|
TODI,
a profound, delightful, soothing melody is the meLam No. 8 both in
the sampUrNa, and the asaMpUrNa schemes of the karNATik
music tradition. The precise name is hanumatODi in the sampUrNa
paddhati, and the prefix “hanuma” is inserted to yield the
meLam number 8, according to the kaTapayAdi nomenclature ((ha
= 8, na =0, so hanu= 80, which when reversed gives 08).
According to the asaMpUrNa scheme of VE”nkaTamakhi (a tradition
faithfully followed by the dIkSItar school), tODi is the eighth
rAga”nga rAgam, known was janatODi (again, the prefix
“jana” yields the number 8 according to the “kaTapayAdi”
counting , since ja = 8, na =0).
lakSaNam (VE”nkaTamakhi):
tODiH SaDjagrahaH pUrNaH
sAyaMkAlE pragIyatE |
MELam
hanumatODi / janatODi is the second mELam belonging to the
second cakram (nEtra cakram), hence it is referred to as “nEtra
--- shrI”, with the mnemonic phrase ra gi ma dha ni or
R1 G2 M1 D1 N2.
|
ArOhaNam |
s r g m p d n .s |
|
AvarOhaNam |
.s
n d p m g r s |
The notes taken are: SaDjam, shuddha riSabham, sadhAraNa
gAndhAram, suddha madhymam, pa~ncamam, shuddha dhaivatam, and kaishiki
nishAdam.
Salient Features
A mELam
with a symmetrical ArOhaNam and avarOhaNam. The tetra-chords
are symmetrical, and separated by an interval of a major tone, dvishruti
between S --R1 and P – D1; trishruti between G2 – M1 and N2 -- S;
catushruti interval between R1 – G2 and D1 –N2. This elegance creates
beauty to this rAgam.
JIva svarams:
all svarams
chAyA
svarams: ga , ma, dha
aMsha svarams:
ma, pa
nyAsa svarams:
ga, ma. pa , dha, ni
It is a
tristAyi, and sarvasvara gamaka vArikA rAgam
JhaNTa svara
and dhATu svara prayOgams
sparkle this rAgam; prayOgams omitting pa, sa add beauty; Some
vishESa prayOgams are : d r .s D and .r
.s D.
Compositions in tODi
commence usually in the notes sa, ga, ma pa, dha, ni.
This is a rAgam which brings out supreme melody, a
sarva svara ra~njaka rAgam. Majestic vibrations, and the meandering of
the gamakams, laden with full bhAvam characterize the
melodic identity of tODi. All svarams except madhyamam
admit oscillation; The notes ga and dha constitute the nuclei of
the melodic network of tODi; the un-oscillated ma acts as a
balancing link between the pUrvA”ngm and uttarA”ngam.
As a rAgam with tremendous scope for elaboration,
tODi is usually featured as a main item, or in the rAgam tAnam pallavi
expositions in a concert. Being a
ghana rAgam,
it enjoys the pride of place in every concert, and lends itself to all types
of compositions.
graha bhEdam
TODi
is a sarva svara mUrcchanakAraka mELam, in the sense that all notes
except pa~ncamam admit graha bhEdam to yield new mElams.
The process of model shift of tonic (graha bhEdam) produces
kalyANi
(65) Ri mUrcchana
harikAmbhOdhi (28)
Ga mUrcchana,
naTabhairavi (20
) Ma mUrcchana
sha”nkarAbharaNam (29)
dha mUrcchana
kharaharapriya
(22) ni mUrcchana.
TODi
rAgam is
believed to have originated from the rSabha mUrcchana of the
SaDja grAmam.
It evokes bhakti and karuNa rasam. It is no
wonder that numerous devotional songs are based on the soothing
tODi, and some of its janyams.
TODi is
usually featured in the operas and dance dramas.
MattakOkalam
folk tunes of tamil music is similar to tODi.
History
TODi
is mentioned in all important musical works from the early period. This
rAgam has been mentioned in Sa”ngIta ratnAkaram (13th
century), rAgatara”giNi (14th century) of Locana Kavi,
sa”ngIta samaya sAra (11th century) of PArasvadEva, rAga
vibOdha (1609) of sOmanAtha, sa”ngIta sArAm.rta (1735) of
TulAjA mahAraja, samgraha cUDAmaNi (18-19th century) of
gOvindAcArya., etc. In the literature, one can find the names such as chAyA
tODi, turuSka tODi, and so on. Also, Locana Kavi calls it “TODi”
(with “T” in place of “t”) instead of “tODi”. (see the difference
between “T” and “t” in the pronunciation guide).
