Sri Nadhadhi - Gems Of Diksthar - S.Sowmya (Full Verson)
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- Опубликовано: 1 дек 2024
- Smt. S.Sowmya Sings " Sri Nadhadhi " Song , Composition of Muthuswami Diksthar , Mayamalava Gowlai Ragam, Adi Talam in Gems Of Diksthar.
A Carnatic musician by profession, Sowmya’s life has been soaked in melody from the very beginning. Growing up in a traditional South Indian family, she had her initial tutelage in music from her father Dr. Srinivasan, a Chemical Engineer with an enduring passion for Carnatic Music. Later she was singularly fortunate to be taken under the wings of Sangita Kalanidhi Dr. S. Ramanathan - exemplary musician, esteemed musicologist and extraordinary human being. She received further training from Smt. T. Muktha, of the legendary Brinda-Muktha duo. She attributes her success and achievements till today to these individuals and to the bountiful blessings of her beloved Ambal, the Goddess Kamakshi of Kanchipuram. The desire to propagate the traditions of South Indian music worldwide led her to establishCarnatica, an institution dedicated to music & dance instruction, archival, talent search and other related activities. In addition to being an accomplished musician, Sowmya also has excellent academic credentials. She is a double postgraduate (Master’s in Chemistry as well as Indian Music) and was a top-ranked scholar at the Indian Institute of Technology, Madras (IIT-M) and the University of Madras. Currently pursuing doctoral research under the guidance of Dr. Premeela Gurumurthy at the University of Madras, Sowmya is a widely traveled, popular vocalist who strives to adhere to the strict classical values imbibed from her gurus Dr. Ramanathan and Smt. Mukta.
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► Accompaniments: Violion: Embar S. Kannan , Mrudangam: Melakavery K.Balaji, Ghatam :S.Karthick 
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I listen to this krithi sung by Sowmys madam, daily. It is meditative, devotional and mellifluous. God bless her.
As per Music therapy this song cures heart related problems
அருமை💐
Nice singing by the Sangeetha Kalanidhi
Excellent ! Sri Nathadi Guruguho Ragam Mayamalava Gaula Adi Talam Muthuswami Dikshitar Krithi
This Krithi is on Śrī Subrahmanya, Tiruttani Tiruttani constitutes one of the 6 padai veedu shrines of Skanda, and it represents the site where Subramanyarstayed after destroying the demon Surapadman. It has been revered by the Tiruppugazh hymns of Arunagirinathar, Tirumurugatruppadai of the Sangamperiod, Tanikai puranam by Kachiappa munivar. Ramalinga Adigalaar is also associated with this shrine. Legend has it that Subramanyar married Valli who hailed from the Vallimalai hills nearby. The same legend is associated with Velimalai in Kanyakumari district also.
This is Shri Muthuswam Sikshitar’s first Krithi One can see the richness and puranic lore incorporated into dikshithar's krithis
pallavi
SrI nAthAdi guru guhO jayati jayati
SrI cidAnanda nAthO(a)hamiti
santataM hRdini bhaja
Guruguha who is the preceptor Srinatha and others, is victorious, is victorious!
Always deliberate in (your) heart, that “ I am Cidananda-natha , the lord of the bliss of awareness”. Victory("Jayathi") to Lord Guruguha, who is adorned("bhaja") by all Gods("Santhatham") beginning with Lord Vishnu("Sri Naadhadhi"). Oh mind!!("Hridini"), constantly contemplate("Bhaja") that("ithi") you are the infinite consciousness and infinite bliss("chidaananda").
