Kum. N Ananya Ranganayaki (vocal) & team from Chennai - Homage to Mysore Vasudevacharya Series

Special Carnatic Music concert
Homage to Padma Bhushan Mysore Vasudevacharya
11th August 2024, 8:00 PM IST (10:30 AM EDT)
Kum. N Ananya Ranganayaki (vocal) - Chennai
(Disciple of Vid. C. R. Vaidayanathan)
Chi. Bhargav Vignesh (violin)
(Son and Disciple of Vid. CK Vijayaraghavan)
Vid. Ajeet Sridhar (mridangam)
(Disciple of Vid. Chrompet G. Suresh)
(Exclusive Compositions of Mysore Vasudevacharya)

[@anuradhavijaykumar931]

Excellent Singing and Congratulations and Best Wishes to Ananya.lovely voice and trained well.

[@sgbhat100]

Very good concert....nice team...👏👏👏👏

[@kumarrayaprolu1251]

Very nice Concert by the young team. Kumari Ananya has compelling and melodious voice. I am sure she has a very bright future in music.

[@Mdusisters]

Nice Ananya. Wish you all the very best.

[@seethalakshmir5503]

Very very nice. Idhamana geetham. She is singing like experienced vocalist. She is having bright future. God bless you kanna.

[@ramkis2739]

Good one from start to end. 🎉

[@mysuruvasudevacharya]

Soooooper

[@mysuruvasudevacharya]

Absolutely Divine Blissful and Superb Concert All the Best Wishes 👋👌👋

[@subramanianranganathan5258]

Excellent concert👏👏👏💐🌹🥀🙏

[@aarathin2590]

Thank u

[@mysuruvasudevacharya]

Dharmavathi This is 59th Melakartha ragam. It is called Dhaamavati in Muthuswami Dikshitar school of Carnatic music Though some of its janya ragams like Ranjani and Madhuvanti are often heard in concerts, the mother ragam is heard rarely. A very melodious ragam which is also called Dhaamavati in the Dikshitar School. Its closest ragam is Madhuvanti. Raga Dharmavati was introduced in Hindustani music in vocal style for the first time by late Pandit Samaresh Chawdhury ( disciple of Pandit Ravi Shankar) The notes for the two ragams are given below: Dharmavathi Aro S R2 G2 M2 P D2 N3 S AV S N3 D2 P M2 G2 R2 S Maduvanthi Aro S G2 M2 P N3 S AV S N3 D2 P M2 G2 R2 S

[@mysuruvasudevacharya]

Ragam Sri :- A raga that is auspicious in name and bhava is Sri. Sri is a ghana raga, a heavy and noteworthy one that is melodic as well as regal. Sri is a janya of Kharaharapriya raga and is characterised by jagged traversals in the scale, the avarohana having interesting diversions from the usual linear path. Shree is an asymmetric rāgam that does not contain gāndhāram or dhaivatam in the ascending scale. It is a audava-vakra-sampurna rāgam (or owdava, meaning pentatonic in ascending scale), where vakra indicates the zig-zag nature of jumping notes in descending scale. The Arohana-Avarohana pattern of this raga is SRMPNS/SNPDNPMRGRS. This raga houses sadja, chatusruti rishabha, suddha madhyama, pancama, kaisiki nishada, chatusruti dhaivata and sadharana gandhara. The raga’s highlight is the exaggerated gamaka at the gandhara. Because it is a ghana raga, it is suitable for tanam. Askilled vainika (veenaartiste) can demonstrate the stately gait of the tanam in Sri. The classical pieces in Sri include Tyagaraja’s fervour-filled ‘Endaro Mahanubhavulu’, the fifth and famed pancharatna, which features torrential janta swaras and ‘Namakusumamula’. Dikshitar’s ‘Sri Kamalambike’ (the concluding Kamalamba navavarana), ‘Sri Varalakshmi’ (sung during the Varalakshmi vratha) and ‘Sri Abhayamba’ (the final kriti of the Abhayamba vibhakti kritis on the presiding goddess at Mayavaram) are most notable. Music lovers may recall M.S. Subbulakshmi’s rendition of Annamacharya’s ‘Vande Vasudevam’ in the raga.

