Amritavarshini is a divine raga mentioned to usher in showers of rain when sung. The moods related to it are pleasure, exuberance, attraction, and passionate exultation. The swara combos on this raga conjure up a grand imaginative and prescient within the thoughts’s eye. This imaginative and prescient, when complemented with an fascinating anecdote of rains pouring down in reply to Muthuswamy Dikshitar’s prayer on this raga, offers this raga an nearly ethereal high quality.

The notes on this raga embody Sadja, Antara Gandhara, Prati Madhyama, Pancama, and Kakali Nishada. It’s a symmetrical scale, with a number of crests and valleys. The hyperbolic transition from the Pancama to the Nishada is spellbinding, as is the attraction of Prati Madhyama when sounded along with the Nishada. The undulating expanses on this raga are an fascinating terrain for the adventurous musician who seeks to leap from word to notice and enjoy thrills.

The classical piece “Anandamrita” of Dikshitar could also be regarded as a information to this raga, and as quickly as this track was fervently rendered by the composer as a honest prayer to the goddess, “varshaya varshaya varshaya”, rains are mentioned to have poured down in Ettayapuram. Ragas are definitely highly effective and their vibrations transcend the comprehension of the human thoughts, pervading the cosmos. Harikesanallur Muthiah Bhagavatar’s”Sudhamayi” with its enticing chittaswara passage is a deal with in Amritavarshini. One fondly remembers G.N.Balasubramaniam’s brilliant rendition of this piece.

In movie music this raga has been dealt with diligently by composers with due respect to its character. Within the movie “Ganga Gowri” M.S.Viswanathan has composed the Amritavarshini piece “Azhagiya megangal”, sung by S. Janaki. In mythological dramas resembling “Ganga Gowri”, a raga like Amritavarshini is apposite, its classical attraction richly complementing the normal grandeur on display.

M.S.Viswanathan has as soon as once more provide you with “Sivakami Ada Vandhal” in “Paattum Bharatamum”, a lilting and energetic piece sung by P. Susheela and TM Soundararajan. Within the traces “Natarajan enna seivan?” , the utilization of the phrase “NSG,S S,NSN” hits the bulls-eye and establishes Amritavarshini indubitably. The utilization of the mridangam, and conventional kutcheri devices on this track offers it a really sturdy classical flavour.

It’s Ilayaraja who has explored the size and breadth of this raga and used it extensively in his compositions, and some of these could also be mentioned to be his profession’s finest. Within the piece “Mazhaikkoru devane” from “Sri Raghavendra”, Yesudas’s voice brings forth the signature phrases of Amritavarshini so superbly. Composed as a viruttam, Swami Raghavendra sings this track within the film to extinguish a fireplace by praying for rain. An apt alternative of raga. Within the phrase “maariye varuga….mazhaiye varuga” the Prati Madhyama is cleverly highlighted.

In “Oruvar Vazhum Alayam” the track “Vanin Devi Varuga” by Ilayaraja is a tremendous instance of the utilization of alapana in a movie track. Sung by S.P.Balasubramaniam and S.Janaki, this track is, as soon as once more, very conventional and classical.

One of many most interesting movie numbers on this raga is “Thoongatha vizhigal rendu” from “Agni Nakshatram”. The ornamentation within the traces “Maamara ilaimele” sung by Yesudas by no means fails to elicit a nod of enjoyment.

The utilization of new-age devices marked the appearance of a recent period in music, one the place Classicism is met by digital tones. Within the phrase “vizhigal rendu” the notes “GMPN S, N,,” culminate with an oscillation within the Nishada, a transparent stamp of Amritavarshini.

“Kaathirunda Malli Malli”, a playful and sprightly tune as soon as once more by Ilayaraja, in “Mallu Veti Minor”, is sung by P.Susheela. “Ippodhenna thevai” is a westernised presentation of this raga for the silver display, and on this track too Ilayaraja is trustworthy to the character of the raga.

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