Mani Iyer was singing at Mylapore Sannadhi St. A rickshaw puller was listening. Some one asked him '' vandi varumaa - Guindy poganum '' He replied ''enga venaalum polaam '' Iyer Mangalam padattum appuramaa''! That was his ''magnetic power''
Superb..... Kaa vaa vaa Ragam varali 39th Mela janya Adi Talam papanasam Sivan Krithi Humble Reminder of Madurai Mani Iyer who has made this song FamousInvocation. As a child one would remember listening with fascination to mother’s explanation of how God can be invoked into a Kalasha filled with water, topped with mango leaves and a coconut. Once the invocation is done, the Kalasha is worshipped as the Goddess. ‘God is everywhere’ ‘but when we invoke His or Her presence, divine energy becomes concentrated in an idol or a symbolic representation like a Kalasha’. Likewise an idol carved by the hands of men comes to sit in an altar somewhere and transforms from stone to God. What causes the transformation? Invocation. Just invocation. Human beings have invoked the presence of God from time immemorial using ceremonies of all kinds. But finally it is just a simple call ‘Come’. Addressed to Lord Muruga, the poet-composer Papanasam Sivan says ‘Come and protect me’. He identifies the divinity he invokes by different descriptions but the repeated ‘vA vA’ are the words we hear the most in this song, ‘Come, Come’. Set to the beautiful raga Varali pallavI kA vA vA kanda vA vA Yennai kA vA vElavA (murugA vAkandA vA) pazhanimalaiyuraiyum murugA (vA vA) anupallavI devAdi dEvan maganE vA para dEvi maDiyil amarum guhanE vA vaLLi deivayAnai manavaLA (vA) sharavana bhava parama dayalA (shanmugA) charaNam aapath- iruLara aruloLi tarum appane annaLe ayya vA vA pApa tiraL tarum tApam agala varum pazhani valar karunai mazhayE vA vA tApatraya veyilara nizhal tarum vAntharuve yen kula guruvEe vaa sri padmanAban marugA rAma dAsan vanangum mutaiyA Oh Muruga, who lives in Pazhani malai, come to protect me. Come, O son of Shiva. Come, O Guha (the hidden one), who sits on Parvati’s lap. Come, O husband of Valli and Deivayanai. Come O Sharavana, the supremly kind being. Come, you who bestow light to remove the darkness of danger. Come, you who remove longing and sin, you the shower of kindness, who grew up in Pazhani. Come, you who give shade to protect me from the hot rays of intense longing, you who are the Guru of our community. Come, you who are the nephew of lord Vishnu, the one worshipped by Ramadasa, a gem like being. Raga Jhalavarali is the 39th Mela belonging to the 7th Music Chakra. The prefix ‘Jhala’ is added to the raga name in order to suit the katapayadi formula. It is the 4th in the list of 5 Ghana ragams Nata, Gaula, Arabhi and Sree being the other ghana ragas.Noticeably this is the only Ghana raga with Prati Madhyama. In Mind, Body and Soul Chakra - Chakra 7 is the Divine Chakra lined up with the heart and the throat chakras, enabling the higher spirit energies to work through ones voice and body. Therapeutically Varali is said to be good for Heart and Skin ailments and gastric problems. This raga is mentioned in many of the earlier texts in the names Varadi, Varati,Varali and Varatika and is said to be more than 1300 years old. It is with this name that it is referred in ancient lakshana grandhas like Sangeeta Makarandha and Sangeeta Ratnakara. It is also said that there was a place called as “Varata Desa” and this melody was prevalent there and hence the name Varati / Varali. According to Bharatha’s Natyasastra Varati is recommended in portraying rain, agitation, surprise etc. When it is adorned by dhaivata, it serves contentment, recollecting, concealing one’s feeling. The raga is also used to protray the rasa of Pranaya Viyoga or pangs of separation of lovers. Varali portrays both Karuna and Sringara Rasas. Now coming to the meaning of the term Varali. “Var” in Sanskrit means “to sound” and the term “ali” refers to Bee. So may be the meaning of Varali refers to “Sound/Hum of a Bee “. Varali is also known as Moon. After listening to Varali recordings quite a few times, I think the meaning “Sounds like a Bee” is very apt for the raga. Varali is an asymmetric raga due to the vakra prayoga and a vivadi ragam and the vivadi dosha is avoided by singing the arohana as SGRG which makes it a raga with vakra sampoorna (contains all 7 notes) in