TM Krishna: Chaturdasa Ragamalika
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- Опубліковано 28 гру 2017
- The centrepiece of the FEA-curated THE ESSENTIAL TM KRISHNA concert was the Muthuswamy Dikshitar composed Chaturdasa Ragamalika Shri Viswanathan Bhajeham.
Krishna was accompanied by Akkarai Subhalakshmi on violin, Manoj Siva on mridangam and Anirudh Athreya on kanjira. Tanpura support was provided by Jayant Naidu and Sarang Phagre.
A musician should be judged by the purity of his or her music, the diversity, richness and magnificence of the repertoire, and the respect and devotion shown to the art. Every other consideration should be irrelevant. TMK's music is mellifluous and captivating. His voice is divine. His knowledge of the
art is vast. He literally transports us to another plane. Let's just be thankful and enjoy that!
When great artists perform we dont find the difficulty of the rendition of the composition. Instead we are engrossed in taking the divine pleasure just ike a bee enjoying the nectar of the flower. It happens always with the t m krishna garu. Pranaams to you sir.
what else is new? Amazing Amazing rendition by Sri, TM Krishna
This is beautiful.This is rich.This is amazing.Only Deekshithar could compose such krithis...Is this one not enough for a student of Music to research for a PhD?Grateful to TMK Sir for offering this gem to us.Thank you,Sir.
ಏಕೆಓದಬೇಕು
TMKrishna is a joy to hear when he is on the mood to sing classical carnatic music.
Terrific vocal performance, amazing accompanists. Truly wonderful sound recording, camerawork and editing. Best if you listen with high quality headphones.
"The grand Chaturdasa ragamalika - Sri Viswanatham bhajeham is set in fourteen ragas. It is interestingly split in two parts symbolising the chaturdasa bhuvanas or fourteen worlds as mentioned in the puranas. Structured wonderfully, the first six ragas from Sriragam to Mohanam continue in reverse order for half avarthanam each linking back to the pallavi in Sriragam. The second part starts with raga sama and continues with seven other ragams ending with bhoopalam. These also tie back to the pallavi proceeding in reverse order in half avarthanams. A piece of great majesty Dikshitar employs raga mudras beautifully. Some examples are Sri Viswanatham (Sri), Samasarabeethyabhaam (arabhi), Mohanakaralingam (Mohanam), Sama gana (Sama), Lalitha Hrudaya (Lalitha ), chidakasa bhairavam (bhairavam), Sarangadaram2345 (Saranga), Sankarabharanam, sath gathi daya kamboja charanam, vadaanya devakriya kelanam, Bhoopala palanam.Diskhitar also composed a mangala ragamalika Simhasanastithey in rupaka tala in four auspicious ragams Sourashtram, Vasantha, Surati and Madyamavathi." Source: nadasurabhi.org/articles/36-ragamalikas
wow1 THAT IS A REVELATION FOR ME ,THE WAY IT IS STRUCTED! tHANKS FOR IT.
Thank you very much for this elucidation, sir.
I have also seen the line 'sath gathi thaya kamboji charanena' in another Dikshitar kruthi 'Kailasha nathena'. I think something similar comes in the Kamboji navavarnam. Can you elucidate on this?
That was informative. Thank you
No words T,M,Krishna sir koti koti pranams to deekshithar .
And also t,m,sir and accompanies.
Really we are in the heaven
This is incredible - genius of TMK.
heavenly ,divine music!!-carries us far far away ,,in to a sphere of utter bliss!
No wonder I am always in awe for such devotional intellectual beings. Thank you
21:53 vadanya devakriya kelanam - his facial emotions are awesoome
So difficult to be perfect
Vocal violin and the beats
So fan of u
Get some time to visit Jammu
Who are those 12 losers that gave thumbs down... Quite strange...such a mind boggling performance....koti pranams to the great TMK & to the unparalled genius Dikshitar. Pure bliss - epitome of creativity.
There are people and people. May have nothing to do with his music. Subjective thumbs down. Just ignore
This is the most phenomenal alapana ever! ❤❤
Every transition was so awesome and novel, especially when moving to Nattai and Mohanam! Loved every bit of it!
Amazing Performance!!! This combination is simply superb..
OMG.lots of love to Subbalakshmi garu,TMK garu...
