![]() The same Jayadeva's composition is set to a different ragamalika by Semmangudi. This has ragas which are Hindustani oriented. For 'pralaya payodhijale' we have the rendition by MS, which probably was set to tune by Kadayanallur Venkatraman. ![]() As we can imagine, since these are not 'standard' tunes, multiple tunes exist for the same poem. Similarly, Jayadeva's poem, 'pralaya payodhijale', which talks about Vishnu's Dasavataram is set to ragamalika. Semmangudi and his team changed this into a ragamalika and now, thanks to that rendition of MS, everyone knows and enjoys 'Bhavayami Raghuramam'. If the whole 'Bhavayami' is in Saveri, the audience may not worry whether Rama finally rescued Sita or not!!! They would have lost interest by then. One problem with such an approach is when the concerned krithi is very long audience tend to lose interest after some time if the raga doesn't change. ![]() It is well known that the Ramayana krithi, 'Bhavayami Raghuramam' had all its stanzas set to Saveri ragam. Each of the stanza can be tuned in a different ragam ensuring you hold the attention of the audience for a long time. ![]() One area where ragamalika comes to the rescue is when composing music for long poems / slokas etc. ![]()
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