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Product Description'Vadhapiganapathim- Hamsadhwani – Adhi –DikshidharVedhanai Evaridam – Parvathi- Kandachappu –Ambujam KrishnanSamaganapriye – Anandhabhairavi- Adhi – G.N.BalasubramanyamRaghuvamsasudha - Kathanakudhukalam – Adhi – Pattinam Subramanya IyerAberi – Raga AalapanaNagumomu - Abheri – Adi –ThyagarajaThani AvarthanamChinnanchiru Kiliye - Raga Malika – Rupakam – Bharathiyar'1. Gnana Vinayaka – Gambheera Natai – Adi – Papanasam Sivan2. Sabhapathi – Abhogi - Roopakam-Papanasam Sivan3.
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Marugelara – Jayanthasri – adi – Thyagaraja4. Kripayapalaya – Charukesi – Misrachapu – Swathi Thirunal5. Swami Sangeetha - (Ayappan Song)7. Bhagyada Lakshmi – Madhyamavathi – Adi – PurundaradasarKadri Gopalnath is a somewhat atypical figure on the Indian classical music scene on account of his choice of instrument the also sax, an instrument he began playing as a child and that he has bent to the needs of the needs of the raga in a series of brilliant left-field interpretations.
It’s a choice that runs decidedly counter to the musical culture Gopalnath grew up in where his adherence to strict canons albeit with their own internal evolution, has permitted the preservation of a thousand years old tradition. Yet thanks to his passion and ability Kadri Gopalnath has managed to insert a typically western instrument to the flow of south Indian classical music, bringing out its resources and nuances in all altogether different light. Adhyaya I (Madhukanda)4.
Pravargya – Advaitopadesa5. Aham Brahmasri6. Brahmanam 1 Mantras 1 and 27. Brahmanam 2 Mantras 1 to 78. Brahmanam 3 Mantras 1 to 289. Brahmanam 4 Mantras 1 to 1710.
Brahmanam 5 Mantras 1 to 2311. Brahmanam 6 Mantras 1 to 3The Upanishads are the perennial source of spiritual knowledge. The word Upanishad means secret and sacred knowledge. Isavasya Upanishad is a portion from the Sukla Yajurveda samhita containing twenty mantras. The central theme of this Upanishad “Isavasyam idam stream” is to teach that God is all pervasive and regulator of all. All are entirely dependent upon him.
It advises elimination of greed for spiritual pursuit; Performance of one’s prescribed duties in dedication to the God. To know the God as described above is right knowledge. The following prayer has rich spiritual content and a high degree of poetic appeal. Ohm, God lead us by the right path towards the prosperity (liberation), remove the bondage.
We offer profuse salutations.Brhadaranyaka Upanishad is the most important of the Upanishads. It details the theory of creation and the means of knowing the self and the Brahman three sections. Madhu Kanda,Yajnavalkya Kanda and Khila Kanda. The Madhu Kanda teaches about the identity of the individual self and the universal self the superimposition of the world on Brahman.' Adhyayav (Yajnavalkya Kanda )2. Brahmanan 1 Mantras 13.
Brahmanan 2 Mantras 1 to 34. Brahmanan 3 Mantras 15. Brahmanan 4 Mantras 16. Brahmanan 5 Mantras 1 and 27. Brahmanan 6 Mantras 18.
Brahmanan 7 Mantras 19. Yajnavalkya – Gargi, Brahmatattva10. Brahmanan 8 Mantras 111. Brahmanan 9 Mantras 112. Brahmanan 10 Mantras 113. Brahmanan 11 Mantras 114. Brahmanan 12 Mantras 115.
Brahmanan 13 Mantras 1 to 416. Brahmanan 14 Mantras 1 to 717. Brahmanan 15 Mantras 1The most important Brhadaranyaka Upanishad is the perennial source of secret and sacred spiritual knowledge. In the Yajnavalkya Kanda, Yanjnavalkya is presented as a master dialectician in the assembly of the philosopher. King Janaka, worsting the deabators who are the philosophical interlocutors opposing Yajnavalkya. The third division, the Khila Kanda, deals with certain kinds of mediation. The preaching to Gargi the Brahma tattva, the paraloka and Moksha.
Yajnavalkya maitreyi samvada that explains Atmabodha.' Brahmanan 2 Mantras 1 to 044. Brahmanan 3 Mantras 1 to 065. Brahmanan 4 Mantras 1 to 146. Brahmanan 5 Mantras 1 to 197. Brahmanan 6 Mantras 1 to 038.
Adhyaya III (Adhyaropa)9. Brahmanan 1 Mantras 1 to 1010. Brahmanan 2 Mantras 1 to 1311. Brahmanan 3 Mantras 1 and 212. Brahmanan 4 Mantras 1 and 213. Brahmanan 5 Mantras 114. Brahmanan 6 Mantras 115.
