Showing posts with label YAMUNA KALYANI. Show all posts
Showing posts with label YAMUNA KALYANI. Show all posts

Monday, May 14, 2012

MAITREEM BHAJATHA - MAHA PERIYAVA




maithrim bhajata
raagam: yamunaa kalyaaNi
65 mEcakalyaaNi janya
Aa: S R2 G3 P M2 P D2 S
Av: S D2 P M2 P G3 R2 S
AND
22 kharaharapriya janya
Aa: S R2 M1 P N3 S
Av: S N2 D2 N2 P M1 G2 R2 S
taaLam: aadi
Composer: H.H. CandrasEkhara Saraswati
Language: Sanskrit
maitrIm bhajata, akhila hrit jaitrIm |
Atmavad Eva parAnn api pashyata |
yudhham tyajata, spardhAm tyajata |
tyajata parEShu akrama-AkramaNam ||
jananI prithivI kAma-dukhArtE |
janako dEvah sakala dayALuh |
'dAmyata, datta, dayadhvam' janatA |
shrEyO bhUyAt sakala janAnAnAm ||
shrEyO bhUyAt sakala janAnAnAm ||
shrEyO bhUyAt sakala janAnAnAm ||

Meaning:
Here the poet has used 'dAmyata, datta, dayadhvam' phrase in the last stanza, very significantly. There is a story and scope for wide ranging interpretation on it.
The story occurs in Brihad Aranyaka Upanishad (and some other places). In Br Ar Upanishad 5.2.2, it runs like this: Long back, there were three kinds of children (sons) for Prajapati, the Creator. In olden days father himself would be the teacher for most of their kids, to start with. After their studies under him all these three groups of children approached Prajapati and asked him for a sort of final sermon-like-teaching before they say good-bye!
Sanskrit & (English) format now: devA Uchuh "bravItu no bhavAn" - iti |
(Gods said to him: "Please teach us")
tEbhyo ha etad akSharam uvAcha 'da' iti |
(He said to them, the single syllable 'da.)
vyjNAsiShTA - iti |
( 'Did you understand?' - (he asked them))
'vyajNAsiShma' iti ha Uchuh |
("(Yes), we have understood" - they told (him))
"dAmyata iti na Attha"- iti |
("(What) you said (to us is) 'Control yourselves (dAmyata')")
"Om" - iti ha uvAcha, vyajNasiShTA iti |
"That is OK", he said, "you have understood (it)!"
Then, the men approached him and asked, "Please teach us, father!" He told them also the same single syllable 'da', and asked them too, "Did you understand what I told you?" They, the men told, "Yep, we have. You told us to 'be charitable' ('datta'), isn't it?" "That is OK", he said, "you have got it!"
Next was the turn of the demons. When they too approached their father and asked him, "Please teach us", he told them also the same single syllable 'da'. "Have you understood it?", he asked them. They said, "Ya, we have. You told us to 'be merciful ('dayadhwam'); isn't it?" "That's OK", he said, "you have grasped it!"
Then, at that instant, a heavenly voice is heard thundering" "da, da, da; dAmyata, datta, dayadhwam !" That is why one should learn this triad, triple axioms: self-control('damam'), charity('dAnam') and mercy('dayA')!
In the above story, even though the author has used the terms as gods ('dEvAh'), men ('manuShyAh') and demons ('asurAh'), they may also be construed as the good men in respectable positions, common men and aggressive men in power with evil potentials - respectively. Every one may have more than one, even triple personalities, depending on several factors such as circumstance, interaction etc. Hence, the basic instruction is to observe all the three "da's" meant for all the disciplines.
The above was adapted from S.K. Harihareshwara

Other information:
Performed by Srimati M S Subbalakshmi specially arranged at the United Nations. This is a benedictory song, composed in Sanskrit for the occasion by the great saint-scholar preceptor Shankaracharya of Kanchi kAmakoTi pITha, India. Appealing for friendship that conquers all hearts, for non-violence, and tolerance to live and let-live, requesting to eschew aggression among peoples of all the nations of the world and to forsake unhealthy competition, aspiring for universal peace, and showering blessings of prosperity for the whole mankind.

Saturday, December 31, 2011

SAARASAM VASEEGARA KANGAL - KRISHNA BHAKTHI


KURINJI, SINDHU BHAIRAVI, YAMUNA KALYANI.