Good gifted rendition. And voice ....... Sadar Charan sparsh..., Love from nagpur
What a perfect rendition
Amazing artistic voice controls and modulation!.
Thanks.
I personally listened this chaturdasa raagamalika in his concert in keys high school, secbad last year wonderfully presented by T.M.Krishnan
Divine
God Bless the Artists
Thanks
One of my favorites
Wow 🤩. What an amazing rendition of such a beautiful composition by the great Dikshitar 🤩🙏🏼
The thani avarthanams sparkled.
known, only the great dikshitar can only compose such a long and a beautiful kriti it just amazing composing looks such a easy thing just loved it
Vaw vaw... what a beautiful piece.... And what slow beautiful rendition...Thousand Pranams to TMK sir ..
Words fail me to express my profound happiness .....great presentation !!!
Amazing Performance.........
this one will be timeless
Superb ragamalika!
Thanks.
Hatsoff akkarai ma’am..
Krishna u r a vidwan in real sanathana context.
Good , excellent and amazing sir, thank you - Nemani Gowishanker advocate Hyderabad.
Great 🙏 sir👏
Very melodious & interesting .
Aalapanam was excellent.....liked it like anything👍
Talking with the violinist in music language
Lovely. Enjoyed much.
Some thought :
'Chaturdasa bhuvana rupa ragamalika bharaNa'...
Sri Dikshitar clearly had the 14 worlds (ஈரேழு பதினாலு லோகம்) of Hindu Mythology in mind while composing this Magnum Opus. 7 worlds above & 7 below. May be that is why he split the Ragamalika in two parts, the first 7 followed by a recapture at Virinchi then 7 more, ending with a full recapture.
Did Dikshitar also select the 14 Ragam to suit the special nature of those 14 worlds ? What are the hidden (as usually done by Dikshitar) connections between the Ragam and each World ? Do the lyrics for each Ragam have any special significance vis a vis these 14 worlds ?
Also, contrary to the concert practice now, Dikshitar starts with Sri and ends with BhoopaLam. (MLV had sung Bhagyadha Lakshmi in Sri). Any significance there ?
I think this Ragamalika invites a multi faceted study by expert singers and rasikas.
Wonderful performance.
Superb ! Only Shri Dikshitar Could Compose such a Ragamalika....
Chaturdasa bhuvana roopa Ragamalika Adi Talam Muthuswami
Dikshitar Krithi
This is a Sanskrit Composition
pallavi
Shree Viswanatham bhajeham
Chatur dasa bhuvana roopa ragamalika bharana dharanaantha karanam
1
Sritha jana samsaarabhi tyaapaham
pa;; ma; ga ri; sa dha; pa ma ga ri ma ma bhithyaapaham
Aadhyaamikaadhi taapathraya manobhithyaapaham
2
Sri Visaalakshi gowrisam
sa ri ga ri; sa ri ma; pa SA ni RI SA; dha pa ma ga ri gowrisam
Sakala nishkala roopa Satchidhanandha maya gowrisam
3
Chitra viswa naaTTaka prakasam
pa ma; ni pa; SA ni RI; SA ni pa RI RI; SA; ni pa; ma ri
prakaasam
Jagath prakaasaka Bhaskara Shashaankha koti koti Prakaasam
4
Govindhaadhi vinutha gowLaankam
pa; ni pa; ni; SA pa; ni; SA; SA RI GA MA RI SA; SA; ni pa gowLaankam
Ksheera kundhendhu karpooraadhi Vijaya basithodh dhoolitha gowLaankam
