KRISHNA LEELA TARANGINI PDF

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The second lecture today 16th December was by Bhairavi, one of the singing duo Malavi-Bhairavi. She focused on the varying styles of rendition of the tarangiNi in the bhajana samprAdaya that is prevalent in the Tamil and Telugu speaking regions of South India. She made it clear at the outset that she was not presenting the songs as they are sung in concerts.

Rather refreshingly, Bhairavi chose to omit giving all the well-known details of the life of Narayana Teertha. It portrays incidents in the life of Krishna from his birth till his marriage to his eight queens quiz question- what were their names? Send me an email. There are kirtanas. There are pAtra pravEsa darus, gadyas also known as cUrnikas and shlOkas. Each of the individual chapters is called a taranga though the term has now come to also mean the songs themselves.

This is a wrong practice and the manuscripts refer to the songs as darus or kIrtanas only. But no manuscript has his music. In the Tanjavur belt, the songs were set to music for uncavrtti by Marudanallur Sadguru Swamin one of the bhajan trinity.

In the Addanki area of Andhra there were 60 families that claimed to have been taught the songs by Narayana Teertha himself. Around 10 of these have retained the tradition. The songs are used in Kuchipudi and the plate number almost invariably is performed to a song from the tarangiNi. The Melattur Bhagavata Mela is heavily inspired by the tarangiNi. Bhairavi showed an XL file in which she had collected details of the various ragas in which the songs were to sung according to several manuscripts.

Bhairavi then demonstrated the differences between the pAThAntaras of Ghorakavi Sampathkumar of Andhra and Ramakrishna Bhagavatar of Tanjavur, leaders of the bhajan tradition today in their respective areas. The same tune is followed across all caraNas to facilitate congregational singing. The latter style sings some of the caraNas in madhyama kAla to present variety. This song depicts the celebration of the Gopis at the birth of Krishna.

There are small sahitya variations introduced at various places to give variety in the bhajan rendition. The latter introduces various naDais such as tisram and catusram to lend variety.

Jati patterns are also sung in between in the Andhra style a recording of this was played. Both styles also sing kritanas set to the thongal kind of format used in the Tiruppugazh. There is a suladi tradition sung at the end of each taranga but it is not clear as to how this was set by the composer. Her style of singing is full-throated and her voice is powerful and can traverse the higher octave with ease. Though initially out of breath, probably due to nervousness we dragons were in full attendance she perked up in a short while.

Her music was most enjoyable and the content was also very good. This is a scholar to watch out for. Sangita Kalanidhi C Lalitha said it all when she said the speaker had presented hitherto unknown facts to the audience.

To those of us who have heard the tarangiNi songs only in kuctheris, it was an eye-opener. So Andhra- here I come. You are commenting using your WordPress. You are commenting using your Google account. You are commenting using your Twitter account. You are commenting using your Facebook account. Notify me of new comments via email.

Notify me of new posts via email. Search for: Search. Date: December 16, Author: sriramv 2 Comments. She demonstrated the following songs: jaya jaya svAmin — shuddha dhanyAsi in Ghoarakavi tradition and mOhanam in Ramakrishna Bhagavatar style.

Bhairavi ended her presentation with the song jaya mangaLam. Share this: Email More Facebook Twitter. Like this: Like Loading Next Next post: Variety in varnams.

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The various pathantaras of the Sri Krishna Leela Tarangini

Tarangini is an opera highly suitable for dance drama and it has been very well utilized by Indian classical dancers over the last two centuries. Tarangini consists of 12 Tarangams and encapsulates songs, slokams and 31 choornikaas. The composition are on the life of the Hindu god Lord Krishna. It deals with the life story of Krishna starting with his birth, childhood pranks and ending with his marriage to Rukmini. Narayan Theertha uses various literary and musical forms such as songs, prose passages, Slokas praises in verse , Dwipadis couplets , etc. The songs are popularly called "Tarangas" means waves. The lyrics are simple yet beautiful and effective.

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