswara appears to me simply as--

sell your soul to support your loved ones. He has not fought any

great wars or performed miracles to free the oppressed like Rama

or Krishna. He however gets godly status because of the way he

commits himself to his wives in spite of his lack of financial

resources to do so. It seems his life story inspires those who take enormous

risks to make their ends meet (ends justify the means in his case).Anyway, people have told me that "Brahma Kadigina Padamu" of Annmacharya,

sung by MS Subbulaxmi, sent them to tears. I don't know if that is ever a

mark

of a singer or the writer. I view all of Annamacharya's songs as jovial,

light

hearted to make me light footed and dance. Shobha Raj who sung many of

Annamacharya's kritis has a positive up-beat way of rendering them.

Dakshin Murthy

A raga is expressed in terms of "rasas" or "moods" such as Bhakti

(devotion), Soka (tragedy), Veera (inspirational), Rakti (melody) etc. A

Bhakti rasa can also be a soka rasa raga, because rasas are like planes on

a mobius-strip -- i.e. one automatically leads to the other

subconsciously. For example, Tyagaraja's "Rara ma inti daka" in Janya raga

is both bhakti and soka raga because one could interpret the meaning as a

devotee inviting Rama visiting their neighborhood to their humble abode in

all happiness and lamenting minutes after that Rama wouldn't come in spite

of the repeated invitations to their abode (that's why it is a good idea

to repeat pallavi and

anupallavi at crucial points during the kriti execution to precisely

convey the rasa of the previous charana or the coming one; when ending the

kriti it is customary to take the pallavi into "aa", "ee", "uu", "na"

karas or sounds; even though some chose to say "hareeee" implying all

rasas and sounds are to be merged with the procreator and understood that

way). The Athana raga is a prayoga pradhana raga, meaning its phrases are

overwhelming to the listeners. Appropriately, Tyagaraja chose to set the

exquisite phrases that start with "Bala kanaka maya chela" in this raga.

However, the anupallavi in it is soka ("ela nee daya radu..." i.e. a God

with so many great sounding names doesn't find it in his heart to be

benevolent to Tyagaraja at times; by the way it is possible to introduce

local sangatis here if a particular singer doesn't want to use soka in

anupallavi during a certain performance where he doesn't want to sink the

audience further down because most of them happen to be already caught in

some

disaster--e.g. a famine or flood). A raga is also characterized by its melakarta because melakartas are

supposed to have in-built meanings. However, the context of these

melakartas is lost over the

passage of time and also in the translation. Other than as a reference for

scale

the melakartas shed little light on how a raga has to be interpreted

(that's why you don't find the 23rd Gowri Manohari janya raga "simheli

bhairavi" under the 20th melakarta "nata bhairavi" even though "bhairavi"

is a common label denominator).To understand ragas, one has to understand the kritis sung in the raga

including

the alapanas and common phrases associated with the raga by their creators

(chiiti swaras, gamakas, etc.). However, it is not as simple as

translating the kriti to English

or whatever. There is a bhava underneath the words one finds hard to

express in words

(the Sankarabharanam movie star Sankara Sastry vocalizes it as "ardhrata"

an soul touching vibration in "Broche Varevararu...ninu vina raghuvara" by

Tyagaraja). The bhava is coming from nada which can be defined as an inner

cry. In other words, an ancient kriti is the inner vibes of an ancient

soul in some natural language (Telugu, Tamil, Kannada, etc.). We can't

understand everything about this ancient soul (Tyagaraja, Purandhara,

Mozart or whoever). Our hope as singers and music lovers is to perpetuate

these vibes to the extent that we find them uplifting and inspirational to

our lives to the best of our abilities. It is "punarapi jananam and

punarapi maranam" as Smt.M.S.Subbu Laxmi sang so beautifully our ancient

wisdom. A raga is an un-ending stream of consciousness like the background

noise of the universe astronomers talk about, the kriti is a particular

stream of consciousness like the roar of the Indian ocean, and the

execution by a singer is a resonance delivered to us by mixing and

matching these un-ending streams with his/her emotions and innate skills.

Now to my pet peeves:So, with these head-in-sand views, naturally I was disappointed when

someone quoted Mr.Illayaraja here on RMCI as though attacking

Dr.Balamurali for his apparent connections as a leading artiste with the

local govt. I'd think of Dr.Balamurali as a revenue generator and

contributor to the local economy and foreign exchange because of his

record sales, if I were a govt. trade official. I'd think of him as a

humble artiste knowing that his SPICMACAY concert in Columbus, OH was

attented by a handful which in general is lackadaisical response. But as

an artiste I should respect his creativity and unique abilities. In a different vein, Eric Clapton's "If I see you in heaven, will you know

my name" inspired by his infant's tragic drop from a high-rise penthouse

is NOT about parental neglect in rising children, a festering issue in USA

and developed countries. And Clapton by no means is trying to chide others

or justifying anything. As an artiste he was compelled to sing that song

as a reaction to an event in his life. It makes a compelling song for many

of us to listen even though we have our own problems and tasks. This is

the necessary quality of any enduring music--bond with the listener no

matter who they are and what they are preoccupied with at all times.Dakshin Murthy e24fc04721