SHRIRANJANI - JAYAMANOHARI - ABHOGI THREE KRAMA VARJYA RAGAMS DERIVED FROM MELAM KHARAHARAPRIYA P. P. Narayanaswami Part II |
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JAYAMANOHARI janaka mELam - 22 - kharaharapriya jayamanOhari is obtained by dropping the note ni in the ArOhaNam of shrIra~Njani. Thus it is an auDava - SADava (5-6) rAgam derived from kharaharapriya. An upaAN^ga rAgam with jIva svarams : ga, ma, dha; it shines well in madhyamakAla renditions. dIrgha (extended) ni and ri adds beauty to this rAgam. Among the trinity, only tyAgarAja
has composed in jayamanOhari. The k.rti "yaj~nAtulu sukhamanuvAriki"
is a favourite of the GNB school. Two compositions of svAti tirunAL in
junjhUThi ("kuTilAm asatIm imAm" from ajAmiLopAkhyAnam
and "mAdhava mA kalayEha") are incorrectly placed under
jayamanOhari by some. This is a rAgam that is
not often heard in concerts. Popular Compositions in jayamanOhari
ABHOGI janaka mELam - 22 - kharaharapriya AbhOgi is yet another important janyam of kharaharapriya, obtained by dropping both the pa~ncamam and the niSAdam. It is also very close to shrIra~njani in that it just omits the niSAdam from shrIra~njani. It differs from jayamanOhari by one note in the avarOhaNam. AbhOgi is an auDava-auDava (5-5) rAgam.
Basically, it is a madhyama kAla rAgam with jIva svarams ga, ma and dha. A sarva kAlika rAgam, whose beauty is brought forth by the jaNTa varishai prayOgams, AbhOgi evokes karuNa/bhakti rasam. A mUrcana kAraka rAgam that generates rAgam valaji by performing graha bhEdam on the note ma. Undoubtedly, the most popular song in AbhOgi is gOpAlak.rSNa bhArati's "sabhApatikku vERu daivam samAnamAgumA?". There is a historical anecdote related to this song. While gOpAlak.rSNa bhArati was visiting tyAgarAja, the disciples were singing a song in AbhOgi. tyAgarAja asked gOpAlak.rSNa bhArati whether he had composed any song in AbhOgi. bhArati's answer was in the negative. But the next day, he sprang a surprise by composing and singing "sabhApatikku" for tyAgarAja, which he had carved out the previous night. Needless to say, tyAgarAja was immensely pleased. The popular varNam in AbhOgi, "evari bOdhana" by pattaNam subrahmaNia ayyar is always taught to beginners. tyAgarAja's popular k.rtis in AbhOgi are "manasunilpa" (a GNB favourite) and "nannu brOva". The composition "shrI lakSmI varAham" is the only known dIkSitar k.rti in AbhOgi. shyAma shAstri does not appear to have composed in AbhOgi. A beautiful but rare piece in AbhOgi is mysUr sadAshiva rAo's "nIke puDu" superbly handled by T. M. tyAgarAjan. D. K. jayarAman popularized the pApanAsham shivan composition "nekkurugi unnai". The song "sEvikka vENDumayya" by muttu tANDavar was originally set in AbhOgi, but these days it is rendered in AndOLika. muttusvAmi dIkSitar has introduced the rAga mudra for AbhOgi in his k.rti "shrI lakSmI varAham", very cleverly using the line "maN^galAlayAbhOginutapadam". AbhOgi has become part of hindustAni music and is usually rendered with a shade of kAnaDa and nomenclature as Abhogi-kAnaDA. I have not come across any tillAna or pallavi exposition in AbhOgi. Popular Compositions in AbhOgi varNam evari bOdhana (Adi) - pattaNam
subrahmaNia ayyar (A recording of
Shri. Semmangudi Srinivasa Iyer k.rtis sabhApatikku (rUpakam) - gOpAlak.rSNa
bhArati (A recording of
Dr. S. Ramanathan |
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