Strangely, this rAgam does not find a place among the 19
prasiddha mEla scheme in VE”nkaTamakhin’s caturdaNDI
prakAshika., whereas bhUpAlam is clearly mentioned. Muddu
VE”nkaTamakhi refers to tODi as an "auttara rAgam” (that
belongs to the northern region), and calls it “janatODi”, a view not
shared by Professor Sambamurthy.
SangIta
SampradAya Pradarshini
On tODi (asampUrNa paddhati)
SubbarAma
DikSitar, in his encyclopedia, “SangIta SampradAya Pradarshini”,
describes the mUrcchana of janatODi as follows:
|
ArOhaNam |
s
♭r
♭G
m p ♭d
♭N
s |
|
avarOhaNam |
s
♭n ♭d
p m ♭G
♭r
s |
He describes the lakSaNa details: a rAga”nga rAgam,
sampUrNAm, SaDja grahjam, rakti rAgam, suitable for singing in the evening
times. He further adds that this rAgam is packed with the best
ra~njana among all the rakti rAgams. As illustration, he
provides the following compositions:
lakSya gItam
a rE
rAjarAja gIta caritra, ,jhaMpa tALam (VE”nkaTamakhi)
gItam
ArE
dAsharathE, dhruva tALam
(pUrvikas - the ancients)
k.rti
kamalAmbikE (dhyANa
k.rti of the kamalAmbA navAvarana series), rUpaka tALam
(muttusvAmi dIkSitar)
gAnalOla karuNalavALa
, Adi tALam (cinnasvAmi dIkSitar)
gajavadana
sammOdita, Adi tALam (MahArAja KumAra ETTEndra)
cauka varNam
rUpamu
jUci, Adi
tALam (muttusvAmi dIkSitar) – sometimes this is attributed to Ramasvami
Dikshitar.
A rare svarasthAna varNam:
sarigAni dAni pAmarini,
Adi tALam (RAmasvAmi DikSitar) - where the sAhityam employs only the
seven letters sa, ri, ga, ma, pa, dha, ni to coin appropriate telugu words
for its lyric.
padam
AdiyAramba kkalaviyalE,
Adi tALam (KaTikai muKkuppulavar)
sa~ncAri ,
ragaNa maThya tAlam. (subbarAma dIkSItar)
The
author, then goes on to discuss three janyams, nAgavarALi,
punnAgavarALi, and asAvEri.
HindusthAni system
The HindusthAni equivalent of tODI is the Bhairavi
Thath. In the Hindusthani system, it is regarded as a morning rAga.
Note that the HindusthAni tODi is NOT karNATik tODi,
but the equivalent melody is shubhapantuvarali.
The tODi group of
HindusthAni system includes such exotic rAgams like Miyan ki
tODi, BilAskhAni tODi, and so on.
shuddha tODI
Sometimes
the svaram "pa" is omitted, and the resulting tODi is known as
shuddha tODi. Examples are:
(i)
pa~nca rAga svarajati of SvAti tirunAL (the tODi segment of this
piece omits "pa", producing a pleasing effect)
(ii) the
gItam “ of the ancients, a rE dasaratharAja” mentioned above.
dEshya tODi
This is a SADava-sampUrNa (6-7) rAgam derived
from tODi., with the note “ri” omitted in the ArOhaNam
(scale: s g m p d n.s; .s n d p m g r s). This resembles very closely
to the Bhairavi ThaTh of the Hindusthani system. Some tODi
compositions of TyAgarAja are sung in dEshya tODi.
Todi in Films
The splendor of tODi is glorified in a full length film
by the name “tODI rAgam” with T. N. Seshagopalan as the hero and
singer. Several film songs are based on tODi melody.
Balamuralikrishna’s renditioin of the rAgamAlika “oru nAL pOdumA”
in the film TiruviLaiyADal, has the tODi line “ezuntODi
varuvAyammA”, with the rAga mudra cleverly disguised in it.
Peculiar compositions in tODi
RAmasvAmi DIkSitar has to his
credit a svarastAna pada varNam, in tODi, where the sAhityam
(text) employs only the seven letters sa, ri, ga, ma, pa, dha, ni to
coin genuine, meaningful words in Telugu for its lyrics.
