Superb ! Pibare raama rasam Adi Talam Sadsiva Brahmendar Krithi This song used to be sung in Yamuna Kalyani but the great Maestro Balamuralikrishna has made his Ahir Bhairav version very popular and some sing in Revathi Ragam Pibare Ramarasam,! Even a maestro who can normally be depended on to pronounce Sanskrit may Slip up; One can distinctly hear some times पीठम् (pITam) instead of पीतम् (pItam) which changes the meaning totally. It is indeed appropriate to stress on pronunciation in relation to this song; after all, the poet talks of the power of the name of Rama, the power of the sound itself. Sadasiva Brahmendra (17th-18th century) was an avadhoota, an ascetic who had renounced everything, and who has contributed some beautiful and mystical works to Carnatic Music. ‘Drink the essence of the name of Rama, O tongue’, the poet extolls, ‘for it will keep you far from sins and fulfill you with many rewards’. Sadasiva Brahmendra says that so too is the power of the name of Rama. ‘The poet then goes on to describe the rewards, such as ‘removal of the grief of the birth-death cycle’, ‘purify even the worst of sinners’ etc. P pibarE rAmarasam rasanE pibrE rAmarasam Drink the nectar of Rama, Oh connoisseur, Drink the nectar of Rama. C1 dUrIkrta pAtaka samsargam pUrita nAnAvidha phalavargam Which removes the society of sinners And fills you up with the fruits of many types. C2 janana maraNa bhaya shOka vidUram sakala shAstra nigamAgama sAram Which removes the fear and sorrow of death and birth, And which is the essence of all holy books including Vedas. C3 paripAlita sarasija garbhANDam parama pavitri krta pASANDam Which is the egg that looks after Lord Brahma, And which makes you extremely pure. C4 shuddha paramahamsAshrama gItam shuka shaunaka kaushika mukha pItam Which is the pure music of sages in their Ashram, And which can be heard from the face of, Sages like Shuka , Shaunaka and Kaushika. Gist :- Drink (verb piban) (implied: absorb) the essence (rasam) of the name of Rama, o tongue (rasana). It will help you (implied) remove or be distant (doori krta) from association with sin(pAtaka) (or be distant from those who cause you to sin) and you will be fulfilled (poorita) with many kinds (nAnAvidha) and types (varga) of rewards/gains (phala). It will help you be far removed (vidUram) from the grief (shOka) of the cycle of birth and death (janana-maraNa), it is the essence (sAram) of all (sakala) the religious treatises (shAstra), the Vedas (nigama) and sciences (Agama). It protects (paripAlita) all creation. Brahma was born of a lotus (sarasija) from a golden egg (garbha anda, womb & egg) and then he created the whole universe. So this phrase implies that Rama nama protects the whole universe. It will purify (pavitrI) even the most (parama) impious or heretic (pAshANDam). It is the pure (shuddha) song (gItam) that paramahamsa (signature of poet) has taken refuge in (Ashrama/Ashrita), it is the same which has been drunk (pItam) by sages like Shuka, Shaunaka and Kaushika. Ahir Bhairav The scales of Ahir Bhairav (also called Ahir Bhairavi in Carnatic music) as used in Carnatic music are as follows : Aro : S R1 G3 M1 P N2 D2 M1 P D2 S Av : S N2 D2 P M1 P G3 R1 S In the Hindustani system, the scale is : Aro : S r G m P G m D n S’ Av : S’ n D P m G r S It is considered a combination of Bhairav and Kafi. This is basically a Hindustani Raga but in the Carnatic system can be seen as a Janya raga, derived from Chakravaham (below), 16th on the Melakarta Scale. Though it has exactly the same scale as Chakravaham, it is quite unmistakable due to the emphasis placed on different notes. In the Hindustani system, it is considered to be a morning Raga. Its moods are varied and include devotion, love, separation, longing and dejection. In Carnatic music, some well-known compositions are Pibare Ramarasam, Sadasiva Brahmendra’s song set to music by Balamuralikrishna and Ethanai Koti Inbamby Subrahmanya Bharati. However, many of the peoples reference for raga recognition is the Hindi film song ‘Poocho Na Kaise’ by Manna Dey from the film Meri Surat Teri Ankhen and the Hindustani bandish ‘Albela Saajan Ayo Re’ (used in the film Hum Dil De Chuke Sanam) and is sung par-excellence by Rashid Khan
Superb ! chEtaha SrirAmam ragam sindhu bhairavi Adi Talam Sadasiva Brahmendra Krithi P chEtah SrirAmam chintaya jeemoota SyAmam || Oh intelligent man, contemplate on Sri Rama whose complexion is like a blue cloud. C angikruta tumburu sangitam hanumad gavaya gavAksha samEtam navaratna sthApita kOTeeram nava tulasidaLa kalpita hAram parama hamsa hrudgOpura deepam charaNa daLita muni taruNi SApam || He enjoyed the divine music of Tumburu, Hanuman and other celestial singers. His crown is studded with nine gems. He is adorned with fresh Tulasi garlands.He is the light in the sacred hearts of the supreme Gurus. Pious woman Ahalya who was cursed by the sage Gautama was redeemed by the touch of his sacred feet. Sindhubhairavi is a Janya Raaga of Raaga Natakapriya with the following notations. Aarohanam : S R2 G2 M1 G2 P D1 N2 S Avarohanam: N2 D1 P M1 G2 R1 S N2 S Sindhu Bhairavi is said to have it’s origin from Hindustani, and is a morning Raga according to the North Indian Musical tradition . The raaga Sindhubhairavi evokes very happy and pleasant emotions. This raga is one of its kind were all the swaras in the Carnatic system is used except for Kakali Nishadam. It is a colourful raga and soothes the nervous system. It is said that the Raga can cure Headache, back pain and chest pain and can give freshness to the mind. Sindhubhairavi is just like a magnet attracting people. One can experience peace and tranquility while playing or listening to the raga. It blends folk and classical music that could be appreciated even by a common man without much of information on raaga. The Raagam suits folk themes better than other Carnatic Raagas giving a simple non-complicated straight forward expression to folk emotions like pathos and folk life style.There are also very few krities in the parent Naatakapriya. It admits of many semi-classical tunes and is often used towards the end of a Carnatic concert. Sindhubhairavi is the hot favourite of musicians. Sindhubhairavi is a beautiful ragam that gives a total freedom of expression to the artist. It is as if a canvas, a whole lot of colours and a set of brushes are given to an artist to express himself/herself in a free style presentation. Sindhubhairavi is a modern raga. The beauty and shades of this raga has stolen the minds and hearts of the artists and hence most of the musicians see to it that they render a bhajan or a virutham or sloka or any small composition in this particular ragam towards the end of a concert. Sindhubhairavi takes almost all the notes in the carnatic music. The notes convey sometimes intense grief or a sudden gush of joy. It is said that Tansen popularised this raga to a great extent. Many facets of this raga is borrowed from the North Indian Music. The relaxing Sindhubhairavi blends a folk and classical music bhaava that could be appreciated even by a common man without much of information on raaga.It is often used towards the end of a Carnatic concert. Note :- This is to be Clarified by Experts However, some say that Sindhu Bhairavi as sung now is a derivative of 8th Melakarta Hanumatodi and 20th Melakarta Natabhairavi asboth R1 and R2 are used in this raga.