arohanam. “pUrNA varALI satatam ghIyatE sagrahAnvitA” The Sloka says that Varali has Purna Arohana-avarohana and can be sung at all times. The Graha Swaram is Shadjam. Its Arohana Avarohana structure is as follows: arohana : S G1 R1 G1 M2 P D1 N3 S avarohana : S N3 D1 P M2 G1 R1 S The notes taken are Shadjam, Suddha Rishabham, Suddha Gandharam, Prati Madhyamam, Panchamam, Suddha Dhaivatam and Kakali Nishadham. The raga has only one vivadi note and that is Suddha Gandharam. Gandharam in the raga is Suddha Gandharam which takes the place of Chathusruti Rishabham with a soft pull while played in veena. Suddha Gandhara which is slightly higher than Chathusruti Rishabham. Gandharam is a pleasant jeeva swaram in the raga. It can also be sounded as a pleading tone . As per Raga Nidhi of T.V.Subbu Rao, the Suddha Gandharam is higher in Arohanam and lower in Avarohanam. The Madhyamam used has a slightly higher frequency than the Prati Madhyamam, and is also called as Chyuta Panchama Madhyamam or Varali Madhyamam as it is popularly known. Varali’s Nishadam is termed as “Chyuta Shadja Nishadam” which is slightly higher than the regular Kakali Nishada. Though all 7 swaras are present in the raga, the notes G, M and N are the most important notes that brings out the raga swarupa. All the three come with their characteristic gamakas.
thank u., it takes me back to the year 1963 at ravindrabharathi,hyderabad, started the concert at 4.25pm. and ended at 11.45pm. with overflowing audiance spellbound with three thani. will we herar such concerts in life again? he is always great in his ownplace. none to replace him. thannks iam born in india. southindia, to listen such wonderful concert.
Time was when at an Agraharam in Tanjore district elders sit in front of their transistors to hear Madurai Mani Iyer during late hours in night enjoying music aired bv All India Radio. I cherish my childhood memory
I have heard MMI sing this great song live in Chennai in late 1950's. It made such an impression on me that when I hear this recording i can visualize Iyerval singing in the dais....What a great rendering for all times in this "varali' raga.
Yes MMI was like that. He would not mind his accompanists over shine him and would actually applaud when they played something extraordinary. He was loved by people for his selfless attitude. For me he is no less than a YOGI. God sent people him MMI to go make people happy and come back soon.
I have no knowledge of carnatic music nuances whatsoever, so, as a literal lay person who's just very fond of music, all I can say is every time I listen to this rendition, I have tears in my eyes... it just touches your soul... for sure, even Lord Muruga could not have resisted the call
I beg to differ. Those days the recordings were not having stereo effects. I have heard in person lot of this combination. Krishnan was always a good accompaniment and never try over perform the main artist.
its divine....I have heard this song sung by so many but no one comes near to this legend... I wish i had heard his concert live....god bless..thanks all
i am lucky to ahve heard him sing thisand thaye yasoda in live at the perambur sangeetha sabha 1952-54??? the inimitable Mani sir with the great Krishnan sir and Sri PAlghat...
I may have been born in 1968, but the music voice, rendering and what not... no young singer these days can even come close to those diving rendering these great maestros gave those days... simply delightful and heavenly....
Seen some comments. TNK is superb. Plays exactly the same notes as that of MMI the Great. Have listened to accompanists like Lalgudi, Mysore Chowdiah, et al. MMI always gave space for all his accompanying players and never stopped encouraging them.
Many thanks for uploading. Fantastic Varali. No one can match. He impressed young and old alike with his Mesmerizing Music. . Salutations to the Lotus feet of Ganakaladhara Sri Madurai Mani Aiyer.🙏🙏🙏🙏
I just happened to stumble upon this piece and was blown away completely by it. I just started unearthing the treasures of carnatic classics. Can someone please guide me to other masterpieces by Mani Iyer
Fantastic I had the good fortune of attending quite a few of his concerts at Thanjavur and later in Calcutta. How soothing is his singing. Great vidwan. I wish he had lived a little longer.