Anyone who learns carnatic music will be taught"Maayamaalavagowlai" as one of the first ragas as it is a simple and symmetric raga and will be easy for a beginner to grasp. Sri Dikshithar aptly composes his first krithi in this raga. Further, the first line of the pallavi is a simple "Sa Ri Ga Ma Pa Dha Ni Sa Ni Dha Pa Ma Ga Ri", that is, the ascending and descending parts of the raga(aarohanam and avarohanam) itself and covers 3 kaalams(3 speeds)..This is the essence of all Dikshithar krithis..simple yet extremely powerful and soulful.
anupallavi
nAnA prapanca vicitra-karO
nAma rUpa panca bhUtAkarO
ajnAna dhvAnta pracaNDa bhAskarO
jnAna pradAyakO mahESvarO
(madhyama kAla sAhityam)
dInAvanOdyukta divya-tarO
divyaughAdi sakala dEha dharO
mAnasAnanda-kara catura-tarO
madguru varO mangaLaM karOtu
the creator of this marvelous, diversified universe, the source of the five elements which multiply into many names and forms the fierce sun to the darkness of ignorance the giver of enlightenment,
the great lord, the supreme divine one who is intent on protecting the miserable,
the one who takes on all forms beginning with the Devas,
the adept at making hearts joyful, my distinguished Guru
may (he) bestow welfare! He is the originator of different (“naana”), diversified (“vichithra”) forms (“aakaro”) of the worlds (“prapancha”). He manifests (“roopa”) as the five (“pancha”) elements (“bhootha”) and as the named (“naama”) and famed ones. He is the mighty sun (“bhaaskaro”) destroying (“prachandha”) the darkness (“dvaantha”) of ignorance (“agnyaana”). He is the bestower (“pradhaayako”) of spiritual knowledge (“gnyaana”). He is the almighty("Maheshwara").
He is the divine (“divya”) Kalpaka Vruksha (“vanodyuktha”) for the afflicted (“dheena”) ones. He bears("deha dharo") the sacred rivers("divya ugaadhi"). He is adept in granting happiness to the heart("manaasaanandhakara") of His devotees. May my Guru("Madh guruvaro") bless me (“mangalam karo”).
charanam
mAyA-maya viSvAdhishThAnO
mAtmaka kAdi matAnushThAnO
mAlinI maNDalAnta vidhAnO
mantrAdyajapA haMsa dhyAnO
mAyA kArya kalanA hInO
mAmaka sahasra kamalAsInO
mAdhurya gAnAmRta pAnO
mAdhavAdyabhaya vara pradAnO
mAyA SabaLita brahma rUpO
mAra kOTi sundara svarUpO
matimatAM hRdaya gOpura dIpO
matta SUrAdi jaya pratApO
(madhyama kAla sAhityam)
mAyA mALava gauLAdi dESa -
mahI pati pUjita pada pradESa
mAdhavAdyamara bRnda prakASa
mahESasya mahArthOpadESaH
the foundation of this illusory universe, the follower of the “Kaadi” sect of the divine Mantra,
one who has the (Puja) rite ending with the Malini group (of Mantras), the one who performs the Ajapa-hamsa meditation at the start of the chanting,
the one devoid of the effects of the actions of Maya(illusion), the one seated on my thousand-petalled lotus(the crown Chakra), the one who enjoys the sweet nectar of music,
the one granting fearlessness and boons to Vishnu and other gods,
the form of Brahman(the supreme being), variegated with Maya(power of illusion),
the one whose form is lovely as a crore Manmathas, the lamp placed at the tower that is the hearts of wise people,
matta SUra-Adi jaya pratApO - the valorous one gaining victory over the arrogant Shura and other demons,
the ground beneath whose feet is worshipped by the kings of the countries like Maya, Malava and Gaula,
the one who illuminates the assembly of gods led by Vishnu,
the one who expounded the great truth to Shiva He (who) is the substratum (“adhisthaano”) for this illusory (“maayaa maya”) world (“vishwa”). He (who) is to be invoked through mantra (“mathaanusthaano”) beginning with “Ka” (“kaadi”), ending with “ma” (“maathmaka”). He (who) resides (“vidhaano”) in the center (“mandalaantha”) of the Malini-Chakra. He (who) is to be meditated (“dhyano”)upon as the swan (“Hamsa”) representing the Ajaapa Mantra. He who is an expert in obliterating (“hino”) the result (“kalana”) of Maaya, the illusion. He resides in my heart which is like a thousand (“sahasra”) petalled lotus (“kamalaasino”). Who enjoys the nectar (“amruta”) of mellifluous (“madhurya”) music (“Gaana”). He provides (“pradhaano”) sheltor (“abhaya”) and boons (“vara”)to Maadhava and others. Whose Brahmasvarupa is veiled (“sabalitha”) by Maaya. Whose beauty (“sundara svarupo”) excels that of crores (“koti”) of Cupids (“mara”). Who shines as the light (“deepo”) atop the tower (“gopura”) like the heart (“hrudaya”) of his devotees (“mathimathaam”).He who vanquished the proud (“matta”) sura and others (“adi”). His place of abode is worshipped by the kinds (“mahipathi”) of Mayamalavagowla Desha. Who shines (“prakaasha”) as surrounded by Vishnu (“maadhava”) and other Gods (“brundha”). Who impounded (“upadesha”) the real truth (“mahaartha”) of Pranava to His father, Mahesha.
