DK Jayaraman Thatha has became my life Ambiation .... now i am admiring him more than any one in the world ..... now i am not thinking any thing else other than Music .....thank you All legends for making me once again as a human being ......... Since 5 months i have been Practicing Vocal + Violin hope with blessings of Great people ...i can learn it .... #Endaro#Mahanubavulu #Andariki#Vandanamulu 🙏🙏🙏🙏🙏🙏🙏🙏
In 2015, I used to travel by Moffisil Bus for 1 Hr. to my Office. As soon as I board the bus and taken ticket, I would switch on this song in my Mobile. And get prepared for getting down. IN between, nothing else will be my concern. The travel was never tiring. IN fact enjoyable.
What a Lovely one by Synchronization of the Maestro's ! Kapali Ragam Mohanam Adi talam Papanasam Sivan Krithi One of the earliest memories of Carnatic Music is from the temple grounds of Kapaleeshwarar Temple in Mylapore, Chennai. Papanasam Sivan describes the Lord as the one with matted hair who is adorned by a snake, with a garland of skulls, wearing tiger skin, His body covered by ash. He is Kapali, meaning the one who holds a skull. Should not such an image be terrifying? But no! He who dances the dance of Time, His drum keeping the beat, His matted hair flying, His eyes flashing is the most attractive God of all! Though He is the God of destruction, He is life itself for does not each moment of our life die almost as we live it? There is much symbolism in the depiction of Shiva; I will leave that discussion for another day. Listening to Kapali by Papanasam Sivan takes me to the hallowed grounds of the Kapaleeshwarar temple. Those far off memories are joyful ones for me, and this joy is echoed in the happy notes of Raga Mohanam in which the song is set. The composer makes it clear that he too finds the Lord enchanting by setting the song in joyful Mohanam and saying in the last line of the song that ‘this enchanter captures the heart of all women who come before Him! I love the contrast of the rather frightening form of the Lord to the soft and lyrical notes of Mohanam. As a woman who has come before Him, I too have lost my heart to Him! pallavi: kapaali, karuNai nilavupozhi vadhanNa madhiyanoru (kapaali) In the pallavi, the composer describes the presiding deity of mylApUr (kapAlI) thus: He is the handsome (vadana - face, madiyan - like the moon - a handsome, charming man) one (oru) that grants/gives liberally/showers in abundance (pozhi) compasssion (karuNai) on his devotees on a permanent basis (nilavu). anupallavi: aapaala gOpaalam aazhisoozh thalaththavarum boopaalarum ashtadhik paalarum pORRum adhbudha (kaapaali) In the anupallavi, the poet continues to describe him as the amazing/wondrous (adbhuta) one that is praised (pORRum/pOTrum) by one and all: by children/cowherds (Ap(b)AlagOpAlam), those (avar) who inhabit this land/earth (talam) that is surrounded (SUr) by the seas (Azhi), kings (bhUpAlar) and the deities/demi-gods that gaurd (pAlakarum) the eight (asTha) directions (dik). charaNam: madhipunal aravukonRai thumbai aRugunN maththaipunai maasadaiyaan vidhithalaimaalai maarban uriththakariyin vempuliyin thOludaiyaan adhira muzhangum udukkaiyum thirisoolamum angiyum kurangamum ilangidu kaiyaan thyuthimigu thirumEni muzhudhum saambal thulanga edhirmangaiyar manNangavar JaganN mOHanNa In the charanam, SrI sivan goes on to describe him as the one whose matted locks (mASaDayAn) bear (punai) the moon (madi), the gangA (punal - river), and is adorned by konrai, tumbai, and unmattai (Umattai) flowers as well as the sacred aRuk(g)am grass, and a snake (aravam). He is the one whose chest (mArban) is adorned by a garland (mAlai) of heads (talai), one of which is brahmA's (vidhi) fifth head[1]. He wears garments made of skin (tOluDayAn) stripped (uritta) from an elephant (kariyin) and tiger (vempuli). He is the one who holds in his many bright/shining (ilangiDu) hands (kaiyAn) a drum (uDukkai) that sounds (muzhangum) very loudly (adira), a trident (triSUlam), the sacred fire (ank(g)i), and a deer (kurank(g)am). Even the ashes (SAmbal) that cover his skin (tirumEni) all over (muzhudum) seem to shine (tulangum) with the divine lusture that lights him up (dyutimigu) so much so, that this enchanter (mOhana)[2] of the world (jagam) captures (kavazh) the hearts/minds (manam) of women (magaiyar) who cross his path (edir). Mohanam ragam :- This raga is the signature of Oriental Music. It existed in ancient Tamil music as the Mullai pann, and much of Kung Fu Panda's re-recording is based on this all-attractive scale known to us South Indians as Mohanam. The Hindustani raga Bhup / Bhupali may be thought of as Mohanam's north-Indian counterpart. The notes that feature in this raga are Shadja, Chatusruti Rishabha, Antara Gandhara, Panchama, and Chatusruti Dhaivata. All of five notes, the harmonious notes being the Gandhara and the Dhaivata, this penatonic scale has the Panchama as it's significant anchoring note. The Classical beauty of this scale as a raga in itself unfolds when the characteristic gamakas are incorporated. Saint Thyagaraja has revelled in this raga and created several masterpieces including “Nannu Palimpa”, “Mohanarama.” While in “Ra ra Rajeevalochana Rama” Mysore Vasudevachar beseeches Lord Rama to save him, a concerned Arunachala Kavi questions Sri Ranganatha as to why he has decided to lie down in Srirangam in “En Palli Kondeerayya,” a famous piece that begins in Mohanam. Papanasam Sivan composed “Kapali” on Lord Kapaleeswara and “Narayana Divya Namam” both in beautiful Thamizh.
