carnaticmusicarchive

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This kriti of Annamacharya says that there are no differences of low & high. It is set to Aadhi tala and is in Mayamalavagowla raaga, and composed in Telugu. 

“Sleep is same to all, be it a king or a servant. Be it a "Brahmin" (man of the highest caste) or "Chandala" (man of the lowest caste), the earth they live on is the one and the same.”

#carnatic music #dalit #caste #india #hinduism #annamacharya

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Endaro Mahanubhavulu is a popular kriti in Carnatic music in Telugu language composed by legendary Tyagaraja, one of the carnatic music trinity. It is set in the Sri Ragam and is in Aadi Talam 

#carnatic music #tyagaraja

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Two recent articles in The Hindu address the question of caste and gender in Indian Music and Dance. The first article titled ‘Sanskritization and Culture’, highlights the fact that many artists from the field of dance and music have rejected and embraced Sanskritization at different points in history. The second article, ‘No caste, no creed and no gender’ is an excerpt from the book A Southern Music: The Karnatik Story by the acclaimed vocalist T. M. Krishna. This gives us a glimpse of the caste, gender and religious bias in the world of Karnatik music. However, what struck me was that the figure of MS Subbulakshmi has been mentioned by both writers. Both talk of her as a woman who originally hailed from a Devadasi community and later acquired a respectable position in the world of Indian classical music either through the process of Sanskritization or by getting married to a Brahmin. Krishna does not give any direct reference to Sanskritization but says that she became a Mira from a Dasi in her husband’s house.

#dalit #caste #carnatic music #devadasi

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Namo Namo Raghukula Nayaka 

Ragam: Nattai Talam: Rupakam Composed by Annamacharya (1408-1503) in Sanskrit

In this song, Annamacharya prays to Lord Rama, narrating his great deeds of punishing the wicked and protecting the pious. 

Salutations to the hero of the Raghu dynasty who is bowed to by Devatas. Salutations to Rama who is worshipped by Parvati and Parameswara. He is the protector of Dharma. He is the heroic son of Dasaratha. He is the destroyer of the demoness Tataki that lived in the sky. He dispelled Ahalya’s curse. He is the annihilator of the demons’ race. He is the protector of Viswamitra’s yagna. Salutations to Him. He lifted Siva’s bow and became the lord of Sita. He is the enemy of Khara and Dooshana. He dispelled the pride of Vali and protected Sugriva, the king of monkeys. He built the bridge across the sea. He was with his brother Lakshmana. He earned eternal fame by destroying Ravana and blessing Vibhishana. He lives in Saketapuram and is unparalleled. He dwells in all splendour at the abode of the lotus-eyed Sri Venkatapati. Salutations to Him.

[carnaticmusicarchive]

Maha Ganapathim — Raga: Nattai

Composed by Muthuswami Dikshitar (1776-1835) in Sanskrit

I meditate on the supreme Lord Ganapathi, who is worshiped by sages like Vasishta, Vamadeva, and others. He, the son of Lord Shiva, is adored by his brother, Karttikeya. He shines with the brilliance of thousands of manmathas (gods of love). He, the tranquil one, loves poems and plays. He uses a mouse as his vehicle, and is fond of modakas (sweet dumplings).

[carnaticmusicarchive]

Jayanthi Kumaresh, Raga Kapi - Thillana

Great! Also Jayanthi Kumaresh, on top of being a great musician, is charming as fuck.

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I guarantee this song will put you in a good mood - Raghuvamsa Sudha sung by Maharajapuram Santhanam

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Kanakasaila - Raga Punnāga Varāḷi - sung by Sanjay Subrahmanyan

Composed by Syama Sastri (1762–1827) in Sanskrit

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Flaunting vanities While Yama waits Roaring like a hungry tiger? Born to die Only to be born again– Never-ending waves on a sea. Riches and luxuries, Pleasures and profit– A frog eats dinner Under a Cobra’s hood. Wife, children, house, Jewels and crisp currency; Food on a silver platter Served on time. Life is but, a candle in a hurricane, Vittal, my lord, of Purandar.