5
Guruguha sammOhana kara Lingam
pa; ga; dha dha pa; dha RI SA; GA; RI; SA pa; dha; ga MOHANA
kara lingam
Panchekritha pancha maha bootha prapanchaadhi MOHANA kara Lingam
6
Virinchi Vishnu Rudhra moorthy mayam (mOhanam)
Vishaya panchakara hitha mabhayam (gowLai)
Nirathishaya sukhatha nipuna tharam (naaTTai)
Nigama saara meeshwara mamaram (gowri)
Smaraharam parama Sivamathulam (aarabi)
Sarasa sadhaya hruthaya nilayamanisham (shree)
7
Sadaa Sivam saama gaana vinutham
pa ma; dha dha SA; dha pa pa saama gaana
vinutham
Prakruthyaadhi saptha roopa saama gaana vinutham
8
Sanmaargam lalita hrudhaya vidhitham
dha; ma; ga; ri; sa rahitha lalita hrudhaya
vidhitham
Kama krodhaadhi rahitha lalita hrudhaya vidhitham
9
Chitaakaasha bhairavam puraharam
pa ma dha pa; ma ma ga; ri sa ri bhairavam puraharam
Vidhi Kapaala thrisoola dhara bhairavam puraharam
10
Chith Sabesam saaranga dharam
dha; pa ma; pa ma dha pa SA ni RI SA ni saaranga dharam
Dhaarukaavana thapodhana kalpitha saaranga dharam
11
Sadhaasrayaami shankaraabharaNam
sa; ri ga; ma pa dha ni SA RI ni; SA dha pa ma; ga; ri mayashankaraabharaNam
Chinthitaartha virharana dhureenadhara maanikhya mayashankaraabharaNam
12
Sathgathi daayakaambhOji charanam
dha; ma; pa; ma ni dha pa dha RI SA ni; pa dha ga ri; sa
tharaambhoja charanam
Dharmarthadhi nikila purushaartha pradha samastha tharambhoja charanam
13
Vadhaanya dEvakriya khelanam
SA; SA; dha pa SA dha pa dha pa; ma; ri; pa ma dha pa dha SA dha
pa ma ri sa khelanam
Srishti sthithi vilayathi rodhaanaanugraha karanakriya khelanam
14
Vaidhyalinga bhoopaaLa paalanam
sa ri ga pa ga dha pa SA dha; dha GA; RI SA; dha; pa ga ri sabhoopaaLa paalanam
Shri pura nirruthi bhaaga gartha dheerasthira vara bhoopaaLapaalanam
15
Guruguhesha sura naresam anisham (bhoopaaLam)
Guja budhaadhigraha gathi vidhitham (dEvakriya)
Varadhamanala Ravi Sashi nayanam (kaambhOji)
Vanaja Chandra sannibha vadhanam (shankaraabharaNam)
Paramahamsam aanada nardhanam (saaranga)
Pathitha paavanakaranam madha haranam (bhairavam)
Paratharam parama mano laya jayam (lalitaa)
Paraadhivaak Prakaasanandhamayam (saamaa)
Virinci (as before, backwards or volOma)
Thanks for the saahitya
@@samudyathavramu6977 ji Thanks My Pleasure 🙏
Top work 👏🏻
What genius! Brilliant violinist too!
It is on 2.2.18 in Keys high school Sarada Cultural Assn.Music Festival
Heart touching rendition !!!! P R A N A M U M S MR. KRISHNA !!!!!!!!!!
it is always said people { gurus } with high calibers only sing this sort of compositions.
Music teachers will not risk of teaching this sort of lessons to PUPILS now a days.
This rendition s a teaching, mark in the world of music for the students who aspire, devotional learning in high calibers ,
Sir with at most respects to you I THANK YOU ON BEHALF OF ALL THE MUSIC LOVERS AND LEARNERS.
ALL THE ACCOMPANIMENTS SUPPORTED IN AT MOST DEDICATION.,
P R A N A M U M S to them also,
I remain in name of VISWANATHA BHAJEHAM !!!!!!!!!!