Chetaha Sriramam is one of my favorite Sadasiva Brahmendra krithis dedicated to Sri Rama. The saint describes the Lord in glowing terms and we can envision it in our minds and hearts. Sindhubhairavi in madhyama sruti brings a certain longing to always be with the Lord like Hanuman. I love the parts when he goes above Pa while making it sound like Sa! You are correct, it does soothe the nervous system! Thanks, sir!
Excellent ! Khelathi mama hridhaye Adi talam Sadashiva Brahmendar Krithi This was Probably Composed in Ragam Atana but Sung in other Ragams Kapi etc "khelati mama hridaye". This composition too uses the analogy of the Ramayana. Sadashiva Brahmendra was a saint and composer who lived in the 18th century. Sadashiva Brahmendra seems to have had this Atma Bodha verse in mind and he has embellished it with a few more ideas. In keeping with this presentation of the Ramayana as a personal journey Rama dances (khelati) in my heart (mama hridaye). He is the one who helps me cross (taaraka kaari) the huge ocean of delusion (moha mahaarnava). He is the one who helps to destroy asuras in the form of my own raaga-dveshas. With this, I regain peace (shaanti). Here, Sita is equated with peace. A special epithet is used for her- She is Vaidehi, "videha suta", princess of the Kingdom of Videha. (Sita's father Janaka was well known as a grihastha gnyaani. And as videha suta, Sita is an inheritor of that peace.) There after, I shall live happily (vihaari) in Ayodhya, that city which can never be destroyed (yoddhum ashakyaa ayodhya). Where is this Ayodhya? It is in my own heart/mind (hence, dahara ayodhya). And what kind of place is this Ayodhya? It is a heart/mind where dharma flourishes. An empire (saamraajya) where noble people (paramahamsas/sanyasis/noble thoughts) are protected. Finally, Rama, who helps me accomplish all this, and who dances in my heart, what is his nature? How does he look? He is "satya-gnyaana-aananda shareeri". That Rama is my own Self, my Higher Nature, Atma whose swarupa is "satyam-gnyaanam-anantam" as the Upanishads declare. P khElati mama hrdayE rAmaha khElati mama hrdayE Lord Rama plays in my heart always. AP mOha mahArNava tArakakAri rAma dvESa mukhAsuramAri He enables us cross the ocean-like world full of delusion. He is destroyer demons like Makhasura. C1 shAnti vidEha sutA sahacAri daharAyOdhyA nagara vihAri Sita the daughter of Videha kingdom is his consort. He lived happily in Ayodhya city. C2 paramahamsa sAmrAjyOddhAri satva jnAnAnanda sharIrI He is like magnificient kingdom for Supreme Yogis. Sri Rama is embodiment of "Truth, Knowledge & Bliss".
What a beautiful krithi describing the glory of Lord Sri Rama. Sadasiva Brahmendra paints a glorious portrait of Ayodhyapati Sri Rama displaying His swarupa. You said it, He is Satyam, He is Gnyaanam and He is Anandam. Sri Rama always remains in my heart when I listen to this. Here, Dr. BMK renders in Kapi (madhyama sruti) and one is immediately blessed with the painting Sadasiva Brahmendra has painted of Ayodhyapati Sri Rama. I remember the Sankshepa Ramayanam where Narada describes Sri Rama's rule to Valmiki: prahṛṣṭamuditō lōkastuṣṭaḥ puṣṭaḥ sudhārmikaḥ| nirāmayō hyarōgaśca durbhikṣabhayavarjitaḥ||90|| na putramaraṇaṃ kēcid-drakṣyanti puruṣāḥ kvacit| nāryaścāvidhavā nityaṃ bhaviṣyanti pativratāḥ||91|| na cāgnijaṃ bhayaṃ kiñcit nāpsu majjanti jantavaḥ| na vātajaṃ bhayaṃ kiñcit nāpi jvarakṛtaṃ tathā||92|| na cāpi kṣudbhayaṃ tatra na taskarabhayaṃ tathā| nagarāṇi ca rāṣṭrāṇi dhanadhānyayutāni ca||93|| nityaṃ pramuditāḥ sarvē yathā kṛtayugē tathā| aśvamēdhaśatairiṣṭvā tathā bahusuvarṇakaiḥ||94|| gavāṃ kōṭyayutaṃ datvā vidvadbhyō vidhipūrvakam| asaṅkhyēyaṃ dhanaṃ datvā brāhmaṇēbhyō mahāyaśāḥ||95|| rājavaṃśān śataguṇān sthāpayiṣyati rāghavaḥ| cāturvarṇyaṃ ca lōkē'smin svē svē dharmē niyōkṣyati||96|| daśavarṣasahasrāṇi daśavarṣaśatāni ca| rāmō rājyamupāsitvā brahmalōkaṃ gamiṣyati||97|| Thanks for this, sir! May Sri Rama bless us all!
How interesting that Sadasiva Brahmam, who is described as a devotee of Shiva, has sung praises of Rama and Krishna in all his kritis. That itself proves that the Supreme Brahmam is all the same. However, without realising Shiva, Advaitam is incomplete. Sadashiva Brahmam is the absolute Brahma Gnani. His Guru Paramasivendra Saraswati II, the 16th century pontiff of Kanchi Kamakoti Peetham is in Samadhi at the beautiful Tiruvenkadu Shwetaranyeshwara kshetram near Kumbakonam on the banks of Kaveri. Sri Sivan Sar, the Brahma Gnani saint who attained Siddhi in 1996 is regarded as a re-incarnation of Sadashiva Brahmendra.
