This singing of Sri Thyagaraja’s melodious kriti, Elaa nee daya raadu, has touched me deeply. I have always considered this kriti the most beautiful of all Athana raga kritis I have heard, and one of the most beautiful of all Sri Thyagaraja kritis because it is brimming with bhaava, pain and sorrow, as if SriThyagaraja’s pent up pain overflowed from his heart as he pleaded with Maha Vishnu to grant him relief from his pain. When I hear a vocalist singing this kriti with bhakti, as Sangeetha Kalanidhi Sri Balamuralikrishna does here, tears flow from my eyes, because bhaava which springs from bhakti touches my heart; the anahata chakra (heart chakra) is the place where bhakti resides. What a melodious, full-throated, clear voice! If a vocalist wishes to understand the importance of knowing the meaning of what he sings, it will help him if he listens to this audio. The fact that Sri Balamuralikrishna knows Telugu, and so understands the meaning of this kriti comes through very clearly the way he pronounces the words, with separation between words in the right places. To sing Carnatic music it is not necessary to know Telugu, of course; but if you know Telugu, it helps. I have found out that, alas, many vocalists simply do not make effort to understand at least the meaning of the kriti they are singing, and to learn how to pronounce the words correctly. I am happy that he started this kriti at the right place, with Pallavi at the beginning, the way Sri Thyagaraja wrote the composition. Also, he sang all the three charanams; most vocalists sing only the first charanam that has no Sri Thyagaraja’s ankita. He is a vocalist who respects the composers. Many vocalists reverse the order of Pallavi and anupallavi when they sing this kriti as if they wish to improve the kriti by singing the anupallavi, Balakanakamaya first. The revered Mahaperiyava, Sri Chandrasekharendra Saraswati of the Kanchi Kamakoti Peetham, has spoken out against such practice. If vocalists shifted the order of Pallavi, he used to tell them, “You don’t know more than Sri Thyagaraja, so sing the kriti the way Sri Thyagaraja wrote.” My father used to sing early in the mornings this kriti (among other kritis of Sri Thyagaraja, Sri Purandara Dasa and Sri Deekshitar; Balgopala in Bhairavi, for example). I was three years old then, seventy-five years ago. How time flies! At six in the morning, I would still be in bed, but as soon as he started singing, I would sit up in bed and listen to him attentively singing this divine kriti. The accompanying artists have played very well also. What a precious audio! Listening to this brought back fond memories. Thank you very much for uploading it. Yesh Prabhu, Bushkill, Pennsylvania
This singing of Sri Thyagaraja’s melodious kriti, Elaa nee daya raadu, has touched me deeply. I have always considered this kriti the most beautiful of all Athana raga kritis I have heard, and one of the most beautiful of all Sri Thyagaraja kritis because it is brimming with bhaava, pain and sorrow, as if SriThyagaraja’s
pent up pain overflowed from his heart as he pleaded with Maha Vishnu to grant him relief from his pain. When I hear a vocalist singing this kriti with bhakti, as Sangeetha Kalanidhi Sri Balamuralikrishna does here, tears flow from my eyes, because bhaava which springs from bhakti touches my heart; the anahata chakra (heart chakra) is the place where bhakti resides.
What a melodious, full-throated, clear voice! If a vocalist wishes to understand the importance of knowing the meaning of what he sings, it will help him if he listens to this audio. The fact that Sri Balamuralikrishna knows Telugu, and so understands the meaning of this kriti comes through very clearly the way he pronounces the words, with separation between words in the right places. To sing Carnatic music it is not necessary to know Telugu, of course; but if you know Telugu, it helps. I have found out that, alas, many vocalists simply do not make effort to understand at least the meaning of the kriti they are singing, and to learn how to pronounce the words correctly.
I am happy that he started this kriti at the right place, with Pallavi at the beginning, the way Sri Thyagaraja wrote the composition. Also, he sang all the three charanams; most vocalists sing only the first charanam that has no Sri Thyagaraja’s ankita. He is a vocalist who respects the composers. Many vocalists reverse the order of Pallavi and anupallavi when they sing this kriti as if they wish to improve the kriti by singing the anupallavi, Balakanakamaya first. The revered Mahaperiyava, Sri Chandrasekharendra Saraswati of the Kanchi Kamakoti Peetham, has spoken out against such practice. If vocalists shifted the order of Pallavi, he used to tell them, “You don’t know more than Sri Thyagaraja, so sing the kriti the way Sri Thyagaraja wrote.”
