Here is the concluding write-up....
Song 9:
nagumOmu
rAga: hamIrkalyAni
tAla: Adi.
Composer: tyAgarAja.
Original and authentic version:
Earlier, abhEri used to have suddha dhaivata. All compositions in abhEri also were sung featuring suddha dhaivata. The composition vInAbhEri in the same raga by muttusvAmi dIkshitar having suddha dhaivata has not been changed but Saint tyAgarAja's compositon nagumOmu has been.
New version:
For reasons unknown, the suddha dhaivata has been removed from the raga and chatushruti dhaivata has been added instead.Thecurrent day abhEri is sung like karnATaka dEvagAndhArI which has the chatushruti dhaivata. At last, original version of abhEri is not in vogue.
_________________
Song 10:
ninnuvinA marigalada
rAga: abhErI
tAla: Adi.
Composer: syAmA sastrI.
Original and authentic version:
The original version was composed in abhEri.
New version:
The current day version is in rItigowla.
_________________
Song 11:
mAyE tvam yAhi.
rAga: tarangini.
tAla: Adi.
Composer: muttusvAmi dIkshitar.
Original and authentic version:
The rAga tarangini is the asampoorna mEla corresponding to chArukEsi and takes the same swarAs as that of chArukEsi.
New version:
The current version is sung with changed swara sthAnAs. This changed version resembles chemchurutti.
_________________
Song 12:
krishnAnanda mukunda
rAga: gowlipoantu
tAla: misra chApu.
Composer: dIkshitar.
Original and authentic version:
This rAga is a janya or derived from mAyAmAlavagowla and features suddha madhyama. Evidences to this are present in older treatises.
New version:
The rAga is sung with prati madhyama by somepeopl and suddha madhyama by others. But it should be sung with suddha madhyama only.
_________________
Song 13:
pArvati ninnunE
rAga: kalgada
tAla: Adi.
Composer: tyAgarAja.
Original and authentic version:
This rAga is a janya of gAyakapriya featuring suddha dhaivata and suddha nishAda.
New version:
Some sing this in the as it is and some sing with chatushruti dhaivata and kaisikhi nishAda.
Objective of this effort:
Many old traditions and practices have been discarded or modified to suit our comfort and luxury. With the passage of time, older traditions have got extinct or changed.
Carnatic music is surely not an exception to this. There have been changes to suit one's comfort of singing. Thus, some prayOgAs of rAgas also got changed or have been totally lost. The preservation and/or revival of old traditions and culture is indispensable for mankind. This is a step towards the same.
Hope many morre such efforts would be made not only in carnatic music but in many other forms of art and architecture.
I have also documented some aspects of carnatic music related to rAga and tAla and bhAva. Click here for the same. I think documentation of these aspects would help in understanding the article better.
Song 9:
nagumOmu
rAga: hamIrkalyAni
tAla: Adi.
Composer: tyAgarAja.
Original and authentic version:
Earlier, abhEri used to have suddha dhaivata. All compositions in abhEri also were sung featuring suddha dhaivata. The composition vInAbhEri in the same raga by muttusvAmi dIkshitar having suddha dhaivata has not been changed but Saint tyAgarAja's compositon nagumOmu has been.
New version:
For reasons unknown, the suddha dhaivata has been removed from the raga and chatushruti dhaivata has been added instead.Thecurrent day abhEri is sung like karnATaka dEvagAndhArI which has the chatushruti dhaivata. At last, original version of abhEri is not in vogue.
_________________
Song 10:
ninnuvinA marigalada
rAga: abhErI
tAla: Adi.
Composer: syAmA sastrI.
Original and authentic version:
The original version was composed in abhEri.
New version:
The current day version is in rItigowla.
_________________
Song 11:
mAyE tvam yAhi.
rAga: tarangini.
tAla: Adi.
Composer: muttusvAmi dIkshitar.
Original and authentic version:
The rAga tarangini is the asampoorna mEla corresponding to chArukEsi and takes the same swarAs as that of chArukEsi.
New version:
The current version is sung with changed swara sthAnAs. This changed version resembles chemchurutti.
_________________
Song 12:
krishnAnanda mukunda
rAga: gowlipoantu
tAla: misra chApu.
Composer: dIkshitar.
Original and authentic version:
This rAga is a janya or derived from mAyAmAlavagowla and features suddha madhyama. Evidences to this are present in older treatises.
New version:
The rAga is sung with prati madhyama by somepeopl and suddha madhyama by others. But it should be sung with suddha madhyama only.
_________________
Song 13:
pArvati ninnunE
rAga: kalgada
tAla: Adi.
Composer: tyAgarAja.
Original and authentic version:
This rAga is a janya of gAyakapriya featuring suddha dhaivata and suddha nishAda.
New version:
Some sing this in the as it is and some sing with chatushruti dhaivata and kaisikhi nishAda.
Objective of this effort:
Many old traditions and practices have been discarded or modified to suit our comfort and luxury. With the passage of time, older traditions have got extinct or changed.
Carnatic music is surely not an exception to this. There have been changes to suit one's comfort of singing. Thus, some prayOgAs of rAgas also got changed or have been totally lost. The preservation and/or revival of old traditions and culture is indispensable for mankind. This is a step towards the same.
Hope many morre such efforts would be made not only in carnatic music but in many other forms of art and architecture.
I have also documented some aspects of carnatic music related to rAga and tAla and bhAva. Click here for the same. I think documentation of these aspects would help in understanding the article better.
