Akhilandeswari Raksha Maam , Agama sampradhaya nipune Sri........... Nikhila loka nithyathmike , vimale , Nirmale , Shyamale , sakala kale!!!! We should know that Sri Muthuswamy Dikshitar was a great Devi Upasaka and was well versed in all aspects of Sri Vidya Upasana. Out of his devotion to Sri Kamalamba, (one of the 64 Sakti Peethams in India), the celebrated deity at the famous Thyagaraja Temple in Tiruvarur and his compassion for all bhaktas, Sri Muthuswamy Dikshitar composed the Kamalamba Navavarana kritis, expounding in each of the nine kritis, the details of the each avarana of the Sri Chakra, including the devatas and the yoginis. Singing these kritis with devotion, sraddha and understanding would be the easy way to Sri Vidya Upasana! The ragam Jujavanthi or Jaijaiwanti is a Hindustani classical raga belonging to Khamaj Thaat. According to the Guru Granth Sahib, this raga is a mixture of two others: Bilaval and Sorath. The raga appears in the latter section in Gurbani, as only four hymns were composed by Guru Tegh Bahadur, the ninth guru. These hymns were added by his son and successor Guru Gobind Singh in 1705 A.D. This raga is not mentioned in any Indian classical scriptures on music nor in the Ragmala. Its known as 'Dwijavanti' in carnatic Music that derives its roots from the Hindustani Raag Jaijaiwanti. Muthuswami Dikshitar, one of the Carnatic Trinity, is widely acknowledged as the one who introduced Dwijavanti in Carnatic Music. His two famous compositions: This one....‘Akhilaandeshwari Rakshamaam’ ( the one played here in Violin) and ‘Chethashri Baalakrishnam’ are two gems in Dwijavanti. To this day, these two songs stand as references for this raaga. many think that Dwijavanti is slow-paced and sedate. But, there are two faster thillanas in this raaga, composed by Dr. M. Balamuralikrishna and Lalgudi Jayaraman. Other songs include: Engu naan selven (Periyasami Thooran) and Parama mangalade (Harikesanallur Muthiah Bhaagavathar). While Dwijavanti ( S R2 G3 M1 P D2 S / S N2 D2 P M1 G3 M1 R2 G2 R2 S) which is devoid of Nishadam in Arohanam and a vakra-swora in Avarohanam has a distinct flavour, when trying to sing/play it, one might notice that it rubs shoulders with Sahana, in certain phraseology. And, with Sahana being a more popular raga in Carnatic, all need to stay wary while trying to practice Dwijavanti. Dwijavanti is not strictly scale-based, but the swaras in it include: Ri2, Ga3, Ma1,Pa, Da2, Ni2 as shown above and a distinct Ga2 on descent. Signature phrases include: |ri ga ma pa ma ga ma ri ga2 ri|| ; | ri ga ma ni da pa ma ga ma ri ga2 ri|| ; |ri ni,, da pa ma ga ma ri ga2 ri||; | pa Ri.. ni da pa ma ga ma ri ga2 ri|| and more such. Though some feel that this raga is slightly limited in scope, several artistes have explored this raaga extensively in Ragam-Thanam-Pallavi. The Sangheetha Pithamaha presented a very classcomcert.....Pranams!
mridangam sounds like trichy sankaran mama enna oru sukhanubhavam ahah no words to express when heaing legends ananthakoti namaskarams to the great legends 😍🙏
Akhilandeswari Raksha Maam , Agama sampradhaya nipune Sri........... Nikhila loka nithyathmike , vimale , Nirmale , Shyamale , sakala kale!!!! We should know that Sri Muthuswamy Dikshitar was a great Devi Upasaka and was well versed in all aspects of Sri Vidya Upasana. Out of his devotion to Sri Kamalamba, (one of the 64 Sakti Peethams in India), the celebrated deity at the famous Thyagaraja Temple in Tiruvarur and his compassion for all bhaktas, Sri Muthuswamy Dikshitar composed the Kamalamba Navavarana kritis, expounding in each of the nine kritis, the details of the each avarana of the Sri Chakra, including the devatas and the yoginis. Singing these kritis with devotion, sraddha and understanding would be the easy way to Sri Vidya Upasana!