Wat a crystal clear voice ,devine voice, such a brief rendering ,first time I heard His concert , no unwanted expansion like our younger generation does , Nalinakanti , hamsananda , siva siva enarada ooh ,I was blessed , Ayya sharanum, sharanum
The repertoire kriti of Papanasam......So much of spirited rendition by the erstwhile maestro MMI ......Certainly for the music students to learn on the minute modulations....that are within Varali esp. in a Tamil composition. Charanam is the best ever .......Pranams to the great Soul.
ராகம் வராளி தாளம் ஆதி பல்லவி கா வாவா கந்தா வாவா எனைக் கா வா வேலா வா பழநிமலை யுறையு முரு (கா) அனுபல்லவி தேவாதிதேவன் மகனே வா - பர தேவி மடியி லமரும் குஹனே வா வள்ளி - தெய்வயானை மணவாளா வா - சர வணபவ பரமதயாள ஷண்மு (கா) சரணம் ஆபத்திருளற அருளொளி தரும் அப்பனே அண்ணலே ஐயா வா பாபத் திரள் தரும் தாபம் அகல வரும் பழநி வளர் கருணைமழையே வா தாப த்ரய வெயிலற நிழல்தரும் வான் தருவே என் குலகுருவே வா ஸ்ரீபத்மநாபன் மருகா ராமதாஸன் வணங்கும் முத்தய்யா விரைவொடு (கா
When the above song was sung in AIR my mother stopped all the domestic. activities like cooking,house keeping etc and enjoyed the entire programme with great devotion. I remember those days & my mother
“Respected Sri Semmangudi Sri Srinivasa Iyer avarGaL kuralin inimaiyaik kEtka kEtka nam uLLanGaL paravasam aagividum. Athu nichchayamE. KEttu maghizhavum. What a kind of beautiful singing!!! Amazing is a simple word to describe his singing. swarap prasthaaranGaL migavum pramaathamE aagum. KEttu maghizhavum. - “M.K.Subramanian.”
Thank you arun7328 for this vintage classic. It seems this song was specially enacted for SRI Madurai Mani Iyer the very high quality of blend outshining.
This is from a concert of MMI with TNK & Ramabhadran.There are some similarities in their toppi sounds as both keep its sruti at Mandhara stayi 'Ga' but Palani's gumki is unmatched and no other mridangist comes anywhere near it.Ramabhadran's sarvalagu is more of a repetitive and basic variety while Palani's is much more versatile.It is however a fact that VRB has imbibed some basic characteristics of playing mridangam from Palani
Hey, The photo on left bottom is at Trichy Nandrudayan Koil on 11-09-1956 with sundaresa Iyer, Palani Subramaniya Pillai and Alumgudy Ramachandran. If you watch it closely, on the front row, Alathur brothers sit and listen.. They performed on the previous day with Palghat Mani Iyer and the same violinist..
To sreevals: Sri Madurai Mani Iyer was not like that at all. His accompanists, no matter how great, never intimidated him, and he never worried about their outshining him, because he was in a class all by himself. My guru (Sri T N Bala) told me that when Sri MMI had a concert, all other concerts would be either cancelled or postponed because they knew where most of the rasikas would go. (Sri MMI was my guru's guru). Yesh Prabhu, Bushkill, Pennsylvania
Lyrics for this song are by Papanasam Sivan -- called Tamil Thyagaraja, not without reason. While most of Sivan's compositions are on Lord Siva, his favorite deity, this one is dedicated to Lord Murugan, in an intimate pleasing way. If Papanasam Sivan's compositions are great, Madurai Mani took them to even greater heights such that the two legends live on, breathing through their songs, giving them a life of their own.
Thanks for the insight Arun. Regarding comment abt youth - I didnt meant to give the impression that you can do well only when you are young. My own experience is to the contrary :-) But you can sense a raw creative energy & desire to exceed ones capabilities from the accompanists in this recording. May be the ethereal environment MMI has created inspired everyone. Or may be it was a function of them being young & energetic & ambitious - Just a thought, nothing more :-)
Sir, Sorry i did not understand what you meant,so asked for a clarification. In any case your observation cannot be ruled out. I have seen this in a lot of his renditions.I have read a lot of articles and interviews and i tend to believe that they all used to enjoy this aspect of his concerts this includes the accompanists too. He gave complete freedom to them. If you have not please also hear his adamodigale in youtube.Its about 39 min. Mind blowing. Beware don't comment on the video.lol :).
