Superb ! Bhasurangi bale ragam Saaveri Misra Chapu Talam Swati Thirunal Krithi P bhAsurAngi bAlE madana turayAyi jnyAn pAramuLaunnE nayyO AP vAsavOpala kOmaLAnganAmbuja nAbhan vacana yenniyE vannu puNarAjnyu C1 taruNImaNI nishiyil shiva shiva paramtignma kirananudicciDuMo smara sAyakamokkave sumamayamennu lOkaru ceyyunnatum kaLiyO aruNa pallavadhAri paricODu mama varanarikil vannu sahasA sarasam punjciri tUgi aviram ceyta lIlagaL sakalavumayi marannO matpriyasakhi C2 munna menuilirunna mamata kuranjnyayil mOdam pUNDu vasikkayO mannil maruvunnoru matavar kulangaLil mama bhAgyamividhamO kannalmiLiyOmale viraha vAridhiyatil khinnayAyi muLukIDunnEn pannaga shayana nAmme prANa nAthanODAshu cennu colluka mE tApam matpriyasakhi Gist :- Oh my dear friend BHASURANGI! I am afflicted by desire. Since AMBUJANABHA, who resembles INDRA does not come to unite with me whole heartedly, my mind is in turbulence. Dear TARUNIMANI! Can there be sun at midnight? Is it for fun people say that Cupid's arrows are like flowers? Dear one with soft and red lips, has he forgotten, how often he used to come to me with bewitching smile and indulge with me in amorous sports? Every night I used to visualize his Cupid-like form and wake up; Alas! What can I say about this misery? Every day of separation from him feels like an era. Dear TAMARA SAMAMUKHI! -face like the lotus-, why does he delay in satisfying my desire? Has his love for me decreased because he is interested in someone else? Among the ladies around here, why should my luck be like this? Dear KANNALMIZHIYOMALE!- maiden with enticing eyes- I am being drowned in the ocean of separation from my beloved . Please go without delay and inform my ardent desire to my dear one, who reclines on the serpent. Raga Saveri Janyam of 15th mela Mayamalavagowlai. Arohanam: S R1 M1 P D1 S Avarohanam: S N3 D1 P M1 G3 R1 S This ragam brings out the Karuna Rasam- mood of piety. There does not appear to be a corresponding ragam in Hindustani music though some of the Bhairav Thaat ragas sound close. From the interactions of Expert Musicologists :- Dr V V Srivatsa (Introduction): Saveri is an ancient raga with many textual references. This raga is classified as a Bhashanga raga in Sangeeta Ratnakara, albeit with the name Savari. This raga has a place of pride in Carnatic music, as can be also seen in the proverb, "Kaveri snaanam, Saveri Gaanam", which is duly reflected in a composition by Dikshitar. Each swara has a significant role. Gandhara and Nishada, at Trisruti levels, render this raga as Bhashanga. Rishabha, Madhyama and Nishada are raga-chhayya swaras, which bring out the nuances of this raga. Madhyama is unique, often called Saveri Madhyama. It is one of the select ragas with compositions by all members of the Carnatic Trinity. There is a marked conceptual similarity between Dikshitar and Syama Sastri. Some rare sancharas can be found in "Karmame Balavanta", a Tyagaraja kriti. There is considerable esoteric significance in some passages of the kriti "Sri Rajagopala" by Dikshitar. Syama Sastri's first composition was in this raga. Many post-Trinity composers have used this raga, unto recent times. A great legacy. Dr Pramila Gurumurthy: The earliest reference is by Parshwadeva (11th Century). Narada's classification under the time theory details Saveri as a derivative of Gauda, apt for rendition between noon and 3 pm. Sarangadeva refers to raga Sauviri only. The Brihaddharma Purana mentions Saveri as a janya raga of Gowda mela. Annamacharya and Purandaradasa have composed in this raga. Ramamatya refers to Saveri as a janya raga of Salanganata mela. The references by Somanatha to a raga Saveri as a derivative of the Mallari scale perhaps is in respect of Suddhasaveri. Venkatamakhin opines that Saveri is a derivative of Gowla mela. The melodic identity of this raga is established in works like Raga Lakshanamu, Sangeeta Saramrita and Sangeeta Sampradaya Pradarsini. The Sangeeta Saramrita deems Saveri to be a morning raga. Shadja is used as Graha, Nyasa and Amsa swaras. Many compositions are available with notation in the Sangeeta Sampradaya Pradarsini. B Subba Rao has expressed a view that Saveri is getting popular in Hindustani music too. There is no eqivalent for Saveri in the Pann system. P S Narayanaswami (Creativity): Saveri is a very unique raga affording ample scope for manodharma. The three swaras, Rishaba, Madhyama and Dhaivata play a vital role. It is