Tks to Sanjay subramaniam and rukmani because this song came out from utube from his carnatic vocal. God bless them and everyone. No appreciable word with me except wonderful.
Delight to watch Mridangam Vidwan Sri.J.Vaidyanathan (DKJ Mama's son) on the Tambura, as a young, studious support artiste on vocal and Shruthi support 🙏
Extraordinary, outstanding, what a divine team performance, like all gods together with comic dancer, our the greatestAND the highest Nadarajar at thili / shanmugam/australia
I presume had Palghat Mani Iyer's mridangam evolved into modern day kutchi mridangam with resultant fine-tuning of fingering techniques, it would have sounded no different than this. Immaculate naadham & crisp finger-strokes of Shri UKS, reminding us that "the grace of guru is that which empowers all that we express - na guror adhikam tatvam;tapaha"
Please. Ida madiri master piece upload pannavum. England madiri anda kalathil Katherine Pou ketka. Mudiadavargakukku you tube vvaraprasadam. Thank you very much
I have heard the performance 100 many times, still will be hearing throughout my life. I'm now 75 running.
The Bhakti involved in the rendition is something out of this world!
DK Jayaraman Thatha has became my life Ambiation ....
now i am admiring him more than any one in the world .....
now i am not thinking any thing else other than Music .....thank you All legends
for making me once again as a human being .........
Since 5 months i have been Practicing Vocal + Violin
hope with blessings of Great people ...i can learn it ....
#Endaro#Mahanubavulu
#Andariki#Vandanamulu 🙏🙏🙏🙏🙏🙏🙏🙏
In 2015, I used to travel by Moffisil Bus for 1 Hr. to my Office. As soon as I board the bus and taken ticket, I would switch on this song in my Mobile. And get prepared for getting down. IN between, nothing else will be my concern. The travel was never tiring. IN fact enjoyable.
Excellent
In 1979 a function was organised to celebrate Papanasa sivsn day. DKJ given a concert at Sastry hall where 0mly sivsn kittanais were sung.
What a Lovely one by Synchronization of the Maestro's ! Kapali Ragam Mohanam Adi talam Papanasam Sivan Krithi
One of the earliest memories of Carnatic Music is from the temple grounds of Kapaleeshwarar Temple in Mylapore, Chennai. Papanasam Sivan describes the Lord as the one with matted hair who is adorned by a snake, with a garland of skulls, wearing tiger skin, His body covered by ash. He is Kapali, meaning the one who holds a skull. Should not such an image be terrifying? But no! He who dances the dance of Time, His drum keeping the beat, His matted hair flying, His eyes flashing is the most attractive God of all! Though He is the God of destruction, He is life itself for does not each moment of our life die almost as we live it? There is much symbolism in the depiction of Shiva; I will leave that discussion for another day. Listening to Kapali by Papanasam Sivan takes me to the hallowed grounds of the Kapaleeshwarar temple. Those far off memories are joyful ones for me, and this joy is echoed in the happy notes of Raga Mohanam in which the song is set.
The composer makes it clear that he too finds the Lord enchanting by setting the song in joyful Mohanam and saying in the last line of the song that ‘this enchanter captures the heart of all women who come before Him! I love the contrast of the rather frightening form of the Lord to the soft and lyrical notes of Mohanam. As a woman who has come before Him, I too have lost my heart to Him!
pallavi:
kapaali, karuNai nilavupozhi vadhanNa madhiyanoru (kapaali)
In the pallavi, the composer describes the presiding deity of mylApUr (kapAlI) thus: He is the handsome (vadana - face, madiyan - like the moon - a handsome, charming man) one (oru) that grants/gives liberally/showers in abundance (pozhi) compasssion (karuNai) on his devotees on a permanent basis (nilavu).