Superb ! Smara vaaram Vaaram, Adi talam Sadashiva Brahmendra Krithi This song is sung in Kapi and Hamsandi Tilang Jog and Bahudari Ragams also Pallavi smara vAram vAram chEtah smara nanda kumAram ||. Oh Mind, meditate again and again upon Krishna the son of Nanda. Charanam 1. gOpa kuTeera payOghruta chOram gOkula brundAvana sanchAram || He stole milk and butter in the cottages of cowherds and he strolled in Gokula Brindavanam. 2. vEnu ravAmruta pAna kiSOram viSva sthiti laya hEtu vihAram || As child he engrossed in nectarine music on flute. He is the primordial cause for the creation,existence and dissolution of the universe. 3. parama hamsa hrutpanjara keeram paTutara dhEnuka baka samhAram || He dwells in cage-like heart of Supreme Yogi as a parrot . He destoyed demons Dhenuka and Baka.
Ah, I can remember the pastimes of Lord Krishna when listening to Dr. BMK's rendition in Bahudari. Sadasiva Brahmendra would love this version so much as it nails the intent of his composition. I love it when Dr. BMK does oscillations between the high M1 and P which fill the heart with such saranagathi. It is as if Lord Krishna is beckoning us towards Him and we immediately do it! Thanks for this, sir!
Very Nice ! Gayati vanamali. Adi tALA. Sadshiva Brahmendar Krithi This Song I understand is Sung in Raga Durga and Hamsanandi also though probably Composed in Hamsanandi P: gAyati vanamAli madhuram gAyati vanamAli Sri Krishna the lord of the Brundavana sings sweetly. C1: puSpa sugandhi sumalayasamIrE munijana sEvita yamunAtIrE Fragrant breeze from flowers is enchanting. Many sages on the bank of Yamuna are at his service. 2: kUjita shukapika mukha khagakunjE kuTilAlaka bahu nIrada punjE Many birds and coels are cooing melodiously in bowers. His curly locks are like a cluster of water bearing clouds. 3: tuLasIdAma vibhUSaNahAri jalaja bhavastuta sadguNa shaurI He is adorned with Tulasi garlands. The lotus borne Brahma worships Sri Krishna, the repository of virtues. 4: paramahamsa hrdayOtsavakAri paripUrita muraLIravadhAri He delights the hearts of supreme Yogis. He enthrals the world singing on flute.
But I believe Dr. BMK was the first one to tune Gayathi Vanamali in Hamsadhwani (madhyama sruti) before Durga and Hamsanandi. And what a wonderful work of art Sadasiva Brahmendra has created towards Lord Krishna. It is as if he is doing an aradhana towards the Lord while describing His greatness. Hamsadhwani brings the image of swans swimming around the Lord as He plays His muraLi. He has sung it as main in the US in the 80s in the company of Vellore Ramabhadran where he successfully alternates between Hamsadhwani and Nagaswaravali (the ragam he derived Hamsadhwani in madhyama sruti from) and it is out of this world.
Very Nice This is the First time I am hearing in another Ragam ! Manasa Sancharare Adi Talam Sadashiva Bramendhar Krithi This Masterpiece Song has always been associated with ragam Saama 28th Mela Janya but Sung in Charukesi etc This famous kriti is by the great 18th century saint Sadashiva Brahmendrar. Even when it is not sung, this poem is exceedingly beautiful in the original Sanskrit. According to Shiva thandava stotra, Shiva's moon is compared to chakore the bird. The mythical bird chakora is believed to live on moonlight and eat nothing else. So "candra-cakora" is often a metaphor for attraction, sustenance and an inseperable relationship, most applicable to god and devotee. Paramahamsa means supreme brahman resembling that with additional adjectives chandrachakOre. Why?Hamsa represents the perfect harmony between spirituality and life. When the word ‘hamsa’ is constantly repeated, it changes to ‘Soaham’soham soham meaning ‘That I am’. Thus the hamsa is often identified with the Supreme Spirit or Brahman. The bird also has special connotations in Advaita Vedanta. When somebody asked Shri.sadashiva Brahmendra as how do U see the Almighty,his reply was this meaningful composition. He was the first who openly told that had seen God and the experience is written by one of his disciples where they say the happening of the ambience when he saw the God.He used to talk from his samadhi a well know thing. A b'ful ashramam of SHri.Sadashiva Brahmendra enroute Ramnad and Kanyakumari is a must experience Pallavi: Maanasa Sancharare Brahmani Maanasa Sancharare Oh Brahman( Supreme cosmic spirit ), ramble in my mind freely. Charanam 1: Madashikhi Pincchaalankruta Chakore Mahaneeya Kapola Vijitamukure Oh Krishna, your looks roam about the fort like bosom of beautiful Gopikas. You are the celestial 'Mandara' tree for the devotees serving you. Charanam 2: Shree Ramani Kucha Durga Vihaare Sevaka Jana Mandira Mandaare Your wavy hair is beautifully decorated with wild peacock feathers. Your excellent cheeks reflect like mirror. Charanam 3: Paramahamsa Mukha Chandrachakore Paripoorita Muraliravadhare Supreme yogis crave to see your moon like face like 'chakora' birds crave to enjoy moon's rays. You are the Supreme Yogi. You play the most enchanting music on your flute.
Another favorite of mine. I have heard both Sama and Charukesi. Both fit the krithi very well, but I were to choose which one has more pathos, it would be Charukesi. And Dr. BMK sings it with such deep meaning. Each pastime of Lord Sri Krishna is brought to life and we are blessed by His presence. When Dr. BMK renders '"Madashikhi Pincchaalankruta Chikure Mahaneeya Kapola Vijitamukure" and "Paramahamsa Mukha Chandrachakore Paripoorita Muraliravadhare", my heart immediately melts and I instantly remember: sarva-dharman parityajya mam ekam saranam vraja aham tvam sarva-papebhyo moksayisyami ma sucah and I know that I will be saved by Him and I need not worry. Thanks for this, sir!
Thanks a lot ! I must acknowledge that you have given me a wonderful opportunity as I was only trying to add value and of course get corrected if I am wrong only for the Krithis I share or comment on posts of Facebook Carnatic Groups !
Excellent ! This Version of the Raga I am hearing for the first time ! sthiratA nahi Adi Talam Sadasiva Brahmendra This Song is Sung in Dhanasri amd Amruthavarshini and some Hindustani Ragams P sthiratA nahi nahi rE mAnasa sthiratA nahi nahi rE || Oh Mind, there is no tranquility C1 tApatraya sAgara magnAnAm darpAhankAra vilagnAnAm || to those who are immersed in the ocean of worldly cares and to those who are depraved due to pride and ego C2 vishaya pASa vEshTita chittAnAm vipareeta jnAna vimattAnAm || to those who are entwined in worldly bonds to those who are in delusion due to eccentric knowledge C3 paramahamsa yOga viruddhAnAm bahu chanchalatara sukha baddhAnAm || to those who have no faith in 'paramahamsa yoga' and to those who are immersed in temporal pleasures.