difficult to prescribe any uniformity in Manodharma in respect of this raga. (P S Narayanaswamy rendered an alapana which was crisp and embellished with all desirable facets of this raga.) Dr M Narmada (Ornamentations / Gamakas): It is the judicious combination of swara and gamakas that accentuate the beauty of this raga and facilitate Raganubhava. (The proximity and combination of Shadja and Rishaba was demonstrated by her, duly accentuating the gamaka element with Rishaba swara). The effect is such that some may adopt the zonal concept, within the raga framework. (The effect of using gamaka with Dhaivata was also demonstrated.) For a total aesthetic effect, the key is the judicious use of the gamaka with any swara. Saveri is a gamaka - variga raga but not extensible to all swaras. This raga gives the anubhava of Sringara, Santa and Adbhuta rasas. Dr Ritha Rajan (Compositions): The compositions in Saveri are of very high calibre. The varnam "Sarasuda" by Kottavasal Venkatarama Iyer is unique in several respects. There are enough compositions of the pre-Trinity period. Tyagaraja's Kritis "Tulasi Jagajjanani", "Rama Bana", "Daridapu Leka" are magnificient. "Chalu Chalu" is rarely heard. "Sri Rajagopala" by Dikshitar encompasses all the salient features of Saveri. "Durusuga" by Syama Sastri has structural and renditional elegance, "Sankari Sankuru" is also a popular composition. Amongst the post-Trinity compositions, "Etu Namminavo" is outstanding, as is "Sri Kamakoti Peeta" by Mysore Sadasiva Rao. The Padam "Telisenura" is a masterpiece. There are two Javalis as well.
Beautiful beautiful.. no other words in English to describe its gandharva touch. for those who are dying to get its meaning. here is the text and translation. Ragam:Saveri Thalam: Misra Chapu Arohanam: S R1 M1 P D1 S Avarohanam: S N3 D1 P M1 G3 R1 S pallavi bhAsurAngi bAlE madana turayAyi jnyAn pAramuLaunnE nayyO anupallavi vAsavOpala kOmaLAnganAmbuja nAbhan vacana yenniyE vannu puNarAjnyu caranam 1 taruNImaNI nishiyil shiva shiva paramtignma kirananudicciDuMo smara sAyakamokkave sumamayamennu lOkaru ceyyunnatum kaLiyO aruNa pallavadhAri paricODu mama varanarikil vannu sahasA sarasam punjciri tUgi aviram ceyta lIlagaL sakalavumayi marannO matpriyasakhi caranam 2 munna menuilirunna mamata kuranjnyayil mOdam pUNDu vasikkayO mannil maruvunnoru matavar kulangaLil mama bhAgyamividhamO kannalmiLiyOmale viraha vAridhiyatil khinnayAyi muLukIDunnEn pannaga shayana nAmme prANa nAthanODAshu cennu colluka mE tApam matpriyasakhi Meaning Oh, my dear friend Bhasurangi! I am afflicted by desire. Since Anbujanabha, who resembles Indra does not come to unite with me wholeheartedly, my mind is in turbulence. Dear Tarunimani! Can there be sun at midnight? Is it for fun people say that Cupid's arrows are like flowers? Dear one with soft and red lips, has he forgotten, how often he used to come to me with a bewitching smile and indulge with me in amours sports? Every night I used to visualize his Cupid-like form and wake up; Alas! What can I say about this misery? Every day of separation from him feels like an era. Dear Tamara Samamukhi! fae like the lotus, why does he delay in satisfying my desire? Has his love for me decreased because he is interested in someone else? Among the ladies around here, why should my luck be like this Dear Kannalmiziyomale! maiden with enticing eyes- I am being drowned in the ocean of separation from my beloved. Please go without delay and inform my ardent desire to my dear did, who relines on the serpent. courtesy: swathithirunalfestival.org/compositions/bhasurangi-bale
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Superb ! Bhasurangi bale ragam Saaveri Misra Chapu Talam Swati Thirunal Krithi
P bhAsurAngi bAlE madana turayAyi jnyAn pAramuLaunnE nayyO
AP vAsavOpala kOmaLAnganAmbuja nAbhan vacana yenniyE vannu puNarAjnyu
C1 taruNImaNI nishiyil shiva shiva paramtignma kirananudicciDuMo
smara sAyakamokkave sumamayamennu lOkaru ceyyunnatum kaLiyO
aruNa pallavadhAri paricODu mama varanarikil vannu sahasA
sarasam punjciri tUgi aviram ceyta lIlagaL sakalavumayi marannO matpriyasakhi
C2 munna menuilirunna mamata kuranjnyayil mOdam pUNDu vasikkayO
mannil maruvunnoru matavar kulangaLil mama bhAgyamividhamO
kannalmiLiyOmale viraha vAridhiyatil khinnayAyi muLukIDunnEn
pannaga shayana nAmme prANa nAthanODAshu cennu colluka mE tApam matpriyasakhi
Gist :-
Oh my dear friend BHASURANGI! I am afflicted by desire.