Mani Iyer was singing at Mylapore Sannadhi St. A rickshaw puller was listening. Some one asked him '' vandi varumaa - Guindy poganum '' He replied ''enga venaalum polaam '' Iyer Mangalam padattum appuramaa''! That was his ''magnetic power''
Awesome! Thank you for sharing this.
Today Carnatic Tamil Music has no interest among the non brahmins. They are busy having alcohol.
True Mr. Tulipwala. I have seen Rickshaw pullers listening to this Mahavidwan
near 16pillar Mantap, Kapaliswarar temple
@@KINGMJ1990 even a Brahmin can be rickshaw puller !
True such is the Power!
Superb..... Kaa vaa vaa Ragam varali 39th Mela janya Adi Talam papanasam Sivan Krithi
Humble Reminder of Madurai Mani Iyer who has made this song FamousInvocation. As a child one would remember listening with fascination to mother’s explanation of how God can be invoked into a Kalasha filled with water, topped with mango leaves and a coconut. Once the invocation is done, the Kalasha is worshipped as the Goddess. ‘God is everywhere’ ‘but when we invoke His or Her presence, divine energy becomes concentrated in an idol or a symbolic representation like a Kalasha’. Likewise an idol carved by the hands of men comes to sit in an altar somewhere and transforms from stone to God. What causes the transformation? Invocation. Just invocation. Human beings have invoked the presence of God from time immemorial using ceremonies of all kinds. But finally it is just a simple call ‘Come’. Addressed to Lord Muruga, the poet-composer Papanasam Sivan says ‘Come and protect me’. He identifies the divinity he invokes by different descriptions but the repeated ‘vA vA’ are the words we hear the most in this song, ‘Come, Come’. Set to the beautiful raga Varali
pallavI
kA vA vA kanda vA vA Yennai kA vA vElavA
(murugA vAkandA vA)
pazhanimalaiyuraiyum murugA (vA vA)
anupallavI
devAdi dEvan maganE vA
para dEvi maDiyil amarum guhanE vA
vaLLi deivayAnai manavaLA (vA)
sharavana bhava parama dayalA (shanmugA)
charaNam
aapath- iruLara aruloLi tarum appane annaLe ayya vA vA
pApa tiraL tarum tApam agala varum
pazhani valar karunai mazhayE vA vA
tApatraya veyilara nizhal tarum vAntharuve yen
kula guruvEe vaa
sri padmanAban marugA rAma dAsan vanangum mutaiyA
Oh Muruga, who lives in Pazhani malai, come to protect me.
Come, O son of Shiva. Come, O Guha (the hidden one), who sits on Parvati’s lap.
Come, O husband of Valli and Deivayanai.
Come O Sharavana, the supremly kind being.
Come, you who bestow light to remove the darkness of danger.
Come, you who remove longing and sin, you the shower of kindness, who grew up in Pazhani.
Come, you who give shade to protect me from the hot rays of intense longing, you who are the Guru of our community.
Come, you who are the nephew of lord Vishnu, the one worshipped by Ramadasa, a gem like being.
Raga Jhalavarali is the 39th Mela belonging to the 7th Music Chakra. The prefix ‘Jhala’ is added to the raga name in order to suit the katapayadi formula. It is the 4th in the list of 5 Ghana ragams Nata, Gaula, Arabhi and Sree being the other ghana ragas.Noticeably this is the only Ghana raga with Prati Madhyama.
In Mind, Body and Soul Chakra - Chakra 7 is the Divine Chakra lined up with the heart and the throat chakras, enabling the higher spirit energies to work through ones voice and body. Therapeutically Varali is said to be good for Heart and Skin ailments and gastric problems.
This raga is mentioned in many of the earlier texts in the names Varadi, Varati,Varali and Varatika and is said to be more than 1300 years old. It is with this name that it is referred in ancient lakshana grandhas like Sangeeta Makarandha and Sangeeta Ratnakara. It is also said that there was a place called as “Varata Desa” and this melody was prevalent there and hence the name Varati / Varali.