My father used to sing early in the mornings this kriti (among other kritis of Sri Thyagaraja, Sri Purandara Dasa and Sri Deekshitar; Balgopala in Bhairavi, for example). I was three years old then, seventy-five years ago. How time flies! At six in the morning, I would still be in bed, but as soon as he started singing, I would sit up in bed and listen to him attentively singing this divine kriti.
The accompanying artists have played very well also. What a precious audio! Listening to this brought back fond memories. Thank you very much for uploading it.
Yesh Prabhu, Bushkill, Pennsylvania
అద్భుతం
What a voice
Marvelous 🙏🙏
Brilliant rendition 🙏🙏🙏🙏
Pallavi
ఏల నీ దయ రాదు పరాకు 1జేసెదవ్-
ఏల సమయము గాదు
Anupallavi
బాల కనక మయ చేల సుజన పరి-
పాల శ్రీ రమా లోల విధృత శర
జాల శుభద కరుణాలవాల ఘన
నీల నవ్య వన మాలికాభరణ (ఏల)
Charanams
1. రారా దేవాది దేవ రారా మహానుభావ
రారా రాజీవ నేత్ర రఘు వర పుత్ర
సారతర 2సుధా పూర హృదయ
పరివార జలధి గంభీర దనుజ
సంహార 3దశరథ కుమార బుధ జన
విహార సకల శ్రుతి సార నాదుపై (ఏల)
2. రాజాధిరాజ 4ముని పూజిత పదారవింద
రాజ లోచన శరణ్య అతి లావణ్య
రాజ ధర నుత విరాజ తురగ సుర
రాజ వందిత పదాబ్జ జనక దిన
రాజ కోటి సమ తేజ దనుజ గజ
రాజ నిచయ మృగ రాజ జలజ ముఖ (ఏల)
3. యాగ రక్షణ పరమ భాగవతార్చిత
యోగీంద్ర సు-హృద్ భావితాద్యంత రహిత
నాగ శయన వర నాగ వరద
పున్నాగ సుమ ధర సదాఘ మోచన
సదా గతిజ ధృత పదాగమాంత చర
రాగ రహిత శ్రీ త్యాగరాజ నుత (ఏల)
Variations
1జేసెదవేల - జేసేవేల
2సుధా పూర హృదయ - సుధా పూర్ణ హృదయ
3దశ్రథ కుమార - మదన సుకుమార
4ముని పూజిత పాద - ముని పూజిత పద
.
Magical
🙏🙏🙏🙏
మనోరంజక0 గానం
ఏల నీ దయ రాదూ..
పరాకు చేసేవేల సమయమూ కాదూ..
Apart Thyagaraju
🙏🙏
Pallavi
ఏల నీ దయ రాదు పరాకు 1జేసెదవ్-
ఏల సమయము గాదు
Anupallavi
బాల కనక మయ చేల సుజన పరి-
పాల శ్రీ రమా లోల విధృత శర
జాల శుభద కరుణాలవాల ఘన
నీల నవ్య వన మాలికాభరణ (ఏల)
Charanams
1. రారా దేవాది దేవ రారా మహానుభావ
రారా రాజీవ నేత్ర రఘు వర పుత్ర
సారతర 2సుధా పూర హృదయ
పరివార జలధి గంభీర దనుజ
సంహార 3దశరథ కుమార బుధ జన
విహార సకల శ్రుతి సార నాదుపై (ఏల)
2. రాజాధిరాజ 4ముని పూజిత పదారవింద
రాజ లోచన శరణ్య అతి లావణ్య
రాజ ధర నుత విరాజ తురగ సుర
రాజ వందిత పదాబ్జ జనక దిన
రాజ కోటి సమ తేజ దనుజ గజ
రాజ నిచయ మృగ రాజ జలజ ముఖ (ఏల)
3. యాగ రక్షణ పరమ భాగవతార్చిత
యోగీంద్ర సు-హృద్ భావితాద్యంత రహిత
నాగ శయన వర నాగ వరద
పున్నాగ సుమ ధర సదాఘ మోచన
సదా గతిజ ధృత పదాగమాంత చర
రాగ రహిత శ్రీ త్యాగరాజ నుత (ఏల)
Variations
1జేసెదవేల - జేసేవేల
2సుధా పూర హృదయ - సుధా పూర్ణ హృదయ
3దశ్రథ కుమార - మదన సుకుమార
4ముని పూజిత పాద - ముని పూజిత పద
.