A reminder that we are caught in this samsaram and those who don't surrender unto Him will undergo many miseries. I may be tangled in this Kaliyuga, but I can never forget Him. I remember the story of the farmer and Narada which explains how the farmer had a busy life yet could think of Him at some points whereas Narada upon given a task could not. The main thing is that an Acharya is the one who can get us out of this Samsaram and lead us to Him. Let's remember the great devotees and acharyas who lived a blessed life and surrender unto Him. Thanks for this reminder, sir!
Very Nice ! Sarvam brahmamayam Adi Talam Sadashiva Bhramendar Krithi This song is sung in Ragam Jhinjoti 28th Mela Janya ,Madhuvanthi and Khamas P sarvam brahmamayam rE rE Hey , hey everything is filled with God, Everything is filled with God C1 kim vacanIyam kima vacanIyam kim racanIyam kima racanIyam All that is spoken, all that is not spoken, All that is written, all that is not written C2 kim paThanIyam kima paThanIyam kim bhajanIyam kima bhajanIyam All that can be learnt, all that cannot be learnt, All that can be sung and all that cannot be sung C3 kim bOddhavyam kima bOddhavyam kim bhOktavyam kima bhOktavyam All that can be taught, all that cannot be taught, All that can be enjoyed and all that cannot be enjoyed C4 sarvatra sadA hamsa dhyAnam kArtavyam bhO mukti nidAnam In all places the meditation of the Hamsa scale, Is that only thing that leads you to salvation. Gist :- Everything is Brahma Mayam; All is just the Almighty's presence. 1. What may be spoken and what may not be spoken, what can be created and what may not be created (in relation to poetry or otherwise) 2. What may be studied and what not to be studied, what may be recited and what may not be recited 3. What may be taught and what may not be taught; what may be enjoyed and what may not be enjoyed - everything is HIS creation and HIS work. 4. So, always immerse yourself in HIS dhyaanam and that will take you towards 'salvation' The short message of this song is do not enter into arguments and discussions as to what is right and what is wrong; all that would be meaningless and unnecessary. What is meaningful is 'Pray HIM' and 'Merge in HIM"
Lovely ! chintA nAsti kilA ragam SankarAbharaNam Adi talam Sadasiva Brahmendra Krithi PchintA nAsti kilA tEshAm chintA nAsti kilA || Those who have the following qualities have no worries. C1 Sama dama karuNA sampurNAnAm sAdhu samAgama samkeerNAnAm || They are perfect with tranquility, fortitude and compassion. They are in the company of saints. C2 kAla traya jita kandarpAnAm khanDita sarvEndriya darpaNam || They conquer the influence of the cupid at all times. They annihilate the pride of all sensory organs. C3 parama hamsa guru pada chittAnAm brahmAnandAmruta mattAnAm || They are supreme ascetics who keep their Guru's feet in their conscience. They are intoxicated with supreme nectarine bliss Raga Shankarabaranam 29th mela Aro: S R2 G3 M1 P D2 N3 S Av: S N3 D2 P M1 G3 R2 S Shankarabharanam is the 29th melakarta in the 72-melakarta scheme and is also known as Dhirashankarabharanam. A majestic and calming raga, the Shankarabharanam scale is the most important C Major scale in Western classical music, and is known as Bilawal Thaat in Hindustani music. The raga has a regal aura. The notes in Shankarabharanam are sadja, chatusruti rishaba, antara gandhara, suddha madhyama, pancama, chatusruti dhaivata, and kakali nishada. The gamakas in the rishaba are very important and so is the exaggerated gamaka in the sadja-nishada-dhaivata. The pann pazhanpancuram is the Tamizh isai equivalent of this raga. The relaxed landing and staying on at the gandhara is a notable feature of this raga. In Carnatic music, Thyagaraja has composed many pieces in this raga, including, ‘Ethuta Nilachite’, ‘Enduku Peddala’, ‘Manasu Swadina’ and ‘Buddhi radu’. Dikshitar's ‘Akshayalinga Vibo’ and ‘Dakshinamurte’ are monumental, as are Shyama Sastri’s ‘Saroja dala netri’ and ‘Devi Meena Netri’. Shankarabharanam has been used in many film songs, though often not in its purest form.
This is sung in Shankarabharanam madhyama sruti style and serves as one of the essences of the Bhagavad Gita. Lord Krishna describes these great people as ones who have conquered the senses, who are not affected by anything, who see everyone as equal, perfect with tranquility, fortitude and compassion, always think of their Guru's feet and always surrender unto Him. Such people are the ones we should try to emulate in our lives and that the Lord is always with us even when we don't realize it. Thanks for this, sir!
Superb ! Pibare raama rasam Adi Talam Sadsiva Brahmendar Krithi
This song used to be sung in Yamuna Kalyani but the great Maestro Balamuralikrishna has made his Ahir Bhairav version very popular and some sing in Revathi Ragam
Pibare Ramarasam,! Even a maestro who can normally be depended on to pronounce Sanskrit may Slip up; One can distinctly hear some times पीठम् (pITam) instead of पीतम् (pItam) which changes the meaning totally. It is indeed appropriate to stress on pronunciation in relation to this song; after all, the poet talks of the power of the name of Rama, the power of the sound itself. Sadasiva Brahmendra (17th-18th century) was an avadhoota, an ascetic who had renounced everything, and who has contributed some beautiful and mystical works to Carnatic Music. ‘Drink the essence of the name of Rama, O tongue’, the poet extolls, ‘for it will keep you far from sins and fulfill you with many rewards’. Sadasiva Brahmendra says that so too is the power of the name of Rama. ‘The poet then goes on to describe the rewards, such as ‘removal of the grief of the birth-death cycle’, ‘purify even the worst of sinners’ etc.
P pibarE rAmarasam rasanE pibrE rAmarasam
Drink the nectar of Rama, Oh connoisseur, Drink the nectar of Rama.
C1 dUrIkrta pAtaka samsargam pUrita nAnAvidha phalavargam
Which removes the society of sinners
And fills you up with the fruits of many types.
C2 janana maraNa bhaya shOka vidUram sakala shAstra nigamAgama sAram
Which removes the fear and sorrow of death and birth,
And which is the essence of all holy books including Vedas.