According to Bharatha’s Natyasastra Varati is recommended in portraying rain, agitation, surprise etc. When it is adorned by dhaivata, it serves contentment, recollecting, concealing one’s feeling. The raga is also used to protray the rasa of Pranaya Viyoga or pangs of separation of lovers. Varali portrays both Karuna and Sringara Rasas.
Now coming to the meaning of the term Varali. “Var” in Sanskrit means “to sound” and the term “ali” refers to Bee. So may be the meaning of Varali refers to “Sound/Hum of a Bee “. Varali is also known as Moon. After listening to Varali recordings quite a few times, I think the meaning “Sounds like a Bee” is very apt for the raga. Varali is an asymmetric raga due to the vakra prayoga and a vivadi ragam and the vivadi dosha is avoided by singing the arohana as SGRG which makes it a raga with vakra sampoorna (contains all 7 notes) in arohanam.
“pUrNA varALI satatam ghIyatE sagrahAnvitA”
The Sloka says that Varali has Purna Arohana-avarohana and can be sung at all times. The Graha Swaram is Shadjam.
Its Arohana Avarohana structure is as follows:
arohana : S G1 R1 G1 M2 P D1 N3 S
avarohana : S N3 D1 P M2 G1 R1 S
The notes taken are Shadjam, Suddha Rishabham, Suddha Gandharam, Prati Madhyamam, Panchamam, Suddha Dhaivatam and Kakali Nishadham.
The raga has only one vivadi note and that is Suddha Gandharam. Gandharam in the raga is Suddha Gandharam which takes the place of Chathusruti Rishabham with a soft pull while played in veena. Suddha Gandhara which is slightly higher than Chathusruti Rishabham. Gandharam is a pleasant jeeva swaram in the raga. It can also be sounded as a pleading tone . As per Raga Nidhi of T.V.Subbu Rao, the Suddha Gandharam is higher in Arohanam and lower in Avarohanam. The Madhyamam used has a slightly higher frequency than the Prati Madhyamam, and is also called as Chyuta Panchama Madhyamam or Varali Madhyamam as it is popularly known. Varali’s Nishadam is termed as “Chyuta Shadja Nishadam” which is slightly higher than the regular Kakali Nishada. Though all 7 swaras are present in the raga, the notes G, M and N are the most important notes that brings out the raga swarupa. All the three come with their characteristic gamakas.
Amazing! Thank you for your scholarly explanation!
@@metalforlife4ever ji Thanks My Pleasure
Kk llllllllllllllllllllll
Brilliant writeup on many dimensions and on many levels
@@itsniranjantime7455 Ji My pleasure 🙏
thank u., it takes me back to the year 1963 at ravindrabharathi,hyderabad, started the concert at 4.25pm. and ended at 11.45pm. with overflowing audiance spellbound with three thani. will we herar such concerts in life again? he is always great in his ownplace. none to replace him. thannks iam born in india. southindia, to listen such wonderful concert.
krishna kumar sir you mentioned you are lucky you born as Indian my feel you are also lucky to be there in MMI sir's period🙏
Don't make me jealous of you
Hello sir, would you happen to have this concert recorded with you or remember any details, pieces in this concert?
That violin was scintillating. Of course, Madurai Mani Iyer sparkles as always.
Time was when at an Agraharam in Tanjore district elders sit in front of their transistors to hear Madurai Mani Iyer during late hours in night enjoying music aired bv All India Radio. I cherish my childhood memory
Are there Agraharams left in Tamil Nadu? Are Brahmins still alive there?
I too used to listen from a public radio loud speakered 6 pm to 9 pm from an elementary school near Mayavaram where I was studying.
@@KINGMJ1990 pp
I have heard MMI sing this great song live in Chennai in late 1950's. It made such an impression on me that when I hear this recording i can visualize Iyerval singing in the dais....What a great rendering for all times in this "varali' raga.
@
₩
Yes MMI was like that. He would not mind his accompanists over shine him and would actually applaud when they played something extraordinary. He was loved by people for his selfless attitude. For me he is no less than a YOGI. God sent people him MMI to go make people happy and come back soon.