The lyric
is given below:
pallavi
sarigAni dAni pAamarini nI pada
samAgmamAga nIganinisA
anupallavi
garimamadAri padAri sadAri
gamapadanIdAnigA nidaAi
pasagani
caraNam
marimari ganisAga nipani
dagadani
mAnigAnigA nimmanigAda
mari nI pathama manigA
marienigA
maNali VE”nkaTak.rSNEndra nAto
M.
Balamuralikrishna has composed a similar composition (perhaps inspired by
Ramaswami DIkSitar), again in tODi, and the lyric runs as follows:
pallavi
mA mAnini, nI dhAma gani nI
dAsarini gAdA
anupallavi
mama pApa mada damani, nI niga
nigani marI marI nimmA
caraNam
sari gAni dAri mAri, gadAdhari
nI niga niga gani, nI magani
sAma nigama garima gani nI pAda
dari ni pari pari
muraLI ravaLimmani sadA kOriti
namma
A
puzzle
MuttusvAmi DIkSitar, who
carefully introduced rAga mudra in many of his compositions through the
art of shlEsham (double meaning), and other clever devices, has not
inserted the rAga mudra for all of his eight k.rtis in
rAgam tODi. This is puzzling. There is no single phrase in any of these
8 k.rtis, even to suggest that he employed a different rAga
name (like janatODi). Since it is a common belief that he always
inserted the rAga mudra for the very first composition in each rAgam,
perhaps one such k.rti in tODi might have existed with a
built-in rAga mudra, and it is currently lost to us.
Masterly renditions
TODi SitArAmayya, a gifted musician in the court of King
SerafOji, is said to have sung this rAgam continuously for eight days,
which earned the title tODi sItArAmayya. He developed the AlApana
progressively in the prescribed manner of treatments like AkSipta, rAga
varddhani, sthAyI and makariiNi, culmtinating in a grand pallavi
rendition. A marvellous feat indeed. Sometimes he used to pledge the tODi
rAgam (his property) for borrowing money, promising not to sing tODi
until the money is completely repaid.
T.N. Rajaratnam Pillai’s renditions of tODI in the
nAdasvaram, especially in the temple festivals of Ta~njAvUr,
TiruviDaimarudUr, TiruvAdutturai and Tiruppanandal, was really amazing, and
a marvelous treat to the ears. He could elaborate tODi for hours, or
even throughout the night, with boundless imagination. and hold the audience
spell-bound. People used to believe that “tODI” was his personal
family treasure (vITTu svattu). Once, Smt M.L. Vasantakumari rendered
tODi, where Rajaratnam Pillai was present among the audience. At the
end of the concert, he congratulated the artist for her exquisite rendition
--- a true complement indeed for MLV from a champion of tODi.
Madurai Mani Iyer used to popularize k.rtis such as
koluvamere gada (TyAgarAja) and tAyE yashOda (UttukkADu VE”nkata
kavi) in his concerts. T. N. Seshagopalan is another artist, who can thrill
the audience for hours with his exquisite and masterly renditions of tODi.
janya rAgams
tODi
claims to have a large number of janya rAgams. Walter Kaufman’s “Ragas
of South India” describes 43 janyams of tODi. Lakshman
Ragde’s “Ultimate Index” lists more than 100 janyams. We have
already mentioned shuddha tODi and dEshya tODi. In addition,
the following are some of the very popular janyams.
nAgavarALi, punnAgavarAli,
Ahiri, asAvEri,chAyAbauLi, indusAara”nganATa, himA”ngi
shuddhasImantini, chandrikatOdi, nAdanALi, janyatODi, dEshikaba”ngaLa,
rEvagupti, kaLAsAvEri, shuddha mArva, dhanyashi, bhAnucandrika,
suddhasAmanta,
punnagatODi, candragAndhAram, bhUpALam
Popular Composition in tODi
Every composer has enriched tODi rAgam with his or her
contribution to the flood of compositions. Among the trinity, TyAgarAja has
composed a staggering number of 32 k.rtis, dIkSitar has 8, and shyAma
Sastri has four. Besides the trinity, svAti tirunAl has 14, and pApanAsham
shivan has 19 songs in tODi. Lakshman Ragde’s “Ultimate Index”
lists a whopping 737 compositions in tODi. The following is
only a very meager list of popular compositions that have stood the test of
time.
