Super Rendition by Semmangudi Mama ! Mamava Meenakshi Varali Ragam Misra Chapu Talam Muthuswamy Dikshithar Krithi The Song is on Madurai Meenakshi. The crowning glory of this historic city is the sprawling Meenakshi Sundareswarar temple. Pallavi: Mamava Meenakshi Raaja Maatangi Maanikya VallakiPaani Madhuravaani Varaali Veni O Mother Meenakshi the daughter of Sage Matanga, please protect me. You hold gem-studded Vallaki Veena. Your speech is sweet. You are beautiful with black tresses resembling a swarm of bees. Charanam: Somasundareshwara Sukhasphurti Roopini Shyame Shankari Digvijaya Pratapini Hemaratnaabharana Bhushani Eesha Guruguha Hrudaagaarini Kaamithartha Vitaranadhorani Kaarunyaamruta Paripurani Kaamakrodhaadi Nivaarini Kadambakaanana Vihaarini You are embodiment of happiness and enthusiasm for your consort Somasundaresa. You are dark complexioned. Oh Sankari, you are valiant heroine with many victories. You are adorned with gem-studded gold ornaments. You reside in the hearts of Siva and Guru Guha. You are always ready to fulfill the wishes of devotees. You are full with nectar of compassion. You eradicate desire and anger. You stroll happily in Kadamba forest. Gist :- O Goddess Meenakshi, the daughter (“maatangi”) of sage Maatanga, please protect me (“maamava”). You hold ruby studded (“manikya”) Vallaki Vina in your hand and speak mellifluously (“madhuravaani”). Your dark hair resembles the swarm of bees (“varaali veni”). She is the pulsating joyous (“sukhasphurthi”) form (“rupini”) of Somasundareshwara. She is the dark hued (“shyaame”) one. She is Shankari, who has the glory of being victorious (“digvijaya”) over all the cardinal directions (“prataapini”). She is adorned (“bhushani”) with ornate gem-studded golden(“hema”) jewels (“ratna”). She resides in the hearts (“hrudaagaarini”) of Siva (“eesha”) and guruguha. She is the foremost in bestowing (“vitaranadhorini”) the desired boons (“kaamithaartha”) on her devotees. She drenches her devotees with the shower (“paripurani”) of nectar (“amruta”) of compassion (“kaarunya”). She obliterates bad qualities such as desires (“kaama”) and anger (“krodha”). She resides (“vihaarini”) in the forest (“aanana”) of Kadamba. Varali - this is one melody that has evoked mixed reactions in the Carnatic world. A widely held belief was that teaching Varali would give rise to discord between a teacher and their student. Hence, in the past, it was rarely taught and students had to learn by just listening to their teacher and other musicians sing the raga in public. Raga Varali is rich in gamakaand sung in a slow to medium tempo. The compositions in the raga include Tyagaraja’s philosophical Etijanmamidi to Muthuswamy Dikshithar’s tribute to the goddess Meenakshi at the temple in Madurai, Mamava Meenakshi and Papanasam Sivan’s call to Lord Muruga in Kavava Kandavava.
@vivekthyagarajan6502
2 жыл бұрын
Thank you for your excellent summary sir!
@mysuruvasudevacharya
2 жыл бұрын
@@vivekthyagarajan6502 ji My Pleasure 🙏🏼❤️🙏🏼
@prasadthevarkat4146
4 ай бұрын
🎉🎉🎉🎉
@krishnakumarts123
2 жыл бұрын
Outstanding !!! Full of devotion !!!!
@vthyaga
Жыл бұрын
phahh!! the mridangam is just amazing! that left hand is so incredibly soothing. may we know who it is?