Brahmanan 7 Mantras 1 and 216. Brahmanan 8 Mantras 1 to 1217.
Brahmanan 9 Mantras 1 to 16The most important Brahadarnayaka Upanishad is the perennial source of secret and sacred spiritual knowledge. The Madhu Kanda teaches about the identity of the individual self and the universal self-the superimposition of the world on Brahman. Adi Sankara, Ramanuja and Madhava have commented on this Upanishad and commended its Scientific method of explanation.
Sureshvara wrote a vartika (a gloss on Sankara’s commentary) there are two recessions of the Satapatha Brahmana, the Kanva and Madhyandina. Sankara followed the Kanva recessions.'
'The Upanishads are the perennial source of spiritual knowledge. The word Upanishad means secret and sacred knowledge. Brahadaranyaka Upanishad is the most important of the Upanishads. The Upanishad conveys the ultimate message as Aham Brahmasri- I am Brahman:“Atmetyevopasita – worship Atman as Brahman: Athata aadeso neti neti-Therefore, the instruction is not this, not this. When everything is negated, what remains the desideratum is Brahman. This Upanishad is considered the last word on Advaita. It also contains the famous Maiteyi Brahmana, which is the dialogue between Yajnavalkya and his philosopher wife Maiteyi who demanded that her husband indicate to her the means of Self-realization.
“Atma va are drashtavyo srotavyo” etc.1. Adhyaya III2. Madhukanda (Adhyaropa)3. Brahmanan 9 Mantras 16 to 184. Slokas 1 to 75.
Brahman, Atma Svaroopa, (Apavada) (Vidya sutra Vyakhya) (neti neti)7. Brahmanan 1 Mantras 1 to 78. Brahmanan 2 Mantras 1 to 49. Brahmanan 3 Mantras 1 to 3710.
Brahmanan 4 Mantras 1 to 2511. Brahmanan 5 Mantras 1 to 1512. Brahmanan 6 Mantras 1 to 3'1. Naaranar Enum2. Vaasithu Kaanonathu3. Moola Mandhiram4.
Nilaiyaana Samuthiramaga5. Tharayil Maanudar6. Aanatha Gnani'Sindhikkiren2. Karuvin Uruve4.
Padikkum Thiruppugazh5. Ezhu Kadal Manalai6. Naadha Kumaara'1. Naanenu Maadidheno2. Baagilanu Theredhu3.
Enu Saadhane Maadi Krishnana4. Elu Narayanane5. Elemana Muraayiyanu Kondaado6. Daasa Daasara Maneya7. Hanuman Mathave8. Hanthakana Dhootharige9. Mella Mellane BandaneKadri Gopalnath is a somewhat atypical figure on the Indian classical music scene on account of his choice of instrument the also sax, an instrument he began playing as a child and that he has bent to the needs of the needs of the raga in a series of brilliant left-field interpretations.
It’s a choice that runs decidedly counter to the musical culture Gopalnath grew up in where his adherence to strict canons albeit with their own internal evolution, has permitted the preservation of a thousand years old tradition. Yet thanks to his passion and ability, Kadri Gopalnath has managed to insert a typically western instrument to the flow of south Indian classical music, bringing out its resources and nuances in all altogether different light.' Namo Venkatesha2. Poojisalende Hoogala Thandhe3.
Neenu Nanas Sari Samarenu4. Belagayithu Elamma Mookambika5.
Saakashaath Parabrahama Roopa6. Megha Maale Dharisiha7. Badhuke Bangaara Vayithu8. Jyothi Belagi Barali9. Elli Ninna Bhaktaro Alle MantharaalayaKadri Gopalnath is a somewhat atypical figure on the Indian classical music scene on account of his choice of instrument the also sax, an instrument he began playing as a child and that he has bent to the needs of the needs of the raga in a series of brilliant left-field interpretations. It’s a choice that runs decidedly counter to the musical culture Gopalnath grew up in where his adherence to strict canons albeit with their own internal evolution, has permitted the preservation of a thousand years old tradition.
Yet thanks to his passion and ability, Kadri Gopalnath has managed to insert a typically western instrument to the flow of south Indian classical music, bringing out its resources and nuances in all altogether different light.' Siddhi Vinayagam – Shanmuga Priya – Rupakam – Dhikshithar2. Sobillu Sabdha – Jagan Mohini – Rupakam – Thyagaraja3. Birana Brova – Kalyani – Adhi – (Thisra Nadai) – Pancha Nadhiswara4.
Chakkani Raja - Karahara Priya - Adi – Thayagaraja5. Indha Vibeeshana – Banthuvarali – Rupakam – Aununachala Kavi6. Thani Avarthanam7. Thunbam Nergayil – dhesh – Ekathalam - Bharathidhasan8. Western Notes9. Varnam- Ranjani - adi – G.N.Balasubrmanian2. Gajavadana – Begada – Adi – Vijaya Vittala Dasa3.
