Showing posts with label Krishna. Show all posts
Showing posts with label Krishna. Show all posts

Sunday, December 19, 2021

Lyrics of "pata paduma" Song

పాట పాడుమా కృష్ణా

పలుకు తేనెలొలుకునటుల

మాటలాడు మా ముకుంద మనసు తీరగా


శృతి లయాలు అన్ని చేసి (చేర్చి) 

యతులు నిన్ను మదిని తలచే ఏ ఏ 

సదమల హృదయా నిన్ను

సన్నుతించు వర నామము  || పాట ||


సామవేద సారము సంగీతము

సాహిత్యమెగా ఆ ఆ 

దానికింత (కంత)  మధుగానము పాట కూర్చి

పాడుమా


paaTa paaDumaa kRshNaa

paluku tEnelolukunaTula

maaTalaaDumaa mukunda manasu tiiragaa


SRti layaalu anni cEsi

yatulu ninnu madini talacE E E 

sadamala hRdayaa ninnu

sannutincu vara naamamu  || paaTa ||


saamavEda saarame sangiitamu

saahityamegaa aa aa 

daanikinta madhugaanamu paaTa kuurchi

paaDumaa


(This is a classic song composed by Sri Sanyasi Raju, father of the famed Telugu music director Sri Saluri Rajeswara Rao. The beauty of this simple melodious composition is this - in just two stanzas the composer has encapsulated the essence of Lord Krishna. His sweet music and His superb attractive power to all devotees. 


Though I must have heard this song many times either on AIR radio or private functions, after coming here I lost touch with it for many years. Then suddenly I found the TLCA website and there I came across an Internet site solely devoted to old Telugu songs. There I happened to hear a live program by Sri S. Rajeswara Rao and this song. It is a cliche to say, "old is gold". But where will you encounter such musical geniuses? Now we don't hear good analog sound, distinct instrumental sounds, and an amalgam of spontaneous live performance. This may be a caustic criticism but most if not all the modern music heavily depends on endless cut/paste editing, synthetic computer generated sounds, and faulty diction. Luckily we sat through many first rate live performances with world class artists. This song makes my heart long for great original compositions. It is a treat to hear the fine vocals. I pay my gratitude to the son and father duo.) Copyright 2021 by the author

Tuesday, April 23, 2019

Penultimate Slokas in Raja Yoga - II

Due to the biological circumstance, women may feel (deservedly so) a little superior to men; they may think that they hold exclusive privilege (the key) to creativity due to the act of procreation. In the larger meaning of “creation”, many individuals tap into the fountain of creative energy: The exceptional inventor (Nikola Tesla), the laboratory scientist (Dr. Rosalind Franklin), the anonymous Indian sculptor (ex: Trimurti of the Elephanta Caves), the poet (Pandita Jagannatharayalu), the soul stirring musical composer (Kshetrayya), the prodigious mathematician (S. Ramanujan) and a number of people who produce fine arts and utilitarian products. At one time or other they all must have come in contact with that “vital energy and ebullient spirit”. Who knows what form the Mother (Parvati) takes when She wants to reveal Herself to the devotee?
The words woman, Vaisya (merchant), or Sudra should not be construed as derogatory epithets here. When Lord Krishna is inherently present in everything, how can anyone (or anything) be other than sacrosanct? Even Sri Trilinga Swamy once commented thus: “Whatever miraculous healing powers I exhibit here, you too have them. You do not realize it or at present you are incapable of using those latent powers.” What Lord Krishna meant by the words woman, Vaisya, or Sudra here in this context is this: These classes of people are often burdened with their prescribed duties; so overburdened with such (tiring physical) activities of mundane life that they may not get opportunity (or time) to fix their attention on Krishna. Yet He is always in close proximity, accessible to all.
We have elegant examples for the three representative candidates here: 1. Putana as a member of the women folk. Whatever evil plans she originally had for Krishna, she did offer her milk (herself) to Him. Thus she came close to baby Krishna and her entire body reeked of sandalwood perfume. Need we have any doubts about her ultimate destiny? 2. In Satyanarayana Vrata story we come across the troubles faced by a Vaisya family. 3. Who can be a better example for the Sudra clan other than the wandering sage, Narada? Due to a minor infraction (while singing devotional songs), Narada was cursed to be born (on the earth) to a Sudra maidservant. Narada comes in contact with learned Narayana bhaktas and after prolonged tapas he gets to see Lord Narayana. So Lord Krishna is telling absolute truth in these two stanzas. His intent in this sloka is clear – “whoever seeks my assistance, he will definitely get the ultimate release from bondage. None is inferior in my eyes be the person a woman, Vaisya, or Sudra.”
        In the succeeding sloka, Lord Krishna talks about Brahmins and Kshatriyas. Some readers may assume (stereotype!) that Brahmins and Kshatriyas are lucky compared to other varnas. But suppose a king (born as Kshatriya) loses his people and kingdom. Then in what way is his lot better than others’? Sri Rama did not have an easy time (certainly not a honeymoon, that happened later in Uttara-Ramayana) in the forest even with Sita and Lakshmana at his side. Similar is the situation of Pandavas during their banishment. As for Brahmins, again the situation is not so rosy; as they say ‘it is not a walk in the park’. A Brahmin could be utterly poor, could be a born with low IQ, or both. We have the examples of Kuchela (= ragged clothes, Sudama), Gangesha Upadhyay, and the grand father of Annamayya (Narayanayya). As for Kshatriya examples both Dhruva and King Ambarisha stand out as exemplary. We can learn a lot from their bhakti and devotion to Lord Narayana. © by the author 2019