anupallavi:
aapaala gOpaalam aazhisoozh thalaththavarum
boopaalarum ashtadhik paalarum pORRum adhbudha (kaapaali)
In the anupallavi, the poet continues to describe him as the amazing/wondrous (adbhuta) one that is praised (pORRum/pOTrum) by one and all: by children/cowherds (Ap(b)AlagOpAlam), those (avar) who inhabit this land/earth (talam) that is surrounded (SUr) by the seas (Azhi), kings (bhUpAlar) and the deities/demi-gods that gaurd (pAlakarum) the eight (asTha) directions (dik).
charaNam:
madhipunal aravukonRai thumbai aRugunN
maththaipunai maasadaiyaan
vidhithalaimaalai maarban uriththakariyin
vempuliyin thOludaiyaan
adhira muzhangum udukkaiyum thirisoolamum
angiyum kurangamum ilangidu kaiyaan
thyuthimigu thirumEni muzhudhum saambal
thulanga edhirmangaiyar manNangavar JaganN mOHanNa
In the charanam, SrI sivan goes on to describe him as the one whose matted locks (mASaDayAn) bear (punai) the moon (madi), the gangA (punal - river), and is adorned by konrai, tumbai, and unmattai (Umattai) flowers as well as the sacred aRuk(g)am grass, and a snake (aravam). He is the one whose chest (mArban) is adorned by a garland (mAlai) of heads (talai), one of which is brahmA's (vidhi) fifth head[1]. He wears garments made of skin (tOluDayAn) stripped (uritta) from an elephant (kariyin) and tiger (vempuli). He is the one who holds in his many bright/shining (ilangiDu) hands (kaiyAn) a drum (uDukkai) that sounds (muzhangum) very loudly (adira), a trident (triSUlam), the sacred fire (ank(g)i), and a deer (kurank(g)am). Even the ashes (SAmbal) that cover his skin (tirumEni) all over (muzhudum) seem to shine (tulangum) with the divine lusture that lights him up (dyutimigu) so much so, that this enchanter (mOhana)[2] of the world (jagam) captures (kavazh) the hearts/minds (manam) of women (magaiyar) who cross his path (edir).
Mohanam ragam :- This raga is the signature of Oriental Music. It existed in ancient Tamil music as the Mullai pann, and much of Kung Fu Panda's re-recording is based on this all-attractive scale known to us South Indians as Mohanam. The Hindustani raga Bhup / Bhupali may be thought of as Mohanam's north-Indian counterpart.
The notes that feature in this raga are Shadja, Chatusruti Rishabha, Antara Gandhara, Panchama, and Chatusruti Dhaivata. All of five notes, the harmonious notes being the Gandhara and the Dhaivata, this penatonic scale has the Panchama as it's significant anchoring note.
The Classical beauty of this scale as a raga in itself unfolds when the characteristic gamakas are incorporated. Saint Thyagaraja has revelled in this raga and created several masterpieces including “Nannu Palimpa”, “Mohanarama.” While in “Ra ra Rajeevalochana Rama” Mysore Vasudevachar beseeches Lord Rama to save him, a concerned Arunachala Kavi questions Sri Ranganatha as to why he has decided to lie down in Srirangam in “En Palli Kondeerayya,” a famous piece that begins in Mohanam. Papanasam Sivan composed “Kapali” on Lord Kapaleeswara and “Narayana Divya Namam” both in beautiful Thamizh.
Super..
Excellent
🕊️🚩 BEAUTIFUL POWERFUL DIVINE LOVEFUL JAY!!!!!🌹🌹🌹🌹🌹🌹🌹🕉️👃
This is the definition of a concert. Rukmini's performance is extraordinary, outstanding.
അതി മനോഹരം ആസ്വാദ്യകരം
Astonishing Santathis......Music is more beautiful when the performer also enjoys the rendering......Pure bliss.......!!!!
His music is the best solution to purify our soul.,kapali and mohanam. very divine experience
Great Sahithyam by Papanasam Sivan and outstanding rendering by DKJ ! Worth listening again and again!
Kya rendition Hai old is gold logsnathan BLR
Kapali…. Nobody could sing so like DKJ which is touching the heart and soul! Great mohanam…. By jrt
Melody, depth and intellect combined in the right proportion is Smt. T Rukmini. Satakodi pranaamam. 🙏 She is a challenge even for the veterans!!!!!
Greatest master ever. Thanks for uploading
Glad you enjoyed it
This is a revelation! Everyone works so well together! A divine unity!
Wonderful song,excellent DKJ, even D.K Pattammal my favourite singer,God bless him to perform such a music concert
A pure mohanam without any gimmicks to attract audiences like nowadays
Well said
Perfect synergy amongst the artists!
wonderful Thani.. UKS was precise and majestic
Simply mesmerising. Unity in excellence.
I remained out of this world during the entire concert of Vidwan D K Jayaraman.