Om Namo Narayana – Karna Ranjani – K.Chappu – Ambujam Krishna4. Pirava Varam Tharum – Lathangi – Adi – Gopalakrishna Bharati5.
Vararagalaya – Chenchu Kambodhi – adi –Thyagaraja6. Srinivasa – Karaharapriya – Rupakam – Papanasam Sivan.7. Marati Abang - Misra Marubehag – Ekam - Namdev'1.
Jagadhanandha Karaka – Nattai – Adhi – Thyagaraja2. Pahimam Sri – Janaranjani – Adhi – Ramaswami Sivan3. Manaviyalakinhara – Nalinikanthi – Adhi – Thyagaraja4. Samaja Varagamana – Hindolam – Adhi – Thyagaraja5. Rangasayee – Kambhoji – Adhi – Thyagaraja6. Bhavayami Gopalam – Yamuna Kalyani – Khandachapu7. Rama Mantra - Jonpuri – Adhi – Purandara Dasa8.
Thillana – Kapi – Thisra Ekam – MD Ramanathan'The Divine Mother of the Universe, Lalitha, once gave audience to all the gods. To worship her came crores of Brahmas (creators) and Brahmin’s (consorts of the creators), and crores of Narayanas with their Lakshmis and crores of Rural with their Gaur is.
The different Shaktis who came to do Lalitha reverence were also innumerable, as were the Devas and Siddhas.When they had all worshipped her, they took their seats, upon which, Sri Devi Lalitha, glanced meaningfully Vashini and others, the goddess of speech. There upon they began to sing the thousand names of Lalitha, composed by them earlier, at her express command.While Devi Lalitha became glad upon hearing the hymn, all those who were assembled there were amazed at its exquisite beauty and puissance.
“Declare these thousand names to my devotees. It a devotee recites it even once, I grant him all his desires,” Devi Lalitha told them.The above details are conveyed by Lord Havagriva, the horse-faced manifestation of Lord Vishnu worshipped as the embodiment of intelligence, to the Sage Agastya, one of the most revered figures in Hindu lord. The passage occurs in the preface to the Lalitha Sahasranama, a great masterpiece that finds pride of place in the second part of the Brahmanda Purana. (The Puranas are sacred texts, which explain the Vedic doctrines, the fountainhead of Hindu philosophy, to lay minds).Taken as a devotional hymn, the Lalitha Sahasranama is a wonderful track in which deep feeling is expressed in sublime language.
The sonorous alliterations and assonances, and the beautiful cadences create an incantatory effect. Unlike other hymns of thousand names, the Lalitha Sahasranama is free from meaningless particles and words, and also from the fault of repetition. The hymn, in its straightforward significance invokes the celestial qualities of the goddess, and builds an ambience of majesty, beauty, power and sanctity.' Adi Kinder – Mayamalavagowla – Adi – Muthuthandavar2. Ananda Nata Maduvar – Poorvi Kalyani – Adi – Neelakanta Sivan3.
Kamalamba – Ananadabairavi – Misra Chapu – Dikshitar4. Krishna Nee Begane Baro – Yamunakalyani – Misra Chapu – Puranadaradasar5.
Thunga Theera Vihara – Salagabairvai – Adi – Kamalesavitala6. Sri Chakra – Ragamalika – Adi – Pudukkottai Santhananda Swamy7. Dolayam – Kamas – Tisra Ekam - Annamacharya'1. Pranamamyaham – Gowla – Adi - Mysore Vasudevachar2. Maamavasada Varada - Natakuranji – Roopakam – Swathi Thirunal3.
Bantu Reethi – Hamsanadham – Adi -Thyagaraja4. Vinatha Sutha – Jayantasena – Adi – Thyagaraja5. Swara Raga – Sankarabharanam – Adi - Thyagaraja6. Narayana - Sudha Dhanyasi – Khanda Chapu – Purandara Dasaru7. Thamarai Pootha – Sindhu Bhairavi – Adi – Thrichy Thayagarajan8. Pibare Ramarasam – Yamuna Kalyani - Adi - Sadasiva Bramhendra'1.
Ganamurthi – Raga Ganamurthi – Adi – Thyagaraja – Namagiri Pettai Krishnan2. Nannu Palimpa – Mohanama – Adi – Thyagaraja - Karakuruchi Arunachalam3. Nagumomu – Abheri – Adi – Thyagaraja (with Thani Avarthnam) – Jayashankar & Valayapatti4. Birane Brova – Kalyani – Adi – (Tisra Nadai) – Pancha Nadhiswara – MPN Sethuraman Ponnuswamy5. Theeradha Vilaiyattu Pillai – Ragamalikai – Tisra Ekam - Bhaatiyar – Dr.Sheik Chinna Moulana'1. Manavyaala – Thyagaraja - Nalinakanti - Adi2.
