7. rAgam: sEnAvati, tALam: ca|| tripuTa (Adi)

Ar : s r1 g2 m1 p d1 n1 S
Av: S n1 d1 p m1 g2 r1 s

pa|| jAlamEla, raghupatE, shrIpatE |
nIlakanTha sannuta, sanmatE || ||jAla||

a|| nIlavarNa dinakara, kulapatE |
pAlincu, shrI rAma, bhUpatE || ||jAla||

ca|| karuNAkaTAkSha, Ela yupEkSha |
duShTashikShaka, shiShTarakShaka |
sarasijAkSha O, karirakShaka |
sujanapakSha, muraLI bhaktarakShaka || ||jAla||


The composition is in praise of Lord Rama, the first complete incarnation of Lord Vishnu.

The gist of the composition—
Why delay, Lord of Raghu dynasty and Sita ? The one lauded by Shiva, and of good mind. Protect (me) Shri Rama, the one who can be called a blue Sun, Lord of the earth. The one who is capable of casting a graceful sight, why this disregard for me? The one who punishes the wicked and protects the righteous, the lotus eyed who saved Gajendra, a partisan of the good people and protector of the devotees of Lord Krishna.

Some things to note—

The rAgam delineation is done first as usual with melodic phrases and then with passages of notes. The form is robustly established.

The composition is rendered next. After the anupallavi, chiTTa svarams are rendered that is elegant. Once again after the caraNam, svarams are rendered that makes the rendition more elegant.

In the caraNam, instead of ‘O karirakShaka’ Balamuralikrishna renders it as ‘suranara rakShaka’.
The melodic form of senAvati is depicted with authenticity that one cannot miss the enjoyable aspect of this rAgam.

Turn on the video and savour sEnAvati.

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Acknowledgements:
Shri. S L Murthy - For translation.
Shri. T K Ramkumar - For transliteration and commentary.

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