Aaaha aaahaaa
Subbulakshmi 😘😘😘
Beautiful
The fact that not much non-brahmins are able to relate to and appreciate this music is a sad paradigm
Song: caturdasa bhuvana roopa (shree vishwanaatam bhajEham)
chaturdasa bhuvana roopa
raagam: raagamaalika
taaLam: aadi
Composer: Dikshitar
Language: Sanskrit
pallavi
Shree Viswanatham bhajeham
Chatur dasa bhuvana roopa ragamalika bharana dharanaantha karanam
1
Sritha jana samsaarabhi tyaapaham
pa;; ma; ga ri; sa dha; pa ma ga ri ma ma bhithyaapaham
Aadhyaamikaadhi taapathraya manobhithyaapaham
2
Sri Visaalakshi gowrisam
sa ri ga ri; sa ri ma; pa SA ni RI SA; dha pa ma ga ri gowrisam
Sakala nishkala roopa Satchidhanandha maya gowrisam
3
Chitra viswa naaTTaka prakasam
pa ma; ni pa; SA ni RI; SA ni pa RI RI; SA; ni pa; ma ri prakaasam
Jagath prakaasaka Bhaskara Shashaankha koti koti Prakaasam
4
Govindhaadhi vinutha gowLaankam
pa; ni pa; ni; SA pa; ni; SA; SA RI GA MA RI SA; SA; ni pa gowLaankam
Ksheera kundhendhu karpooraadhi Vijaya basithodh dhoolitha gowLaankam
5
Guruguha sammOhana kara Lingam
pa; ga; dha dha pa; dha RI SA; GA; RI; SA pa; dha; ga MOHANA kara lingam
Panchekritha pancha maha bootha prapanchaadhi MOHANA kara Lingam
6
Virinchi Vishnu Rudhra moorthy mayam (mOhanam)
Vishaya panchakara hitha mabhayam (gowLai)
Nirathishaya sukhatha nipuna tharam (naaTTai)
Nigama saara meeshwara mamaram (gowri)
Smaraharam parama Sivamathulam (aarabi)
Sarasa sadhaya hruthaya nilayamanisham (shree)
7
Sadaa Sivam saama gaana vinutham
pa ma; dha dha SA; dha pa pa saama gaana vinutham
Prakruthyaadhi saptha roopa saama gaana vinutham
8
Sanmaargam lalita hrudhaya vidhitham
dha; ma; ga; ri; sa rahitha lalita hrudhaya vidhitham
Kama krodhaadhi rahitha lalita hrudhaya vidhitham
9
Chitaakaasha bhairavam puraharam
pa ma dha pa; ma ma ga; ri sa ri bhairavam puraharam
Vidhi Kapaala thrisoola dhara bhairavam puraharam
10
Chith Sabesam saaranga dharam
dha; pa ma; pa ma dha pa SA ni RI SA ni saaranga dharam
Dhaarukaavana thapodhana kalpitha saaranga dharam
11
Sadhaasrayaami shankaraabharaNam
sa; ri ga; ma pa dha ni SA RI ni; SA dha pa ma; ga; ri maya shankaraabharaNam
Chinthitaartha virharana dhureenadhara maanikhya maya shankaraabharaNam
12
Sathgathi daayakaambhOji charanam
dha; ma; pa; ma ni dha pa dha RI SA ni; pa dha ga ri; sa tharaambhoja charanam
Dharmarthadhi nikila purushaartha pradha samastha tharambhoja charanam
13
Vadhaanya dEvakriya khelanam
SA; SA; dha pa SA dha pa dha pa; ma; ri; pa ma dha pa dha SA dha pa ma ri sa khelanam
Srishti sthithi vilayathi rodhaanaanugraha karanakriya khelanam
14
Vaidhyalinga bhoopaaLa paalanam
sa ri ga pa ga dha pa SA dha; dha GA; RI SA; dha; pa ga ri sa bhoopaaLa paalanam
Shri pura nirruthi bhaaga gartha dheerasthira vara bhoopaaLa paalanam
Thank you Eashwer B. Iyer for the detailed notations. Much obliged.
some lines are missing
super.....
Very nice
Krithi rendition starts from 11:23
Namaskaaram
Awesome
Superb
Genius
Apurba
What a aarabhi srart
22:22
❤
Sabash
Chaturdasa ragamalika TMK's bench mark akkari excellent accomanyment
Can someone help me with all ragams sung till from beginning to 11.33
In one word, Excellent. Thanks for the share.🤣
Namastae
Super
Controversial or not he is a great singer.
Masterpiece
It transitioned to nattai but there was something in between which I missed
Fourteen raagas names tell me sir
Miss you so much in Chennai. Cruel irony that you live here but do not perform.
Look at his monthly schedule. He performs most often in Chennai.
14:53
स्पश्टम्
If there ever was a Perfect Rendition, it is by MLV and is on UA-cam.
Govind Balasubramaniam may be, but the one by Ramakrishnan Murthy is just perfect and fulfilling
just enjoy the music, comparison is fruitless. Every one has their own signature. that's it
I cannot agree more with you. I have not been convinced with anyone apart from MLV. Others seemed to be just about okay, with due respect to artistes, MLV has put this piece way too high; that so many years after MLV Amma’s departure, we still feel the void
Well said, Sir! MLV has set the benchmark for the rendering of this composition.
Shreyas K he does, point is MLV is considered good authority for authentic notations, and she pioneered in popularising this song.