Nathajana – Thyagaraja - Simhendra Madhyama – Roopaka3. Sri Chakra Raja Nilaye – GNB - Shivashakti – Adi4. Parama Paavana Rama – P.Srinivasa Ayyangar – Poorvi Kalyani – Adi5.
Brahmanda Nayaka – Swamy – Sindhu Bhairavi – AdiKadri Gopalnath is a somewhat atypical figure on the Indian classical music scene on account of his choice of instrument the also sax, an instrument he began playing as a child and that he has bent to the needs of the needs of the raga in a series of brilliant left-field interpretations. It’s a choice that runs decidedly counter to the musical culture Gopalnath grew up in where he adherence to strict canons albeit with their own internal evolution, has permitted the preservation of a thousand years old tradition. Yet thanks to his passion and ability, Kadri Gopalnath has managed to insert a typically western instrument to the flow of south Indian classical music, bringing out its resources and nuances in all altogether different light.' Gnana Vinayaka – Gambeera Nattai – Saravanabavananda2. Endaro Mahanu Bhavulu – Sri – Adi – Thyagarajaswamy3.
Elara Krishna - Kamboji - Roopakam - Thyagarajaswamy4. Akhilandeswari – Dwijavanti – Adi – Dikshitar5. Theeradha Vilaiyattu Pillai - Ragamalikai – Tisra Ekam – Bharatiyar6. Alaipayudhe – Kanada – Adi – Oothukadu Venkatasubbiar7. Thullumadha Vetkai - (Tiruppugazh) - Hamsanandi – Ad'1.
Vanthisuve – Nattai – Kandachapu – Purandarados2. Evaritho – Manavathi - Adi – Thyagaraja3.
Palimpa - Arabhi – Adi – (Tisranadai) – Pallavi – Seshayyam4. Rama Nama – Durbari Kannada – Rupakam – Purandarados5. Gananaya – Desika – Rishaba Priya – Adi – Koteswara Iyer6. Thillana – Behag – Adi – Lalgudi Jayaraman'1.
Mariamma Muthu Mariamma2. Charanam Endral3.
Veppilaye Sengolam4. Verkadu Thiruverkadu5. Kanmalar Malarvai6. Adi Masam Vandhale7. Mummari Pozhiyonum8. Ulagalum Ammanukku9. Atha En Chellatha10.
Thiruvadi Charanam11. Azhagana Mayilaiyile12. Karumari Thirumudiyin13. Mayavan Thangaiye'1. Saba Badhiku – Abogi – Rupakam – Gopalakrishna Bharathi2. Karanam Kettuvadi – Poorvikalyani- Adhi- Sudhanandha Bharathi3. Saramathi – Raga Alapana4.
Motchamugalada- Saramathi – Adhi- Thyagarajar5. Thiruppugazhi – Arunagirinadhar6. Saravanabhava- Shanmugapriya - Adhi – Sivan7. Chinnanchiru – Ragamalika – Adhi – U.Shanmugam8.
Western Note'1. Ganapathi Nin3. Aanai Mugane4. Maargazhi Thingal6. Ongi Ulagalandha8.
Maargazhi Thingal2. Ongi Ulagalandha4. Anbar Ullam8. Radhe Shyam9.
Hari Krishna Govinda10. Sri Gopala Vimsathi11. Sri Krishna Astakam'1. Ganamurthi - Raga Ganamurthi – Adhi Thyagaraja2. Dharmavathi – Ragaalapana3. Bajana Seya – Dharmavathi Rupakam - Mysore Vasu Devachar4. Nanati Badhuku – Revathi – Adhi – Annamachariyar5.
Ragam Thalam Pallavi and Thani Avarthanam'1. Mahaganapathe – Kanada – Roopam - Koteeswara Iyer – Veena – E.Gayatri2. Sri Chakra Raja Nilaye – Siva Sakthi – Adi Gnb – Saxophone - Kadri Gopalnath3. Nenaruchi - Malavi – Adi – Thiagaraja - Violin – Kunnakudi R.
Pahimam Sri - Janaranjani – Adi – Ramaswamy Sivan – Nadhaswaram - Sheik Chinna Moulana5. Jagadheeswari - Mohanam – Adi – Tiruvarur Ramaswamy Pillai – Mandolin – U.Srinivas6.
Theeratha Vilayattu Pillai – Ragamalika – Kandachapu – Bharatiyar – Flute – Dr.N. Kshemangal Kori Vinayakanai2. Gowri Kalayana Vaibhogame3.
