Sudha Raghunathan- Swara Raga Sudha - Shankarabharanam- Adi- Thyagaraja
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- Опубліковано 21 сер 2015
- Sudha Raghunathan-Carnatic Vocal - Concert recording
Sangeetha Kalanidhi Series -2013
Lyrics:
pallavi
svara rAga sudhA rasayuta bhakti svargApavargamurA O manasA
(svara)
anupallavi
paramAnandamE kamalamupai baka bhEkamu celagEmi manasA
(svara)
caraNam 1
mUlAdhAra nAda merugutE mudamagu mOkSamurA
kOlAhala sapta svara grahamula gurutE mOkSamurA O manasA
(svara)
caraNam 2
bahu janmamulaku paini jnAniyai baraguTa mOkSamurA
sahaja bhaktitO rAga jnAna sahitudu muktudurA O manasA
(svara)
caraNam 3
maddaLa tALa gatula teliyakanE mardincuTa sukhamA
shuddha manasu lEka pUja jEyuTa sUkura vrittirA O manasA
(svara)
caraNam 4
rajata girIshuDu nagajaku delpu svarArNava marmamulu
vijayamu gala tyAgarAju-DErugE vishvAsinci delusukO O manasA
(svara)
WHAT A BRILLIANT RENDERING by SUDHA RAGHUNATHAN FULL OF DEVOTION AND ECSTASY . She has lived worthy of her name "SUDHA "in immersing herself and making others to taste the Nectar.
HATS OFF to VIOLINIST as he has transported himself & others to another plane.
This is a classic example of PATH called "SWARA TO ESWARA".
Any amount of appreciation is short for the way this presentation was rendered
Congratulations to the singer and accompanying artist
Emotional experience of higher
Ievel
Superb ! Svara Raga Sudha Raga Sankarabharanam Adi talam Thyagarajar Krithi
In this Krithi SrI tyAgarAja states that devotion with knowledge of music will confer heaven and also liberation.
O My Mind!
Devotion together with the nectarine juice of svara and rAga, is indeed heaven and also liberation.
Of what avail a crane (and/or) a frog flourishing on the Lotus called Supreme Bliss (of nAda)?
Knowing nAda originating from mUlAdhAra is, indeed the blissful liberation;
Recognising the abodes (in the body) of the splendorous seven svaras is indeed liberation;
It is also liberation to remain becoming a knower (of truth) after many births; but, one endowed with true knowledge (of/and) music together with innate (co-born) devotion is indeed liberated (while still alive); Is it enjoyable to thump the percussion instrument without even knowing beat and pace? Similarly, it is a piggish behaviour to perform worship without a pure mind. This victorious tyAgrAja knows the secrets of the treatise ‘svarArNava’ which Lord Siva conveys to pArvati; understand (what I convey) by trusting (tyAgarAja).
pallavi
svara rAga sudhA rasa yuta bhakti
svarga-apavargamurA O manasA
O My Mind (manasA)! Devotion (bhakti), together with (yuta) the nectarine (sudhA) juice (rasa) of svara and rAga, is indeed heaven (svarga) and also liberation (apavargamu) (svargApavargamurA).
anupallavi
paramAnandamu-anE kamalamupai
baka bhEkamu celagi-Emi O manasA (sva)
O My Mind (manasA)! Of what avail (Emi) a crane (baka) (and/or) a frog (bhEkamu) flourishing (celagi) (celagiyEmi) on the Lotus (kamalamupai) called (anE) Supreme (parama) Bliss (Anandamu) (paramAnandamanE) (of nAda)?
O My Mind! Devotion, together with the nectarine juice of svara and rAga, is indeed heaven and also liberation!
caraNam 1
mUlAdhAraja nAdamu-eruguTE
mudamagu mOkshamurA
kOlAhala sapta svara gRhamula
gurutE mOkshamurA O manasA (sva)
Knowing (erugTE) nAda (nAdamu) (nAdameruguTE) originating from mUlAdhAra (mUlAdhAraja) is, indeed the blissful (mudamagu) liberation (mOkshamu) (mOkshamura);
O My Mind (manasA)! Recognising (gurutu) (gurutE) the abodes (gRhamula) (in the body) of the splendorous (kOlAhala) seven (sapta) svaras is indeed liberation (mOkshamu) (mOkshamurA);
O My Mind! Devotion, together with the nectarine juice of svara and rAga, is indeed heaven and also liberation!
caraNam 2
bahu janmamulaku paini jnAniyai
paraguTa mOkshamurA
sahaja bhaktitO rAga jnAna
sahituDu muktuDurA O manasA (sva)
It is also liberation (mOkshamu) (mOkshamurA) to remain (paraguTa) becoming a knower (of truth) (jnAniyai) after (paini) many (bahu) births (janmamulaku); but,
O My Mind (manasA)! one endowed with (sahituDu) true knowledge (jnAna) (of/and) music (rAga) together with innate (co-born) (sahaja) devotion (bhakti) (bhaktitO) is indeed liberated (muktuDu) (literally freed) (while still alive) (muktuDurA);
O My Mind! Devotion, together with the nectarine juice of svara and rAga, is indeed heaven and also liberation!