I have no knowledge of carnatic music nuances whatsoever, so, as a literal lay person who's just very fond of music, all I can say is every time I listen to this rendition, I have tears in my eyes... it just touches your soul... for sure, even Lord Muruga could not have resisted the call
+Lakshmi Shekhar I have attended a dozen concerts of Mathurai Mani Iyer... He was the first innovator in Karntic music ... GNB was the second best..
Charu Hasan
madhura mani I just honey and nectar just .It touches your heart and soul . Divine Music
thanks
I too sail in the same boat.
I beg to differ. Those days the recordings were not having stereo effects. I have heard in person lot of this combination. Krishnan was always a good accompaniment and never try over perform the main artist.
its divine....I have heard this song sung by so many but no one comes near to this legend... I wish i had heard his concert live....god bless..thanks all
That's true for most of his songs. Others shouldn't attempt them 😄
i am lucky to ahve heard him sing thisand thaye yasoda in live at the perambur sangeetha sabha 1952-54???
the inimitable Mani sir with the great Krishnan sir and Sri PAlghat...
Blessed are those that got to listen to MMI live.
I may have been born in 1968, but the music voice, rendering and what not... no young singer these days can even come close to those diving rendering these great maestros gave those days... simply delightful and heavenly....
Immaculate singing Genius of a musician Gods gift to the rasikas Thanks for uploading
I keep coming back to this rendition like a moth to the flame -- wonderful piece. Thanks for uploading!
மகா கோடி கோடானு கோடி அற்புதமானக் குரல். வார்த்தைகளே உலகில் இல்லை புகழ்வதற்கு.
Seen some comments. TNK is superb. Plays exactly the same notes as that of MMI the Great. Have listened to accompanists like Lalgudi, Mysore Chowdiah, et al. MMI always gave space for all his accompanying players and never stopped encouraging them.
three maestros on one platform -------scintalating music results----kudos for sharing this with us-----padma
Many thanks for uploading.
Fantastic Varali. No one can match. He impressed young and old alike with his Mesmerizing Music.
. Salutations to the Lotus feet of Ganakaladhara Sri Madurai Mani Aiyer.🙏🙏🙏🙏
I just happened to stumble upon this piece and was blown away completely by it. I just started unearthing the treasures of carnatic classics. Can someone please guide me to other masterpieces by Mani Iyer
Fantastic I had the good fortune of attending quite a few of his concerts at Thanjavur and later in Calcutta. How soothing is his singing. Great vidwan. I wish he had lived a little longer.
MMI and TNK have nailed this one.. stunning!
Ravi Srinivasan / Gaye yasodha song
Wat a crystal clear voice ,devine voice, such a brief rendering ,first time I heard His concert , no unwanted expansion like our younger generation does , Nalinakanti , hamsananda , siva siva enarada ooh ,I was blessed , Ayya sharanum, sharanum
I still remember my Grand Father used to listen and enjoy his renderings which were simply unique those days.
Awesome
Listening to Ganakaladharar' Live concert is my lifetime achievement. Salutations to the lotus feet of the Master.🙏🙏
என்னோட அப்பா என்னைத் தூக்கி வச்சிணடு இநதப் பாட்டுப் பாடவா. அற்புத நாட்கள்..
Uni
Safe to say that this is the best violin piece ever played in the history!
mesmerizing music! Nobody does so many variations as Madurai Mani Iyer.
Heartening mmiyer swaras
The greatest among singers,
The repertoire kriti of Papanasam......So much of spirited rendition by the erstwhile maestro MMI ......Certainly for the music students to learn on the minute modulations....that are within Varali esp. in a Tamil composition. Charanam is the best ever .......Pranams to the great Soul.
