Vid. Sudha Raghunathan - 2007 Ramanavami Concert at Parvathi

Sangeetha Kalanidhi Vid. Sudha Raghunathan - Sri Ramanavami 2007

One of the favourites of the Parvathi audiences, and a celebrated concert artiste for over three decades, Vid. Sudha Raghunathan performed in 2007 at Parvathi to a full house. Unfortunately, the audio we can retrieve is a "hall recording" with significant sound degradation. However, the concert stands as a testament to Vid. Sudha's calibre and concert aesthetics. 

We decided to ask Perplexity.AI to list five notable facts about Vid. Sudha. Here is what it told us!!!

Here are the five best things one can say about Vid. Sudha Raghunathan:

One of India’s foremost Carnatic vocalists and a Padma Bhushan awardee: Sudha Raghunathan is widely recognized as one of the leading exponents of Carnatic music, having been honored with some of the country's highest civilian awards including the Padma Bhushan (2015) and Padma Shri (2004).

Recipient of the prestigious Sangeetha Kalanidhi: She was awarded the Sangeetha Kalanidhi by the Madras Music Academy, a distinction regarded as the highest honor in Carnatic music, and she was among the youngest to receive it, marking a generational transition in the field.

Innovator and global ambassador for Carnatic music: Sudha has evolved a distinctive style, blending tradition with innovation, and has performed at major venues worldwide, including being the only Carnatic musician after M.S. Subbulakshmi to sing at the United Nations. Her repertoire spans over 200 albums and includes forays into film and fusion music.

Dedicated disciple and torchbearer of a legendary lineage: She is a direct disciple of the legendary Dr. M.L. Vasanthakumari, and has carried forward her guru’s legacy, both musically and in her approach to professionalism, resilience, and stage presence.

Committed philanthropist and educator: Beyond music, Sudha Raghunathan has made significant contributions to society through her Samudhaaya Foundation, supporting numerous social causes including health, education, and disaster relief, and actively promoting music education and outreach.

These qualities underscore her artistic excellence, pioneering spirit, and social commitment, making her a role model in the world of Indian classical music and beyond.

Concert Details 

 Sudha Raghunathan - Vocal

 Mysore V. Srikanth - Violin 

 C. Cheluvaraj - Mridangam 

 M.A. Krishnamurthy - Ghatam 

 Date: 27 March 2007.

 Sri Ramanavami Festival conducted at the home of "Parvathi".

Song List

1. Shloka and Mathe Malayadhwaja - Khamach - Muthiah Bhagavatar
2. Vatapi Ganapathim - Hamsadhwani - M. Dikshitar
3. Shloka and Jaya Jaya Janakikantha - Nata - Purandaradasa
4. Endaro Mahanubhavulu - Sriraga Pancharathna - Thyagaraja
5. Nagumomu - Abheri - Thyagaraja
6. Marivere Dikkevaraiyya Rama - Shanmukhapriya - Patnam Subrahmanya Ayyar
7. Kurai Ondrum Illai - Ragamalika - Rajaji
8. Shloka - Bhavayami Gopalabalam - Yamuna Kalyani - Annamacharya
9. Gandhamu puyyaruga - Punnagavarali - Thyagaraja
10. Ragamalika - Uga bhoga - Baro Krishnayya - Kanakadasa
11. Viruttam - Rama Namame - Tanjavur Sankara Iyer
12. Brahmam Okate - Bauli - Annamacharya
13. Mangalam

 

Classic Dynamics - Prof. T.R. Subramanyam1977 Ramanavami

 Vid. T.R. Subramanyam - 1977 'Parvathi' Ramanavami Concert

with Lalgudi Jayaraman, Vellore Ramabhadran, M.A. Krishnamurthy

Prof. T. R. Subramanyam

   Master of his manodharma  ( Quote from Sruti Magazine, Nov.2013)

The musical style of TRS was innovative. His performance was always based on robust fundamentals. 

Rhythmic dominance did condition his rendition. TRS treaded a path laid and determined by himself. It was at once conventional and unconventional. As a master of many musical forms he indulged in endless experimentation, striving to strike a judicious balance between swara and laya. Subbudu referred to TRS as an embodiment of Tala, Raga and Swara (TRS). TRS was indeed a maestro with a difference, because the impressions of his preceptors pale into insignificance when contrasted with his individualism.

                                                                           (Unquote)

We are now approaching the last mile of Parvathi concert uploads. This is also the period when we remember the last year without the most gracious presence of Sri. K. Srikantiah in physical terms amongst us. So, we thought it best to share excerpts from a great concert of the redoubtable TRS with stellar accompaniment. The recording we retrieved begins in the middle of a robust Kalyani, with a strike rate worthy of the best of T20 innings. But as the Kalyani proceeds with the Sawaal-Jawaab format with Lalgudi, we realise this is nothing like short and fiery T20 innings. The maestro goes on striking the boundaries in his elaborate swara prasthara. Lalgudi, whom by the way TRS idolised, holds nothing back. This was the glory days of these great musicians and also the best of times at Parvathi festivals!

Concert Details: 

T.R.Subramanyam-vocal

Lalgudi Jayaraman - violin

Vellore Ramabhadran - mridangam

M.A.Krishnamurthy - ghatam

30-3-1977 during Sri Ramanavami festival at Parvathi.

Song List

1. Neeve Gatiyeni - Kalyani - Mysore Vasudevachar
2. Srivallidevasenapathe - Natabhairavi - Papanasam Sivan
3. Begada Raga Tana Pallavi -"Raghavam Ravivamshajam Rakshasabheekaram Satatam Chintaye"
4. Ragamalika- Kanada, Neelambari, Behag, Revathi
5. Guru Purandara Dasare NImma Charana Kamalava Nambide - Hamir Kalyani - Vijaya Dasa
6. Bageshri thillana - Lalgudi Jayaraman
7. Dasara Pada - Ramakrishnaru Manage Bandaru - Thilang
8. Mangalam

His music is eternal

 Mandolin Shrinivas ((28 February 1969 – 19 September 2014)

The one and only Mandolin phenomenon, U.Shrinivas, was given the honour to perform at the Parvathi Silver Jubilee in 1994. Famous music personalities as well as cinestars  Vishnuvardhan and Ambareesh graced the occasion. The details are seen below.

When Shrinivas left us suddenly in 2014, the home of Parvathi was plunged into grief. A tribute was posted at that time, which is reproduced below.

***

A Tribute by Mysore Prabha

“U. Srinivas passed away” was the breaking news on TV. It was heart-breaking news for us.