Monday, April 22, 2019

Penultimate Slokas of Raja Yoga - I

श्री गुरुभ्यों नमः Salutations to Sri Adi Sankara. May I be always guided by divine grace. I seek inspiration from Gayatri mata and let the Mother guide me ever on the path of pure intellect and unbounded kindness. May She keep me free from silly arguments and vapid senseless logic. Rationality without compassion is like a sharp sword, leaving only gaping wounds and bitterness. I’ve looked at the Telugu (poetic) translation of Bhagavad-Gita by Dr. P. V. Satyanarayana Rao; the physician had translated the Sanskrit original Gita with utmost care – all the prose and poetical dialogues in toto while suffering from an incurable ailment during his last years.
32. Whether they are born of sin
Whether they are women, Vaisya, or Sudras
Whoever they be
When they seek (refuge in) me
They all obtain moksha
33. If that is so, what to
Talk about the pious, the Brahmins,
The devout Kings and rishis?
Though you’re born in this transient unhappy world
You too can obtain moksha by praying to me
        “कृष्णं वन्दे जगद्गुरुम् ” Let us first annihilate the idea of “body” with a particular individual. Once we are totally shorn of our “physical and biological individuality”, now we can concentrate on the essence of these two stanzas. At least for once let us traverse beyond the rut of limited understanding and cross the morass of doubts, misunderstanding, or misinterpretation.
        Two issues confront and baffle the modern skeptical (“rational”, doubting Thomas!) reader: a) Rebirth and its associated ‘karma’ phenomena. b) The “varna-asrama” system of Sanatana Dharma and the earlier Hindu societies. Sri Trilinga Swamy (I am fortunate to be born in the same Telugu community) kindly answered all the questions related to rebirth; he, in his inimitable gentle demeanor removed all the pestering confusion of his last disciple, Sri Umacharan. One has to patiently read the biography and pearls of advice of Sri Trilinga Swamy. His writings are readily available to Hindi, Bengali, and Telugu aspirants. Other venerable gurus also must have commented on the irrefutable (rather inscrutable) ‘rebirth’. Looked upon with an unbiased pure intelligence, rebirth appears as the most efficient instrument of the Lord (Eswara): Eswara does not have to keep on generating infinite sets of creatures like a potter – the inviolable ‘karma’ (coupled with the sakti) will keep on producing endless versions of living entities strictly according to their preferences and past deeds. Some times we may not like the outcome (ex: Yama born as Vidura) but it is best to obey, learn, and submit to the eternal dharma.
        Regarding the varna-asrama, the reader can gain a better appreciation if she refers to the writings of Sister Nivedita, Sri Kanchi Paramacharya (see Hindu Dharma), and other scholars. Spread over numerous millennia many societies developed their own distinct cultures, traditions, and faith (variants of very diverse Dharma). The modern individual (encumbered with his own biases and idiosyncrasies) viewing through a narrow slit of time (at best few decades) tries to understand the ancestors, the learned rishis, and their thinking. I would not go into this subject (i.e., varna) here, as it will take us astray. But if I may, point out one important aspect of life. In the US (perhaps it is occurring now in contemporary India too), parents often exhort their children thus: “Yes, you can do anything you put your mind to.” But as we mature in life we come to face the harsh truth. Not everybody can sing as sweetly as Lata Mangeshkar or P. Susheela, even if you practice for decades under the best music teacher.  