Showing posts with label Telugu song. Show all posts
Showing posts with label Telugu song. Show all posts

Friday, June 20, 2025

Meaning of "Adi modi galade" Song

Chaduvulanni = all fields of knowledge; d(t)elisi = knowing, having mastered; Sankara + amsudai = born with the essence (an aspect) of Sankara, taken the earthly form with Sankara’s qualities; sadayudu = compassionate, kind hearted; asuga = the god of wind; sambhavundu = offspring, son of; mrokka = prayed, saluted;

“I keep following You (Rama) with devotion as a faithful shadow, remain faithfully attached to Your feet – yet You hardly say a word or reply even a syllable. What a wonder! Your reticent attitude has no parallel, O Rama.”

Lord Hanuman, being none other than a scion (portion) of the great compassionate Sankara (Lord Siva) approached You with a respectful salute (namaskar) in the forest. Then look what happened – You made tactical agreements with Sugriva (brother of Vali) for the ultimate war with king Ravana. With such a background, who gives any importance to Tyagaraja? Who cares about lesser mortals like Tyagayya? In such circumstances is there any chance (luck) for lesser humans? If Hanuman ji got such a short shrift of treatment, where is the chance for a positive response to Tyagaraja? Where is the possibility for any response to the composer’s endless beseeching, pleading? In such dire unpredictable situations where is the possibility of better luck for the composer? Or, who is Tyagayya to receive any better treatment at the hands of Rama? What is the status of Tyagayya in the hierarchy (totem pole) of great many bhaktas of Rama? This point is worth pondering for all the Carnatic singers, Rama bhaktas, and ardent devotees. There are some passages in Sri Ramakrishna’s biography (scribed by M) where we find similar incidents; Devi Kali mata was on the premises of Dakshineswar temple, in the gardens but She was busy in Her own playful acts with other goddesses. 

Often the Guru tries to instill in the disciple the value of “patience or perseverance” (saburi). We have to read, listen, and sing a lot to appreciate this essential quality. Depending on one’s taste (or bend of mind) one can choose any of the nine modes of bhakti. Many times we try to visit sacred places, rivers, or temples; but we succeed only in a select few of our undertakings. And even such rare successes are precious gifts for us. We must try to utilize all our energies, enthusiasm, and time to see rare (one-of-a-kind) swamis and ancient pilgrim places; such acts should be done preferably when one is young, able bodied, and full of bubbling energy. A kind parent, relative, or friend may prod us to do such unusual religious (or faith based) acts. Now “the world is too much with us”; every act is oriented towards material benefit or physical pleasure. But when one is bedridden, sick, injured, or inconsolably sad, who will help us? At times we may be unconscious with severe bodily pain, at such desperate moments who will come to our rescue? This is a thought for all – young and elderly. Bad luck can befall on anyone, at any time. That’s why we try to save and store some smidgen of “prayer, meditation, and japa” for future. We keep a ‘rainy day fund’ in bank for emergency use. Similarly we must keep some savings of spiritual endeavor for future. Even recalling Hari’s name at the right time (a true crisis) is very difficult; here we must appreciate the good fortune of King Gajendra (see Srimad-Bhagavatam) for having good mental faculties even in the midst of excruciating pain. There, then in the slippery muddy pond he was in the cruel jaws of the crocodile; the crocodile was mercilessly goring his sensitive toes with its nasty sharp teeth. By then the elephant was on his last ounces of energy, totally dehydrated and utterly hungry. The mammoth mammal was on the verge of total collapse and drifting into delirium. It was losing consciousness. And then suddenly due to its past virtuous karma (tapas) the elephant suddenly remembered Hari (with His qualities) and surrendered to His grace. 

None of us are like the Kanchi Paramacharya. The Swami could undergo cataract surgery without anesthesia. At another time the celebrated walking guru did extended tapas sitting in the midst of five fires (పంచాగ్నులు) while running high bodily fever. Such extraordinary circumstances can make the mind focus acutely on Hari’s name; but many ordinary bhaktas cannot achieve such pointed concentration. Soul stirring full throated vocal singing of great compositions or bhajans also provides peace and total communion with Sri Rama. That is all one can do – be it in times of happiness or utter despair.    