Though Lalgudi Krishnan had already given us the shocking news, my mind just refused to accept the fact. How could this happen? Though we knew that he was ailing, we never doubted his recovery. But fate snatched U. Srinivas away from amidst us. To put it in renowned novelist and writer R. K. Narayan’s words, “He jumped the queue”. U. Srinivas has moved on to another world, leaving behind his prodigious, melodious, soul-stirring music for us to enjoy.

There is probably no other musician from India who attained national and international acclaim at such young age as U. Srinivas did. He was recognized as a child-prodigy when he started performing at a very young age of 8-10 years. He continued to be a prodigy even in his 40s, because, no other musician produced such wonderful music on the mandolin (the supposedly ill-suited instrument for carnatic classical music) like Srinivas did. It is to Srinivas’ credit that he has greatly popularized Indian music in western countries. He was always a crowd puller whenever and wherever he performed-in India or abroad. His music always pleased the connoisseur and the layman alike.

My family’s association with U. Srinivas dates back to 1984. It was on 10.4.84 that Srinivas first visited our home,”Parvathi”, in Mysore, to perform during the annual Ramanavami music festival conducted by my father, K. Srikantiah. He was a small-built lad and I remember the shy boy sitting on the carpet with his mandolin next to him, gazing and touching his mandolin continuously, as if afraid someone would snatch it away from him. He had no eyes for anything or anyone else and spoke only in monosyllables. The pandal next to our house and the roads surrounding it were jam-packed with music lovers waiting to listen to the highly acclaimed child prodigy. The little boy timidly got onto the stage – and then! The audience was transported to a heavenly world of music emanating from his magical fingers! Starting then, he gave about 8 to 10 concerts for us spread over two and a half decades. Surprisingly, despite all his name, fame and glory, he was still the same, child-like, humble Srinivas when he performed for our K. Puttu Rao music festival (Inaugural concert) in 2011. Little did we know that it would be his last concert for us, and also in Mysore. It was our privilege to honour Srinivas during our Silver Jubilee year Ramanavami festival in 1994. It warmed our hearts when Srinivas said in his speech that he considered himself one in our family.

U. Srinivas has left us after leading a highly worthy life in his short life span. He has achieved in about three decades what probably would take three births for others to achieve. The country and the Carnatic music world have lost one of its rarest gems. The Indian music world will forever be proud of its prodigious son- Mandolin Srinivas. There cannot be another Mandolin Srinivas.

My family and I pray that Lord Rama blesses Srinivas’ soul with eternal peace.

***

We are glad to share that Silver Jubilee concert recording here with rasikas.

Concert Details

U. Shrinivas - Mandolin

Mysore Nagaraj - Violin

T.K. Murthy - Mridangam

M.A. Krishnamurthy - Ghatam

Date: 20 April 1994

Song List

1. Varnam - Todi -
2. Vatapiganapathim - Hamsadhwani - Dikshitar
3. Endaro mahanubhavulu - SriRaga Pancharatna - Thyagaraja
4. Natajana Paripalana - Simhendramadhyamam - Thyagaraja
5. Sadamadini - Gambhiravani - Thyagaraja
6. Mohana Rama - Mohanam - Thyagaraja
7. Tani - T.K. Murthy, M.A. krishnamurthy
8. Tunga Teera - Yamuna Kalyani - Kamalesha Vitthala
9. Venkatachalanilayam - Sindhu Bhairavi - Purandaradasa
10. Karpagame - Madhyamavati - Papanasam Sivan
11. Brindavani Thillana - Lalgudi Jayaraman
12. Mangalam

***

The Excellence of Flute in Carnatic Music - Vid. N. Ramani

Vid. N. Ramani - Sri Ramanavami 1980

The world of Carnatic music is best described in two words - Sangeeta and Sahitya. The compositions of the great vaggeyakaras are like mantras that invoke the Nada Brahmam in us as we listen to a chaste rendition of their songs.

But as सङ्गीतरत्नाकर declares, गीतं वाद्यं तथा नृत्यं  त्रयं सङ्गीतमुच्यते - the trinity of Song, Instrument and Dance is Sangeeta.

The Srimad Bhagavatam declares that as soon as Sage Narada received spiritual instruction from his father, Lord Brahma, he began travelling the three worlds, singing the glory of Sri Hari, accompanying himself on the Veena!

But what about pure instrumental music? The instrumental soloists have etched a permanent place for themselves in Carnatic music. Notable among them, and the favourites of the home of Parvathi, were Vid. Lalgudi Jayaraman, Vid. Chitti Babu, Vid. Mandolin Shrinivas, and, last but not the least, Vid. N. Ramani.

The Wikipedia informs us that Vid. Ramani was born into a musician family in Tiruvarur. He learnt the art of the flute from his maternal uncle and legend Vid. Mali, and carved a significant place for himself with the best of the gayaki style of Carnatic music combining his instrumental virtuosity with adherence to the Pathantara of songs rendered by the best vocalists of the time.

In this concert, Vid. Ramani is accompanied by the maestro Vid. M. Chandrasekharan on the violin, Vid. Vellore Ramabhadran on the mridangam and Vid. M.A. Krishnaswamy on the ghatam. The repeated exclamations of "Bhale", 'Bhesh", and "Kya Baat Hai" can be heard peppering the wonderful flow of music. Notable renditions are Hindolam, with wonderful essays by the flute and violin, and also Kharaharapriya, an eternal favourite of Sri. K. Srikantiah.

Concert Details

Ramanavami 1980

N. Ramani - Flute

M. Chandrasekharan - Violin

Vellore Ramabhadran - Mridangam

M.A. Krishnamurthy - Ghatam

Date 26 March 1980

Song List

1. Chani Todi Teve - Harikambhoji - Thyagaraja

2. Sri Narada Nada - Kanada - Thyagaraja

3. Enta Muddo - Bindumalini- Thyagaraja

4. Manasulo Ni Marmamu - Hindolam - Thyagaraja

5. Palintuvo - Kantamani - Thyagaraja

6. Rama Nee Samanamevaru - Kharaharapriya - Thyagaraja

7. Ni Dayache Rama? - Yadukula Kambhoji - Thyagaraja

8.  Bhajan- Shivaranjani

9. Bhajan - Sindu Bhairavi

10. Arumugam Arumugam - Kuntalavarali- Arunagirinathar (Thiruppugazh)

(The recording is 42 years old and any shortcomings may be kindly excused.)

