Music And Movies

As I was writing the Punnagavarali post, I was very sure that I will have to immediately write about another similar raga, Ahiri. It is not that you cannot distinguish between Punnagavarali and Ahiri. Both have their unique identities but in many other facets, they are very similar to each other. Both Punnagavarali and Ahiri are janya ragas of the mighty Todi. Both are ‘karuna rasa pradhanam’ ragas. Both are supposed to be ragas with limited scope. Both of them are vintage ragas having been with us for ages. Both are very carnatic in nature, in the sense you don’t find them outside of Carnatic music. (S R Janakiraman in one lec-dem says, “Ragas of the type of Ahiri are the pride and glory of Carnatic music”.) Both have been treated in a similar way by the trinity. Both have interesting associations linked to them. If it was the linkage of snakes and magudi to Punnagavarali is interesting, the Ahiri linkage is even more interesting. It is said that if you sing Ahiri, you w

I don’t need to tell you that I am going to speak about Punnagavarali do I? Even young kids in South India associate this raga with snakes and snake charmers. I don’t know how this association happened or when it happened but it is now a well-entrenched association. Even if the person listening to this raga doesn’t know the name of the raga, he / she will immediately exclaim, “Isn’t this the same raga as played for magudi?” Punnagavarali is an easily identifiable raga. Maybe it is this association with snakes and snake charmers that have pushed Punnagavarali to the later part of the concert and the raga is generally regarded to be a ‘minor’ raga, used more in ragamalikas. This is not a true reflection on the scope and depth of the raga. Our musical trinity demonstrated the depth, grandeur and the variety this raga provides through their krithis. Let me talk about that now. Muthuswami Dikshitar is like a strict college professor, a great scholar, who has indepth knowledge of