ராகம் வராளி தாளம் ஆதி
பல்லவி
கா வாவா கந்தா வாவா எனைக் கா வா வேலா வா
பழநிமலை யுறையு முரு (கா)
அனுபல்லவி
தேவாதிதேவன் மகனே வா - பர
தேவி மடியி லமரும் குஹனே வா வள்ளி -
தெய்வயானை மணவாளா வா - சர
வணபவ பரமதயாள ஷண்மு (கா)
சரணம்
ஆபத்திருளற அருளொளி தரும் அப்பனே அண்ணலே ஐயா வா
பாபத் திரள் தரும் தாபம் அகல வரும் பழநி வளர் கருணைமழையே வா
தாப த்ரய வெயிலற நிழல்தரும் வான் தருவே என் குலகுருவே வா
ஸ்ரீபத்மநாபன் மருகா ராமதாஸன் வணங்கும் முத்தய்யா விரைவொடு (கா
Varagooran Narayanan sir, your space / territry has no bounds. superb lyrics. thanks
Thankyouverymuch for the lyrics🙏
ALL TIME FAVORITE FROM THE LEGENDARY SINGER WHO HAS UNIQUE STYLE OF SINGING , GREAT ACCOMPANIMENTS
Excellent Varali raga kriti of Sri Papanasam Sivan from the legendary vidwan Shri Madurai Mani Iyer
Immaculate voice of Mani Iyer will ever remain in the minds of carnatic music lovers
MMI MUSICAL GOD! CHITTI VENU
When the above song was sung in AIR my mother stopped all the domestic. activities like cooking,house keeping etc and enjoyed the entire programme with great devotion. I remember those days & my mother
That is so nice to know. :)
Yes those days music could be listened only on radio. And singers were great for they sang with just Bhakti! 🙏🕉️🙏🕉️🙏
I was so fortunate to enjoy his concert at நன்றுடையான் கோவில் at the age of ten in 1964.Great days !!
Please check the year that you have mentioned. MMI left us in 1963 isn't it? @@avsundaram
“Respected Sri Semmangudi Sri Srinivasa Iyer avarGaL kuralin inimaiyaik kEtka kEtka nam uLLanGaL paravasam aagividum. Athu nichchayamE. KEttu maghizhavum. What a kind of beautiful singing!!! Amazing is a simple word to describe his singing. swarap prasthaaranGaL migavum pramaathamE aagum. KEttu maghizhavum. - “M.K.Subramanian.”
blissful rendition by a great man
ULTIMATE BRILLIANCE ...
Thanks for the insights. Its wonderful to be conversing with someone from MMI lineage.
such high quality violin accompaniment by tnk... legends... super duper... this song can just not be sung better by anyone!
really a great to hear such amazing voice,
Superb,nostalgically remember how my mom used to listen to this song in taperecorder
MADURAI MANI AIYYAR IS MY FAVOURITE SINGER.I ALWAYS ENJOY LISTENING HIS SONGS.
The way mani iyer sings ka vaa VA krithi adds beauty to the raga which is already a Ghana ragaas enunciated by thyaga Brahmam.
What a breathtaking performance.. Thanks a lot for uploading :)
MMI-TNK-VR is the dream team. Amazing final round of swaras by TNK.
What a Classic vidwan. He had the blessings of Sirguru Thiyagaraja .
i am lucky to ahve heard him sing thisand thaye yasoda in live at the perambur sangeetha sabha 1952-54???
Greatest carnatic vocal artist.Saraswathi Stores Columbia recorded this Long Play records.
.Presetely the copy right with Saregama ex HMV.
MMI the Greatest Carnatic Singer ever...
great even after so many decades
Muruga Dharisanam was given by these Great musicians! Om Saravana Bhava Guhane CharaNam!
Just great . Transferred to those golden days.
Vimla & Kumar
Beautiful 👌👌🙏🙏Brings tears to my eyes.
Time cannot take away the melody of this voice
Thanks for uploading Shri Mani iyer s master piece 🙏
Divinity in varali, here and now for even an atheist like me, goosebumps several times over
divine contribution to lord muruga/saravanabhava
superb.evergreen.
what a presentation. Now I listen to it every night before I go to sleep
Completely mesmerized!
mani iyer legend in carnatic music...what can 26 year old man comment on him...he is simply awesome...
eedu inayattra sangitham🙏🙏🙏🙏
Awesome! Muruga Kumara Guha!
supet mani Ayyar songs eppidum kettukondya irrukkalam my father avar fan
Meena Kumari nan,maduraimaniiyearfan
superb rendition by madurai Mani iyer
Violin super b
superb. took me back to old days . thanks for up loading the song.