Sudha Raghunathan – A Worthy Inheritor and a Shining Star

Padma Bhushan Vid. Sudha Raghunathan - Sri Ramanavami 2005

The mantle of the MLV bani sits lightly on the most successful lady musician on the Carnatic scene of the past 30 years. Vid. Sudha Ragunathan has performed at the Madras Music Season every year since 1990, the very year in which her Guru Dr. ML Vasanthakumari breathed her last. 

In 2013 she was awarded the Sangita Kalanidhi of the Madras Music Academy. She was awarded the Padma Bhushan, India's third-highest civilian honour, in January 2015. 

Her charities are very well known, carried out by her trust. Her musical collaborations, from performing with Dr. Balamuralikrishna to joining groups that created world music, are prolific and fascinating.

Vid. Sudha’s energy, charm and creativity were on full display during the Covid lockdown. She conducted a number of exciting sessions with musicians and other personalities of all ages in a warm tête-à-tête style. She even had live cooking sessions on her YouTube channel, where she sang and cooked at the same time!

We have featured several concerts of Vid. Sudha Raghunathan in the Parvathi blog already. She has been a regular in our festivals and a much acclaimed star for the Parvathi audiences.

In this 2005 concert, Vid. Sudha presents a rich bouquet of songs from many composers. Her easy style of reaching top octave notes is on display early in the concert. . All the accompanists are established names from Karnataka. Her essay of Todi and the song Chesinadella are captivating. Behind her ease in negotiating the high notes and an easy fluidity characteristic of her music lies hidden her lifelong Sadhana in a successful journey prophesied by none other than Bhagavan Sathya Sai Baba.

Concert Details

 Sudha Raghunathan - Vocal

 Mysore V. Srikanth - Violin 

 C. Cheluvaraj - Mridangam 

 M.A. Krishnamurthy - Ghatam 

 Date 21 April 2005 

 Sri Ramanavami Festival conducted at the home of "Parvathi"

Song List

1. Viriboni – Bhairavi Atatala Varnam – Pachimiriyam Adiyappayya
2. Gajavadana Beduve – Hamsadhvani – Purandara Dasa 
3. Ramanatham Bhajeyam – Pantuvarali – Muthuswami Dikshitar 
4. Mokshamu Galada – Saramathi – Thyagaraja 
5. Bhavayami Raghuramam – Ragamalika – Swathi Thirunal 
6. Dayarani – Mohana – Thyagaraja 
7. Akhilandeshwari – Dwijavanthi – Muthuswami Dikshitar 
8. Vidajaladura – Janaranjani – Thyagaraja
9. Jesinadella Marachitivo – Todi – Thyagaraja 
10. Kurai Onrum Illai – Ragamalika – C. Rajagopalachari 
11. Maneyinda Santhosha – Ugabhoga – Yamuna Kalyani – Sripadaraja 
12. Hari Smarane Mado –Yamuna Kalyani – Purandara Dasa 
13. Brahmam Okate – Bowli - Annamacharya 
14. Mangalam

ಉಗಾಭೋಗದ ಸಾಹಿತ್ಯ: 

ಮನೆಯಿಂದ ಸಂತೋಷ ಕೆಲವರಿಗೆ ಲೋಕದಲಿ 

ಧನದಿಂದ ಸಂತೋಷ ಕೆಲವರಿಗೆ ಲೋಕದಲಿ 

ವನಿತೆಯಿಂದ ಸಂತೋಷ ಕೆಲವರಿಗೆ ಲೋಕದಲಿ 

ತನಯನಿಂದ ಸಂತೋಷ ಕೆಲವರಿಗೆ ಲೋಕದಲಿ 

ಇನಿತು ಸಂತೋಷ ಅವರವರಿಗಾಗಲಿ ನಿನ್ನ ನೆನೆವೋ ಸಂತೋಷ ಎನಗಾಗಲಿ ನಮ್ಮ ರಂಗವಿಠ್ಠಲ ॥

Celebrating a true understanding of our music

Vid. Trichur V. Ramachandran – 1997 Concert Excerpts from 'Parvathi'

An R. Sachi Review

We are very happy to share this time some excerpts from a Ramanavami Concert held in Mysore by the home of 'Parvathi' in 1997. Sangeetha Kalanidhi Trichur V. Ramachandran sings beautifully in this concert held 21 years ago. The accompaniment is very good too. The result is a rich concert experience.

The vidwans who play in this concert come from a tradition of excellence. They have pursued a true understanding of our music. Nowadays it is fashionable to say that our music is not this, not that, and so on. Some are even arguing that we should give up this "nonsense called Bhakthi". On the other hand, some critics jokingly say that practitioners of Carnatic music have progressively deleted time-honoured elements in our music, like Sruthi, Soukhyam, Bhaava, and so on.

What did the great composer Saint Thygaraja have to say on this in his composition Vidulaku Mrokkeda, sung so well in this concert?

Like all rasikas all over the world, we feel blessed whenever we listen to good music. Come, let us enjoy this concert, although we are able to retrieve only some excerpts.

Concert Details:

V.Ramachandran --------------- Vocal
S.V.Narayan ---------------------- Violin
Arjun Kumar ----------------------- Mridangam
M.A.Krishnamurthy ------------ Ghatam
on 25-4-97 during Sri Ramanavami Music Festival at 'Parvathi'.

Song List:

01 Maha Ganapatim- Nata – Muthuswami Dikshitar *** 02. Vidulaku mrokkeda –Mayamalavagowla- Thyagaraja *** 03 -Mundu venuka-Durbar – Thyagaraja ***04 Seetamma mayamma-Vasantha- Thyagaraja *** 05 Illi nodalu Rama-Mohanakalyani – Purandara Dasa ***

Nostalgia – that Priceless Ingredient in Carnatic Music

Vid. Neyveli Santhanagopalan
1990 'Parvathi' Ramanavami Concert

R. Sachi - 'Distinguished artists and some memorable times'

Dear rasikas, we are pleased to share, just before Deepaavali, a gem of a concert from 1990.

Mysore, or Mysuru as some spell it, just witnessed a grand Dasara festival. Dasara is a big deal for Mysoreans. It is a world of nostalgia. It also brings every year hordes of tourists who soak in the sights and sounds and tastes of a great royal city.