Idu allavo thanu avarthanam. Excellent. Manasu kulindruvittadu
DKJ is one of the alltime great. Not many equals in terms of quality.
A treasure. Priceless. I am so happy right watching these masters relish Mohanam!
it was a once in a life time experience to hear a great Legend sing alsong with other accompaying legend artistes.
Tks for uploading this Song.
simply great,thank u.SAIRAM......
Excellent soulful mohanam what are the sangadees thousand times we can listen wonderful we forget ourselves
Thanks so much for the upload Raju Asokan. Great rendition. Never a moment of dullness. What an absorbing concert.
💜👍 TRUE DIVINE BEAUTIFUL MASTERJI GURUJI D.K.JAYARAMAN AWESOME VIDEO VIRTUOSOS GRAND ARTISTS THANKS HEART MUCH BLESS LOVE!!!!!!!🌹🌹🌹🌹🌹🌹🌹🌹🌹🌹🌹🚩🐚
Tks to Sanjay subramaniam and rukmani because this song came out from utube from his carnatic vocal. God bless them and everyone. No appreciable word with me except wonderful.
Your singing is very very very good
Immeasurably beautiful and captivating.
So lucky to listen to such legends! Such purity! 🙏🙏🙏
rendering krithi is feeling divinity. Accompanying by two greats are super
We are lucky to be born after these legends
Missing The Gr8 Legend....😢
Delight to watch Mridangam Vidwan Sri.J.Vaidyanathan (DKJ Mama's son) on the Tambura, as a young, studious support artiste on vocal and Shruthi support 🙏
Always ever hearing songs Kapalii-Mohanam by DKJ .I am always immensely pleasure to hear DKJ songs.
Superlative rendition excellant accompanyments
Nobody could sing mohanam as good as great DKJ!
Very fine.
What a treasure! Thanks for sharing, Raju Asokan.
Wonderful wonderful! thanks for the video
Extraordinary, outstanding, what a divine team performance, like all gods together with comic dancer, our the greatestAND the highest Nadarajar at thili / shanmugam/australia
Excellent
There is one more krithi in mohanam..... darisanam kandalum.....Rendered by jayaraman sir...... Equally blissfull......
wonderful support by accompanying artistes
Good kapali both ghatam and kanjira brilliant. Pm
Shivarchana.. UKS.. amazing..
What a concert spellbound
I presume had Palghat Mani Iyer's mridangam evolved into modern day kutchi mridangam with resultant fine-tuning of fingering techniques, it would have sounded no different than this. Immaculate naadham & crisp finger-strokes of Shri UKS, reminding us that "the grace of guru is that which empowers all that we express - na guror adhikam tatvam;tapaha"
Excellent music concert.
great concert missing you dkj sir
After Madrai Mani Iyer this Kabaali kittanai was sung by DKJ
Amazing. 🙏🙏🙏
mohanam at its best then no need of superlatives you can hear any number of times you are out of the world and you get peace of mind
Great DKJ.. 😍🙏🏻
fresh any time. In Dk P line
BEST mohana rendition
superb
Thanks asokan sir...as always your uploads are superlative,Devine.What a concert.have you got more from this kucheri....
Awesome!
Very Nice
super
Mohanamana. Mohanam no words pramadam. Mangala
Who is this violinist Rukmani…?vehu arumai
Soulful
Mesmerized
UKS.. amazing.
Any one name the musician behind dkj with tampura...?
Mohana raaga at its best!
Now I am 77 running
Please. Ida madiri master piece upload pannavum. England madiri anda kalathil Katherine Pou ketka. Mudiadavargakukku you tube vvaraprasadam. Thank you very much
Engalai madirikatcheri poi ketka mudiadavargalukku
DKJ's Kapali is masterclass
25:50 ... Nagarajan's thundering tani.
+3yahweh3 UKS-VNR sawal jawab is la jawab!
Is it Vaidyanathan, present day leading mridangam vidwan, who is on Tampura Wonderful rendering what a great artist Sri DKJ was in his days
Yes , it Vadhyanathan, look at that cute boy. How carefully he is involved in the song!!!!
Pls don't forget the violinist TR Rukmini madam.
It's in the title!
Prammadam
Look who is in the audience 30:01
At around 12.00 too
This is called, 'Mohanaragam'
ATHPUTHAMANA KUTCHERI.....
Sorry not ghatam but mridangam duo very good. Pm
E
If some one wants to understand why cutcheris are called "concerts" listen to DKJ Sid's programmee
This is the definition of a concert. Rukmini's performance is extraordinary, outstanding.
wonderful Thani.. UKS was precise and majestic
Excellent
This is the definition of a concert. Rukmini's performance is extraordinary, outstanding.
wonderful Thani.. UKS was precise and majestic
Excellent
Excellent