C3 paripAlita sarasija garbhANDam parama pavitri krta pASANDam
Which is the egg that looks after Lord Brahma,
And which makes you extremely pure.
C4 shuddha paramahamsAshrama gItam shuka shaunaka kaushika mukha pItam
Which is the pure music of sages in their Ashram,
And which can be heard from the face of,
Sages like Shuka , Shaunaka and Kaushika.
Gist :- Drink (verb piban) (implied: absorb) the essence (rasam) of the name of Rama, o tongue (rasana).
It will help you (implied) remove or be distant (doori krta) from association with sin(pAtaka) (or be distant from those who cause you to sin) and you will be fulfilled (poorita) with many kinds (nAnAvidha) and types (varga) of rewards/gains (phala).
It will help you be far removed (vidUram) from the grief (shOka) of the cycle of birth and death (janana-maraNa), it is the essence (sAram) of all (sakala) the religious treatises (shAstra), the Vedas (nigama) and sciences (Agama).
It protects (paripAlita) all creation. Brahma was born of a lotus (sarasija) from a golden egg (garbha anda, womb & egg) and then he created the whole universe. So this phrase implies that Rama nama protects the whole universe. It will purify (pavitrI) even the most (parama) impious or heretic (pAshANDam).
It is the pure (shuddha) song (gItam) that paramahamsa (signature of poet) has taken refuge in (Ashrama/Ashrita), it is the same which has been drunk (pItam) by sages like Shuka, Shaunaka and Kaushika.
Ahir Bhairav The scales of Ahir Bhairav (also called Ahir Bhairavi in Carnatic music) as used in Carnatic music are as follows :
Aro : S R1 G3 M1 P N2 D2 M1 P D2 S Av : S N2 D2 P M1 P G3 R1 S
In the Hindustani system, the scale is :
Aro : S r G m P G m D n S’ Av : S’ n D P m G r S
It is considered a combination of Bhairav and Kafi.
This is basically a Hindustani Raga but in the Carnatic system can be seen as a Janya raga, derived from Chakravaham (below), 16th on the Melakarta Scale. Though it has exactly the same scale as Chakravaham, it is quite unmistakable due to the emphasis placed on different notes. In the Hindustani system, it is considered to be a morning Raga. Its moods are varied and include devotion, love, separation, longing and dejection. In Carnatic music, some well-known compositions are Pibare Ramarasam, Sadasiva Brahmendra’s song set to music by Balamuralikrishna and Ethanai Koti Inbamby Subrahmanya Bharati. However, many of the peoples reference for raga recognition is the Hindi film song ‘Poocho Na Kaise’ by Manna Dey from the film Meri Surat Teri Ankhen and the Hindustani bandish ‘Albela Saajan Ayo Re’ (used in the film Hum Dil De Chuke Sanam) and is sung par-excellence by Rashid Khan
The name of Rama is Amrutham to me and this krithi proves it! I don't need to say more!
Thanks Sir, for such a detailed discussion on this subject. Very Enlightening. Namaskaram!
Great explanation for the connoisseur 🙏
@@sannibabukandala6933 ji My Pleasure
🙏🔥🙏🔥🙏🔥🙏🔥🙏🔥🙏🔥🙏
I grew up with these melodious& divine songs , as a child in late 60’s with AIR Hyderabad 605-640am just after the English news at 6am
Glad to hear that, sir! Would you please elaborate on your experience listening to these divine songs as a child? Did it include Bhakti Ranjani?
Superb ! chEtaha SrirAmam ragam sindhu bhairavi Adi Talam Sadasiva Brahmendra Krithi
P chEtah SrirAmam chintaya jeemoota SyAmam ||
Oh intelligent man, contemplate on Sri Rama whose complexion is like a blue cloud.
C angikruta tumburu sangitam
hanumad gavaya gavAksha samEtam
navaratna sthApita kOTeeram
nava tulasidaLa kalpita hAram
parama hamsa hrudgOpura deepam
charaNa daLita muni taruNi SApam ||
He enjoyed the divine music of Tumburu, Hanuman and other celestial singers. His crown is studded with nine gems. He is adorned with fresh Tulasi garlands.He is the light in the sacred hearts of the supreme Gurus. Pious woman Ahalya who was cursed by the sage Gautama was redeemed by the touch of his sacred feet.
Sindhubhairavi is a Janya Raaga of Raaga Natakapriya with the following notations.
Aarohanam : S R2 G2 M1 G2 P D1 N2 S
Avarohanam: N2 D1 P M1 G2 R1 S N2 S
Sindhu Bhairavi is said to have it’s origin from Hindustani, and is a morning Raga according to the North Indian Musical tradition . The raaga Sindhubhairavi evokes very happy and pleasant emotions. This raga is one of its kind were all the swaras in the Carnatic system is used except for Kakali Nishadam. It is a colourful raga and soothes the nervous system. It is said that the Raga can cure Headache, back pain and chest pain and can give freshness to the mind. Sindhubhairavi is just like a magnet attracting people. One can experience peace and tranquility while playing or listening to the raga. It blends folk and classical music that could be appreciated even by a common man without much of information on raaga. The Raagam suits folk themes better than other Carnatic Raagas giving a simple non-complicated straight forward expression to folk emotions like pathos and folk life style.There are also very few krities in the parent Naatakapriya. It admits of many semi-classical tunes and is often used towards the end of a Carnatic concert.
Sindhubhairavi is the hot favourite of musicians. Sindhubhairavi is a beautiful ragam that gives a total freedom of expression to the artist. It is as if a canvas, a whole lot of colours and a set of brushes are given to an artist to express himself/herself in a free style presentation. Sindhubhairavi is a modern raga. The beauty and shades of this raga has stolen the minds and hearts of the artists and hence most of the musicians see to it that they render a bhajan or a virutham or sloka or any small composition in this particular ragam towards the end of a concert.
Sindhubhairavi takes almost all the notes in the carnatic music. The notes convey sometimes intense grief or a sudden gush of joy. It is said that Tansen popularised this raga to a great extent. Many facets of this raga is borrowed from the North Indian Music.
The relaxing Sindhubhairavi blends a folk and classical music bhaava that could be appreciated even by a common man without much of information on raaga.It is often used towards the end of a Carnatic concert.
Note :- This is to be Clarified by Experts However, some say that Sindhu Bhairavi as sung now is a derivative of 8th Melakarta Hanumatodi and 20th Melakarta Natabhairavi asboth R1 and R2 are used in this raga.