[@mysuruvasudevacharya]

Pavamaana Suthudu Pattu, Pathara Vinthiya Mulaku Nee nama rupamulaku, Nitya Jaya Mangalam Prahlad NaraDadhi, Bhaktulu Pogadu Sandhu Nee nama rupamulaku, Nitya Jaya Mangalam Rajeeva Nayana Thyaga, Rajathi Vinudhamaina Nee nama rupamulaku, Nitya Jaya Mangalam

[@kschami]

1:20 Mandari varnam vanajaksha ninne kori valachi vachchi yunnanu|| (MVD)

[@mysuruvasudevacharya]

On Behalf of Mysore Vasudevacharya Homage Page We Whole heartedly Thanking Kum N Ananya Ranganayaki (Vocal) & Team, from, Chennai TN Padma Bushan Mysore Vasudevacharya Life & Music Special Series Concert on Today the August 11th Sunday at 8.00 PM IST 10.30 AM EDT Kum N Ananya Ranganayaki (Vocal) ( Disciple of Vid C. R.Vaidayanathan) Chi. Bhargav Vignesh (violin) (Son and Disciple of Vid. CK Vijayaraghavan) Chi Ajeet Sridhar (Mridangam) (Disciple of Vid Chrompet G. Suresh) (Exclusive Compositions of Mysore Vasudevachar) Ragams Covered . Mandari, Kambohji, Natakapriya, Nalinakanthi, Dharmavathi, Chakravaham Jayanthsri, Sri. All the Best wishes to them in their Future Endeavors We wish to thank all the members of the lovely audience who motivated, supported and encouraged the wonderful artistes in this Concert today..

[@mysuruvasudevacharya]

Vanajaksha - Mandari - Adi Mysore Vasudevachar Mysore Vasudevacharya's first Varnam composition was Vanajaksha in Mandari.

[@mysuruvasudevacharya]

Soooooooper Sooooooooper... Ma !!!

[@mysuruvasudevacharya]

Excellent at Studies also She is

[@mysuruvasudevacharya]

Natakapriya is the 10th Melakartha raga and the 4th in the second Mela Chakram, ‘Netra”. In Dikshithar system, this raga is called ‘Natabharanam’. This is not a popular raga; there seems no Hindustani equivalents also. The 46th mela ragam ‘Shadvidhamargini’ is the prathimadhyama equivalent of this raga. The purvanga is of the notes are of Thodi and Uttaranga, that of Kharaharapriya. The notes: Aroh : S R1 G2 M1 P D2 N2 S // Avaroh : S N2 D2 P M1 G2 R1 S (shadjam, shuddha rishabham, sadharana gandharam, shuddha madhyamam, panchamam, chathusruthi dhaivatham and kaisiki nishadham). JANYA RAGAS: Alankārapriya S R1 G2 M1 D2 N2 S // S N2 D2 M1 G2 R1 S Bhāgyashabari S R1 G2 M1 D2 N2 S // S N2 D2 M1 G2 R1 S Deeparamu S R1 G2 M1 P D2 N2 S // S N2 D2 N2 P M1 G2 R1 S Gunāvati S R1 M1 P D2 S // S D2 P M1 R1 S Hindoladeshikam S M1 R1 G2 M1 P D2 N2 S // S P N2 D2 M1 G2 R1 S Kanakadri S R1 G2 P D2 S // S N2 D2 P M1 G2 R1 S Mātangakāmini S G2 M1 P D1 N2 S // S N2 D1 P M1 G2 S Nātyadhārana S R1 M1 P D2 S // S N2 D2 P M1 R1 S Niranjana S R1 G2 M1 P D2 S // S N2 D2 P M1 G2 R1 S Shānthabhāshini S R1 G2 M1 P D2 S // S N2 D2 P M1 S Shivashakti S G2 M1 D2 S // S N2 D2 M1 G2 S Sindhubhairavi S R2 G2 M1 G2 P D1 N2 S // N2 D1 P M1 G2 R1 S N2 S Except Sindhubhairavi, which is very popular, all the others are only namesake. POPULAR COMPOSITIONS: Irangatha Saminatha - Koteeswarayyar Geetha vadya natana - Tanjore Shankarayyar Maara jananeem Aashraye - Nallan Chakravartula Krishnamacharyulu Idi Samayamu - mysore Vasudevacharya Paripalaya Maam - Dr. Balamuraleekrishna Endukinta Kopamu - Thiruvottiyur Thyagayya Natakapriya intha - Sudhananda Bharathi Viswanatham bhajeham - Dikshithar Seethadhidevam natham - Dr. Suvarna Nalappat

[@mysuruvasudevacharya]

She has a Bright Future She is also an Excellent Bharathanatyam Dancer !!!