Some can easily understand the Pythagoras theorem and even prove it readily on a paper napkin. But many will never get the essence of geometry, a theorem, or a rider – even if they spend their entire lives and monies. Similarly some may never learn to love water sports and enjoy swimming without fear. So, we should banish the thought that “all are equal in all aspects and everyone can excel at any (every) activity.”
[Of course miracles do happen some times to save the Sadhaka, to extricate the individual from a sticky predicament! But we must make ourselves noble, deserving for a miracle to intervene.] In the puranas sage Viswamitra, a born Kshatriya (a great rishi who bestowed us Gayatri mantra!) spent many years to become a Brahma-rishi with many pitfalls, sometimes hurting others on the way.  Perhaps our ancestors knew a thing or two about human heredity, innate talent, and predisposition towards to certain abilities. Every society has certain divisions or stratifications; high and low is prevalent across the world. Except in the movie Roman Holiday, the royals do not dine with the commoner normally.   
The reader need not get hung up on the phrase, “yoni”. In the larger universe and in the vast gamut of creation, we see a mix of sexual and asexual propagation. The gardener (or a scientist like Gregory Mendel) comes across the beauty of creation on the pumpkin vine, hibiscus, rose, or jasmine bush. Only in the last half a century we have begun to appreciate and understand human genetics; we are close to witnessing some progress in the area of “stem cell” for human species now, but the phenomena has been around in the plant species for centuries or even longer.  The serious Sadhaka may simply consider all such matters as part of “the holy act of creation” and leave it to the Mother. The maya, the energy, and the birth phenomena belong to Her. She decides how a great sage like Veda-Vyasa is born or how a great poet-dramatist like Kalidasa comes on the stage or how a musical composer like Annamayya strings floral garlands of thousands of melodious songs effortlessly. It is part of Her play in the ever-expanding (increasing entropy!) outward world – an elegant expression of the indescribable Brahman. (To be continued) Copyright by the author 2019 

Thursday, November 29, 2018

Lyrics of "Pahi Pahimam"


     సురటి(భూపాళ) - ఆట

     పాహి పాహి మాం పరమకృపాళో
  దేహిమే త్వయి దేవసుభక్తిమ్‌॥      

అసురసంహార శ్రీవిజయగోపాల
  అమరసంరక్షణ విజయగోపాల
  వసుదేవతనయ శ్రీవిజయగోపాల
  వాసవాదినుత విజయగోపాల

సంగీతలోల శ్రీవిజయగోపాల
  సద్గుణశీల శ్రీవిజయగోపాల
  శృంగారరసపూర విజయగోపాల
  శ్రితజనపాల శ్రీవిజయగోపాల

ధీరగుణాధార విజయగోపాల
  ధేనుకాదిహరణ విజయగోపాల
  నారదమునిగేయ విజయగోపాల
  నారాయణతీర్థ విజయగోపాల

        paahi paahi maaM paramakRpaaLO

  daehimae tvayi daevasubhaktim

asurasaMhaara SreevijayagOpaala
  amarasaMrakshaNa vijayagOpaala
  vasudaevatanaya SreevijayagOpaala
  vaasavaadinuta vijayagOpaala

saMgeetalOla SreevijayagOpaala
  sadguNaSeela SreevijayagOpaala
  SRMgaararasapoora vijayagOpaala
  Sritajanapaala SreevijayagOpaala

dheeraguNaadhaara vijayagOpaala
  dhaenukaadiharaNa vijayagOpaala
  naaradamunigaeya vijayagOpaala
  naaraayaNateertha vijayagOpaala