Chetaha Sriramam is one of my favorite Sadasiva Brahmendra krithis dedicated to Sri Rama. The saint describes the Lord in glowing terms and we can envision it in our minds and hearts. Sindhubhairavi in madhyama sruti brings a certain longing to always be with the Lord like Hanuman. I love the parts when he goes above Pa while making it sound like Sa! You are correct, it does soothe the nervous system! Thanks, sir!
Thank you My Pleasure !
Thanks for thus lovely upload Sir! This is priceless 🙏🏼🙏🏼
He is a musician par excellence and we are blessed to hear his rendering
Yes indeed!
இன்று சுவாமிகள் ஆராதனையை முன்னிட்டு கேட்க நேர்ந்தது பாக்யம்.தங்களின் கருணை பதிவிற்கு நன்றி...thank you
Excellent ! Khelathi mama hridhaye Adi talam Sadashiva Brahmendar Krithi
This was Probably Composed in Ragam Atana but Sung in other Ragams Kapi etc
"khelati mama hridaye". This composition too uses the analogy of the Ramayana. Sadashiva Brahmendra was a saint and composer who lived in the 18th century. Sadashiva Brahmendra seems to have had this Atma Bodha verse in mind and he has embellished it with a few more ideas. In keeping with this presentation of the Ramayana as a personal journey
Rama dances (khelati) in my heart (mama hridaye).
He is the one who helps me cross (taaraka kaari) the huge ocean of delusion (moha mahaarnava).
He is the one who helps to destroy asuras in the form of my own raaga-dveshas.
With this, I regain peace (shaanti). Here, Sita is equated with peace. A special epithet is used for her- She is Vaidehi, "videha suta", princess of the Kingdom of Videha. (Sita's father Janaka was well known as a grihastha gnyaani. And as videha suta, Sita is an inheritor of that peace.)
There after, I shall live happily (vihaari) in Ayodhya, that city which can never be destroyed (yoddhum ashakyaa ayodhya). Where is this Ayodhya? It is in my own heart/mind (hence, dahara ayodhya).
And what kind of place is this Ayodhya? It is a heart/mind where dharma flourishes. An empire (saamraajya) where noble people (paramahamsas/sanyasis/noble thoughts) are protected.
Finally, Rama, who helps me accomplish all this, and who dances in my heart, what is his nature? How does he look? He is "satya-gnyaana-aananda shareeri". That Rama is my own Self, my Higher Nature, Atma whose swarupa is "satyam-gnyaanam-anantam" as the Upanishads declare.
P khElati mama hrdayE rAmaha khElati mama hrdayE
Lord Rama plays in my heart always.
AP mOha mahArNava tArakakAri rAma dvESa mukhAsuramAri
He enables us cross the ocean-like world full of delusion. He is destroyer demons like Makhasura.
C1 shAnti vidEha sutA sahacAri daharAyOdhyA nagara vihAri
Sita the daughter of Videha kingdom is his consort. He lived happily in Ayodhya city.
C2 paramahamsa sAmrAjyOddhAri satva jnAnAnanda sharIrI
He is like magnificient kingdom for Supreme Yogis. Sri Rama is embodiment of "Truth, Knowledge & Bliss".
What a beautiful krithi describing the glory of Lord Sri Rama. Sadasiva Brahmendra paints a glorious portrait of Ayodhyapati Sri Rama displaying His swarupa. You said it, He is Satyam, He is Gnyaanam and He is Anandam. Sri Rama always remains in my heart when I listen to this.
Here, Dr. BMK renders in Kapi (madhyama sruti) and one is immediately blessed with the painting Sadasiva Brahmendra has painted of Ayodhyapati Sri Rama. I remember the Sankshepa Ramayanam where Narada describes Sri Rama's rule to Valmiki:
prahṛṣṭamuditō lōkastuṣṭaḥ puṣṭaḥ sudhārmikaḥ|
nirāmayō hyarōgaśca durbhikṣabhayavarjitaḥ||90||
na putramaraṇaṃ kēcid-drakṣyanti puruṣāḥ kvacit|
nāryaścāvidhavā nityaṃ bhaviṣyanti pativratāḥ||91||
na cāgnijaṃ bhayaṃ kiñcit nāpsu majjanti jantavaḥ|
na vātajaṃ bhayaṃ kiñcit nāpi jvarakṛtaṃ tathā||92||
na cāpi kṣudbhayaṃ tatra na taskarabhayaṃ tathā|
nagarāṇi ca rāṣṭrāṇi dhanadhānyayutāni ca||93||
nityaṃ pramuditāḥ sarvē yathā kṛtayugē tathā|
aśvamēdhaśatairiṣṭvā tathā bahusuvarṇakaiḥ||94||
gavāṃ kōṭyayutaṃ datvā vidvadbhyō vidhipūrvakam|
asaṅkhyēyaṃ dhanaṃ datvā brāhmaṇēbhyō mahāyaśāḥ||95||
rājavaṃśān śataguṇān sthāpayiṣyati rāghavaḥ|
cāturvarṇyaṃ ca lōkē'smin svē svē dharmē niyōkṣyati||96||
daśavarṣasahasrāṇi daśavarṣaśatāni ca|
rāmō rājyamupāsitvā brahmalōkaṃ gamiṣyati||97||
Thanks for this, sir! May Sri Rama bless us all!
Very True I just missed that dialogue of Narada ! Thanks
Thanks for the in-depth meaning provided
@@chiranjeevipusapati6889 Ji It's My Pleasure ...
How interesting that Sadasiva Brahmam, who is described as a devotee of Shiva, has sung praises of Rama and Krishna in all his kritis. That itself proves that the Supreme Brahmam is all the same. However, without realising Shiva, Advaitam is incomplete. Sadashiva Brahmam is the absolute Brahma Gnani.
His Guru Paramasivendra Saraswati II, the 16th century pontiff of Kanchi Kamakoti Peetham is in Samadhi at the beautiful Tiruvenkadu Shwetaranyeshwara kshetram near Kumbakonam on the banks of Kaveri.
Sri Sivan Sar, the Brahma Gnani saint who attained Siddhi in 1996 is regarded as a re-incarnation of Sadashiva Brahmendra.
Superb ! Smara vaaram Vaaram, Adi talam Sadashiva Brahmendra Krithi
This song is sung in Kapi and Hamsandi Tilang Jog and Bahudari Ragams also
Pallavi
smara vAram vAram chEtah
smara nanda kumAram ||.
Oh Mind, meditate again and again upon Krishna the son of Nanda.
Charanam
1. gOpa kuTeera payOghruta chOram
gOkula brundAvana sanchAram ||
He stole milk and butter in the cottages of cowherds and he strolled in Gokula Brindavanam.