caraNam 3
mardala tALa gatulu teliyakanE
mardincuTa sukhamA
Suddha manasu lEka pUja jEyuTa
sUkara vRttirA O manasA (sva)
Is it enjoyable (sukhamA) (literally comfortable) to thump (mardincuTa) the percussion instrument (mardala) without even knowing (teliyakanE) beat (tALa) and pace (gati) (gatulu)? Similarly,
O My Mind (manasA)! it is a piggish (sUkara) behaviour (vRtti) (vRttirA) (literally rolling) to perform (jEyuTa) worship (pUja) without (lEka) a pure (Suddha) mind (manasu);
O My Mind! Devotion, together with the nectarine juice of svara and rAga, is indeed heaven and also liberation!
caraNam 4
rajata giri-ISuDu nagajaku telpu
svara-arNava marmamulu
vijayamu gala tyAgarAjuDu-erugE
viSvasinci telusukO O manasA (sva)
This victorious (vijayamu gala) tyAgarAja (tyAgarAjuDu) knows (erugE) (tyAgarAjuDerugE) the secrets (marmamulu) of the treatise ‘svarArNava’ (literally Ocean (arNava) of svara (svarArNava)) which Lord Siva - the Lord (ISuDu) of snow (rajata) (literally silver) mountain (giri) (girISuDu) conveys (telpu) to pArvati - daughter of mountain (naga) (nagajaku);
O My Mind (manasA)! understand (telusukO) (what I convey) by trusting (viSvasinci) (tyAgarAja);
O My Mind! Devotion, together with the nectarine juice of svara and rAga, is indeed the heaven and also liberation!
Ref/Comments :-
- mUlAdhAra - graphic images of bodily cakras
bahu janmamulaku - In this regard, the following verse of SrImad- bhagavad-gItA, Chapter 7 is relevant -
bahUnAM janmanAm-antE jnAnavAn-mAM prapadyatE
vAsudEvaH sarvam-iti sa mahAtmA su-durlabhaH 19
“At the end of many births, the man of wisdom takes refuge in Me, realising that all this is vAsudEva (the innermost Self). Very rare is that great soul.” (Translation by Swami Swarupananda)
- apavarga - a synonym of ‘mOksha’. For a detailed discussion on this word, please refer to kRti ‘kRpAlavAla’ rAga nAdavarAngiNi.
- baka bhEka - crane and frog - Honey-bee is the rightful enjoyer of nectarine juice of (Lotus) flower. Interposing the pallavi wherein svara - rAga has been compared to nectarine juice, ‘a person endowed with devotion together with knowledge of svara - rAga’ corresponds to ‘honey-bee’.
Therefore, the purport, in my humble opinion, is ‘only a person endowed with devotion and knowledge of svara - rAga can enjoy the nectarine juice of the Lotus called the Supreme Bliss (paramAnanda) of nAda’. Contrari-wise, anyone else - though knowledgeable in music but not having devotion - cannot enjoy the Supreme Bliss of nAda - indeed, is an usurper on music like crane and frog (baka bhEka) on Lotus flower.
In one book, rasika has been compared to the bee. In the kRti ‘rAma nIyeDa’ - rAga kharaharapriya, SrI tyAgarAja asks ‘tana saukhyamu tAnu erugakanu orulaku tagu bOdhana sukhamA?’ - even without one self experiencing one's happiness, can appropriate advice to others produce happiness (to those who receive it)? A practising musician who does not enjoy the paramAnanda of svara rAga himself cannot transport a rasika to such heights. At least a rasika is not appropriating the ‘lotus of supreme bliss’ (paramAnandamanE kamalamupai) like a frog and crane.
- mulAdhAraja nAdamu - "para nAda (vANi): (The Transcendental Sound) The Primal Sound’s seat is at the Muladhara plane of Kundalini. It is undifferentiated sound, though it is the source of root ideas or germ thoughts. It is not within the reach of ordinary consciousness. Nada Yogis claim that Para Nada is a high frequency sound, so high that it does not stir or produce vibrations; it is a still sound" -
“Anahata sounds are the mystic sounds heard by the Yogin during his meditation”. - ‘kuNDalini yOga’ by Swami Sivananda
- sapta svara gRhamulu - It is not clear whether the seven cakras are meant to represent the sapta svaras; if that be so the correspondence would be - mUlAdhAra - sa; svAdhishThAna - ri; maNipUra - ga; anAhata - ma; viSuddhi - pa; AjnA - da; sahasrAra - ni.
In the kRti ‘SObhillu sapta svara’ - rAga jaganmOhini, SrI tyAgarAja identifies five body locations in the passage of nAda as ‘nAbhi hRt kaNTha rasana nAsAdulayandu SObhillu sapta svara’ - (the divinities of sapta svara effulgent at navel, heart, throat, tongue and nose etc.).