@mysuruvasudevacharya
5 жыл бұрын
Superb by Semmangudi Mama ! Mamava Meenakshi Varali Ragam Misra Chapu Talam Muthuswamy Dikshithar Krithi This Kriti is in the eighth (Sambodhana Prathama) Vibhakti As the ruler of the Pandya country, Meenakshi went on a ‘dig-vijaya’ and conquered the kings and gods in all directions, before her marriage to Shiva The Song is on Madurai Meenakshi. The crowning glory of this historic city is the sprawling Meenakshi Sundareswarar temple. A Pandya King, after performing a great yagna to secure an heir, is astonished to find himself bestowed with a three-year old, three-breasted girl child instead of the infant son he had hoped for. A voice from the heavens proclaims that this is his heir and that he should raise her like a son. And so he does. Meenakshi grows up to be a powerful warrior and ascends the throne, leading a great army of women, bearing bows, spears and swords to conquer all the worlds. This is not an army of coy, demure women - Tiruvilaiyadal Puranam describes elephants, tusks dripping in blood, ripping the entrails of the clouds.Meenakshi, after defeating Indra and many others, finally comes to Mount Kailash, where she meets her equal in battle - Siva as Sundareswar, the beautiful Lord. This is a battle that ends not in blood and war, but far more wonderfully - in love and marriage. Meenakshi’s third breast falls - a sign that she had met her destined husband.A couple of years ago, while attending the Chitirai Festival in Madurai, commemorating the marriage of Meenakshi and Sundareshwar, it was fascinating to see how myths, and the figures of the Gods and Goddesses in them, powerfully imbue the relationships of the communities attached to these myths. As the thali was being tied around the idol of Meenakshi, during the ceremony in the temple - the thousands of women gathered outside their temple restrung their own thalis - emulating the ritual at the heart of the festival.What made an even greater impression was watching the procession of chariots of the Gods who had come to attend this marriage, circle the streets by the temple. Each night, during the festival, huge crowds gathered to watch the procession. It was surprising to see how little girls were given importance - dressed in their very best, waiting with bated breath to watch the young girl playing the part of Meenakshi in the procession, dressed in shimmering finery and bearing weapons, drive past them.- it was apparent they harboured dreams of being chosen to represent the Goddess Meenakshi in this procession, some day. It was remarkable to watch this. That the Goddess Meenakshi, young, beautiful, a warrior princess, represented each night by a young girl - was something that could inspire these girls, to make them believe that they are capable of being warriors and rulers. These myths and festivals can also help counter the idea that respecting tradition means perpetuating unequal gender norms. The story of Meenakshi and the Chitirai festival can help us consider the possibility that there are aspects of myth and tradition that offer a very necessary counterview; stories and ideas that can help inspire young women to be the best, most powerful version of themselves. Pallavi: Mamava Meenakshi Raaja Maatangi Maanikya VallakiPaani Madhuravaani Varaali Veni O Mother Meenakshi the daughter of Sage Matanga, please protect me. You hold gem-studded Vallaki Veena. Your speech is sweet. You are beautiful with black tresses resembling a swarm of bees. Charanam: Somasundareshwara Sukhasphurti Roopini Shyame Shankari Digvijaya Pratapini Hemaratnaabharana Bhushani Eesha Guruguha Hrudaagaarini Kaamithartha Vitaranadhorani Kaarunyaamruta Paripurani Kaamakrodhaadi Nivaarini Kadambakaanana Vihaarini You are embodiment of happiness and enthusiasm for your consort Somasundaresa. You are dark complexioned. Oh Sankari, you are valiant heroine with many victories. You are adorned with gem-studded gold ornaments. You reside in the hearts of Siva and Guru Guha. You are always ready to fulfill the wishes of devotees. You are full with nectar of compassion. You eradicate desire and anger. You stroll happily in Kadamba forest. . Varali - this is one melody that has evoked mixed reactions in the Carnatic world. A widely held belief was that teaching Varali would give rise to discord between a teacher and their student. Hence, in the past, it was rarely taught and students had to learn by just listening to their teacher and other musicians sing the raga in public. Raga Varali is rich in gamakaand sung in a slow to medium tempo. The compositions in the raga include Tyagaraja’s philosophical Etijanmamidi to Muthuswamy Dikshithar’s tribute to the goddess Meenakshi at the temple in Madurai, Mamava Meenakshi and Papanasam Sivan’s call to Lord Muruga in Kavava Kandavava.
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