Since AMBUJANABHA, who resembles INDRA does not come to unite with me whole heartedly, my mind is in turbulence.
Dear TARUNIMANI! Can there be sun at midnight? Is it for fun people say that Cupid's arrows are like flowers? Dear one with soft and red lips, has he forgotten, how often he used to come to me with bewitching smile and indulge with me in amorous sports?
Every night I used to visualize his Cupid-like form and wake up; Alas! What can I say about this misery? Every day of separation from him feels like an era. Dear TAMARA SAMAMUKHI! -face like the lotus-, why does he delay in satisfying my desire?
Has his love for me decreased because he is interested in someone else? Among the ladies around here, why should my luck be like this? Dear KANNALMIZHIYOMALE!- maiden with enticing eyes- I am being drowned in the ocean of separation from my beloved . Please go without delay and inform my ardent desire to my dear one, who reclines on the serpent.
Raga Saveri Janyam of 15th mela Mayamalavagowlai.
Arohanam: S R1 M1 P D1 S Avarohanam: S N3 D1 P M1 G3 R1 S
This ragam brings out the Karuna Rasam- mood of piety. There does not appear to be a corresponding ragam in Hindustani music though some of the Bhairav Thaat ragas sound close.
From the interactions of Expert Musicologists :-
Dr V V Srivatsa (Introduction): Saveri is an ancient raga with many textual references. This raga is classified as a Bhashanga raga in Sangeeta Ratnakara, albeit with the name Savari. This raga has a place of pride in Carnatic music, as can be also seen in the proverb, "Kaveri snaanam, Saveri Gaanam", which is duly reflected in a composition by Dikshitar. Each swara has a significant role. Gandhara and Nishada, at Trisruti levels, render this raga as Bhashanga. Rishabha, Madhyama and Nishada are raga-chhayya swaras, which bring out the nuances of this raga. Madhyama is unique, often called Saveri Madhyama. It is one of the select ragas with compositions by all members of the Carnatic Trinity. There is a marked conceptual similarity between Dikshitar and Syama Sastri. Some rare sancharas can be found in "Karmame
Balavanta", a Tyagaraja kriti. There is considerable esoteric significance in some passages of the kriti "Sri Rajagopala" by Dikshitar. Syama Sastri's first composition was in this raga. Many post-Trinity composers have used this raga, unto recent times. A great legacy.
Dr Pramila Gurumurthy: The earliest reference is by Parshwadeva (11th Century). Narada's classification under the time theory details Saveri as a derivative of Gauda, apt for rendition between noon and 3 pm. Sarangadeva refers to raga Sauviri only. The Brihaddharma Purana mentions Saveri as a janya raga of Gowda mela. Annamacharya and Purandaradasa have composed in this raga. Ramamatya refers to Saveri as a janya raga of Salanganata mela. The references by Somanatha to a raga Saveri as a derivative of the Mallari scale perhaps is in respect of Suddhasaveri. Venkatamakhin opines that Saveri is a derivative of Gowla mela. The melodic identity of this raga is established in works like Raga Lakshanamu, Sangeeta Saramrita and Sangeeta Sampradaya Pradarsini. The Sangeeta Saramrita deems Saveri to be a morning raga. Shadja is used as Graha, Nyasa and Amsa swaras. Many compositions are available with notation in the Sangeeta Sampradaya Pradarsini. B Subba Rao has expressed a view that Saveri is getting popular in Hindustani music too. There is no eqivalent for Saveri in the Pann system.
P S Narayanaswami (Creativity): Saveri is a very unique raga affording ample scope for manodharma. The three swaras, Rishaba, Madhyama and Dhaivata play a vital role. It is difficult to prescribe any uniformity in Manodharma in respect of this raga. (P S Narayanaswamy rendered an alapana which was crisp and embellished with all desirable facets of this raga.)
