shankarAbharaNam (dhIra shankarAbharaNam)
Only a week ago, when I was narrating the contents of this blog to a friend of my daughter at New Jersey, did I realise I have not thought so far of writing a posting on a major Raaga like Sankarabharanam, where there are several krithis of almost all the composers. More than anything else, this was the raaga that my mother liked most, subject to correction, of course, from my erudite scholar sister at Mylapore.
Swara ragha sudha being sung by my mother is strill ringing in mother. The krithi is equally rich in content.
Sankarabharanam belongs to:
29 dhIra shankarAbharaNam mela.
The aroganam and avaroganam notes are:
Aa: S R2 G3 M1 P D2 N3 S
Av: S N3 D2 P M1 G3 R2 S
One cannot but recollect the film SANKARABHARANAM in Telugu where the raag is sung with a puritan outlook.
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Smt.Visaka Hari comes out with an excellent krithi SAROJA DALITHE
Sri N. Ramani: Flute Sri Chalakudy Narayanaswamy.: Violin Sri Guruvayoor Dorai: mridagam Sri Uduppi Sreedhar: ghatam Swara Raga Sudha In Shankarabarnam www.sangeethapriya.org
flute n.ramani. swara ragha sudha sankarabharanam raag
Only a week ago, when I was narrating the contents of this blog to a friend of my daughter at New Jersey, did I realise I have not thought so far of writing a posting on a major Raaga like Sankarabharanam, where there are several krithis of almost all the composers. More than anything else, this was the raaga that my mother liked most, subject to correction, of course, from my erudite scholar sister at Mylapore.
Swara ragha sudha being sung by my mother is strill ringing in mother. The krithi is equally rich in content.
Sankarabharanam belongs to:
29 dhIra shankarAbharaNam mela.
The aroganam and avaroganam notes are:
Aa: S R2 G3 M1 P D2 N3 S
Av: S N3 D2 P M1 G3 R2 S
One cannot but recollect the film SANKARABHARANAM in Telugu where the raag is sung with a puritan outlook.
<
Smt.Visaka Hari comes out with an excellent krithi SAROJA DALITHE
Sri N. Ramani: Flute Sri Chalakudy Narayanaswamy.: Violin Sri Guruvayoor Dorai: mridagam Sri Uduppi Sreedhar: ghatam Swara Raga Sudha In Shankarabarnam www.sangeethapriya.org
flute n.ramani. swara ragha sudha sankarabharanam raag
And finally MAHARAJAPURAM SANTHANAM 'S MASTERPIECE " MAHALAKSHMI "
| Maharajapuram_Sant... |
let us now listen to:
raag belawal
kishore amonkar
ONE MAY SAY THAT THE NEAR EQUIVALENT RAAGA TO SANKARABHARANAM IN HINDUSTHANI CLASSICAL MUSIC IS BILAWAL.
Ustad Ghulam Hasan Khan Shaggan
MUNSHI RASHIYUDDIN
Noted blogger http://www.indiapicks.com comments that the Raag Bilwal gets its name from the leaf bilwa which is used in the worship of Lord Shiva.
Vilwapathram is a leaf that is considered sacred and used intensely in all Shiva temples. It is therefore not surprising that the Raag in Carnatic classical is also called SANKARA ABHARANAM, meaning that this is an ornament of Shiva.
Bhilawal is a janak Raag as well as a Sampurna Raag.This raag is mostly sung during the Madhyanika vela that is mostly the second quarter of the morning, viz., 9 a.m. to 12 noon.
Bhakthi Gambhiram, Sringaram, philosophical, contemplative longing, uncertainty are a few moods of this Raag.
Courtesy: www.indiapicks.com
A very popular Hindi song, MITHI MITHI BATHONSE BACHNA ZARA by Lata Mangeshkar in Film Qaidi No.911 is based in Raag Bilwal only.
Other Hindi film songs are: Dil tadap tadp ke kah raha hai abhi ja by Mukesh in Madhumathi
hai dil mushkil, jina yahan by Md.Rafi in C.I.D. Music by O.P.Nayyar.
Mujkho apne gale lagalo in Hamrahi by Rafi Latha.
See the sublime actions of Rajendra kumar, and Jamuna
Well ! It appears that Hindi Music Directors handled Bilawal raag much more than Tamil Music directors did, though we have a few instances here and there.
Only Rasikas may clarify further on this point, after listening to Amonkar.
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