What is life without nostalgia? In fact, nostalgia is the priceless ingredient of Carnatic music. Any rasika worth his salt would start regaling or boring you within a few minutes with stories of how Maharajapuram (not the son or grandson or great grandson but the big daddy, Sri Vishwanatha Iyer) sang that incredible Mohana in 1955. Or how GNB wore that wonderful perfume called Swag and women used to swoon over it. How MSS gave that incredible benefit concert when she sang O Rangashayi for 50 minutes. Or how Palghat Mani Iyer played the main role in that concert 50 years ago. Or how Mahalingam warred with Chowdiah musically on stage in 1958.

We also gloat in nostalgia at Parvathi. We are proud of its 70+ years heritage of concerts. In fact we bring you now a vintage 1990 concert of the incomparable Vidwan Sri Neyveli Santhanagopalan. He is a multifaceted genius and performs as well as teaches around the world. He perhaps holds a world record for training huge choir ensembles in USA.

Sri. Santhanagopalan gives in this concert held over 27 years ago a delectable concert, with melody and depth. The accompaniments of Sri. Mysore Nagaraj on the violin and Sri. Rajagopal, a veteran artiste, on the mridangam, Sri. Krishnamurthi on the ghatam, are very enjoyable.

After a vervy Hamsadhwani, we have a classic Pantuvarali. Then comes a great Nalinakanti and then a sweet Kapi. What more is needed for a diehard rasika?

Kapi is an eternal favourite in Carnatic music. Whereas Jagadoddharana is perhaps one of the most famous Carnatic songs, there are gems composed by Thyagaraja that allow for the elaborate treatment of a main piece in Kapi. Here Sri. Santhanagopalan, ably accompanied by Sri. Nagaraj, paints a resplendent portrait of a raga rich in colour with many star-studded melodious phrases. Appropriately, he sings the song wherein Saint Thyagaraja says he cannot describe in words his infinite joy in singing the name of Rama.

The post-tani songs in Tilang, Bhimplas, Hamsanandi and Behag, are full of bhava and round off a great fare.

Concert Details

Neyveli Santhanagopalan ----------- Vocal
Mysore Nagaraj ------------------------ Violin
V.S.Rajagopal..................................Mridangam
M. A. Krishnamurthi......................... ........Ghatam
on 10-4-1990 during Sri Ramanavami Music Festival

Song List

01 Intachala- Begade Varna – Veena Kuppaiyer ***02 Raghunayaka-Hamsadhwani-Thygaraja *** 03 Pantuvarali Raga *** 04 Raghvara ninnu-Thyagaraja *** 05 Nalinakanti Raga *** 06 Manavinala kinchara-Thyagaraja *** 07 Kapi Raga *** 08 Inta soukhya-Thyagaraja *** 09 Tani *** 10 Rama Rama –Tilang-Purandara dasa *** 11 Nandatanaya –Bhimplas-Purandara dasa *** 12 Viruttam:: Punnagai onru podhume- Hamsanandi-Ambujam Krishna *** 13 Tillana –Behag – Papanasam Sivan *** 14 Mangalam ***

Captivating, Creative, Confident Genius - Dr. M. Balamuralikrishna (1930-2016)

A Retrospect on the great Master by R. Sachi

When someone writes the history of Indian classical music of the past 100 years, they are bound to mention in the very first list of all-time greats the name of Dr. Mangalampalli Balamuralikrishna.

When the maestro breathed his last recently, a torrent of obituaries and tributes poured in, from famous musicians, youngsters, veteran artistes, film directors, actors, and composers, as well as listeners from all over.

Balamurali, as he became famous in 1960’s, shook the orthodox Carnatic music world, with his brand of improvisational music, his refreshingly different rendition of sahitya, and his own compositions. He was melodious, multi-faceted, and innovative. If he came across to the public as arrogant and irreverent sometimes, it was a part of the package called Dr. M. Balamuralikrishna. This is understandable when someone becomes popular before his teens, composes in all the 72 melakartas while still in his teens, and fearlessly innovates in every concert, becomes a popular film playback singer, attracts followers from the north as well as south of India, performs famous jugalbandis, and wins laurels the world over. He sang for nearly 80 years, collected a dozen doctorates, almost all awards in the country, and the Mahatma Gandhi Silver Medal from UNESCO in 1995, in addition to the 'Chevalier of the Ordre des Arts et des Lettres' by the French Government in 2005.

Balamurali performed in 'Parvathi' many times. His concerts were always popular. We feature photos from his early concerts and links to earlier uploads below:

Musical Bylanes I (CLICK)
(PHOTOS OF SEVERAL OF THE VIDWANS IN 'PARVATHI')

'MANDIRAMU MANAMANDIRAMU' (CLICK)
(Vidwan's acceptance Speech in Chowdiah Memorial, Bengaluru Nov 29, 2009)
(Vidwan receiving the K. Puttu Rao-Palghat Mani Iyer Award May 31, 2005)
(Vidwan's vintage concert in 'Parvathi' in 1965)
(Vidwan's vintage concert and felicitation photos from 7-4-1971)

IN THIS CONCERT, Balamurali gives an irresistible feast of the best of his music. We have heavyweight ragas like Mayamalavagowla and Pantuvarali. Especially in Pantuvarali, he scales 3 octaves with ease and impact repeatedly. Nagaraj on the violin holds his own well. We then have a wide range of beautiful Thyagaraja krithis invoking devotion. We also have some highly meditative krithis of Annamacharya, Bhadrachala Ramadasu and Sadashiva Brahmendra. We have the delectable Mamava Pattabhirama of Dikshitar, sung uniquely. The finale of the concert, the trademark Balamurali tillana and mangalam, rounds off a remarkable concert.

In the true spirit of his music, Balamurali will be more than delighted with the listeners of Parvathi blog enjoying this concert all over the world.

Details

M.Balamuralikrishna --------------- Vocal
Mysore Nagaraj ---------------------- Violin
Vellore Ramabhadran -------------- Mridangam
Sheshagiri Das ----------------------- Khanjira
M.A.Krishnamurthy ----------------- Ghatam
on 27 -4-1983 at "Parvathi" during Ramanavami Music Festival.