lakSya
gItam
arE
rajarAja, jhaMpa tALam (VE”nkaTamakhi)
a rE rE
dasharatharAja, dhruvam (pUrvIkAs) (omits the svaram "pa")
gItam
a rE rE
kOsala dEshapAla, tripuTa (gOvindAcArya)
sa~ncAri
in ragaNa
maThya tALam (Subarama DIkSitar)
svarasthAna varNam
(rare and special)
sa ri gA
ni pAmarini Adi (Ramaswami DIkSitar)
mA mAninI
nI dhAmA , Adi (M. Balamuralikrishna)
jatIsvaram
sa sa ni
dha pa ma ga Adi (SvAti tirunAL)
sa ri ni
dha pa ga, rUpakam (vINai k.rSNamAcArya)
varNam
ErA nApai
(Patnam Subrahmanya Iyer)
Kanaka”ngi
(Pallavi Gopala Iyer)
samI ninnE,
Adi (Vina Kuppayyar)
saridIsha,
cApu (SvAti TirunAL)
saraguNa
gAvumu (Balamuraliksrishna)
pada varNam
rUpamu
jUci, Adi (RAmasvAmi (MuttusvAmi ?) DIkSitar
dAni
sAmajEndragamini, Adi (SvAti tirunAL)
k.rti
kamalAmbikE, rUpakam (MuttusvAmi DIkSitar)
dAkSAyani
abhayAmbikE, rUpakam (MuttusvAmi DIkSitar)
pAlaya mAm
b.rhadIshvari, rUpakam (MuttusvAmi DIkSitar)
shrI
subrahmaNyO mAm, Adi (MuttusvAmi DIkSitar)
mahAgaNapatim, rUpakam (MuttusvAmi DIkSitar)
shrIk.rSNam bhaja, Adi (MuttusvAmi DIkSitar)
rAmacandrAya namastE , mishra cApu (MuttusvAmi DIkSitar)
VEdAraNyEshvarAYa namastE, Adi (MuttusvAmi DIkSitar) 8
gajavadanasammOdita, Adi (KumAra ETTEndra mahArAja)
gAnalola
karuNAlavAla, Adi (Cinnaswami DIkSitar)
AragimpavE,
rUpakam (TyAgarAja)
InnALLavaLE vinta, mishra cApu (TyAgarAja)
enduku
dayarAdurA, mishra cApu (TyAgarAja)
endu
dAginAdo, mishra cAPu (TyAgarAja)
evaru
teluiyaga, rUpakam (TyAgarAja)
Emani
mATAditivO, Adi (TyAgarAja)
Emi
jEsitEnEmi, mishra cApu (TyAgarAja)
kaDatErA
rAda, dEshAdi (TyAgarAja)
kaddanu
vAriki, Adi (TyAgarAja)
karuNa
jUDavammA, Adi (TyAgarAja)
koluvamare
gadA, Adi (TyAgarAja)
kOTI
naTulu dhanuSkOtilO, Adi (TyAgarAja)
gati
nIvaninE kOri, Adi (TyAgarAja)
cEsinAdella, Adi (TyAgarAja)
tappi
braTiki pOva taramA, rUpakam (TyAgarAja)
dAcukOvalEna, mishra cApu (TyAgarAja)
dAsharathi
nI .rNamu, Adi (TyAgarAja)
dorakunAyani, rUpakam (TyAgarAja)
namO namO
rAghavAya, rUpakam (TyAgarAja ) - in dEshyatODi
ninuvinA
sukhamugana, rUpakam (TyAgarAja)
nI daya
ravalegAkA, Adi (TyAgarAja)
nIvaNTI
daivamu, Adi (TyAgarAja)
nE
pogaTakuNTE, KhaNDa cApu (TyAgarAja) - in dEshya tODi
poddu
poyyEni shrIrAmuini, mishra cApu (TyAgarAja)
v.rndavana
lOla, rUpakam (TyAgarAja)
munnu
rAvaAna, mishra jhaMpa (TyAgarAja)
rAjuveDala
jUtA murArE, rUpakam (TyAgarAja)
rE Manawa
cintaya rAmam, rUpakam (TyAgarAja)
rUkalu
padivElunnA, AdI (TyAgarAja) (in deshya tODi)
varidhi
nIku vandana, mishra cApu (TyAgarAja)
veDalenu
kOdaNDapAni, rUpakam (TyAgarAja)
hariyanu
vAri sariyevarE, Adi (TyAgarAja)
Emani
migula varNintu, Adi (shyAmA shAstri)
karunanidhi illalO, Adi (shyAma shAastri)
ninnE
namminAnu sadA, mishra cApu (shyAma shAstri)
rAvE
himagirikumAri, Adi (shyAmA shAastri)
nannu
brOcuTaku, Adi (SubbarAya shAstri)
shrI
kamalAmbikE cinta dIrci, rUpakam (Subbaraya Sastri) - in dEshya tODI