Wednesday, February 10, 2021

Lyrics of "Siva Siva" by Krishna Sastri

శివ శివ అనరాదా 

శివ నామము చేదా 


శివ పాదము మీదా - నీ 

శిరసు నుంచ రాదా 

భవసాగర మీదా - దు

ర్భర వేదన ఏదా

 

కరుణాళుడు కాడా - ప్రభు

చరణ ధూళి పడరాదా 

హర హర హర అంటే మన

కరువు తీరి పోదా


కరి, పురుగు, పాము, బోయ

మొర లిడగా వినలేదా?

కైలాసము దిగివచ్చి

కైవల్యము ఇడలేదా?



మదనాంతకు మీదా - నీ 

మన సెన్నడు పోదా 

మమకారపు తెర స్వామిని

మనసారా కన నీదా  


Siva Siva anaraadaa 

Siva naamamu chaedaa 


Siva paadamu meedaa - nee 

Sirasu nuMcha raadaa 

bhavasaagara meedaa - du

rbhara vaedana aedaa

 

karuNaaLuDu kaaDaa - prabhu

charaNa dhooLi paDaraadaa 

hara hara hara aMTae mana

karuvu teeri pOdaa


kari, purugu, paamu, bOya

mora liDagaa vinalaedaa?

kailaasamu digivachchi

kaivalyamu iDalaedaa?



madanaaMtaku meedaa - nee 

mana sennaDu pOdaa 

mamakaarapu tera svaamini

manasaaraa kana needaa    


(Right after listening to this sensitive song, I became overwhelmed with emotion and a sense of gratitude. Just grateful for knowing Telugu language, its poets, and excellent musicians. Sri Devulapalli Krishna Sastri (the lyricist) is known to many as the romantic poet of modern Telugu literature; he is often compared to Shelly. Like Dasarathi, his lyrical poems bring out the "inner intense feeling" clearly. His songs on Krishna and Siva are superb, to say the least. This song starts with a refrain similar to the well-known Tyagaraja kirtana, "Siva Siva yanarada". Smt. Gopalaratnam's rendering is faultless, it is out of this world. If it were in my hands, I would bestow Bharata Ratna award just for this one song. This song encapsulates her talent, musical skills, and gently fuses the feeling with true bhakti feeling. Nothing more to say, to add.) Copyright 2021    


 

Thursday, December 17, 2020

Lyrics of "Oka pilupulo" Song on Srinivasa

ఒక పిలుపులో పిలిచితే పలుకుతావట
ఒక పిలుపులో పిలిచితే పలుకుతావట
నా పలుకులో కులుకుతావట

ఆపద మ్రొక్కుల సామీ నీ సన్నిధి నా పెన్నిధి
నీ సన్నిధి నా పెన్నిధి
కొండంత దేవుడవని కొండంత ఆశెతో
నీ కొండ చేర వచ్చితిని
అండ  జేర్చి కాపాడర
ఒక పిలుపులో పిలిచితే పలుకుతావట
అభయ (హస్త) మున్నదట అభయ మూర్తి వీవేయట
అభయ దాన మిచ్చి మాకు భవ తరణపు సొమ్ము చూపు
ఒక పిలుపులో పిలిచితే పలుకుతావట
వడ్డికాసు వాడవట వడ్డీ వడ్డీ గుంజుదు వట
అసలు లేని వారమయ్య వెసలు బాపి కావ వయ్య
ఒక పిలుపులో పిలిచితే పలుకుతావట
నా పలుకులో కులుకుతావట

ఆపద మ్రొక్కుల సామీ నీ సన్నిధి నా పెన్నిధి
నీ సన్నిధి నా పెన్నిధి

oka pilupulO pilichitae palukutaavaTa
oka pilupulO pilichitae palukutaavaTa
naa palukulO kulukutaavaTa
O
aapada mrokkula saamee nee sannidhi naa pennidhi
nee sannidhi naa pennidhi
koMDaMta daevuDavani koMDaMta aaSetO
nee koMDa chaera vachchitini
aMDa  jaerchi kaapaaDara
oka pilupulO pilichitae palukutaavaTa
abhaya munnadaTa abhaya moorti veevaeyaTa
abhaya daana michchi maaku bhava taraNapu sommu choopu
oka pilupulO pilichitae palukutaavaTa
vaDDikaasu vaaDavaTa vaDDee vaDDee guMjudu vaTa
asalu laeni vaaramayya vesalu baapi kaava vayya
oka pilupulO pilichitae palukutaavaTa
naa palukulO kulukutaavaTa
O
aapada mrokkula saamee nee sannidhi naa pennidhi
nee sannidhi naa pennidhi

