Nedunoori Krishnamoorthy - Lalgudi Jayaaman - Karaikudi Mani - Ramachar - Nadabrahma - Mysore -1984

7 NKM MP3
Live Music Concert of
Sri. Nedunoori Krishnamoorthy
Sri. Lalgudi G. Jayaraman (Violin)
Sri. Karaikudi R. Mani (Mridangam)
Sri. H.P. Ramachar (Ghanchira)
(Live at Nadabrahma Sangeetha Sabha, Mysore on August,1984)
01 Karunimpa - Sahana Varnam
02 Vandeham - Hamsadwani
03 Vallagatha - Hari Kamboji
04 Marive - Ananda Bhairavi
05 Kadaya Kadaya - Kalyani
06 Mapala Velasi - Asaveri
07 Meenakshi - Poorvi Kalyani
08 Manavyalakim - Nalinakanthi
09 Rama Neeyeda - Kharaharapriya
10 Bogindra - Kunthala Varali
11 Rama Jyogi - Khamas
12 Narayana - Sudha Dhanyasi
13 Venkitachala - Sindhu Bhairavi
14 Thillana - Ragesree
15 Mangalam

[@krish5974]

Isn't the thillana in Rageshree? The description says its in Bageshree

[@sruthilayabava]

Response stopped
Certainly! Let’s explore the differences between Raga Bageshri (also spelled as “Bageshree”) and Raga Rageshree.
Raga Bageshri (Bageshree):
Origin: Bageshri is a popular raga in both Hindustani and Carnatic classical music. It is derived from the 22nd Melakarta raga, Kharaharapriya.
Emotion: Bageshri is meant to depict the emotion of waiting for reunion with one’s lover.
Swaras: The swaras (notes) of Bageshri are: S R g M P D n.
Jatis:
Audav-Shadava: R and P are varjit (avoided) in the ascending (arohi) scale, and P is varjit in the descending (avarohi) scale.
Audav-Sampoorna: R and P are varjit in the ascending scale.
Sampoorna-Sampoorna: All swaras are present.
Characteristic Phrases:
S, n’ D’, D’ n’ S M, M g, (S)R, S
S g M, M g M D, D n D, D-M, g, (S)R, S
S g M, M g, RgM, M g (S)R, S
Note: Bageshri is melodic and has gained popularity over the centuries1.
Raga Rageshree:
Origin: Rageshree is also a raga in Indian classical music, found in both Hindustani and Carnatic traditions. It belongs to the Khamaj thaat.
Swaras: Rageshree is pentatonic in the ascending scale (aaroha) and hexatonic in the descending scale (avaroha).
Note: The Rageshree heard nowadays is mostly the komal nishad-only type, but some musicians explicitly seek the shuddha nishad in ascending phrases1.
In summary, while both Bageshri and Rageshree share some similarities, they have distinct melodic structures and evoke different emotions. Bageshri is more elaborate, while Rageshree is characterized by its pentatonic nature. Feel free to explore recordings of both ragas to appreciate their unique beauty! 🎶🌟
For more detailed information, you can refer to the Rajan Parrikar Music Archive and Wikipedia entries on Bageshri and Rageshree123. Let me know if you’d like further insights!

[@sruthilayabava]

Thillana of Lalgudi G Jayaraman. I usually write Raga based on a some assumption. When heard the SANCHARA, I felt it was Bhagesree. Thank you Sir. You Provide me to check the details of the thillana & Composer. Thillana - raga: Ragesree