kaa vaa vaa kandaa vaa vaa
ennai ka vaa vElavaa
(shhanmugaa vaa vaa)
pazhani malai urayum muruga vaa vaa
anupallavi
dEvaadi dEvan maganE vaa - para
dEvi maDiyil amarum guhanE vaa - valli
deyvayAnE manavALa vaa -
sharavanabhava paramatha yaala
(shhanmuga vaa vaa)
caraNam
aabataruLara aruL oli tarum pannai -
annalay eeyya vaa
paaba tiral tarum pabam-agala varum
pazhanivalar karuNai mazhaiyE vaa
tabatraya veyilara nizharal tarum
vandaruvE en kula guruvE vaa
shree padmanaabha marugaa vaa
sharavanabhava muttayyaa vaa
(kaa vaa vaa...)
Amazing rendering by MMI , 6:05 to 8:15 violin pure bliss
Violinist went sublime!!!!
Thank you arun7328 for this vintage classic.
It seems this song was specially enacted for SRI Madurai Mani Iyer
the very high quality of blend outshining.
This is from a concert of MMI with TNK & Ramabhadran.There are some similarities in their toppi sounds as both keep its sruti at Mandhara stayi 'Ga' but Palani's gumki is unmatched and no other mridangist comes anywhere near it.Ramabhadran's sarvalagu is more of a repetitive and basic variety while Palani's is much more versatile.It is however a fact that VRB has imbibed some basic characteristics of playing mridangam from Palani
awesome...tht is it...!`
Most of you might have noticed the power of MMani's to evoke the musician in the violinist at 4.25.
The last swarakalpanaa was mind blowing
Great presentation
Superb!!!.......
Great wonderful Violin
WOW!!!!!
Hey, The photo on left bottom is at Trichy Nandrudayan Koil on 11-09-1956 with sundaresa Iyer, Palani Subramaniya Pillai and Alumgudy Ramachandran. If you watch it closely, on the front row, Alathur brothers sit and listen.. They performed on the previous day with Palghat Mani Iyer and the same violinist..
Krishnaswamy G Excellent piece of trivia
🙏🙏
Endharo Mahanubhavulu!!!
🎉🎉
Excellent 👍
I have this tape. Extraordinary rendition of Ka Va Va.
🙏🙏
super like...
excellent
To sreevals: Sri Madurai Mani Iyer was not like that at all. His accompanists, no matter how great, never intimidated him, and he never worried about their outshining him, because he was in a class all by himself. My guru (Sri T N Bala) told me that when Sri MMI had a concert, all other concerts would be either cancelled or postponed because they knew where most of the rasikas would go. (Sri MMI was my guru's guru).
Yesh Prabhu, Bushkill, Pennsylvania
The Mridangist is Palani Subramania Pillai--note the "Thoppi" (the RH side for Palani Sir) is unique for PSP--not Vellore Ramabhadran
thank you
really super
🙏🙏🙏🙏🙏🙏
a unique vocal style
superbly sung.
Great!!!
👍🙏
Lyrics for this song are by Papanasam Sivan -- called Tamil Thyagaraja, not without reason. While most of Sivan's compositions are on Lord Siva, his favorite deity, this one is dedicated to Lord Murugan, in an intimate pleasing way. If Papanasam Sivan's compositions are great, Madurai Mani took them to even greater heights such that the two legends live on, breathing through their songs, giving them a life of their own.
Thanks for the insight Arun.
Regarding comment abt youth - I didnt meant to give the impression that you can do well only when you are young. My own experience is to the contrary :-)
But you can sense a raw creative energy & desire to exceed ones capabilities from the accompanists in this recording. May be the ethereal environment MMI has created inspired everyone. Or may be it was a function of them being young & energetic & ambitious - Just a thought, nothing more :-)
Sir, Sorry i did not understand what you meant,so asked for a clarification. In any case your observation cannot be ruled out. I have seen this in a lot of his renditions.I have read a lot of articles and interviews and i tend to believe that they all used to enjoy this aspect of his concerts this includes the accompanists too. He gave complete freedom to them. If you have not please also hear his adamodigale in youtube.Its about 39 min. Mind blowing. Beware don't comment on the video.lol :).