Purandaradasa, “Candle in a Hurricane”

“Purandaradasa’s greatest contribution to Kannada literature is that, at a time when Sanskrit scholars looked down upon vernacular literatures, he demonstrated that, in face of a long-established, highly respected Sanskrit tradition, Kannada was eminently suitable for literary composition of a high order. Furthermore, by employing colloquialisms from the common man’s spoken dialects, he showed that the vitality of language lives in the actual, day-to-day speech of its users, not in the formulaic and uninspiring compositions in an artificial language of the royal court and religious institutions.” (from Purandaradasa: An Introductory Note by Rama R. Rao)

Purandara Dāsa (1484–1564) is a prominent composer of Carnatic music. He is widely referred to as the Pitamaha (”great father”) of Carnatic Music in honour of his significant contribution to Carnatic music. He formulated the basic lessons of teaching Carnatic music and at the same time, he introduced the Raga Mayamalavagowla as the first scale to be learnt by beginners in the field. He also composed Gitas (simple songs) for novice students. 

Purandara Dasa addressed social issues in addition to worship in his compositions. Purandara Dasa’s Carnatic music compositions are mostly in Kannada; some are in Sanskrit. He signed his compositions with the mudra (pen name), “Purandara Vittala” (Vittala is one of the incarnations of the Hindu god, Vishnu).

(via sarasaangi)

[carnaticmusicarchive]

Kanakasaila Viharini - Raga Punnāga Varāḷi - sung by MS Subbulakshmi

Composed by Syama Sastri (1762–1827) in Sanskrit

[carnaticmusicarchive]

Kurai Onrum Illai (குறை ஒன்றும் இல்லை)

composed in Tamil by C. Rajagopalachari (1878 – 1972), Indian politician, freedom-fighter and Governor-General of India

This song is unique due to the fact that it does not assume the tone of devoted prayer as do most Hindu devotional songs, but rather one of thankfulness to God. The song comprises 3 stanzas each set in three different ragas, addressing Lord Vishnu as Venkateswara and Krishna interchangeably.

It may have been inspired by an incident which took place in the Tirupati Venkateswara temple in 1925, when Rajagopalachari had defended the right of a Dalit to enter the temple. He compares the Dalit’s inability to have a glimpse of his favorite God to his own inability to have a glimpse of the invisible Creator. This song was sung by MS Subbulakshmi at her United Nations concert in 1969, and now almost every Carnatic musician keeps it in his/her repertoire.

I do not have any complaints, Oh Kanna, the personification of the Vedas! I do not have any problem, Kanna! I do not have any complaint, Oh Govinda! You are invisible, Kanna! But even when you remain invisible, I do not have any problem, Kanna! When there is Lord Venkatesa to give us what we want, we shall not want anything, Oh Kanna! Manivanna! Malaiyappa! Govinda!

You are standing behind a screen, Kanna! Only the wise men who are well-versed in the Vedas can “see” you. Still, I do not have a problem (if I cannot see you). You are standing like a stone on the hilltop (reference to the Tirumala hills). I do not have any problem still. 

In this Kaliyuga, you have taken a granite form, and you are permanently here in this temple (the Tirupati temple). You do not refuse a request from your devotees. The ever-merciful Goddess Lakshmi is residing in your chest. In that situation what problem can I have? I do not have any complaint, Kanna, Manivanna, Malaiyappa, Govinda!

[carnaticmusicarchive]

this version of kurai ondrum illai is so beauitful and kind of haunting i love it

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Soulful Dwijavanti by Bombay Jayashri

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karnāṭaka sangītam

never listened to carnatic music before? let this playlist be your introduction to this complex and beautiful musical tradition.

carnatic music originated in southern india. it is one of two main subgenres of indian classical music, the other being hindustani music.

the main emphasis in carnatic music is on vocal music; even when songs are played on instruments, they are meant to be performed in gāyaki (singing) style. most carnatic compositions are devotional and are composed in telugu, tamil, kannada, or sanskrit.

maha ganapathim (violin) // ambi subramaniam sobhillu saptaswara // m.s. subbulakshmi mayatita swaroopini // bombay jayashri tera teeyaga rada (violin) // m.s. gopalakrishnan hamir kalyani thillana // t.m. krishna raghuvamsa sudha // maharajapuram santhanam enta muddo (mandolin) // u. srinivas swaminatha paripalaya (fusion) // haricharan

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I’ve been listening to this varnam nonstop for the past three days

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Lalgudi Jayaraman playing the varnam he composed :)

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Beautiful veena rendition of Thyagaraja’s “Sobhillu Saptaswara”