We can clearly see the Raga mudhra in the madhyamakala sahithyam of the charanam. Also, one can notice the numerous references to upanishads, veda parayanas and yoga shaastras. Especially in the charanam, he talks about the paramaathma(Lord) residing in the astral body of the humans(Jivaathma), thereby enforcing the thought of advaitha. By the reference to the Swan("Hamsa") in the charanam, Dikshithar alludes to the yoga shaastras. The Hamsa represent perfect union, balance and life. A constant repetition of the word "hamso" changes it to "Soaham", which means "That I am". Hence the hamsa is often identified with the Supreme Spirit or Brahman. The flight of the Hamsa also symbolizes the escape from the cycle of samsara. The bird also has special connotations in the monistic philosophy of Advaita Vedanta - just as the swan lives on water but its feathers are not wetted by water, similarly an Advaitin tries to live in this material world full of Maya, but is unsoiled by its illusionary nature. Also, Dikshitar refers to the "sahasradhaara chakra", the thousand petaled lotus which is believed to be the chakra near the heart/mind of the astral body, which when enlightened with the energy from the kundalini("coiled snake") enrichens the soul and elevates the person to realise the God within himself(him"self").
Comments:-
This is the first Kriti composed by Muthuswamy Dikshitar. It is also the first Kriti in the Guruguha Vibhakti Kritis (and so in the first Vibhakti)
“cidAnanda nAtha” is the Deeksha Nama of Muthuswamy Dikshitar
The mridangam and ghatam for this was just awesome 👏🏼.
Beautiful
Mayamalavagowla - 15th Melakarta rāgam
Mayamalavagowla (pronounced māyāmāḻavagouḻa, is a raga of Carnatic Music (musical scale of South Indian classical music).
It is classified as 15thmelakarta raga under Venkatamakhin's melakarta system. Originally known as malavagowla, "maya" was prefixed to it after the advent of the scheme of the 72 melas. The number 15 was assigned to it following the Katapayadi sankhya system. This is a morning raga. Venkatamakhin defines its lakshana thus:
पूऱ्णो माळवगोळाख्यह् स ग्रहो गीयते सदा
pūrṇo māḻavagouḻākhyah sa graho gīyate sadā
Mayamalavagowla is the 3rd raga in the 3rd chakra, Agni. Its mnemonic name is Agni-Go. Its mnemonic phrase is sa ra gu ma pa dha nu.[1] Its ārohaṇa-avarohaṇa structure is as follows (see swaras in Carnatic music for details on below notation and terms):
ārohaṇa: S R1 G3 M1 P D1 N3 S
avarohaṇa: S N3 D1 P M1 G3 R1 S
The notes in this raga are shuddha rishabham, antara gandharam, shuddha madhyamam, shuddha dhaivatham and kakali nishadham. As it is a melakartarāgam, by definition it is a sampoorna rāgam (has all seven notes in ascending and descending scale). It is the shuddha madhyamam equivalent of Kamavardhini (also known as pantuvarali), which is the 51st melakarta scale.