Can anybody give names of Chaturdasa ragas in order for kearners like me who cannot identify ragas easily...
1. Shri
2. Arabhi
3. Gauri
4. Nattai
5. Gowla
6. Mohanam
7. Sama
8. Lalitha
9. Bhairavam
10. Saranga
11. Shankarabharanam
12. Kambhoji
13. Devakriya
14. Bhupalam
Breath-taking. I hate his rantings outside of stage, but once he starts singing, I experience divinity. Amazing rendition!
So true, when I listen to this I can't believe it is the same person who says the things he says, praying to God.for better sense to.prevail ...just sing man...
Totally agree with you. His music is outstanding
Agree, He should just shut up and sing :-)
God knows if he/she/it were knows the truth
@@ChandraSekharchaganti One can't shut up and sing!
Inaudible.
Some learned people please help. Want to understand raga transitions. It is too difficult to understand
U
The Music goes behind Sri TMK or Sri TMK goes with the music or both travel together . What a Co ordination between the Co Artists ? Sri TMK on the stage is totally controlled by Goddess Saraswathi. SHE is not bothered about the other side of Sri TMK.
It is funny how rasikas who detest TMK's social activism also find his music irresistible. What tormented jeevans they must be!
Haha that's true 😂
Exactly!!
I think it just shows that the art is greater than the artist
Who cares what he says otherwise .....when he can take us to heaven with his music
I think Rasikas have learnt to ignore his antics off the stage to enjoy his awesome amazing majestic music on stage.
22:21 onwards just too beautiful ... Hope he will create these kind of moments on stage rather than other not so comfortable statements off the stage
Why do you think one precludes the other - they can both coexist, as TMK has abundantly shown. I would further venture to pose this question "What if the music will not sound as profound and beautiful without the social activism?"
"Varadamanala- not varadamamala "here, anala means " agni "one of Lord Shiva 's eyes. Many more mistakes can be found in this rendition. The singer has taken freedom to deviate from the original composition. .
Yea let me know the mistakes pointed by u . Caaz I can find some other mistakes leaving those found by u ,assuming it all to be correct pronunciationz...
@Shreyas Kuchibhotla if he's studious, can better approach Sri sringeri jagadguru and get clarification. I am not interested in correcting anyone.
@@mahathipranav2166 If u are that precise in Sanskrit , Ur name must be mahathee ,and Mahathi is masculine. Correct that and then come here.
If u realize I was stupid here,same were u then.
@@shrikhar Listen Mr Asshole,
If Sahityam is important , no carnatic vocalists are apt (in that area )... Suggest whomever u know , I can at-least point 10 mistakes in each of their rendition of Sanskrit compositions.....
Manoj Shiva has a long way to go before he can accompany the stature of musicians like TMK. Would have been great if patiri or chenganasseri harikumar had accompanied.
Listen to TMK with Trichy sir. Aweosme
He should be facing the mike while singing not the violinist.
Well i dont understand shit other than that it takes too much effort and practice. Just crawling out of curiosity what the brahmins are upto 🙂. I mean no harm. just wondering how much effort humans put into recreating stuff other humans have created.
Can someone help me with all ragams sung till from beginning to 11.33
arti iyer Ragams are
Shri ( 00:00 -1:20 )
Arabhi ( 1:20- 2:10 )
Gauri ( 2:10 -3:02 )
Nattai ( 3:02- 3:42 )
Gaula ( 3:42- 4:32 )
Mohanam ( 4:32 - 5:07 )
At 5:07 TMK accidentally tries to return to Shri as in the krithi , but quickly corrects himself at 5:11 to continue with raga saama to finish all 14 ragas before returning to Shri raga and the composition .
Saama ( 5:11- 5:56)
Lalitha ( 5:56- 7:08 )
Bhairavam ( 7:08 - 8:23 )
Saaranaga ( 8:23- 8:59 )
Shankarabharanam ( 8:59 - 9:26 )
Kaambhoji ( 9:26 -9:55 )
Devakriya ( 09:55 - 10:25 )
Bhoopalam ( 10:25- 11:12)
Back to Shri Ragam at 11:12 and the krithi at 11:23
Prabhoo.......... 👌
Names of the ragas are cleverly incorporated in the kriti itself. Pls. listen carefully.
Thanks for providing information on ragas
17:44