[@mysuruvasudevacharya]

P neranammiti nive gati dharanasuta vara rama ninne

[@mysuruvasudevacharya]

Chakravaham Aro : S R1 G3 M1 P D2 N2 S’ Av : S’ N2 D2 P M1 G3 R1 S This raga is 16th on the Melakarta scale. It is equivalent to Ahir Bhairav in Hindustani music, though it sounds distinctly different because the gamakas are different. The raga is called Toyavegavahini by the Dikshithar school (Tōyavēgavāhini is the 16th Melakarta in the original list compiled by Venkatamakhin ). The mood of the raga is devotion and compassion . Raga Ahir-Bhairav (Chakravakam) - is supposed to sustain chords which automatically brings down blood pressure. Prince Rama Varma explains the difference between the gamakas in Hindustani vs. Carnatic music, along with lovely demonstrations. In particular, he explains this in the context of Chakravakam vs. Ahir Bhairavi.

[@mysuruvasudevacharya]

Bhajana seya rada Dharmavathi Roopaka Talam Mysore Vasudevacharya Krithi

[@mysuruvasudevacharya]

P idi samayamu brovarada yadukula tilaka || Oh diadem of Yadu clan, this is right time to rescue me.

[@omsaimantra]

11-8-2024good clear voice. Good compositions. Accompaniments understanding team God bless them all.

[@mysuruvasudevacharya]

Lovely Replication by the Violinist !!!

[@mysuruvasudevacharya]

neranammiti nive gati Ragam Chakravakam Adi Mysore Vasudevachar Not Regularly heard in Publc Platforms.

[@kasturiranganathan716]

Excellent Ananya. All the best.

[@mysuruvasudevacharya]

P vanajaksha ninne kori valachi vachchi yunnanu|| Oh Krishna, your eyes are beautiful like lotus. I loved you only and approached.

[@mysuruvasudevacharya]

Kum. N Ananya Ranganayaki (vocal) - Chennai (Disciple of Vid. C. R. Vaidayanathan)

[@krishnanrangaswamy3545]

Very nice Ananya .So proud of you child

[@mysuruvasudevacharya]

brOvavayya shrI raghunandana Ragam Nalinakanti Adi Mysore Vasudevachar Rarely heard in Public Platforms.

[@mysuruvasudevacharya]

Incidentally there is another Thyagaraja Kriti - Bhajana Seya Raada - Raga Athana

[@mysuruvasudevacharya]

Shridhara pahi Jayanthashree Rupakam Mysore Vasudevachar

[@mysuruvasudevacharya]

RAGAM JAYANTHASREE - JANYA OF MELA (20) RAGAM NATABHAIRAVI This raga, Jayanthasri, is alive only because of these two compositions. As a janya of NaTabhairavi ragam, also being a pleasing one, everybody expect this to be a popular one; only Saint Thyagaraja from the Trinities has composed in this raga. Oothukad Venkatakavi, who lived before Thyagaraja also has composed in this raga, indicating it is a fairly ancient one. One of the earliest reference about this raga is found in ‘Sangraha Choodamani’. But after these two vaggeyakaras, few others like Mysore Vasudevacharya, Periyasamy Thooran etc also have composed songs in Jayanthasri ragam, but these never became popular. Jayanthasri raga contains the notes: S G2 M1 D1 N2 S // S N2 D1 M1 P M1 G2 S We can see that since there is no Rishabham in either direction, this raga can also be derived from mela (8) Hanumathodi. Ragapravaham by D.Pattammal shows two more structures, but none of these containing Rishabham. S G M D N S // S N D M P M G S S G M D N S // S N D N P M G S S G M P D N S // S N D P M G S Jayanthari is an Upanga ragam (contains only the same notes of the janaka ragam); evokes Bhakthi rasa. There is much resemblance between this and Hindolam, the main difference is that Hindolam does not contain Panchamam. There is no much scope of a big alapana in ragam Jayanthasri.

[@mysuruvasudevacharya]

To your sacred Name and to your divine Form let there be success and prosperity! Your sacred feet supported reverently by AanjanEya, to your lap on which your consort SeetaadEvi, possessing eyes as beautiful as the lotus, to your bosom on which fresh pearl necklaces sport dangling daintily and to your charming face which puts to shame the splendor of the moon, let there be victory and ever growing prosperity and welfare. Oh, One with eyes like the lotus which fascinated and attracted the praise of Sage Naarada, devotees like Prahlaada and others. To your Nam and divine Form, eternal victory and repute galore!