2. vEnu ravAmruta pAna kiSOram
viSva sthiti laya hEtu vihAram ||
As child he engrossed in nectarine music on flute.
He is the primordial cause for the creation,existence and dissolution of the universe.
3. parama hamsa hrutpanjara keeram
paTutara dhEnuka baka samhAram ||
He dwells in cage-like heart of Supreme Yogi as a parrot .
He destoyed demons Dhenuka and Baka.
Ah, I can remember the pastimes of Lord Krishna when listening to Dr. BMK's rendition in Bahudari. Sadasiva Brahmendra would love this version so much as it nails the intent of his composition. I love it when Dr. BMK does oscillations between the high M1 and P which fill the heart with such saranagathi. It is as if Lord Krishna is beckoning us towards Him and we immediately do it!
Thanks for this, sir!
My Pleasure !
Super.🙏🏼🙏🏼
Excellent
Very Nice ! Gayati vanamali. Adi tALA. Sadshiva Brahmendar Krithi
This Song I understand is Sung in Raga Durga and Hamsanandi also though probably Composed in Hamsanandi
P: gAyati vanamAli madhuram gAyati vanamAli
Sri Krishna the lord of the Brundavana sings sweetly.
C1: puSpa sugandhi sumalayasamIrE munijana sEvita yamunAtIrE
Fragrant breeze from flowers is enchanting. Many sages on the bank of Yamuna are at his service.
2: kUjita shukapika mukha khagakunjE kuTilAlaka bahu nIrada punjE
Many birds and coels are cooing melodiously in bowers. His curly locks are like a cluster of water bearing clouds.
3: tuLasIdAma vibhUSaNahAri jalaja bhavastuta sadguNa shaurI
He is adorned with Tulasi garlands. The lotus borne Brahma worships Sri Krishna, the repository of virtues.
4: paramahamsa hrdayOtsavakAri paripUrita muraLIravadhAri
He delights the hearts of supreme Yogis. He enthrals the world singing on flute.
But I believe Dr. BMK was the first one to tune Gayathi Vanamali in Hamsadhwani (madhyama sruti) before Durga and Hamsanandi. And what a wonderful work of art Sadasiva Brahmendra has created towards Lord Krishna. It is as if he is doing an aradhana towards the Lord while describing His greatness. Hamsadhwani brings the image of swans swimming around the Lord as He plays His muraLi.
He has sung it as main in the US in the 80s in the company of Vellore Ramabhadran where he successfully alternates between Hamsadhwani and Nagaswaravali (the ragam he derived Hamsadhwani in madhyama sruti from) and it is out of this world.
That's a news to me Singing in Alternate Ragams Thanks
You're welcome, sir!
Very Nice This is the First time I am hearing in another Ragam ! Manasa Sancharare Adi Talam Sadashiva Bramendhar Krithi
This Masterpiece Song has always been associated with ragam Saama 28th Mela Janya but Sung in Charukesi etc
This famous kriti is by the great 18th century saint Sadashiva Brahmendrar. Even when it is not sung, this poem is exceedingly beautiful in the original Sanskrit.
According to Shiva thandava stotra, Shiva's moon is compared to chakore the bird. The mythical bird chakora is believed to live on moonlight and eat nothing else. So "candra-cakora" is often a metaphor for attraction, sustenance and an inseperable relationship, most applicable to god and devotee. Paramahamsa means supreme brahman resembling that with additional adjectives chandrachakOre.
Why?Hamsa represents the perfect harmony between spirituality and life. When the word ‘hamsa’ is constantly repeated, it changes to ‘Soaham’soham soham meaning ‘That I am’. Thus the hamsa is often identified with the Supreme Spirit or Brahman. The bird also has special connotations in Advaita Vedanta. When somebody asked Shri.sadashiva Brahmendra as how do U see the Almighty,his reply was this meaningful composition. He was the first who openly told that had seen God and the experience is written by one of his disciples where they say the happening of the ambience when he saw the God.He used to talk from his samadhi a well know thing. A b'ful ashramam of SHri.Sadashiva Brahmendra enroute Ramnad and Kanyakumari is a must experience
Pallavi:
Maanasa Sancharare Brahmani Maanasa Sancharare
Oh Brahman( Supreme cosmic spirit ), ramble in my mind freely.
Charanam 1:
Madashikhi Pincchaalankruta Chakore Mahaneeya Kapola Vijitamukure
Oh Krishna, your looks roam about the fort like bosom of beautiful Gopikas. You are the celestial 'Mandara' tree for the devotees serving you.
Charanam 2:
Shree Ramani Kucha Durga Vihaare Sevaka Jana Mandira Mandaare
Your wavy hair is beautifully decorated with wild peacock feathers. Your excellent cheeks reflect like mirror.
Charanam 3:
Paramahamsa Mukha Chandrachakore Paripoorita Muraliravadhare
Supreme yogis crave to see your moon like face like 'chakora' birds crave to enjoy moon's rays. You are the Supreme Yogi. You play the most enchanting music on your flute.
Another favorite of mine. I have heard both Sama and Charukesi. Both fit the krithi very well, but I were to choose which one has more pathos, it would be Charukesi. And Dr. BMK sings it with such deep meaning. Each pastime of Lord Sri Krishna is brought to life and we are blessed by His presence. When Dr. BMK renders '"Madashikhi Pincchaalankruta Chikure Mahaneeya Kapola Vijitamukure" and "Paramahamsa Mukha Chandrachakore Paripoorita Muraliravadhare", my heart immediately melts and I instantly remember:
sarva-dharman parityajya
mam ekam saranam vraja
aham tvam sarva-papebhyo
moksayisyami ma sucah
and I know that I will be saved by Him and I need not worry.
Thanks for this, sir!
I would not be able to comment as I am hearing for the first time in Charukesi ! Thank you for the additional information !
You're welcome, sir! You have been an inspiration to me! Please keep up the fabulous service!
Thanks a lot ! I must acknowledge that you have given me a wonderful opportunity as I was only trying to add value and of course get corrected if I am wrong only for the Krithis I share or comment on posts of Facebook Carnatic Groups !