Song List

01 Merusamana – Mayamalavagowla -Thyagaraja *** 02 Bhajanaseyarada –Athana - Thyagaraja *** 03 Abhogi Raga *** 04 Nannu Brova- Abhogi -Thyagaraja *** 05 Pantuvarali Raga *** 06 Appa Rama bhakti – Pantuvarali - Thyagaraja *** 07 Sri Ramam sada bhajeham – Tanarupi- BMK *** 08 Karuna samudra- Devagandhari- Thyagaraja *** 09 Tani-truncated *** 10 Etirugananu – Nadanamakriya – Bhadrachala Ramadasu *** 11 Rama ninnuvina – Shanakarabharana - Thyagaraja *** 12 Peridi ninnu- Kharaharapriya-Thyagaraja *** 13 Raghunandana Raghunandana - Kedaragowla -Thyagaraja *** 14 Brahmagaligina padamu- Mukhari -Thyagaraja *** 15 Harirasamavihari- Hindola- Annamacharya *** 16 Pibare Ramarasam –Ahir Bhairav- Sadashiva Brahmendra *** 17 Hodi nagarimele- Ananda Bhairavi- Purandara Dasa *** 18 Jo Achutananda jojo mukunda –Kurinji- Annamacharya *** 19 Tillana Kuntalavarali -BMK *** 20 Mamava PattabhiRama- Manirangu- Muthuswami Dikshitar *** 21 Mangalam ***

Rich Violin Strains from Mysore

Vid. M. Nagaraj and Vid. M. Manjunath
'Parvathi' Ramanavami Concert – 1998

Expressions from R. Sachi

We feature this time a violin duet by the famous Mysore Brothers, Vidwans Nagaraj and Manjunath. Mr. K. Srikantiah has been a kind of godfather for them from their earliest performing days, and speaks with beaming pride of their international star status now. The brothers have mastered the instrument and can present any type of music, from the melodious and soft type, to the strident and fast-paced music.

Having accompanied many stalwarts at Parvathi as well as performing duets at the annual festivals, the brothers have enjoyed much popularity at Parvathi. They are invariably accompanied by strong percussion, and this time we have Vid. Bhaktavatsalam on the mridangam, and Vid. Krishnamurthy on the ghatam. There is an elaborate Ragam Tanam Pallavi as well as a Tani in the posted concert.

[Photo Courtesy: imsom.org, Minnesota]

Among the songs presented are many famous compositions of Saint Thyagaraja appropriate to the Ramanavami sentiment. Come, let us enjoy the concert!

Concert Details

M.Nagaraj & M.Manjunath ------------ Violin Duet
T. Bhaktavatsalam -------------------------- Mridangam
M.A.Krishnamurthy ---------------------- Ghatam
During Ramanavami festival at Parvathi, Mysore on 5-4-1998.

Song List

01. Marugelara-JayanthaShri-Thyagaraja *** 02. Mamava Raghurama- Saranga- Thyagaraja *** 03. Brova Bharama – Bahudari- Thyagaraja *** 04. Kharaharapriya Raga *** 05. Rama Neeyeda- KHP- Thyagaraja *** 06. Bhogindrashayinam- Kuntalavarali- Swathi Thirunal *** 07. Kalyani Raga, Tana *** 08. Pallavi (Ragamalika) *** 09. Tani *** 10. Bhajan- Raag Haricharan *** 11. Mangalam

Ananda Natesa - a unique conception of God in HInduism

Vid. KJ Yesudas 1982 'Parvathi' Ramanavami Concert

A coverage by R. Sachi

We feature another full-fledged concert of Vid. KJ Yesudas this time. The love affair between "Parvathi" and Sri Yesudas continues after many decades and at his Putturao Memorial concert last year, almost crowd control measures were needed when 2500 people thronged the Jagan Mohan Palace. His popularity has always soared high for his delightful presentation style and unparalleled voice. In this concert, held 34 years ago, he enjoys the company of two stalwarts and eventual Sangeetha Kalanidhis, Vid. M. Chandrasekharan and Vid. Palghat Raghu. As usual, the excellent recording quality, despite its being a home recording, is a precious gift of "Parvathi" to all rasikas.

The song list includes the Tamil composition Ananda Natesa. The conception of God in cosmic dance is unique to Hinduism. Celebrated in iconography, art, music, dance and culture, this symbolism goes beyond mere beauty. The five elements are present in this dance, and the chidambara is a metaphor for the daharaakasha, the abode of the Infinite in our bosom.

Ananda Coomaraswamy, the famed writer and researcher, had this to say about the conception of Nataraja.
From the Dance of Siva by Ananda Coomaraswamy (1918) (also the image reproduced below):

" Now to summarize the whole interpretation we find that the Essential Significance of Siva's Dance is threefold: First, it is the image of his Rhythmic Play as the Source of all Movement within the Cosmos, which is Represented by the Arch; Secondly, the Purpose of his Dance is to Release the Countless souls of men from the Snare of Illusion; Thirdly the Place of the Dance, Chidambaram, the Centre of the Universe, is within the Heart. So far I have refrained from all aesthetic criticism and have endeavoured only to translate the central thought of the conception of Siva's dance from plastic (i.e.sculptural form) to verbal expression, without reference to the beauty or imperfection of individual works. But it may not be out of place to call attention to the grandeur of this conception itself as a synthesis of science, religion and art. How amazing the range of thought and sympathy of those rishi artists who first conceived such a type as this, affording an image of reality, a key to the complex tissue of life, a theory of nature, not merely satisfactory to a single clique or race, nor acceptable to the thinkers of one century only, but universal in its appeal to the philosopher, the lover, and the artist of all ages and all countries. How supremely great in power and grace this dancing image must appear to all those who have striven in plastic (an expression used to describe art forms such as sculpture etc.) forms to give expression to their intuition of Life! "

So dear rasikas, come and enjoy pure melody from 35 years ago!

Concert Details

Vid. K.J. Yesudas -------------- Vocal
Vid. M. Chandrasekharan-- Violin
Vid. Palghat Raghu ---------- Mridangam
Vid. M.A. Krishnamurti ---- Ghatam
On 5-4-82 during Ramanavami at 'Parvathi'.

Song List

01. Evaribodhana- Abhogi Varna-= Patnam Subrahmanya Iyer *** 02. Vatapi-Hamsadhvani- Muthuswami Dikshitar *** 03. Rakshamam - Nata - Meenakshisuta *** 04. Pavanaguru-Hamsanandi- Lalithadasar *** 05. Santana Ramaswaminam-Hindola vasanta- Muthuswami Dikshitar *** 06. Abhimanamennadu- Kunjari- Thyagaraja *** 07. Mokshamu galada-Saramati- Thyagaraja *** 08.Todi Raga *** 09. Ananda Natesa-Todi- Ramaswamy Sivan *** 10. Shankarabharana Raga *** 11. Tana-Pallavi-Ragamalika swaras *** 12.Nandanandana-Desh- Lalitha Dasar *** 13. Kannanai Kandayo -Sindhubhairavi-Lalithadasar ***14. Shadj ne paya- Ragamalika- Tansen *** 15. Mangalam ***

Enriching Carnatic Music through Emulation

Flute Ramani – Parvathi Ramanavami Concert 1981

An Appreciation from R. Sachi

It is not for the first time that we are sharing a wonderful concert of Vid. N. Ramani with our rasikas. A much-loved flautist in the Carnatic idiom for several decades, he stands for pristine music with an enchanting appeal and a wide repertoire. His several collaborations over the years with other great musicians have also resulted in unforgettable concerts. His innumerable recordings are cherished by collectors world over

[ Cover illustration from an HMV album ]

In this 1981 concert, the music is simply ethereal. The emanating melody in some of the items makes us close our eyes and wonder if this is how probably Sri Krishna's divine music would be.