Sri Rama Jaya Jaya4. Shobane Kodi Manmatha5. Neeradina Sri Rama6. Maalai Saathiaal7. Manmathanukku Maalayittaaye8. Vajra Vaidooriyathal9.
Vindhai Nirai10. Nandi Muganukku11. Rathna Oonjalil12. Lali Laliyani13. Ezhiludaya Raghavane16. Nalangida Vaarum Raaja17. Nalangidugiraal Meenalochani18.
Bhojanam Seyya Vaarungo20. Mangalam Nandagopa'1. Raghu Vamsa Sudha – Kathana Kuthoolam Patnam Subramanya Iyer – Adi2. Ninnukori - Mohana Varnam Veenai Kuppaiyar – Adi3.
Enthara Nee Thana – Hari Kamboji Thyagarajar – Adi4. Marugelara – Jayanthisri Thygarajar –Adi5.
Rama Bhirama- Darbar Thyagarajar - Misra Chap6. Manasa Sancharare – Sama Sadasiva Brahmendrar – Adi7. Jhothumu Thodapiya – Misra Chakravakam Meera Bhajan – Adi8.
Vinayakuni – Madyamavathi Thyagarajar – Adi'1. Ganapathi – Hamsadwani – Roopakam – Chidambaram – Malaya Vijaya Barathi3. Sanathan – Balamanjari – Adi – Thyagaraja4. Konniyada – Kokiladhwani – Adi – Thyagaraja5. Kanchadalaya Dhakshi – Kamala Manohari – Adi – Muthuswamy Dhikshithar6. Jagadheeswari – Mohanam Adi – Thiruvarur Ramaswamy Pillai7. Karunai Deivam – Sindhu Bhairavi Adi – Madurai T.
Pillaiar Chathurthi2. Ganapathy Namam3. Vigna Vinayagane5. Vezha Mugathu7.
Sri Gananadha8. Jai Ganesa11. Ucchi Malai12. Oorvala Maagave'1.
Azhagana Mayilayile2. Karumari Thirumudiyin3. Mayavan Thangaiyae4. Ettu Thisayilum6. Amma Amma Karuvagi8. Ondragi Nindravan9.
Amutha Kudam Pol10. Amma En Mari'1. Vinayagar Thuthi2.
Naanthanti Mariamma4. Koodu Vittu6. Kaval Kakkum7. Edutha Kariyam8. Mariamman Kovilile9. Engum Nirainthavale11. Mariamma'The vibrations of sound formulas of the Vedas work through the chakras to increase the flow of beneficial energy throughout the subtle body where these latencies and tendencies are stored.
Mantra therapy starts by increasing the total amount of energy available for all our activities. Certain mantras used singly or in combination can greatly accelerate the quality and quality of energy used in the healing process. It guards the World against all ills. Our ancestors devised remarkable methods of chanting to protect the original form, their tonal and verbal purity against change and distortion. They laid down rules to make sure tat not a syllable was changed in chanting, not a swara was altered and ensured that the full benefits were derived from intoning the mantras. According the this the words of a mantra are braided together in different atterns like “Vakya”, “pada”, “karma”, “jala”, “mala”, “sikha”, “rekha”, “Ghana”. The intonation of a few words of a mantra is joined to the second the second to the third, the third to the fourth and so on, until we come to the final word “karma to ca caurgunam.
This karma chanting bestows four times the effect of normal chanting of the Mantra.Hence, this compact disc presents “Rudram” a popular and effective Vedic portion extolling the greatness of Siva, chanted to ward off evils, sins etc and to gain security and strength. This Rudram is chanted in the Krama format, by the traditional Pandit, Thanjavur Brahmasri S.Radhakrishna Sastrigal.' 'The Devi Mahatmiyam is an esoteric Epic, a great spiritual occult text and a Mantra – Sastra. It is a part of the Markandeya Purana. The Devi Mahatmiyam signifies the march of the human soul to its destination. Three stages of transformation of the spiritual being of the aspiring sour are described in the three sections of the Devi Mahatmiyam through the anecdotes- Adi-Sakthi as Maha Kali awakening Maha Vishnu in order to destroy the original demonical forces., Madhu and Kaitabha, the same Shankthi manifesting as Maha Lakshmi and overcoming Mahishasura and Raktbija, and as Maha Saraswathi destroying Sumbha and Nisumbha.