(English transliteration follows the scheme of Lekhini)

Thursday, October 10, 2019

Tera Tiyara Tirupati Song - Telugu Lyrics

రచయత: ఆత్రేయ 
గాయకుడు: పద్మ విభూషణ డా. బాలమురళీకృష్ణ 

తెర తీయరా తిరుపతి దేవరా
తెర తీసి నీ వెలుగు కిరణాలు ప్రసరించి 
మా లోని తిమిరాలు హరియించి మము బ్రోవరా మా భూవరా


సంపంగి చంపక పూగ పున్నాగ
పూలంగి సేవలో పొద్దంత (ప్రొద్దంత) చూడగ
నీపైని మోహము నిత్యమూ సత్యమై
అహము పోదోలురా ఇహము చేదౌనురా ఆ ఆ ఆహా …  


ఏలా లవంగాలు పచ్చ కర్పూరాలు
కలిపిన ఆకాశ గంగా జలముతో
అభిషేక మొనరించు అపురూప (పు) సమయాన
నేత్ర దర్శన మొసఁగ రా, మా కళ్ళు తెరిపించరా 


హారతి ఇచ్చే వేళ ఆశ్చర్యమున మేము ఎన్నెన్నొ 
రూపాలు నీలోన చూతుము -
శివుడవూ (వో), భవుడవూ(వో) మాధవుడవూ(వో) నీవు
పరతత్వమును తెలుపరా , పరమ పదమును చూపరా





tera tiiyaraa tirupati dEvaraa
tera tIsi velugu kiraNaalu chuupinchi
maa lOni timiraalu hariyinchi mamu brovaraa maa bhuuvaraa


sampangi champaka puuga punnaaga
puulangi sEvalO poddanta (proddanta) chuuDaga
nIpaini mOhamu nityamuu satyamai
ahamu pOdOluraa ihamu chEdaunuraa


Elaa lavangaalu paccha karpuuraalu
kalipina aakaaSa gangaa jalamutO
abhishEka monarinchu apuruupa samayaana
nEtra darSana mosagaraa, maa kaLLu teripincharaa 

haarati ichchae vaeLa aaScharyamuna maemu ennenno 
roopaalu neelOna chootumu -
Sivudavuu (vO), bhavuDavuu(vO), maadhavuDavuu(vO) niivu
paratatvamunu chuuparaa, parama padamunu chuuparaa

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!)