This concert took place when Vid. Ramani was at the peak in his career. Of course,Vid. Chandrasekharan on the violin here is at his usual best, elevating the concert with his accompaniment. Vidwans Srimushnam Raja Rao and MA Krishnamurthy have lent good percussion support.

In the rich repertoire shared here, there is the Begada classic, ‘Shankari Neeve”. Its composer Sri Subbaraya Shastri (1803-1862) was the second son of Sri Shyama Shastri, one of the glorious Carnatic trinity. Subbaraya Shastri is reputed to have studied music not only under his father, but also under Saint Thyagaraja and Sri Muthuswami Dikshitar. He was an expert in many languages and had learnt even Hindustani music from famous Maratha vidwans residing at that time in Tanjavur. He could play with felicity the violin and a rare Indian bowed instrument, sarinda.

Sri Subbaraya Shastri’s compositions are greatly cherished by connoisseurs of Carnatic music. They are known for their musical enrichments- of raga, swara sahitya and laya. Dr. V. S. Sampathkumaracharya (Karnataka Sangita Vishaya Vishwakosha) makes many interesting observations. Sri Subbaraya Shastri’s krithi, “Vanajasana vinuta” in Shriraga eschews the note dha, emulating the approach of Saint Thyagaraja in “Endaro mahanubhavulu”. His composition, “Venkatashaila vihara” in Hamir Kalyani is modelled on the structure of Dikshitar’s compositions. His compositions, “Janani ninnuvina” (Reetigowla) and “Ninnu Sevinchina” (Yadukula kambhoji) show the influence of his own illustrious composer father, Sri Shyama Shastri. Sri Subbaraya Shastri has shown also great expertise in swara-akshara sahitya in many of his compositions.

Thus, we can see that apart from their own innumerable musical gems, the Carnatic trinity have extended their abiding influence on Carnatic music through the enriched compositions of vaggeyakaras like Sri Subbaraya Shastri who have emulated their compositional ideas.

Apart from Begada, this concert has many very enjoyable delineations – Kapi and Bhairavi to name just two. Come, let us enjoy the musical feast from Vid. N. Ramani and team.

Concert Details

N.Ramani ---------------- Flute
M.Chandrasekharan --- Violin
Srimushnam Raja Rao --- Mridangam
M.A Krishnamurthy ------ Ghatam
on 19-4-81 at "Parvathi" Ramanavami festival

Song List

01. Pranamamyaham-Gowla-Vasudevachar *** 02. Dinamani vamsa-Harikamboji- Thyagaraja *** 03. Entamuddu-Bindumalini-Thyagaraja *** 04. Begade Raga *** 05. Shankari Neeve- Subbaraya Shastri *** 06. Kapi Raga *** 07. Inta soukhya-Thyagaraja & Tani *** 08.. Evaritho –Manavathi- Thyagaraja *** 09. Bhairavi Raga *** 10. Tana-Pallavi- swaras (Bhairavi and Mohana) *** 11. Na naati bratuku-Revathi- Annamacharya *** 12. Ashtapadi-Mohana, Rageshri,Yaman, Sindhu bhairavi- Jayadeva*** 13. Venkatachala nilayam-Sindhu bhairavi- Purandaradasa*** 14. Magudi *** 15. Tillana-Dhanasari- Swathi Thirunal *** 16. Thiruppugazh–Kuntalavarali *** 17. Mangalam***

Scriptures and Devotion

Bombay Sisters – Parvathi Ramanavami Concert, 1975

Appreciations from R. Sachi

We bring the rasikas worldwide this time excerpts from a 40 year-old recording of the concert by Bombay Sisters. Vidushis C. Saroja and C. Lalitha were born in Kerala and grew up in Bombay. After their initial musical training they won scholarships to study under the doyens at the Central College of Carnatic Music, Adyar, Chennai. They have been hailed as pure classicists bringing credit to their gurus Musiri Subramanya Iyer and T.K. Govinda Rao. The Bombay Sisters have had a steady run of popularity for nearly 50 years and were conferred the coveted Sangitha Kalanidhi title by the Madras Music Academy in 2010.

In this concert, we find some fine renditions of famous krithis like Evari Mata and Innu Daya Barade. These songs unburden the longing of the devotee for divine grace. The bhakti movement in India has given rise to an extraordinary breadth and depth of devotional outpouring, fully harnessed in the lyrics of Carnatic music. To name a few of the originators of these lyrics: Andal, Annamacharya, Bhadrachala Ramadas, Chaitanya, Meera, Kabir, Tulsidas, Surdas, Purandara Dasa and others of that tradition, Thyagaraja, Shyama Shastri, Swati Tirunal, Papanasam Sivan, Vasudevachar…

“Come to me, please reveal yourself, save me, help me cross the ocean of this wretched existence”: these sentiments and their variations come again and again in impassioned entreaties to the Lord. In the Srimad Bhagavatam, Uddhava, a great intellectual, spiritual aspirant, and associate of Krishna, is sent to Gokula to meet Krishna’s family and the gopis. There he encounters the real bhakti of the gopis for Krishna. He is simply swept away. He says to them (quote from Srimad Bhagavatam, The Wisdom of God by Swami Prabhavananda): “How Blessed are you to have surrendered yourselves completely and whole-heartedly to Bhagavan Sri Krishna, the God of Love. Love and devotion grow after one has practiced many austerities, undergone many spiritual disciplines, and meditation. But fortunate indeed are you who were born with all-consuming love and devotion, and have renounced everything for the love of your dear Krishna. O happy ones, who enjoy the bliss of divine love, I am blessed and purified by coming into your presence.”