karuNA
kaTAkSii nannu, Adi (ANNaswami Sastri)
sAmOdam
kalayAmi, Adi (SvAti tirunAL)
dEvadEva
mAm palaya, mishra cApu (SvAti tirunAL)
bhArati
mAmamva, Adi (SvAti tirunAL)
japata
japata harinAma, Adi (SvAti tirunAL)
mandaradhara, tishra tripuTa (SvAti tirunAL)
pa”nkajAkSanAm ramEshan, Adi (SvAti tirunAL) -- utsava prabandham
pa”nkajAkSa tava sEvAM, rUpakam (SvAti tirunAL) – navaratnamAlika
shrI
rAmacandra, Adi (SvAti tirunAL)
sarasijanAbha murARE, mishra cApu (SvAti tirunAL)
saridIshavAsa pAhi, mishra cApu (SvAti tirunAL)
sAdu tadA
nijabhaktim, Adi (SvAti tirunAL)
A~njanAnanda ambOdhicandra, Adi (uttukkADu VE”nkata kavi)
annaiyarkal vanam nADI vandAr, Adi (uttukkADu VE”nkata kavi)
dAsharathE
dayAnidhe, Adi (uttukkADu VE”nkata kavi)
dn I”ngE
vandu, Adi (uttukkADu VE”nkata kavi)
jaTAdhara
sha”nkara dEvadEva, Adi (uttukkADu VE”nkata kavi)
tale
sharaNam ammA, Adi (uttukkADu VE”nkata kavi)
tannam
taniyake cenralE, mishra cApu (uttukkADu VE”nkata kavi)
tAyE
yashOdA undan , Adi (uttukkADu VE”nkata kavi)
urugAda
manam enna mamnamO, Adi (uttukkADu VE”nkata kavi)
vandavarai
varamendrazhaittu, Adi (uttukkADu VE”nkata kavi)
dEvi padam
panintEn, Adi (Papanasam Sivan)
ga”ngAyani,
mishra Ekam i (Papanasam Sivan)
kali
tIrumO, deshAdi (Papanasam Sivan)
kArtikEya
gA”ngEya, Adi (Papanasam Sivan)
kunram
kuTikoNDa, Adi (Papanasam Sivan)
ma”ngala
nAyaki, Adi (Papanasam Sivan)
pAril
nalvazhi kATTu, Adi (Papanasam Sivan)
patitapAvana rAma, Adi (Papanasam Sivan)
rajagOpAla,
rUpakam (Papanasam Sivan)
tAmatam En
svAmi, Adi (Papanasam Sivan)
taNikai
vaLar, khaNDa cApu (Papanasam Sivan)
tanikEshanai punindu, Adi (Papanasam Sivan)
undu
kuladaiva, Adi (Papanasam Sivan)
ambanAdu
vinnapavini, Adi (Pallavi Gopala Iyer)
Emani
pogaDuDu, Adi (Grabhapuri vasa)
Ananda
naTEshA, Adi (Ramaswamy Sivan)
darishanamE mukti, Adi (Nilakantan SIvan)
karunAkaTakSa, rUpakam (Nilakantan SIvan)
parAtpara
raghuvIra, Adi (Mysore Vasudevachariar)
nArAyaNam
namata, Adi (Mysore Vasudevachariar)
k.rpAlayam,
Adi (Mysore Sadasiva Rao)
ekkAlattilum, Adi (Lakshmanan Pillai)
enataruLvayE, rUpakam (Lakshmanan Pillai)
kanda
kumAra, Adi (Lakshmanan Pillai)
Yaretirttal enna, Adi (Lakshmanan Pillai)
innum
ko~njam, Adi (Muthukumaraswami)
ennEramum,
Adi (Muthuthandavar)
e”ngE
vaittirundAy, maThyam (Arunachala Kavi)
rAmanukku
mannan, mishra cApu (Arunachala Kavi)
varuga
vittenum, Adi (Arunagirinathar)
irvinayin,
tripuTa (Arunagirinathar)
nAlumainduvasal Adi (Arunagirinathar)
caitanya
vigrahamE, rUpakam (Ghanam Krishna Iyer)
amba
nannadadarincave, rUpakam (Chengalvaraya Sastri)
sha”nkaranai tudittiDu, rUpakam (Gopalakrishna Bharathi)
cidambaramE ninai, Adi (Gopalakrishna Bharathi)
bhakti
sEyka vIra, Adi (Gopalakrishna Bharathi)
sundara
maindan, rUpakam (Kavikunjara Bharathi)
aruL
pAarayyA, Adi (Kavikunjara Bharathi)