[@mysuruvasudevacharya]

(Exclusive Compositions of Mysore Vasudevacharya)

[@mysuruvasudevacharya]

​​Normally Neraval is at C nira vadhi sukha dayakuni paramatmuni bhakta paluni ||

[@mysuruvasudevacharya]

Next is the Submain Krithi of the Concert !!!!!

[@mysuruvasudevacharya]

sannutAnga shrI vAsudEva dInabandhavA janmameruganE NALINAKANTHI - JANYA OF MELA (27) RAGAM SARASANGI Nalinakanthi is a very popular rare raga; in the sense that the number of compositions are very limited, still almost all are sung in concerts. This raga is a janya of mela (27) ragam Sarasangi and the notes: S G3 R2 M1 P N3 S // S N3 P M1 G3 R2 S (It is a vakra - shadava - shadava raga, without Dhaivatham) This raga can also be derived from Sankarabharanam. The ragam Kedaram resembles Nalinakanthi in many respects. This is mainly used in the latter part of the concerts for short pieces and rarely there are detailed alapanas in this raga; same time, it is most suitable for singing in the first half of kutcheris to keep up the tempo and make the audience sit up and take notice. This ragam is beautiful, romantic and one of the most pleasant ragams in Carnatic Music. Some people consider the Hindustani raga Tilak Kamod to be the nearest equivalent; but some differ, saying Tilak kamod is more related to Desh raga. While SSP does not mention anything about this raga; Ragapravaham gives two specs under mela (27) ragam Sarasangi: S G R M P N S // S N P M G R S S R M P N S // S N P M G R S The name Nalinakanthi means as beautiful or as bright as Lotus. Nalinakanthi is a pleasant raga and ushers in happiness. It is derived from the major scale and its ascending and descending patterns are zig-zag and interesting. The delightful feature in Nalinakanthi is the fact that singing creative swara-korvais becomes very challenging and interesting. Compositions: Manavyalagincara - Thyagaraja Natajanapalini - Tanjore Sankara Iyer Nee padame gathi - GNB Easane kotisurya - Muthu Thandavar Nahire nahi - Sadasiva Bruhmendra Evarunnaru (tv) - Mysore Vasudevacharya Shri guru saravabhouma(tv) - Madurai T. Srinivasan Sri bharati kalanidhi(tv) - T.M.Thyagarajan Sakala jagannayaki (tv)- Tirupur R. Subramanian Nive gatiyani niratamu (tv) - Lalgudi G.Jayaraman Sri Venkatesam sharanam - Gurukripa Janani sharanagatham - (?) Nadir tanom tanom -Tillana - T. Chowdiah DhImta dhIm dhImtatadhIm - Tillana - Lalgudi G.Jayaraman Dhirana dhimtha - Tillana - Madurai R.Muralidharan, etc.

[@aravindhansahana5203]

Good voice Ananya.keep it up.your uncle aravindhan

[@mysuruvasudevacharya]

nAdhrudhru dhIm tanana (tv) rAgA shrI Adi tALA Mysore Vasudevacharya Composed in Sanskrit, A Thillana rarely heard in Public Patforms

[@mysuruvasudevacharya]

AP aja bhavendradi nutuni sujanavana loluni || Brahma, Siva, Indra and other devatas adore him. He is endeared by pious people.

[@mysuruvasudevacharya]

Next is Main Krithi of the Concert !!!

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Idi samayamu Ragam Nataka priya chaturasra roopaka Talam Mysore Vasudevacharyar Krithi

[@mysuruvasudevacharya]

P: nAdhrudhru dhIm tanana udani tadara tAni tadhIm dhImta dhirana tana dhirana A: dhIm dhIm tadara tAni tom tananatajjham taNNam tajjham tajjhaNu takajham tAkiTataka dhIkitataka takaNakataka dhI talANgu tarikiTajham tAhat taritA tArita dhit takundaritA taritana tarikiTa takadhimi C: dEva dEva jagadIsha janAdhanavAsudEva sutAvara vandita kAmakOTi kamanIya sugAtrasOma vadana pAhimAm shrIkhara

[@mysuruvasudevacharya]

AP sadaya hrudaya sarvesa madana koti sundara || Your heart is full of compassion. You are supreme lord. You have beauty of million Manmadhas. C karunatonu Gajarajuni moralida brovagaleda murahara mandara giridhara muraleedhara Srikara parama purusha vasudeva garudagamana ganalola || Did you not rescue Gajendra with utmost pity. You destroyed demon Mura. You lifted Mandara mountain. You hold flute beautifully. You are bestower of prosperity. You are supreme Vasudeva. Garuda bird is your Vahana. You engross in music.