The song Evari Mata by Thyagaraja is famous and pours out the rasa of Kambhoji incomparably. No wonder it is often taken up in concerts for elaborate treatment. To show the emotive content of the lyrics, we reproduce below the text and translation of the song from The Spiritual Heritage of Thyagaraja:

Come let us enjoy this fine concert by Bombay Sisters!:

Concert Details

Bombay Sisters (Saroja and Lalitha) --------- Vocal
Master Nagaraj (Now Mysore Nagaraj) ---- Violin
P.G.Lakshminarayan ------- Mridangam
M.A.Krishnamurthy --------- Ghatam
on 27-4-1975 at 'Parvathi'.

Excerpts List

01. Ganamurthe- Ganamurthi- Thyagaraja *** 02.Rama Rama –Simhendramadhyama- Swathi Thirunal *** 03. Ramachandram Bhavayami –Vasantha- Muthuswami Dikshitar *** 04. Kambhoji Raga- Evarimata-Thyagaraja *** 05. Innu daya baarade-Kalyana Vasantha- Purandara Dasa *** 06. Shloka - Ab mein naachun-Yaman Kalyani- Surdas *** 07. Tillana-Jinjhuti- Veena Sheshanna

The Mysore Veena spoke in His Hands

Sangeetha Kalanidhi V. Doreswamy Iyengar (1997)

Reminiscences from R. Sachi

We are happy to share on the eve of Ugadi a beautiful veena concert from 1997 of Vidwan Doreswamy Iyengar. His concert in the first year of the Ramanavami festival, 1970, has already been shared here.

The featured concert of 1997 would be his last in Parvathi since he left his mortal coil in the same year.

In this concert, even at the age of 77, Sri Doreswamy Iyengar has shown his famous touch of class. Ragas like Narayanagowla, Harikambhoji, Purvikalyani and Todi come out in splendid finery. His veena speaks and sings with such melody. The tempo is really easy on the ears. The concert shows what Sri Doreswamy Iyengar was most loved for... the true sweetness of the Mysore Veena bani.

Sri Iyengar shared a close friendship with Mr. K. Srikantiah and used to spend long hours with him and RK Narayan, the famous writer in the beautiful city of Mysore. The three formed a kind of three musketeers. Sri Doreswamy Iyengar was honoured by the home of Parvathi during the silver jubilee of the Parvathi concerts in 1994 (photo here).

Here is a translation of the page on Sri Doreswamy Iyengar in the Kannada musical encyclopedia, “Karnataka Sangita Vishaya Vishwa Kosha” (author Dr. V.S. Sampathkumaracharya, pub. DVK, Mysore, 2012):

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Veene Doreswamy Iyengar (1920-1997)

A famous contemporary vainika, V. Doreswamy Iyengar was born in 1920 in the family of Veena and Flute maestro Venkatesha Iyengar. He began his musical training under his father on the veena and later received advanced training under Asthana Vidwan Vainika Venkatagiriyappa. He performed when he was 14 in the presence of Nalwadi Krishnaraja Wodeyar and received the king’s appreciation. He passed BA in Mysore Maharaja’s College.

His first public performance was in 1943 Ramotsava in Bangalore. Since then he has performed at every venue known for Carnatic music, and also Bombay, Calcutta, Delhi and other cities. Apart from solo appearances nationwide, he has performed with Ali Akbar Khan and Halim Jaffer Khan. He has performed duets with T. Chowdiah for over 10 years. He has performed with Dr. Balamurali Krishna in a veena-viola duet. He represented India at the international music conference in Shiraz, Iran in 1969. He travelled and performed in many concerts in Europe and America. He served for several years until retirement as the music producer in AIR, Bangalore. He was awarded the Central Sangeet Natak Akademi award in 1970. He was the eighth president of the Bangalore Gayana Samaja conference and received the title Sangeetha Kala Ratna. The Mysore University awarded him an honorary doctorate.

Iyengar’s veena style touches the heart. His plucking is majestic in gait, pleasant always and melodious. His raga essays are filled with rich manodharma and his kalpana swaras show great expertise. His style of play is predominantly gayaki. Natakurinji, Hamir Kalyani, Todi, Kalyani, Shankarabharana, Kharaharapriya, Kambhoji, Shanmukhapriya, Jinjhuti, Darbari Kanada – in these ragas, his renditions showcase his unique style. He received the Padma Bhushan from the Government of India. He served as the head of Karanataka Sangeetha Nataka Academy. He presided over the 1984 conference of the Madras Music Academy and was conferred the Sangeetha Kalanidhi title.

Among his numerous disciples are his son D. Balakrishna and Mysore C. Krishnamurthy.

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Concert Details

V.Doreswamy Iyengar ----------- Veena
D.Balakrishna ---------- Veena accompaniment
Cheluvaraj ---------------- Mridangam
M.A.Krishnamurthy ----- Ghatam
on 24-4-97 during Ramanavami.

Song List

1. Sarasuda- Saveri varnam - Kothavasal Venkatarama Iyer *** 2. Vallabha Nayakasya-Begada-Muthuswami Dikshitar *** 3. Teliyaleru Rama - Dhenuka- Thyagaraja *** 4. Shobhillu- Jaganmohini-Thyagaraja *** 5. Chani Todi-Harkambhoji-Thyagaraja *** 6. Ninnuvinaga mari- Purvi Kalyani- Shyama Shastri *** 7. Narayanagowla Tana+Sri Ramam- Thyagaraja *** 8. Tani 9. Koluvamaragada-Todi-Thyagaraja *** 10. Marulukonnadira - Khamach Javali- Ramnad Srinivasa Iyengar *** 11. Sapashyat- Jaunpuri - Panchapakesha Shastri *** 12. ??Jinjhuti 13. Mangalam

The Efficacy of Prayer

Vid. K. J. Yesudas, 1992 Ramanavami, Parvathi

Reflections by Shri R. Sachi

We gladly share another favourite concert from the Parvathi Ramanavami archives, of Vid. K. J. Yesudas, held in 1992. The concert is remarkable for three reasons, viz., the voice quality of the celebrated singer, the wide repertoire of songs in so many ragas, and the the manifest affection showered by Sri K. Srikantiah in his speech.

When a prominent rasika, Justice VR Krishna Iyer, stated once that in the west, the government would have insured an incomparable voice like that of Yesudas, the vidwan is known to have responded that God Himself had insured his voice and that was enough. Vid. Yesudas makes his oft-heard comment in this concert also that all religions lead to the same God and we should not quarrel but only offer our sincere prayer. This prayerful mood is present throughout this concert.