These three presiding forces are representative of the powers of the spirit within manifesting as themselves in an upward ascent towards ultimate God realization, which is described in the Devi Mahatmiyam. Thus, the dance of the cosmic spirit in its supernal effort at self transcendence, is majestically described in the beautifully worded sonorous songs of the Devi Mahatmiyam, where we are given s stirring account, a stimulating description of what Maha Kali did, what Maha Lakshmi did and Maha Saraswathi did in bringing about this evolution and transformation.The Devi Mahamiyam is recited for averting calamities in life Catastrophies, tensions. When there is war treating a country, for example, or pestilence of epidemic everywhere, Or any internal tension or anxiety of any kind, the Devi Mahatmiyam is recited and it is a very potent remedy prescribed by seers of yore, not only for temporal terrestrial Prosperity, but also for the glory of the hereafter, for illumination, for the destruction of ignorance and to be a fit recipient of the grace of the Almighty.The chosen and the effective prayer portions of the Devi Mahatmiyam have been recited by Thanjavur.S.Radhakrishna Sastrigal, the hearing of which fetches the desired divine fruit.' Chanting of Om Sri Mahaganadhi Pathaye Namaha by S.P.Balasubramaniam'Om A Salutation to God, the ultimate HimBhoor The eternalBhuvah The CreatorSvah The IndependentTat EternalSavithur Sun as the creative Principle of lightVarenyam Supreme GodBhargo Light that bestows wisdom, Bliss and lifeDevasya Light of GodDheemahi We meditateDhiyo IntellectYo Nah Lead usPrachodayaat Towards illumination'2. Intha Kannaranda Memmi – Bilahari – Roopakam3.
Rama Neeyeda - Kharahara Priya – Adi4. Evarimata – Kambodhi - Adi5. Bajana Seyave – Kalyani – Roopakam6. Kanuganu Sowkiyamu – Mayaki – RoopakamMangalampalli Balamuralikrishna was born on July 6, 1930 at Sankaraguptam, a small hamlet in Rajolu Taluk, East Godavari District in Andhra Pradesh, to Mangalampalli Pattabhiramayya and Suryakanthama.
His father, Pattabhiramauua was a famous flutist and a music teacher and Suryakanthama was a notable Veena artists. His guru was the famous Parupalli Ramakrishna Pantulu. In the order of guru Parampara, Balamuralikrishna is fifth in the line of direct disciples of the great Saint Tyagaraja.In 1938, at the age of eight, he gave his first full-fledged performance.
Not merely content with his name and fame as a concert vocalist, very soon he proved his immense versatility by playing the kanjira, mrdangam, viola and violin and the public flecked to hear his concerts. When he was barely 14 years old, he composed Raganga –Ravalli, a detailed work on the 72-melakarta (basic scales of music) scheme. By 16 he became a Doctorate in music. He has served as music producer at Vijayawada, Hyderabad and the Madras All India Radio Stations.
In this capacity he pioneered his early hour devotional renderings in India under the title ‘Bhakthi Ranjani’. He also acted as the first principal of the government Music College at Vijayawada.' Mahaganapathe – Kanada – Rupakam – Kotteeswara Iyer2.
Rama Rama – Vasanha – Thisra Adhi – Purandhardasar3. Nee Irangayenil - Atana - Adhi – Papanasam Sivam4. Mokshamugaladha – Charamadhi - Adhi - Thyagarajar5. Theruvadheppo – Kamas – Adhi – Neelakanta Sivan6. Vadavarayai Mathakki - Raga Malika – adhi7. Adathu Asanghathu – Madhya Mavathi – Adhi – Oothukadu Venkata Subbaiyar8. Senthamizh Nadenum – Mohana Kalyani - Adhi – Bharathiyar9.
Thillana - Dharbarthanada – Adhi10. Krishna Nee Begame – Yaman Kalyani – Misrachapu - Purandhardasar11.
Nandha Nandhana Venu - Aberi - Adhi - Annamacharya12. Thandhananathana - Bowli – Adhi – Annamacharya'1.
Re Re Manasa Bajare – Nattai – Rupakam2. Palimpa – Arabhi - Thisra – Adhi3. Vijayambike – Vijay a Nagari – Adhi4. Samayamidhe – Kedharam – Rupakam5. Hari Hara Sudha Palayamam - Koshalam - Adi6. Narayana Namo - Madhyamaravali – Kantajampai7. Nemamutho – Lathangi - Adhi8.
Mangalalaya – Veenavadhini – Adhi9. Kamakoli – Bandhuvarali – Rupakam10. Sama Gana Lolane – Hindholam – Adhi11. Raja Raja Radhithe – Niroshta – Thisra – Adhi12. Niravathi Sugatha – Ravichandrika - AdhiThe Veena is quintessentially an, Indian and particularly a South Indian musical instrument.
In mythology, which in Indian is very intimately profoundly connected with religion, it is the instrument of Saraswathi, the goddess of becoming The Veena is so typical of South Indian Classical Music that even vocalists are recommended for leave to play it. The nuances and graces so peculiar to the system of Carnatic Music as it is called are the hallmark of this fretted stringed instrument. In this rendition, Gayathri draws her immensely rich repertoire to serve a repast of masterpiece form an away of great composers.' Kannae Kamalapoo – Neelambari2. Aayiram Kalam Nann – Charukesi3.