The ragam Jujavanthi or Jaijaiwanti is a Hindustani classical raga belonging to Khamaj Thaat. According to the Guru Granth Sahib, this raga is a mixture of two others: Bilaval and Sorath. The raga appears in the latter section in Gurbani, as only four hymns were composed by Guru Tegh Bahadur, the ninth guru. These hymns were added by his son and successor Guru Gobind Singh in 1705 A.D. This raga is not mentioned in any Indian classical scriptures on music nor in the Ragmala. Its known as 'Dwijavanti' in carnatic Music that derives its roots from the Hindustani Raag Jaijaiwanti. Muthuswami Dikshitar, one of the Carnatic Trinity, is widely acknowledged as the one who introduced Dwijavanti in Carnatic Music. His two famous compositions: This one....‘Akhilaandeshwari Rakshamaam’ ( the one played here in Violin) and ‘Chethashri Baalakrishnam’ are two gems in Dwijavanti. To this day, these two songs stand as references for this raaga. many think that Dwijavanti is slow-paced and sedate. But, there are two faster thillanas in this raaga, composed by Dr. M. Balamuralikrishna and Lalgudi Jayaraman. Other songs include: Engu naan selven (Periyasami Thooran) and Parama mangalade (Harikesanallur Muthiah Bhaagavathar).
While Dwijavanti ( S R2 G3 M1 P D2 S / S N2 D2 P M1 G3 M1 R2 G2 R2 S) which is devoid of Nishadam in Arohanam and a vakra-swora in Avarohanam has a distinct flavour, when trying to sing/play it, one might notice that it rubs shoulders with Sahana, in certain phraseology. And, with Sahana being a more popular raga in Carnatic, all need to stay wary while trying to practice Dwijavanti. Dwijavanti is not strictly scale-based, but the swaras in it include: Ri2, Ga3, Ma1,Pa, Da2, Ni2 as shown above and a distinct Ga2 on descent. Signature phrases include: |ri ga ma pa ma ga ma ri ga2 ri|| ; | ri ga ma ni da pa ma ga ma ri ga2 ri|| ; |ri ni,, da pa ma ga ma ri ga2 ri||; | pa Ri.. ni da pa ma ga ma ri ga2 ri|| and more such. Though some feel that this raga is slightly limited in scope, several artistes have explored this raaga extensively in Ragam-Thanam-Pallavi. The Sangheetha Pithamaha presented a very classcomcert.....Pranams!
Movingly rendered.Only Veteran Semmangudi maama can sing like this
mridangam sounds like trichy sankaran mama enna oru sukhanubhavam ahah no words to express when heaing legends ananthakoti namaskarams to the great legends 😍🙏
This sound is of none other than the great maestro PMI.
@@SunandaGautamPanchu Yes. PMI
Truly divine singing! There cannot be another Semangudi!
one of the finest rendition of the Universal Mother , may Her bless all and the world
Your voice takes us to another world
Aaaha! What a dwijavanti! Straight from the heart! Wonder who the violinist is; awesomely sailing along!
Sounds like sri Lalgudi Jayaraman
Semmangudi Mama Was A Genius🔥🔥
Finest Dwijavanti !
Deiveegam. Pranams.
One greatest music 🎶 gaint/ icon/ legend having no parallel.
Vintage music with all its grandeur. Great
🙏🙏🙏🙏❤❤
Can we expect such kalpana swaras from today's fancied singers ?
its a lost art. today's generation doesnt have great gurus to teach them.
Truth.... agree with u
Heard of tmk??
No Sir It Cant Be Possible As They Lack Poor Training
@@beethoven6185 😂😂
❤❤❤
🙏🙏🙏🙏🙏🙏🙏
Awesome