One could well ask: why should one pray, and to whom, and what is the return on investment? Man after all does not find God until his prayers are answered. So why pray to this unknown entity? To this question, many songs in this concert offer answers, from famous saint composers. The song of Saint Thyagaraja “Teliyaleru Rama” has been discussed before in this blog ( Chitti Babu 1975 ). There the saint bemoans the worldly ways of the ritualists who are not on the true path of bhakti. Now let us see the import of the verse sung by Vid. Yesudas here from Narayaneeyam :

yOgindrAnAm thvadangEshvadhikasumadhuram mukthi bhAjam nivAsO
bhakthAnam kAmavarshadyutharukisalayam nAtha thE pAdamulam
nithyam chithasthithammE PavanapurapathE KrishnA kArunya sindhO
hruthvA nishshEshathApAn pradishathu paramAnanda sandOha lakshmim

The saint poet Bhattattiri prays to Guruvayoorappa that as the Lord’s feet have an incomparable attraction to the yogis, and become the abode of those who have attained Moksha. It is also like the wish fulfilling tree of Heaven, and grants all the wishes of the devotees. The poet pleads that the Lord’s feet should be always established in his mind, for that would dispel all his suffering and grant the greatest wealth of all, liberation.

So it seems rather certain that the devotee has to first find the prayer in his heart, and that will lead him to the Lord. It is not the other way round. Bhagavan Krishna states as much in the Bhagavadgita (9.12):

ananyAs cintayantO mAm
ye janAh paryupAsate
tesAm nityAbhiyuktAnAm
yOga-kSEmam vahAmyaham

Translation: The Lord states, “considering those who have only me in their thoughts, and have single-pointed and constant devotion to me, I shall take care of their well-being and address all their wants.”

What is noteworthy is that the true devotee who prays does not make a plea to God with a list of wants and needs. He simply has constant and unwavering devotion. God’s grace, and bliss, descend on such a true devotee.

So, come, Rasikas, let us sit and enjoy this wonderful concert!

Concert Details

K.J.Yesudas ------- Vocal
T.G.Tyagarajan ------ Violin
T.A.S.Mani -----Mridangam
M.A.Krishnamurthy ---- Ghatam
Ramanavami festival at Parvathi on 15-4-92.

Song List

01 Varnam-Sarasangi- Patnam Subramania Iyer? *** 02 Vatapi- Hamsadhvani- Muthuswami Dikshitar *** 03 Guruvina gulaama- Hamsanandi- Purandaradasa *** 04 Lavanya Rama –Poornashadja- Thyagaraja *** 05 Raghuvamsasudha-Kadanakutuhala- Patnam Subramania Iyer *** 06 Ksheerasagara-Devagandhari- Thyagaraja *** 07 Teliyaledu Rama-Dhenuka--swara ***08 RTP in Gamanasrama Raga *** 09 Tani *** 10 KS and Yesudas speech *** 11 SreeRamam-Narayanagowla- Thyagaraja *** 12 Rama Janaki jaane-Yaman kalyani- Yusufali Kacheri*** 13 En nenjil pallikondavan- Kalyani- Salem Eshwar *** 14 Mangala darshana-Anandabhairavi- Dakshinamurthy *** 15 Swami sangeeta-Abheri-Allepey Ranganath *** 16 Krishna nee begane-Yamankalyani- Vyasaraya *** 17 Gopalaka pahimam-Revagupti- Swati Tirunal *** 18 Yogeendranam-Narayaneeyam ***

Carnatic Music and its inherent strengths

Vid. Madurai Somasundaram 1977

Reflections by Shri R. Sachi

We are very glad to share a spectacular concert of Vid. Madurai Somasundaram from the 1977 Ramanavami series at Parvathi. Rasikas are quite familiar with our love for this unique vocalist. He brought to Carnatic music an energy and creativity unmatched. He exulted in the company of great accompanists. He engaged the audience in an inimitable empathy. He sang songs we wouldn’t hear from anyone else perhaps. He made up songs for the occasion at will. He wore his heart on his sleeve. He left a deep imprint on our hearts.

This concert is no exception. We are unable to catalogue the names of composers for many items. But suffice it to say that we attribute it all to Vid. Madurai Somu. Because these songs live and breathe through his musical genius. He also thrives on some excellent violin and mridangam accompaniment by the very melodious Vid. Chalakudy Narayanaswamy, and the energetic Vid. Tanjore Upendran. Not to forget Vid. Seshagiri das-Khanjira, and Vid. Krishnamurthy-Ghatam. Egged on by the redoubtable Vid. Somu, they all combine to create impactful percussion at several points in the concert.

Vid. Somu also refers affectionately to Sri. K. Srikantiah, and sings a song on the lord Srikantheshwara of Nanjangud. Vid. Somu attributes his melody-soaked music to Saint Thyagaraja’s guidance, and at once launches into Ragasudharasa. His approach elicits many bursts of encouragement and applause from the audience. If you see closely, the photo below shows the world-famous writer R.K. Narayan (bespectacled) sitting at the edge of the stage with characteristic intensity.

The major ragas in this concert are Thodi and Kharaharapriya.

At the end of it all, we can only feel bemused by the inherent richness of Carnatic music. What variety, what lyrical abundance, what an expanse of ragas and talas, what a scope for improvisation, for team work and finally spectacular peaks of aesthetic pleasure. Only a great World Cup tournament of the beautiful game football, in exuberant Brazil, can approach to being a distant parallel to our beloved Carnatic music.

Concert Details

Madurai Somasundaram -------- Vocal
Chalakudy Narayanaswamy ----- Violin
Tanjore Upendran ------------ Mridangam
Sheshagiri Das -------------- Khanjira
M.A.Krishnamurthy ----------- Ghatam
on 6-4-77 at "Parvathi" during Sri Ramanavami Music Festival.

Song List

01 Varnam- Thilang? ***
02 Vallabha Mahaganapathe-Gomethakapriya ***
03 Manasuloni-Varamu-Thyagaraja ***
04 Pasupathi Shankara-Dakshayani ***
05 Thodi alapana ***
06 Rama Bhadra Ra Ra-Thodi-Bhadrachala Ramadasu ***
07 Evarani-Devamruthavarshini-Thayagaraja ***
08 Ragasudarasa-Andolika-Thyagaraja ***
09 Kharakarapriya alapana ***
10 Chakkani Raja- KHP-Thyagaraja ***
12 Srikanantheshwara-Sindhu Bhairavi ***
13 Bhajamana Bhajare-Jhinjhuti? ***