saarasam 
vaseegara kaNgaL 
seer tharum 
mugam chandra bimbam 

saarasam 
vaseegara kaNgaL 
seer tharum 
mugam chandra bimbam 

saarasam 
kaN aadidum Oviya 
peNNaai 
vaaiththaal 
paerinbam 

saarasam 
kaN aadidum Oviya 
peNNaai 
vaaiththaal 
paerinbam 

saarasam 
vaseegara kaNgaL 
seer tharum 
mugam chandra bimbam 

aadum mayilaaL 
abinaya mozhiyaaL 
aadum mayilaaL 
abinaya mozhiyaaL 
ivaL anbai naadum puvimaiellaam 
aadum mayilaaL 
abinaya mozhiyaaL 
aah haa 
ivaL anbai naadum puvimaiellaam 
eedillaa 
deva kumari singaari 
eedillaa 
deva kumari singaari 
ithikaasa suga rasa vaathi 
saarasam 
ithikaasa suga rasa vaathi 

saarasam 
vaseegara kaNgaL 
seer tharum 
mugam chandra bimbam 

saarasam 
vaseegara kaNgaL 
seer tharum 
iru kaNgaL seer tharum 
vaseegara kaNgaL seer tharum 
mugam chandra bimbam 


Krishna Bhakthi 1948
P. U. Chinnappa, T. R. Rajakumari, K. R. Ramasami, SP. L. Dhanalakshmi, D. Balasubramaniam, N. S. Krishnan, T. A. Mathuram, P. A. Periyanayaki



memorable performances From Krishna Bhakthi

A concoction of mythology, historical characters, novels and imagination kindled by foreign films, Krishna Bhakthi was produced by one of the most colourful personalities of south Indian cinema, S. M. Lakshmanan Chettiar, better known as “Lena”.

‘Lena’ Chettiar had a roaring automobile business in Karaikudi; he bought and sold used cars. He circulated handbills about his vehicles in Tamil, then a novelty. Most Chettiars had no knowledge of English and were delighted to see ads about foreign cars in a lingo they understood well. Besides, Lena had an interest in the arts, especially the Tamil Theatre and its business side as ‘drama contractor.’ Soon, Lena promoted ‘Krishna Pictures’ in the early 1940s under which he produced films in Tamil and Telugu for nearly 15 years.

 Krishna Bhakthi is the tale of a hypocrite saint, (Chinnappa) who lusts after a chaste court dancer (Rajakumari), and his ultimate redemption. The film was under production for nearly five years due to many difficulties. R. S. Mani, editor-turned-director who had directed the 1942 hit Kannagi, made it. The script on which Mani and his assistant S. Ramanathan worked for six months was inspired by Rasputin, the notorious Russian monk, and a French novel “The Monk” translated into English, which Ramanathan bought in Moore Market for one rupee! The dialogue was written by noted writers of the day — S. D. S. Yogi, Suddhananda Bharathi, Ku. Pa. Sethu Ammal and Chandilyan.

P. U. Chinnappa as the woman-crazy devotee of Lord Krishna (K. R. Ramasami) came up with a memorable performance old-timers talk about even today. One particular sequence worth mentioning for its technical excellence as well as Chinnappa’s amazing performance is a song-discourse (music: S. V. Venkataraman; and lyrics: Udumalai Narayana Kavi), Here, Chinnappa narrates the tale of a dancing girl named Sengamalam who refused to yield to any man and devoted herself to Lord Krishna. The recording of this ‘Harikatha’ lasted nearly six minutes and Chinnappa finished it in one ‘take’! Perhaps, this is the only such feat in the history of Indian cinema after pre-recording of music was introduced in the late 1930s.

Along with Chinnappa, others sang in chorus and a well-known artiste, S. V. S. Narayanan, played the mridangam. Krishnan and Mathuram provided comic relief. Not many are aware that Carnatic music icon M. L. Vasanthakumari appeared on screen in a regal court sequence, and sang ‘Entha Vedukonthu O Raghava….’ in Raaga Saraswathi Manohari. This was her only on-screen appearance. But, she sang off-screen. Indeed she was engaged to play the second wife of the potter-saint Gora Kumbhar inSudharshan, a Jupiter Pictures production. But for personal reasons, she opted out after a few reels were shot and (Yogam) Mangalam replaced her.

Remembered for the melodious songs of Chinnappa, and MLV’s solitary on-screen appearance.