Excellent ! This Version of the Raga I am hearing for the first time ! sthiratA nahi Adi Talam Sadasiva Brahmendra
This Song is Sung in Dhanasri amd Amruthavarshini and some Hindustani Ragams
P sthiratA nahi nahi rE mAnasa
sthiratA nahi nahi rE ||
Oh Mind, there is no tranquility
C1 tApatraya sAgara magnAnAm
darpAhankAra vilagnAnAm ||
to those who are immersed in the ocean of worldly cares and to those who are depraved due to pride and ego
C2 vishaya pASa vEshTita chittAnAm
vipareeta jnAna vimattAnAm ||
to those who are entwined in worldly bonds
to those who are in delusion due to eccentric knowledge
C3 paramahamsa yOga viruddhAnAm
bahu chanchalatara sukha baddhAnAm ||
to those who have no faith in 'paramahamsa yoga'
and to those who are immersed in temporal pleasures.
A reminder that we are caught in this samsaram and those who don't surrender unto Him will undergo many miseries. I may be tangled in this Kaliyuga, but I can never forget Him.
I remember the story of the farmer and Narada which explains how the farmer had a busy life yet could think of Him at some points whereas Narada upon given a task could not.
The main thing is that an Acharya is the one who can get us out of this Samsaram and lead us to Him. Let's remember the great devotees and acharyas who lived a blessed life and surrender unto Him.
Thanks for this reminder, sir!
And the ragam Amruthavarshini is apt for this reminder krithi as it provides amrutham to us, the lost souls.
Excellent Ragam Amruthavarshini has been brought to light by Muthuswami Dikshitar Avargal !
Yes indeed!
Very Nice ! Sarvam brahmamayam Adi Talam Sadashiva Bhramendar Krithi
This song is sung in Ragam Jhinjoti 28th Mela Janya ,Madhuvanthi and Khamas
P sarvam brahmamayam rE rE
Hey , hey everything is filled with God, Everything is filled with God
C1 kim vacanIyam kima vacanIyam kim racanIyam kima racanIyam
All that is spoken, all that is not spoken, All that is written, all that is not written
C2 kim paThanIyam kima paThanIyam kim bhajanIyam kima bhajanIyam
All that can be learnt, all that cannot be learnt, All that can be sung and all that cannot be sung
C3 kim bOddhavyam kima bOddhavyam kim bhOktavyam kima bhOktavyam
All that can be taught, all that cannot be taught, All that can be enjoyed and all that cannot be enjoyed
C4 sarvatra sadA hamsa dhyAnam kArtavyam bhO mukti nidAnam
In all places the meditation of the Hamsa scale, Is that only thing that leads you to salvation.
Gist :-
Everything is Brahma Mayam; All is just the Almighty's presence.
1. What may be spoken and what may not be spoken, what can be created and what may not be created (in relation to poetry or otherwise)
2. What may be studied and what not to be studied, what may be recited and what may not be recited
3. What may be taught and what may not be taught; what may be enjoyed and what may not be enjoyed - everything is HIS creation and HIS work.
4. So, always immerse yourself in HIS dhyaanam and that will take you towards 'salvation'
The short message of this song is do not enter into arguments and discussions as to what is right and what is wrong; all that would be meaningless and unnecessary. What is meaningful is 'Pray HIM' and 'Merge in HIM"
Well said! All we should do is surrender to Him and leave it to Him!
Yes Very Practical We are all Pawns in Lords hand ! Lord decides what to move when to move where to move and finally Whether to move at all !
brahanandham anna
दिव्य 🙏
very good. very clear audio. Namaskaram Thanks
Lovely ! chintA nAsti kilA ragam SankarAbharaNam Adi talam Sadasiva Brahmendra Krithi
PchintA nAsti kilA tEshAm
chintA nAsti kilA ||
Those who have the following qualities have no worries.
C1 Sama dama karuNA sampurNAnAm
sAdhu samAgama samkeerNAnAm ||
They are perfect with tranquility, fortitude and compassion. They are in the company of saints.
C2 kAla traya jita kandarpAnAm
khanDita sarvEndriya darpaNam ||
They conquer the influence of the cupid at all times. They annihilate the pride of all sensory organs.
C3 parama hamsa guru pada chittAnAm
brahmAnandAmruta mattAnAm ||
They are supreme ascetics who keep their Guru's feet in their conscience. They are intoxicated with supreme nectarine bliss
Raga Shankarabaranam 29th mela
Aro: S R2 G3 M1 P D2 N3 S Av: S N3 D2 P M1 G3 R2 S
Shankarabharanam is the 29th melakarta in the 72-melakarta scheme and is also known as Dhirashankarabharanam. A majestic and calming raga, the Shankarabharanam scale is the most important C Major scale in Western classical music, and is known as Bilawal Thaat in Hindustani music. The raga has a regal aura. The notes in Shankarabharanam are sadja, chatusruti rishaba, antara gandhara, suddha madhyama, pancama, chatusruti dhaivata, and kakali nishada. The gamakas in the rishaba are very important and so is the exaggerated gamaka in the sadja-nishada-dhaivata.
The pann pazhanpancuram is the Tamizh isai equivalent of this raga. The relaxed landing and staying on at the gandhara is a notable feature of this raga.
In Carnatic music, Thyagaraja has composed many pieces in this raga, including, ‘Ethuta Nilachite’, ‘Enduku Peddala’, ‘Manasu Swadina’ and ‘Buddhi radu’. Dikshitar's ‘Akshayalinga Vibo’ and ‘Dakshinamurte’ are monumental, as are Shyama Sastri’s ‘Saroja dala netri’ and ‘Devi Meena Netri’.
Shankarabharanam has been used in many film songs, though often not in its purest form.
This is sung in Shankarabharanam madhyama sruti style and serves as one of the essences of the Bhagavad Gita. Lord Krishna describes these great people as ones who have conquered the senses, who are not affected by anything, who see everyone as equal, perfect with tranquility, fortitude and compassion, always think of their Guru's feet and always surrender unto Him. Such people are the ones we should try to emulate in our lives and that the Lord is always with us even when we don't realize it.
Thanks for this, sir!
Very True !
soul touching krithis . we are blessed . If a person knows the meaning he or she will forget the world . Thank you
And we get carried to divinity, sir!
Beautiful krithis...haunting ragams...
Divine songs in divine mellifluous voice . Namaskar. Thanks
Most welcome, sir.
नम अवधूताय गानविद्वुषे च।
Super.🙏🏼🙏🏼
🙏🙏🙏
Good
😊
👏👏👏🙏🙏🙏
🇮🇳
Can you post all the audio collections of Shri Sada Siva Brahmmendrar Keerthanai by AIR 1980 Series, please
Vishnu lokam lo vihariistunnatlju unnadi
And his music still lives on today, sir!
When was the first time you heard Dr. BMK?
I prefer Manasa Sancharare in Shayama. Charukesi is not suited to the composition.