[@mysuruvasudevacharya]

We have one more Song Please Stay with us Thanks !!!

[@mysuruvasudevacharya]

Chi. Bhargav Vignesh (violin) (Son and Disciple of Vid. CK Vijayaraghavan)

[@mysuruvasudevacharya]

Vid. Ajeet Sridhar (mridangam) (Disciple of Vid. Chrompet G. Suresh

[@mysuruvasudevacharya]

AP paripurna kataksamutonu nannu karunincutakide samayamani C nannu brochutaku nikenta bhAramu na vinnapambu vinarada nato vada kanna tandrii nivegada sannutanga shri vasudeva sada

[@mysuruvasudevacharya]

Kum N Ananya Ranganayaki (Vocal) ( Disciple of Vid C. R.Vaidayanathan)

[@mysuruvasudevacharya]

P shridhara pahi dayakara veda sagochara giridhara

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Chi Ajeet Sridhar (Mridangam) (Disciple of Vid Chrompet G. Suresh)

[@mysuruvasudevacharya]

P: lambOdaram avalanbe ambasutam aharnisham I take as support Ganesha the long-bellied one, the son of Parvati, day and night.

[@mysuruvasudevacharya]

Superb Alapanai & Replication on Violin.... Wah !!!!

[@mysuruvasudevacharya]

Superb Start !!!!!

[@mysuruvasudevacharya]

Superb Alapanai !!!

[@mysuruvasudevacharya]

On Behalf of Mysore Vasudevacharya Homage Page We Whole heartedly Welcoming

[@mysuruvasudevacharya]

MANDARI - JANYA OF MELA (50) RAGAM NAMANARAYANI? Can we include Ragam Mandari in Rare ragas? This was a doubt, since, with so many compositions in this raga, which prevents it to be called so, only a handful of krithis are heard - even among them only a couple heard in concerts. Still, it is not that much popular also, mostly the krithis are sung as fillers in gaps. The next question is that different books quote this raga as from different origins. Let us see the various definitions. Mandari is said to be a Dhaivatha-varja janya of mela (50) ragam Namanarayani, with following specification in many books: S R1 G3 M2 P N2 S // S N2 P M2 G3 R1 S Invariably, it should contain Kaishiki Nishadam (N2). But many of the musicologists and books prefer it to be called a Dhaivatha-varja janya of mela (51) ragam Kamavardhani (Panthuvarali); so that it contains Kakali Nishadam (N3) in place of N2. S R1 G3 M2 P N3 S // S N3 P M2 G3 R1 S Hence for all the uses, this specification is chosen by many. Out of the Trinities, only Saint Thyagaraja has composed in this raga; but this was used earlier by composers like Oothukad Venkatakavi. There is no reference found in SSP, but Ragapravaham by D.Pattammal places it under three mela ragas, Under mela (50) Namanarayani : S R G M P N S // S N P M G R S S R G M P N S // S N P M R G R S Under mela (51) Kamavardhani as: S R G M P N S // S N D P M G R S And under mela (52) Ramapriya as: S R G M P N S // S N P M G R S It can be seen that the difference between the currently followed specification of Mandari is quite close to ragam Amritavarshini, a janya of mela (66) Chitrambari; only short of Suddha Rishabham (R1), the notes being S G3 M2 P N3 S // S N3 P M2 G3 S. The well-known musician and musicologist, Prof. S.R.Janakiraman is of opinion that “Amritavarshini can be considered Janya of any of these melas: 51,53,54,63,65,66,69,71,72 -can be fitted into as a Janya of 9 melakarthas. However, as per convention the earliest number is to be accorded ie.,51-Kamavardhani”. In any case, the difference between Amritavarshini and Mandari is the presence of R1 in the latter.

[@mysuruvasudevacharya]

In this kruti of Mysore Vasudevacharya, appeals to himself to worship Sri Rama the protector of devotees, with devotional songs.