RANDOR GUY

Thursday, August 19, 2010

AVAL APPADI ONRUM - ANGADI THERU




Aval Appadi Ondrum Azhagillai
Avalukku Yaarum Inai Illai
Aval Appadi Ordrum Color Illai
Aanal Athu Oru Kurai Illai
Aval Appadi Ondrum Azhagillai
Avalukku Yaarum Inai Illai
Aval Appadi Ordrum Color Illai
Aanal Athu Oru Kurai Illai
Aval Perithaai Ondrum Padikka Villai
Avalai Padithaen Mudikka Villai
Aval Uthuthum Udaigal Pidikka Villai
Irunthum Kavanikka Marakka Villai
Aval Appadi Ondrum Azhagillai
Avalukku Yaarum Inai Illai
Aval Appadi Ordrum Color Illai
Aanal Athu Oru Kurai Illai
Aval Naaikutti Ethuvum.. Valarkavillai..
Naan Kaaval Irunthaal.. Thadukkavillai.
Aval Bommaikalai Vaithu Urangavillai
Naan Bommai Pola Pirakka Villai
Aval Koonthal Ondrum Neelamillai
Antha Kaatil Thølaithen Meelavillai
Aval Kai Viral Møthiram Thangamillai
Kai Pidithidum Aasai Thøøngavillai
Aval Šøntham Indri Èduvum Illai..
Ènakku Èduvum Illai..
Aval Appadi Ondrum Azhagillai
Avalukku Yaarum Inai Illai
Aval Appadi Ordrum Cølør Illai
Aanal Athu Oru Kurai Illai..
Aval Pattu Pudavai Èndrum.. Aninthathillai..
Aval Chudithar Pøla Èthuvum.. Širanthathillai..
Aval Thittum Pøthum Valikka Villai
Antha Akkarai Pøla Veru Illai
Aval Vaasam Røja Vaasam Illai
Aval Illamal Šwasam Illai
Aval Šøntham Bantham Èduvum Illai
Aval Šøntham Indri Èduvum Illai
Aval Šøntham Indri Èduvum Illai..
Ènakku Èduvum Illai..
Aval Appadi Ondrum Azhagillai
Avalukku Yaarum Inai Illai
Aval Appadi Ordrum Cølør Illai
Aanal Athu Oru Kurai Illai
Aval Perithaai Ondrum Padikka Villai
Avalai Padithen Mudikka Villai
Aval Uthuthum Udaigal Pidikka Villai
Irunthum Kavanikka Marakka Villai..

Thursday, December 17, 2009

THESULAVUDHE THEN MALARALE - MANALANE MANGAIYIN BHAGYAM






HAMSANANDHI, BAHAR (KAANADA IN CARNATIC), JONPURI, YAMUNA KALYANI.


Song: Thaesulavudhae Thaen Malaraalae

Movie Name: Manalane Mangayin Bhagyam
Singer: Ghantasala, Susheela P
Music Director: Adi Narayana Rao
Lyrics: Ramiah Dass TN
Year: 1957
Producer: Aathi Narayana Rao
Director: Vedantam Raghavaiah
Actors: Anjali Devi, Gemini Ganesh, Nageshwara Rao

THAESULAAVUDHAE THAEN MALARAALAE 
THAESULAAVUDHAE THAEN MALARAALAE 
THENDRALAE KAADHAL KAVI PAADAVAA 
VILAYAADA VAA AAAAA... 
THAESULAAVUDHAE THAEN MALARAALAE 

MAASILLA IDHAYAMAEVIDA VAARAAI AAA.. 
MAASILLA IDHAYAMAEVIDA VAARAAI AAA.. 
MAASILLA IDHAYAMAEVIDA VAARAAI (SANGADHI) 
MAASILLA IDHAYAMAEVIDA VAARAAI 
MADHU NILAI THAVAZHNDHIDUM PUDHU NILAI PAARAAI 
MADHU NILAI THAVAZHNDHIDUM PUDHU NILAIYAAL 
MANA OONJAL AADUVOM ULLAASAMAAI SALLAABAMAAI AAA.. 
THAESULAAVUDHAE THAEN MALARAALAE 

VAARAAI 
VAARAAI MARAINDHU VARUM MINNALAIYAE 
VAARAAI MARAINDHU VARUM MINNALAIYAE 
MINNUVADHAENO 
MAEGA RAAJAN SUGAM MAEVIDATHAANO 
UNMAIYAE THAANO 
UYIRGAL VAAZHA MAZHAI PEIDHIDATHAANO 
URIMAIYOADU MANA VAANIL NAAMAE 
URIMAIYOADU MANA VAANIL NAAMAE 
OONJAL AADUVOM ULLAASAMAAI SALLAABAMAAI AAA.. 
THAESULAAVUDHAE THAEN MALARAALAE 

OADI vAA VENNILAAVAE 
INGU OADI vAA VENNILAAVAE 
VARUVAAI NILAAVAE 
VAAZHVINILAE ORU NAAL IDHUVAE NILAVAE 
OADI vAA VENNILAAVAE 
KANNAAL PAESUM KAAVIYAMAE 
KANNAAL PAESUM KAAVIYAMAE 
KAAVIYAMAE PUGAZH KAADHAL INBAMAE 
KAAVIYAMAE PUGAZH KAADHAL INBA 
MANA OONJAL AADUVOM ULLAASAMAAI SALLAABAMAAI AAA.. 
THAESULAAVUDHAE THAEN MALARAALAE 

AAA... 
MANADHAI POAL MALARUMAE KUMUDHUMAE 
MADHUVINIL SUGAM THARUMAE 
MANADHAI POAL MALARUMAE KUMUDHUMAE 
MADHUVINIL SUGAM THARUMAE 
MANADHAI POAL MALARUMAE 
IDHAYAMAE UNNIDAMAE 
IDHAYAMAE UNNIDAMAE 
INBAM PAAYUM UNNAALAE EN VAAZHVILAE 
PAAYUM UNNAALAE EN VAAZHVILAE (SANGADHI)