Dr M Narmada (Ornamentations / Gamakas): It is the judicious combination of swara and gamakas that accentuate the beauty of this raga and facilitate Raganubhava. (The proximity and combination of Shadja and Rishaba was demonstrated by her, duly accentuating the gamaka element with Rishaba swara). The effect is such that some may adopt the zonal concept, within the raga framework. (The effect of using gamaka with Dhaivata was also demonstrated.) For a total aesthetic effect, the key is the judicious use of the gamaka with any swara. Saveri is a gamaka - variga raga but not extensible to all swaras. This raga gives the anubhava of Sringara, Santa and Adbhuta rasas.
Dr Ritha Rajan (Compositions): The compositions in Saveri are of very high calibre. The varnam "Sarasuda" by Kottavasal Venkatarama Iyer is unique in several respects. There are enough compositions of the pre-Trinity period. Tyagaraja's Kritis "Tulasi Jagajjanani", "Rama Bana", "Daridapu Leka" are magnificient. "Chalu Chalu" is rarely heard. "Sri Rajagopala" by Dikshitar encompasses all the salient features of Saveri. "Durusuga" by Syama Sastri has structural and renditional elegance, "Sankari Sankuru" is also a popular composition. Amongst the post-Trinity compositions, "Etu Namminavo" is outstanding, as is "Sri Kamakoti Peeta" by Mysore Sadasiva Rao. The Padam "Telisenura" is a masterpiece. There are two Javalis as well.
Thank you so much for this information 🙏🏼❤️
@@mamathaahemanth6276 ji My Pleasure 🙏
Beautiful beautiful.. no other words in English to describe its gandharva touch.
for those who are dying to get its meaning. here is the text and translation.
Ragam:Saveri Thalam: Misra Chapu
Arohanam: S R1 M1 P D1 S
Avarohanam: S N3 D1 P M1 G3 R1 S
pallavi
bhAsurAngi bAlE madana turayAyi jnyAn pAramuLaunnE nayyO
anupallavi
vAsavOpala kOmaLAnganAmbuja nAbhan vacana yenniyE vannu puNarAjnyu
caranam 1
taruNImaNI nishiyil shiva shiva paramtignma kirananudicciDuMo
smara sAyakamokkave sumamayamennu lOkaru ceyyunnatum kaLiyO
aruNa pallavadhAri paricODu mama varanarikil vannu sahasA
sarasam punjciri tUgi aviram ceyta lIlagaL sakalavumayi marannO matpriyasakhi
caranam 2
munna menuilirunna mamata kuranjnyayil mOdam pUNDu vasikkayO
mannil maruvunnoru matavar kulangaLil mama bhAgyamividhamO
kannalmiLiyOmale viraha vAridhiyatil khinnayAyi muLukIDunnEn
pannaga shayana nAmme prANa nAthanODAshu cennu colluka mE tApam matpriyasakhi
Meaning
Oh, my dear friend Bhasurangi! I am afflicted by desire.
Since Anbujanabha, who resembles Indra does not come to unite with me wholeheartedly, my mind is in turbulence.
Dear Tarunimani! Can there be sun at midnight? Is it for fun people say that Cupid's arrows are like flowers? Dear one with soft and red lips, has he forgotten, how often he used to come to me with a bewitching smile and indulge with me in amours sports?
Every night I used to visualize his Cupid-like form and wake up; Alas! What can I say about this misery? Every day of separation from him feels like an era. Dear Tamara Samamukhi! fae like the lotus, why does he delay in satisfying my desire?
Has his love for me decreased because he is interested in someone else? Among the ladies around here, why should my luck be like this Dear Kannalmiziyomale! maiden with enticing eyes- I am being drowned in the ocean of separation from my beloved. Please go without delay and inform my ardent desire to my dear did, who relines on the serpent.
courtesy:
swathithirunalfestival.org/compositions/bhasurangi-bale
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What a saveri. Majestic performance of a majestic raga
കഥകളി വീട്ടിലിരുന്നു ആസ്വദിച്ചു. Super rendition
Amazing 🙏🙏🙏
Music heals every wounds
No Wordssssss....
The Great Singer..
Beautiful rendition
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🙏🙏 ആഹാ 👌
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Clear sound super.......
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മനോഹരം
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Feels like music rain in the heart
10000000 likes and loves from me
super
Superb.soulful rendition.God bless.
Ee Nadham, Eswarante varadhanam.
🙏🙏🙏🙏🙏
divineful
No words....❣️🌸
Evergreen
Wow!❣💐🙏
🙏🙏
Superb..
Beautiful!
Awesome!
Hah, Nice Nadham.
My goodness'...
❤❤❤❤
excellent...
Priye Charusheele tune
Devine
♥️👏