Taayar Sorpadikku – Vasanthi4. Yaradithu Neeazhudhai – Natha Namakriyai5. Kavindtha Neeradinaal – Senchi6.
Kasiyaam Pathnames – Anandha Bairavi7. Muthiloru Mutho - Kuruchi8. Kadellam Thedi – Aarabi9.
Vadakke Veguthuram - Sindhu Bairavi10. Thangachimizh – Chakravagam11. Aarirendum Kaveri - Punnagavarali12. Elengkuzhalalukku – MathyamavathiAs tiny beings, babies require quite a few things the average human would need, but in smaller portions or in different wavelengths. For instance, sunlight. It’s not that the sun will kill a baby, but if exposed to more than a certain amount, it could be harmful to the child. So also music depending on the genre and volume, what a regular person may consider soothing or relaxing may actually be more than a child can handle.Lullabies are often sung by parents in calming children, putting to sleep, or simply spending time with them.
The simple lyrics, nature, and storyline of lullabies are usually intended for children, and are therefore suitable for them. A parent can rock a child to sleep with a lull-a-bye, calm a discontented child, or sing along with a playing child.'
Sadasiva Kumara3. Kollatu Paatu6. Kalla Pattu7. Thallattu Paatu8.
Manasa SancharareJhothumu ThodapiyaThe Violin is a stringed musical instrument that has four strings tuned a perfect fifth apart. It is the smallest and highest – tuned member of the violin family of string instruments, which also includes the viola, cello and double bass (though the double bass technically belongs to the similar but distinct viol family). The lowest string (and hence the lowest note) is the G just below middle E, then in ascending order D, A and E.' Meru Samana – St.Thyagaraja – Mayamalavagowla (Vadi) - Adi2. Pavana – Balamurali – Rasikapriya (Vivadi) – Rupaka3.
Vegame Gaava – Balamurali – Abogi (Vadi) – Adi4. Gana Sudharasame - Balamurali – Ragavardhini (Vivadi) Rupaka5. Kamala Dalayatha Lochana – Balamurali - Bahudari (Vadi) - Adi6.
Evvare Ramayana – St. Thyagaraja - Gangeyabhushini (Vivadi) - Adi7. Rama Nevada - Kharahara PriyaMangalampalli Balamuralikrishna was born on July 6, 1930 at Sankaraguptam, a small hamlet in Rajolu Taluk, East Godavari District in Andhra Pradesh, to Mangalampalli Pattabhiramayya and Suryakanthama. His father, Pattabhiramauua was a famous flutist and a music teacher and Suryakanthama was a notable Veena artists. His guru was the famous Parupalli Ramakrishnayya Pantulu.
In the order of guru Parampara, Balamuralikrishna is fifth in the line of direct disciples of the great Saint Tyagaraja.' Re Re Manasa Bajare – Nattai – Rupakam – E.Gaayathri – Veena2. Karanam Kettuvadi – Poorvikalyani - Adi - Sudhanadha Bharathi – Namagiripettai Krishnan – Nadhaswaram3. Vinayaka – Hamsathwani – Adi – Veenai Kuppaiyer – N.Ramani - Flute4. Kanchadalaya Dhakshi - Kamala Manohari - Adi – Muthuswamy Dikshithar- U.Srinivas - Mandolin5. Marugelara – Jayantha shri – Adi – Thyagaraja – Kunnakudi R. Vaidyanathan – Violin6.
Magudi - Kadri Gopalnath – Saxophone'1. Gnana Vinayaka - Gambeeranatai –Adi – Saravanabaananda - Sheik Chinna Moulana – Nadhaswaram2. Mokshamugaladha – Saramathi - Adi - Thyagarajar - E.Gaayathri – Veena3. Buntureethe – Hamsanatham – Adi – Thyagarajar – N.Ramani – Flute4. Sababathikku – Abhogi – Rupakam – Gopalakrishna Bharathi - Kadri Gopalnath – Saxophone5. Enthara Nee Thana – Harikamboji – Adi – Thyagarajar – Kunnakudi R.
Vaidyanathan – Violin6. Karunai Deivam - Sindhu Bairavi – Adi – Madurai T.Srinivasan – U Srinivas – Mandolin'1. Nirvathi Sugatha – Ravichandrika – Adi - Thyagaraja – E.Gaayathri – Veena2. Nagumomu – Abheri – Adi - Thyagaraja – Jayashankar – Nadhaswaram3. Thani Aavarthanam – Adi – Valayapatti – Thavil Solo4.