[@mysuruvasudevacharya]

Lambodaram avalanbe Ragam Kambojhi Rupaka talam Mysore Vasudevacharya Krithi This Krithi is on Lord Vinayaka

[@mysuruvasudevacharya]

C1 para nari sahodaruni pari poorna kamuni dharanijA manOharuni para vasu dEvuni || He is the brother of the supreme goddess Parvati. He is free from all desires. He stole the heart of Sita and he is Supreme Vasudeva. C2 SaraNa janA dharuni saraseeruha netruni nira vadhi sukha dayakuni paramatmuni bhakta paluni || He is the prop for devotees. His eyes are beautiful like lotus. He is bestower of perpetual happiness and is the Supreme Soul. He is the protector of his devotees.

[@mysuruvasudevacharya]

Kum N Ananya Ranganayaki (Vocal) & Team, from, Chennai TN Padma Bushan Mysore Vasudevacharya Life & Music Special Series Concert on Today the August 11th Sunday at 8.00 PM IST 10.30 AM EDT

[@mysuruvasudevacharya]

P brOvavayya shrI raghunandana bhAva bAridhilO munugiyunna nannu

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AP ninne nammitinayya neekela dayaradu krishna || Oh Krishna, I have immense faith in you only. Why are you so incompassionate? P , , , M , , , P N Ṡ N P N P M | nin . . . nē . . . nam . . . mi . . . | G M P M P N P M | P N Ṡ N Ṡ , , , || ti . . . nai . . . | . . . . yā . . . || Ṡ Ṙ Ġ Ṙ Ġ , Ṙ Ġ Ṁ , Ġ Ṁ Ġ Ṙ Ṡ N | nee . . . . . kē . . . la . . . . . | Ṡ Ṙ Ṡ Ṡ , N P N | P P , M G R S Ṇ || da . . ya . . rā . | . . . du krṣh . . na || C neevanti dora negana || I can not find a lord equal to you. S , R S Ṇ P̣ Ṇ S R , - G M G R S Ṇ | S R G M P N N P | P M G M P , , , || P N P M , P - N Ṡ Ṙ Ṡ , N - P N M P | G M R G S R G M | P M P N Ṡ , , , || P N P Ṡ , Ṡ - M P M N , N - G M G P | , P - R G R M , M - | S R G M P N Ṡ , || Ṡ Ṙ Ġ Ṁ , Ġ Ṙ Ṡ N Ṙ Ṡ N P N Ṡ Ṙ | , - M P N Ṡ - Ṡ , N | P - P , M G R S Ṇ || (vanajākshā) Muktāyiswaram N , , , , , Ṡ N P , , P , M G M | nee . . . . . vaṇ . . . . ṭi . . do . | P , , , , , M G | R S , R G M , P ||

[@mysuruvasudevacharya]

A: tumburu narada vinutam lambalakam ibhavadanam the one extolled by the sages Tumburu and Narada the one with long, hanging curls the elephant faced one. C: surabhUsura samsevita charanamagha viduram sharanagata mandaram karunasAgaram harinanka garvaharam dhIram guha sodaram vara pashankushadharam vasudava bhakta varam the one whose feet are worshipped by Devas and Vedic scholars, the one who removes sins, the wish-fulling Mandaara tree to those who surrender,the ocean of mercy, the destroyer of the pride of the Moon (who has a deer-shaped mark), the wise one, the brother of Subrahmanya, the one holding an excellent noose and goad, the eminent devotee of Vasudeva.

[@mysuruvasudevacharya]

AP bhuvinika vikhyAta galgunA pavanAtmajAdhika vara caraNa C enni janmamu leTTikinayya enni janmamu leTTivalenO sannutAnga shrI vAsudEva dInabandhavA janmameruganE

[@mysuruvasudevacharya]

P bhajana seya rada O manasa Sree rAmuni || Oh my mind, why don't you sing the praise of Sri Rama.

[@mysuruvasudevacharya]

The holy name Rama is constantly on the lips of Shiva, Brahma and the celestials like Indra. Should not His glory be sung? Decked in unalloyed golden ornaments, contemplating on His charming face lit up with divine smile, should not his glory be sung? His rosy lips, array of teeth like pearls and his blooming cheeks, contemplating on which, should not his glory be sung? Please listen to the counsel of this Tyagaraja and sing in abandon the tarakanama. It will enable you to cross over this vale of sorrow to spiritual bliss.

[@mysuruvasudevacharya]

Absolutely Divine Blissful and Superb Concert All the Best Wishes 👋👌👋

[@mysuruvasudevacharya]

(Exclusive Compositions of Mysore Vasudevachar)

[@mysuruvasudevacharya]

Chi. Bhargav Vignesh (violin) (Son and Disciple of Vid. CK Vijayaraghavan)