Maargam - Sequence of Songs - Details

Ganapati Talam

Raagam - Mohana

Talam - Ekam

Composer - Song from the Ganapathi Upanishad

This stotram is a sacred offering in reverence to Lord Gaṇeśa, the remover of obstacles and patron of auspicious beginnings. Recite it daily with devotion, and be blessed by the compassionate glance of Śrī Vināyaka. ”To Gaṇapati, with the mighty elephant face, Adorned with the serpent king and bearing the divine mace, Lord of celestial elephants—graceful and grand, To Him, I bow with folded hands.”

Kalyani Jatiswaram

Raagam - Kalyani

Talam - Rupaka

Composer - Tanjore Quartet

The Kalyani Jathiswaram, a composition by the Tanjore Quartet, is a foundational piece in Bharatanatyam, demonstrating rhythmic and melodic interplay. It's a "nritta" piece, meaning it focuses on pure dance movements without lyrics, showcasing the unity of music and dance through intricate "swara" (musical note) patterns. The piece, typically in the raga Kalyani and Rupaka tala, features a pallavi (refrain) and multiple charanams (stanzas), each set to different rhythmic patterns (jatis).

Angayarkanni Varnam

Raagam- Raagmalika

Talam - Aadi

Composer - Lalgudi Jayaraman

The Varnam is a significant piece in Bharatanatyam, showcasing both the technical and expressive aspects of the dance form.

The Angayarkanni Varnam, a composition by Lalgudi Jayaraman, is a Navarasa Ragamalika Varnam, meaning it depicts nine different emotions (navarasas) through nine different ragas, all in praise of Goddess Meenakshi of Madurai. The varnam showcases these emotions through various episodes in the Goddess's life.

Anandam (Happiness):

Depicts Meenakshi's joy after winning a battle and adorning herself with victory flowers. This is set to the raga Bilahari.

Sringaram (Love):

Portrays Meenakshi's bashful love for Lord Shiva, as she gazes at him on Mount Kailash. This is set to the raga Husseni.

Adbhutam (Wonder):

Shows Meenakshi's astonishment at Shiva's power, such as when he turns Manmatha to ashes. This is set to the raga Valaji.

Hasyam (Laughter):

Depicts Parvati laughing at Shiva's antics, disguised as a woodcutter. This is set to the raga Saranga.

Bhibhatsam (Disgust):

Shows Sati (Parvati) feeling disgusted by her father Daksha's arrogance. This is set to the raga Sucharithra.

Raudram (Anger):

Depicts the fierce form of Mahakali, a manifestation of Parvati, as she destroys Bhandasura. This is set to the raga Athana.

Bhayanakam (Fear):

Illustrates the fear experienced by Parvati when Shiva drinks the Halahala poison and when Ravana lifts Kailash. This is set to the raga Rasikapriya.

Karunyam (Compassion):

Shows Meenakshi's compassionate nature, her protective gaze upon the world. This is set to the raga Sahana.

Shantam (Peace):

Depicts Meenakshi as the epitome of peace, residing in the Bindu of Sri Chakra. This is set to the raga Natanam Aakriya.

Om Saravana Bhava

Raagam - Shanmughapriya

Talam - Aadi

Composer - Ghatam Karthik

This song is in praise of Lord Muruga, as if the Seven Swaras are seeking His blessings and demanding the status of PRANAVA. The imagination is that each swara is singing one by one and asking for His grace.

Vagaladi

Raagam - Behag

Talam - Rupaka

Composer - Tirupati Narayanaswamy

Javali composition, which is a type of Carnatic music, is known for its light, sensuous, and often humorous depiction of worldly love. "Vagaladi" refers to a particular Javali by Tirupati Narayanaswamy, known for its playful take on jealousy and the complexities of romantic relationships.

Specifically, the Javali "Vagaladi" (meaning "wayward" or "flighty") is a composition that portrays a Nayika (female character) observing her lover with another woman and expressing her jealousy and suspicion. The Nayika playfully warns her lover about the other woman's deceptive nature, highlighting her possessiveness and the complexities of romantic entanglements.

Tillana Behag

Raagam - Behag

Talam - Aadi

Composer - Madhurai R Muralidharan

When a great man said, “where words leave off, music begins,” he probably never heard Carnatic music. Only a true connoisseur of Carnatic music will know that the key to appreciating this music lies in acknowledging the interplay of the beautiful lyrics and the music, together.A pure Bharathanatyam piece performed to Behag Thillana composed by Madurai Muralidharan. This piece showcases the intricate fast fast-paced footwork and grace of classical Indian dance.

Mangalam

Jaya Janaki Ramana

Raagam - Raagamalika

Talam - Taalamalika

Composer - Vaggeyakara Malika

Jaya Janaki Ramana Thodaya Mangalam" is a set of devotional songs, often performed as an invocation in Bharatanatyam and Sampradaya Bhajanai. These songs, composed by various saints, welcome deities with auspiciousness, particularly Lord Rama. The songs typically praise the deity, highlighting their auspicious attributes, divine form, and role as a protector and bestower of blessings.

The original “Thodaya Mangalam” songs include

1. Jaya Janaki Ramana by Ramadasu

2. Saranu Saranu Surendra sannuta by Annamayya

3. Murahara Naga Dara Mukunda Madhava by Annamayya

4. Devesa ganaa raadhitha by Vijaya Gopala Swamy

5. Madhava bhavatu they mangalam by Vijaya Gopal Swamy

Adenamma Harudu

Raagam - Huseni

Talam - Aadi

Composer - Pallavi Doraisvami Iyer

A kriti on the Lord of Dance-Shiva by Smt Pallavi Doraiswamy Iyer which beautifully describes the majestic personality of the Lord and the feminine allure of Parvati Devi. The navarasas and the 14 Panini sutras which emerged from the Lord's damaru are beautifully interwoven in this piece.