"It is the recognition of a system of Yoga, called Nada Yoga, that the sound actually starts from the region of the navel, where it has its root, and gradually rises up into more and more audible forms, until it is expressed through the physical sound-box and the lips, the tongue, and the mouth. These various stages of the manifestation or the development of sound, right from the navel onwards, are known in Sanskrit as Para, Pasyanti, Madhyama and Vaikhari. Para is a soundless seed, as it were, the very possibility of the production of sound. Pasyanti is a little more pronounced. And the more intensified form is Madhyama; and the audible manifestation of it is Vaikhari....." nAda yOga
As sapta svara belong to the category of 'ahata nAda' (caused sound), it is only at vaikhari stage that nAda becomes audible.
“The notes are viewed to have an organic unity. Thus sa is said to be the atman, ri the head, ga the arms, ma the chest, pa the throat, dha the lips, and ni the feet. These seven limbs evoke a presence, and give birth to the devas.” sapta svara
Article in regard to sapta svaras and their relation to the seven cakras.
In the book ‘Spiritual Heritage of Tyagaraja’ by Sri C Ramanujachariar, ‘sapta svara gRhamulu’ has been translated as ‘various resonant sthAnas (parts of the body) from which emanate the glorious sapta svaras’.
"The ‘nAradIya Siksha’ presents this technical information in a colourful tapestry of mythological and cosmological references, in which each of the seven musical notes refers to a specific colour, animal cry, social class, place of resonance within the human body, sage and deity...." 'Garland Encyclopaedia of World Music' (South Asia - Indian Sub-continent) by James Porter et al - Page 32.
- sahaja bhakti - Though ‘sahaja’ may be translated as ‘natural’ or ‘innate’, in my humble opinion, the kind of devotion which one imbibes from the childhood as that of prahlAda is what meant here. In this regard, the kRti of SrI tyAgarAja ‘cinna nADE nA ceyyi paTTitivE’ (You held my hand from my very young days) is relevant. prahlAda, dhruva, mArkaNDEya, rukmaNi, rAdhA, mIrA, ANDAL and tirujnAna sambandar (tamizh saint) are a few other examples of child bhaktAs. The bhakti of these personages is what SrI tyAgarAja terms as ‘sahaja bhakti’.
- muktuDurA - liberated - Here it means ‘jIvan-mukta’ - living liberated. ‘jIvan mukti’ is also called ‘sadyO-mukti’ - instant liberation. sadyO-mukti
The wordings of caraNa 2 (as also pallavi), make it clear that devotion (sahaja bhakti) and/or jnAna (jnAniyai) might deliver one - but by the route of ‘krama mukti’ (liberation in stages over many births) (bahu janmamulaku paini). On the other hand, sahaja bhakti together with nectarine svara and rAga, bestows jIvan mukti - right here and now (sadyO-mukti) - through nAdOpAsana.
It may be noted that nAdOpAsana has a broader connotation transcending even music, which is called SrI-vidyA.
- svarArNava - Though literally this means ‘Ocean of svaras’, it is stated that a treatise by that name came in the possession of SrI tyAgarAja by the grace of sage nArada whom SrI tyAgarAja considered as his guru. The story of how the treatise came in the possession of SrI tyAgarAja is told by the great harikatha exponent Brahma Shri TS Balakrishna Sastrigal in his ‘Thyagaraja Charitram’.
So good madam
Excellent! No words to express the beautiful rendition of the Sankarabharanam kriti. Raha alapana and neraval amazing.
Violin and vocal are best
complementary throughout
the kacheri. Especially when
the alapana reached the
crescendo and mathabhedam
was delineated both in vocal and on
violin. Excellent. Pranams to
artists
This is among her best explorations of Shankarabharana Raga. None better. Divine gift. May god bless her. R.S.C.MURTHY, LOS ANGELES>
You can be assured she will give it her best, the reason I listen for her long recordings is we can see the raga expanded.
Superbbbb alapana🤗
Amazing rAga AlApanA!!!!!!!!!!!!!!!!!!!
FANTASTIC CONCERT THANKS FOR SHARING THE VIDEO
You can be assured she will give it her best, the reason I listen for her long recordings is we can see the raga expanded.
Very good songs
I am a quite ignorant of the details of alapana, but around 11:30 was there a swara bhedam?
Superb
Awesome ma'am 👏👏👏👏🙏
Shriya Vishnuram Sudha Ragunathan has learned how to sing Carnatic music from Purandara Dasa. If you admire her, you should see how good Purandara Dasa sings Carnatic music!
Kavya Sriram how is it possible? Purandara dasa lived in the pre- Trinity period right?
Divine performance at neravu
and chittaswaram at MULADHARAJA NADAMERUGUTE. No words
are sufficient.
Brilliant and complete Sankarabharanam to practice and relish
R. lyer she has learned how to sing Carnatic music from Purandara Dasa. You should Liston to her if you admirer Sudha Ragunathan. See how good she is.
Mam...gnana Saraswathi&ganasraswathi
Who is on mridangam
Who is the excellent violinist
Pl if you could names of all the accompanying artists, it would be more appreciated, 🙏
supper
Sweet
24:20
Very good songs