Wednesday, January 15, 2014

"Inta telisi" - A Kshetrayya Padamu


“inta telisi” – A Kshetrayya Padamu

“O Gopala of the Muvva= village, you are such a learned person. You are the wisest. Still after knowing so much, even after having so many numerous good attributes, how come you have such a bad habit (quality)? Do you want to test our relationship (bond)? Is that why you are acting so obdurate? My Lord, tell me, please.
Perhaps, miffed at me, you’ve stopped coming home. Do you have any (other) female friends? Have they called on you? For me, you are the sole boy friend. You represent (are) all my female companions, too. When I reflect, I find you are my only god, my only celestial solace.
After all these days of acquaintance, have you made me into a stranger? And have you deserted me thus? Do you think I have any (royal) private staff, here, to look after me? Do they (does anybody) really care for me? You are my only true private (confidential) person, whom I can fully trust (and confide). No one but you, care about me really. When I think, when I ponder carefully, I realize you’ve become my entire life.
O the Gopala of Muvva, you being the repository of Lakshmi, won’t you take care of me? Why, are you still dithering? Is it because (any of) my (jealous) friends are having fun at my expense (schadenfreude)? For, you are my only close friend(s). Whenever I think, I think about you only. Later, i.e., when we meet, I will tell you all about the secret of my bliss. Of course, who else but you, you (Krishna) are the source of all my joy.”
Rather than a line to line* translation,  here I have attempted a detailed commentary on the well known Kshetrayya lyrical composition. Over the years I have dabbled in singing, both Carnatic and light music, ventured a little bit into lyrical compositions, and poetry. This piece, into which I stumbled by pure accident, has captured my total attention and kept me spellbound for about four days. Yes, four days, it took for me to learn its complete meaning and practice its lovely tune. And of course, Smt. Rao Balasaraswati’s rendering helped me a lot. What a pity? I must have first come across this song in the old BW ‘Devadasu’ movie, in late ‘60s. I saw the movie at least three or four times, yet I did not pay attention to this gem then. What can I say, such are the preoccupations of youth. Adi Sankara says it more poetically about the afflictions of youth!
Now, just a little more about the song’s meaning. I think, here, in this song the poet is considering the plight of our Radha, a forlorn gopi, Meera, or a sincere devotee. All of them are pleading with Lord Krishna. [These songs have been widely used for dance items; they still are the favorites of many Bharatanatyam and Kuchipudi teachers and choreographers. Now, in the modern India, real Kings and princes maybe rare. But in earlier glorious times, these songs were sung in royal courts. At such occasions, probably, the artist (danseuse) may have applied the lyrics’ meaning to her own plight, situation. Nothing wrong in that. That is the beauty of a great art. It will provide ample meaning to each subject, to every situation, will yield meaning to any given context.] How gently, is the asking in the first stanza? In the larger life, don’t we come across a number of situations – when a child suddenly stops visiting her parents’ home, just on some frivolous misunderstanding? How does a mother feel? Or, how does a wife feel when an estranged husband stops coming home? Any separation or estrangement of two souls (hearts) is a troubling emotion. Yet such a desperate state can also lead us to a higher state – a state, where the heart readily softens and melts. [I would not go into the details here, it needs an entire article on the meaning of beauty, (Indian concepts of) aesthetics, and the focal point of “love” and “bhakti”. These issues were very aptly addressed by many of our classic poets and critics. The late Prof. P.S. Sastri of Nagpur has written much on this very important beautiful topic. Due to the limits of time and space, I would gently refer the reader to those works for further elucidation of this subject.]
Much of our (Indian) classical music operates on this principle: It all begins with evoking softer feelings and emotions in the listener’s heart. And if I may say, it is not easy moving the heart(s) of a spectator. Any or everyone can jump and dance to a beat; anyone who has witnessed a wedding parade will attest to the effect of loud rhythmic drum beat. But, only some select (classical, Carnatic, or Hindustani) songs have the power of moving us really. When you listen to a Tyagayya, Annamayya, or Ramadasu song, you too weep with it, marvel at its beauty, and think repeatedly about its meaning for days at a time. In such inner explorations, one suddenly hits an immovable mountain or an unbreakable glass wall. Then momentarily, we are totally helpless – like the poet himself. Because all our faculties, worldly riches, everything we possess is utterly worthless. We discover then, we are not alone. We are not the only sufferers in this world. Radha suffered, our sister Mira suffered, and countless people still suffer this day – reasons aside, that is the ground on which we exist, patiently trudging on this earth.  If someone thinks or pretends that he is above this “scourge of endemic suffering”, then either he does not have a heart or does not have the capacity to imagine. He may buy a balcony seat and attend a grand opera or drama; still she may not ‘get’ it.
In such a heightened state, we are able to discover the meaning of music, poetry, or dance. In that short duration of “molten emotional state”, spontaneously we may have an insight into the meaning of religion, Eswara, and truth. It is in this context, only in such extremely rare situations, we arrive at the meaning of great musical compositions. Without any doubt, then, we can truthfully say: The artist has succeeded. And really, our great Telugu composers like Kshetrayya have left us a great heirloom silver, to study, appreciate, and enjoy. Just a phrase from such great compositions can, and do bring a mutation in our mind. Often they leave a footprint of blessing on our lives grace in our lives, in the wake of such dance or musical performances.
Finally, I conclude with one observation: Only a great rasika, a sensitive poet, or a consummate devadasi (I mean no disparaging to this clan of devoted artists, I hold utmost respect and affection for them) will experience the essence of this exquisite lyrical composition. Many others may understand it intellectually, but they may not get it, feel it in their hearts. I have nothing but praise to all the three artists in the movie - the singer (Smt. R. Balasaraswathi Devi), the dancer, and the music director, Sri. Subburaman. The dancer has given complete meaning to each and every phrase of the song. 