The gamakas in the raga are unique in that conversely to the G-M relationship in Sankarabharanam, G is sung in oscillation (M,G M,G M,G) while M is held constant. There is no bold M-P gamaka as in Sankarabharanam as well. R and D are also usually sung in oscillation with S and P respectively, making the only constant notes S, M, and P. Of course, these rules are occasionally broken for effect (ie holding N flat before ascending to S). This auspicious raga evokes shāntha(peace) rasa and pathos. It creates a soothing effect. Suitable to sing at all times, particularly, the firstyAMam (dawn). It is commonly used for beginners lessons such as Sarali Varisais, etc. Since it eschews vivadi swaras (relatively discordant notes), has a uniform distance between swara sthānas (relative position of notes) and has symmetry, they are easier to learn. It is an ancient rāgam and has been around for a long time.
It is a Sampoorna raga. Also, it is a sarva swara gamaka varika rakthi rāga. It has a large number of janya ragas (derived scales) assigned to it. This rāgam corresponds to Bhairav in Hindustani music.
It is also defined as a mūrcana kāraka méLa since it can be used for Graha bhedam on madhyamam and rishabham to result in Simhendramadhyamam and Rasikapriya respectively. Graha bhedam is the step taken in keeping the relative note frequencies same, while shifting the Sruti (or drone) to another note in the rāgam. For further details and an illustration refer Graha bhedam on Māyamālavagowla. A raga that is symmetric and very easy to teach and learn is Mayamalavagowla. This is the reason beginners' lessons in Carnatic music are based in Mayamalavagowla and its derivative ragas.
The notes that feature in Mayamalavagowla are sadja, suddha rishaba, antara gandhara, suddha madhyama, pancama, suddha dhaivata and kakali nishada. It is a morning raga that evokes peace, harmony and sometimes a hint of sadness.
The well-known “Sri Gananatha” geetham is based on Malahari raga, a janya of Mayamalavagowla.
“Tulasi dala,” “Vidulaku Mrokeda,” “Rakshimpave” and “Merusamana” are well-known Thyagaraja kritis in this raga. “Srinathadi Guruguho Jayati,” the very first composition of Muthuswamy Dikshitar, was in this raga too.
🙌👌👏💯👍
பல்லவி
ஸ்ரீ நாதா2தி3 கு3ரு கு3ஹோ ஜயதி ஜயதி
ஸ்ரீ சிதா3னந்த3 நாதோ2ऽஹமிதி
ஸந்ததம் ஹ்ரு2தி3னி ப4ஜ
அனுபல்லவி
நானா ப்ரபஞ்ச விசித்ர-கரோ
நாம ரூப பஞ்ச பூ4தாகரோ
அக்3ஞான த்4வாந்த ப்ரசண்ட3 பா4ஸ்கரோ
ஞான ப்ரதா3யகோ மஹேஸ்1வரோ
(மத்4யம கால ஸாஹித்யம்(
தீ3னாவனோத்3யுக்த தி3வ்ய-தரோ
தி3வ்யௌகா4தி3 ஸகல தே3ஹ த4ரோ
மானஸானந்த3-கர சதுர-தரோ
மத்3கு3ரு வரோ மங்க3ளம் கரோது
சரணம்
மாயா-மய விஸ்1வாதி4ஷ்டா2னோ
மாத்மக காதி3 மதானுஷ்டா2னோ
மாலினீ மண்ட3லாந்த விதா4னோ
மந்த்ராத்3யஜபா ஹம்ஸ த்4யானோ
மாயா கார்ய கலனா ஹீனோ
மாமக ஸஹஸ்ர கமலாஸீனோ
மாது4ர்ய கா3னாம்ரு2த பானோ
மாத4வாத்3யப4ய வர ப்ரதா3னோ
மாயா ஸ1ப3ளித ப்3ரஹ்ம ரூபோ
மார கோடி ஸுந்த3ர ஸ்வரூபோ
மதிமதாம் ஹ்ரு2த3ய கோ3புர தீ3போ
மத்த ஸூ1ராதி3 ஜய ப்ரதாபோ
(மத்4யம கால ஸாஹித்யம்)
மாயா மாளவ கௌ3ளாதி3 தே3ஸ1 -
மஹீ பதி பூஜித பத3 ப்ரதே3ஸ1
மாத4வாத்3யமர ப்3ரு2ந்த3 ப்ரகாஸ1
மஹேஸ1ஸ்ய மஹார்தோ2பதே3ஸ1
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