kaikkishainda, rUpakam (Kavikunjara Bharathi)
manamadanaguvade, Adi (Muthiah Bhagavathar)
bhagaLA
deviya, Adi (Muthiah Bhagavathar)
mInalocani
amba, rUpakam (Muthiah Bhagavathar)
paciyana
turumeni Adi (Muthiah Bhagavathar)
kalitIra
vantaruL, mishra cApu (Kotiswara Iyer)
appanE
kapAli, rUpakam (Kotiswara Iyer)
kamalanAbha, rUpakam (K.C.Keshava Pillai)
mamakulEshvaram, Ekam (G N Balasubrahmanyam)
shrIvE”katEsham, RUpakam (Ramnad Srinivasa Iyengar)
Adum
perumanE, Adi (Periyasami Tooran)
ambalattil
Adum, Adi(Periyasami Tooran)
enna
pizhai, Adi (Periyasami Tooran)
IunnaDimai,
Adi (Periyasami Tooran)
gajAnanam
gaNapatim, maThyam (JayacAmarAja Odeyar)
padam
sundarA”nga, rUpakam (SvAti tirunAL) – maNipravALa padam
Adi
yAraMbhakkalavitile tAnE, Adi (kaTikai mUkkuppulavar)
calayinduku, Adi (KSEtraj~na )
eccOTa
nunnaDo, Adi (KSEtraj~na )
elane vadu,
tripuTa (KSEtraj~na )
EmaNDui
namma, tripuTa (KSEtraj~na )
maracE
nEmo, tripuTa (KSEtraj~na )
mrokkera
calamEla, Adi (KSEtraj~na )
tadagu
pOpammana, Adi KSEtraj~na )
ellA
arumaiyum, rUpakam (Ghanam Krishna Iyer)
tillAna
There are
several tillAnas in tODi, with composers like Ramanapuran
Srinivasa Iyengar, Ponnayya Pillai, Kunrakkudi Krishna Iyer, Namassivaya
pulavar, vINa Seshanna, Spencer Venugopal, and so forth.
rAgamAlika segments
TODi
usually appears as a segmental rAgam in numeous rAgamAlikas. .Maha
Vaidyanatha Iyer's mammoth 72 mELarAgamalika features tODi in
the eight line of the caraNam, with a brilliant rAga mudra for
the complete name, “hanumatODi”.
hanumatO DiNDImabhavaM stuvatO sutanumatodadaH
bhutibhushaNa |
Tamil rAgamAlikas have the advantage of incorporating
the rAga mudra for tODi very easily. For example, the tamil
film song "orunAl pODumA" in the movie Tiruvilayadal, features a
rAgamAlika song, sung by Balamuralikrishna, and the line for tODi
reads: “ezhuntODi varuvAyammA”.
Pallavi
lines
The catur
rAga pallavi, “sha”nkarAbharaNanai azhaittODi vADi kalyANi
darbArukku” (made famous by Ariyakkudi Ramanuja Iyengar, KVN and others)
has tODi as a component rAgam.
There are
numerous other pallavi lines in tODi. Balamuralikrishna’s 45rpm
EP recording of the 60s, “nIrajadaLa lOcani nikhilalOkajanani” is very
popular.
A final tidbit
Finally, have you heard about a little town in Italy by the
name Todi? If you Google search the phrase “Todi” on the internet, you will
come up with a long list of websites of Tourist Offices in southern Italy,
providing tourist information about the small medevial town, by the name “Todi”,
in the Umbria region. Sometime back, in one of the threads in the Usenet
newsgroup, rec.music.Indian.classical, someone posted a query about rAgam
tODi, and to everyone’s surprise, a reply was posted in Italian by one
such office in Italy!
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