(Perhaps I might have heard these songs in the village. We had a unique Ashram run by two extremely ascetic nuns. I used to see the ladies carrying water from the nearby Godavari river waters. They would spend hours training young school girls in classical music and dance. Often such extracurricular activities would divert the young students from the routine school subjects and exams. But where will you get valuable training in arts and morals? I heard this song in a music concert by the Malladi Brothers. These are extraordinary compositions, sprung out of the depths of great saints. Who can compose such gems now? Or how many can sing such songs with devotion, fidelity, and flawless musicality?)


Thursday, May 10, 2018

An Invocation Song by Dr. Balamurali

రాగము : ఆరభి
అది తాళము


శ్రీ సకల గణాధిప పాలయమాం అనిశం
వర సిద్ధి వినాయక భక్త జనాళి పోష వరచంద్ర మౌళి సుత


దాసర్చిత పాద
భాసురాంగ కరుణాసముద్ర వర వాయుపుత్ర
హనుమంత వరప్రద
శ్రీ సకల శివంకర మారుతి మామవతు
వర రామ సునామ సుధారస పానదీన నిజ భక్త భయాపహ
శ్రీ సకల శివంకర మారుత మామవతు


నంద నందన వందన మస్తుతె కుందర దన ముకుంద మురహర
మందరో ద్ధర వందిత బుధ జన బృంద హృదయ నివాస సుందర
మంద హసిత వదనారవింద మకరంద పాన సంగీత సుధాకర


శ్రీ సకల కళాపరిపూర్ణ దయాశరధే
వరదాభయ దాయక మామవ మంగళాంగ మురళీధర మోహన


శ్రీ సకల కళాపరిపూర్ణ దయాశరధే
శ్రీ సకల శివంకర మారుత మామవతు
శ్రీ సకల గణాధిప పాలయమాం అనిశం


raagamu : aarabhi
adi taaLamu


Sree sakala gaNaadhipa paalayamaaM aniSaM
vara siddhi vinaayaka bhakta janaaLi pOsha varachaMdra mauLi suta


daasarchita paada
bhaasuraaMga karuNaasamudra vara vaayuputra
hanumaMta varaprada
Sree sakala SivaMkara maaruti maamavatu
vara raama sunaama sudhaarasa paanadeena nija bhakta bhayaapaha
Sree sakala SivaMkara maaruta maamavatu


naMda naMdana vaMdana mastute kuMdara dana mukuMda murahara
maMdarO ddhara vaMdita budha jana bRMda hRdaya nivaasa suMdara
maMda hasita vadanaaraviMda makaraMda paana saMgeeta sudhaakara


Sree sakala kaLaaparipoorNa dayaaSaradhae
varadaabhaya daayaka maamava maMgaLaaMga muraLeedhara mOhana

Sree sakala kaLaaparipoorNa dayaaSaradhae
Sree sakala SivaMkara maaruta maamavatu

Sree sakala gaNaadhipa paalayamaaM aniSaM

(Copyright of this composition (lyrics, music, tune, etc.) belongs to Dr. Balamuralikrishna; now the rights are with his family and MBK Trust. I am posting here the Telugu lyrics and English transliteration for the benefit of music students and teachers. I heard this song in Dr. Balamurali’s vibrant voice in a cassette, picked up at the Pittsburgh SV Temple. This song seeks the blessings of Ganesa, Hanuman, and Krishna. Ganesa for removing unforeseeable hurdles, Hanuman for imparting strength to overcome insurmountable major obstacles, and Krishna for His enchanting spell and artistic beauty all around. Often I find announcers (MCs) omitting the names of composers at public performances. This is unconscionable - one should always acknowledge the contributions of composers, the originators of creative artistic content. I feel a little pang of pain at the thought - that we have not fully appreciated the genius of Dr. Balamuralikrishna. But then, a prophet is never properly recognized in his hometown!)