SreeRagam 22
Adigo alladigo Sri Harivasamu……an aural vision of Tirumala Balaji flashes in front of our eyes as we hear this enchanting composition of Annamaya! A popular Annamacharya sankeertana, synonymous with Lord Balaji of Tirumala is composed in the mesmerizing Madhyamavathi raga.
Also read: Sadinchene O Manasa….
It is believed that Annamacharya spontaneously rendered this song as an outburst of his ecstasy when he witnessed the spectacular Tirumala hill.
He describes the Tirumala hill as an abode of Lord Venkateswara and a pious destination for ardent devotees to attain liberation.
Also read: Nagumomuganaleni…
Annamacharya, the first telugu Vaggeyakara or composer in 12th century rendered around 32,000 incredible number of devotional songs known as sankeertanas. A humanly impossible feat, it could be accomplished only by an immortal divine soul like Annamayya!
Madhyamavathi raga is a janya of the 22nd Melakarta Kharaharapriya raga and is as popular as the janaka or parent raga.
Also read: Kaddanuvariki……
Structure
Arohana – SR2M1 P N2 S
Avarohana – S N2 P M1 R2 S
Chatushruti rishabham, shuddha madhyamam, panchamam and kaisikinishadam are the swaras.
Also read: Tulasidalamulache……
It is a pentatonic (audava-audava ), symmetrical raga (that has five swaras in ascent and descent). Gandharam (ga) and Daivatham (Da) are absent in this raga.
Madhyamavathi raga is an auspicious raga, usually rendered at the culmination of a concert. The pentatonic uniform scale creates uniformity and facilitates for an elaborate raga exploration.
MadhumadSarang is the equivalent raga of Madhyamavathi in Hindustani classical music.
Also read: Samaja Varagamana
Mood
It evokes a feeling of compassion, exuberance, devotion and love as we hear the appealing swaras of Madhyamavathi raga. It invigorates our spirits and refreshes our senses and also instils confidence.
Compositions
Madhyamavathi raga features in several compositions by various vaggeyakaras.
We find around fifteen immortal compositions of Tyagaraja among his rich treasure of kritis.
Alakalalla, Nadupai and Muchchada brahma and Rama Katha Sudha are a few unforgettable Madhyamavathi raga compositions depictingTyagaraja’s devotion for Lord Rama.
Deekshitar composed kritis like Dharmasamvardhinim, mahatripurasundari, mamavajagadishvari in Sanskrit.
PalinchuKamakshi is a splendid composition of SyamaSastri
Puranadara Dasa’s ‘Bhagyada Lakshmi Baramma’ is a popular divyanama sankeertana, a favourite of the rasikas and the musicians.
Kosalendramamavamita, Bhavaye PadmanabhamIha, Sarasamukha sarasijanabhaare by the royal composer Swathi Thirunal
Ramabhirama is another inspiring composition by Mysore Vasudevachar in Sanskrit
Shri Parameshwaram Chinmayatava, Shri Rama Jaya Bhuma, ShrimatTripurasundari Ambawere composed by Muthiah Bhagavatar.
Also read: Vatapi Ganapatim Bhaje…..
Film music
Film composers employ this raga extensively because of the universal appeal of the raga,
Telugu
Sreeseetaramula Kalyanam Chootamu Rarandi – Sri Seeta Rama Kalyanam
Suvvi Suvvi Suvvalamma – Swati Mutyam
Sankara Nada sarira para – Sankarabharanam
Lechindi nidralechindi mahilalokam – Gundammakadha
Raavamma Mahalakshmi – UndammaBottuPedata
Eevisala prasanta ekanta saudhamlo – Neerajanam
Hindi
Dol Bhajedumdumpayalbhajejhunjhun – Parwana
Aaj Madhubansaath dole – Stree
Mujhe Nind Na Aye – Dil
Chan ChanPayal Jhanke – Maa Beta
Also read: Pakkala Nilabadi…..