(I must expressly record my thanks to many here. Without their blessing and help, I would not have understood the meaning of many Telugu lyrics. I bow and prostrate at the feet of my great grand father (himself a very great pundit and yogi), my maternal grand father (I only know him as Venkatavadhani), and my maternal grand mother. She knew the gist of many of the Hindu scriptures, could quote original Sanskrit lines from the Vedas. I pay my respects to my paternal grand father, Kamayya and my paternal grand mother. Also, to my dear in-laws. It is really their pious devotion, endless trips to many holy sites, and their steadfast adherence to the “essential core dharma”, that has guided me throughout life. If I know anything a little bit about the (Hindu) classics, it is solely due to their affection and kind protective gaze. As Newton had somewhere humbly stated, if I am able to reach certain intellectual pinnacles in life (or if I am able to fly high and see the majestic heights of pure joy at times), it is because they have kindly taken me into their fold and taught me – and taught me, they all did, mostly in absentia. I learned the languages from N. Gangadhara Sastri, Mr. Raju, B. Venkateswarlu, and others. My teachers (unlike the modern uninterested pedagogues) took keen interest in me; both in college and school they were kind and very helpful. Often they would pamper affection on me and propel to greater heights. To these people, I humbly dedicate this short article as a small gesture of gratitude. What else can I offer them now?)
The video and audio clips are available at: 

http://www.oldtelugusongs.com/newsongs/vintage/Devadasu_1953-RBalasaraswatiDevi-IntaTelisiyundi-Kshetrayya_CRSubbaraman.mp3

Copyright  by the author 2014



= A historical village, nestled in Krishna District, adjacent to Kuchipudi.
* Perhaps there is an English translation of this song some where. Yet, I have my doubts and misgivings about translations of Telugu works, particularly done by (transplanted) non-native speakers or even native speakers with strong prejudices against faith (cf. the late poet Sri Sri).

Tuesday, February 19, 2013

Translation of "ne pogadakunte"


Translation of “nE pogaDakunTE


So what?

What do You lack?
What do You miss?
If I don’t praise (Your glory)
You know my mind (Don’t You?)

Those, who dwell in Your grace
Like
The Suka, Sanaka,
Prahlada, Narada
Rudra (Siva)
And other devotees
(When) They all worship You

So what?
What do You lack?

For
Providing food and sustenance
There, are
My wife, scholars, and community
For helping with (music lessons and) singing hymns
I’ve the
Son of Wind (Hanuman)
Now
Daksha, Indra, and other celestials
Have become very dear relatives
O Lord with lotus eyes
The One extolled by Sri Tyagaraja

Being a boy
If I don’t praise (Your glory)
What do you lack?
You know my mind.

Tyagayya (at times I prefer to call him Tyagayya, cf. Annamayya) profusely acknowledges the debt to elders, teachers, contemporary society, and ancient rishis in a number of songs. In some instances he may have expressed a slight difference of opinion with cohorts (nadupai palikeru comes to mind). But wherever he expressed gratitude, his sentiments were always warm and heartfelt. I sense a feeling of authentic thankful gesture in this song and “danDamu peTTEnuraa kOdanDapaaNi cuuDaraa” (see one of my older posts at Sulekha).

[This is a translation of the Tyagayya kriti, “nE pogaDakunTE niikEmi kodavO?”. I learnt the song from a cassette (rendition) by Dr. Balamurali. I hope younger artists like Dr. Pantula Rama will one day present their own interpretation of such timeless compositions. Certainly there is a vast reservoir of musical talent hidden in today’s youngsters – one fervently hopes budding singers remain optimistic, persevere, and pursue Indian classical music either as a vocation or avocation. Money or no money, awards or no awards. Per se, art has its own rewards.]

I will post the lyrics (and perhaps commentary) in a future write-up.  Copyright © 2013