Deva Deva –Mayamala Gowlai – Roopakam – Swathi Thirunal – N.Ramani – Flute5. Manasa Sancharare – Sama – Adi – Sadasivabrahmendra – Kunnakudi R.Vaidyanathan – Violin6. Koniyada – Kokiladhwani – Adi – Thyagaraja – U Srinivas – Mandolin7. Bhagyada Lakshmi – Madhyamavati – Adi – Purundaradasar – Kadri Gopalnath- Saxophone'1. Vathapi Ganapathim – Hamsadwani - Adi – Muthuswamy Dhikshithar2. Marugelara – Jayanthasri – Adi – Sri Thyagaraja3.
Vasudevyani – Kalyani – Adi - Sri Thyagaraja4. Madava Mamava – Neelambari – Adi – Narayanatheerthar5. Unnaiandriuttra Thuni – Bhavani – Rupagam – Dhandapanidesikar6. Evaritho – Manavathi – Adi - Thyagaraja7. Thillana – Behag – Adi – Languid JayaramanBorn into a family of singers, this supreme classical Indian carnatic vocalist was eventually know as MLV, an acronym standing for melody, laya, and vidwat, three essential components of her, and hopefully anyone else’s music.
(Loasely translated, that’s melody rhythmic variation and depth of feeling.) She was on of a select triad of female vocalist the pushed the envelope in a male-dominated culture, not only earning the right to perform on concert stages instead of only at private parties, but also being allowed to develop and demonstrate the ability to perform extended serious pieces from a variety of classical disciplines. Her associate female liberators were the vocalists D.K.Pallammal and M.S.Subbulakshmi. Vasanthakuamri’s mother was the concert performer laltihangi.' Guru Dyanam2. Subramanya Dyanam3.
Sloka Ghanam4. Natchatra Ashtavakyani5. Pancha Shanti6. Ghosha Shanti7. Mrithu Suktam8.
Navagraha Mantraha9. Mantra Pushpam10. Swedhaarka Ganapathi Mantram11. Aasirvatha Mantram'1. Ganapathi Dyanam2. Purusa Suktam5.
Uthra Narayanam6. Bhoo Suktam7. Brahma Suktam9. Vishnu Suktam10. Rudra Suktam11. Durga Suktam12. Sri Suktam13.
Bhagya Suktam14. Ayushya Suktam15. Vinayaka – Hamsathwani – Adi – Veenaikuppaiyer2.
Devadeva - Mayamala Gowlai – Rupakam – Swathithirunal3. Swara raga Sudha rasa – Sankarabaranam – Adi – Thyagarajar4. Theeratha Vilayattu – Bharathiyar'The hymn of Saundarayalahari contains 100 poems (verses) of four lines each said to be written by jagadguru Shri Adi Shankaracharaya (8th Century Indian Philosopher). Legend of this work is often substantiated by the distinct difference that is present in the two sets of poems “Anandalahari”. The waves of bliss (verses 1 to 42) and “Saundarayalahari” – The waves of beauty (verses 43 to 100) the complete set is known as Saundarayalahari. Anandalahari deals with the Mantra, Yantra and Tantra practices of Shaktha cult.
The Shaktha system is a system of rituals accompanied by Meditation based on Advaita philosophy. Shaktha sect worships Devi through rituals and meditation and is based on a non-dual interpretation of reality. These verses are on a metaphysical plane, describing the philosophical & spiritual aspects of Shakthi worship. A notable feature of this set of verses is that the verses are not interlinked in anyway, they stand apart. The language is also highly transcendental in nature.Saundaryalahari, the second part, is a description of the Supreme Mother from crown to feet, as a description of the vision the Shri Adi Shankaracharya experienced. These verses are said to be written by Shri Shankaracharaya himself.
He made generous us of figures of speech of Sanskrit poetcs. However, the term “Saundaryalahari” is now commonly applied to the entire hundred verses.' Ganesa Pancharathnam2. Swamynatha Ashtakam3.
Vaidya Nadha Ashtakam4. Sri Balamukundhashtakam6. Anna poornashtakam10.
Sri Raja Rajeswari Ashtakam11. Meenakshi Pancha Rathnam12.
Mahalakshmi Sthuthi13. Sri Lakshmi Ashtakam16. Subramanya Bhujangam17. Siva Panjatchara Sthothram18.
Hanumanth Ashtakam19. Marga Bandhu Sthothram20. Dharithriya Dhukka Haranaya Sivasthothram21. Subramanya Mangala Ashtakam'1. Ranjani – Ranjani – Adi - G.N.Balasubramaniyam2. Nannu Balimpa – Mohanama – Adi – Thyagarajar3. Ne Nenthu Karnadaka Behak – Adi – Thyagarajar4.
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Aela Ni Thayaradhu - Adana – adi – Thyagarajar5. Ohm Saravanabhava – Sanmugapriya - Adi – Papanasam Sivan6. Radha Samedha – Yamuna Kalyani – Adi'1.
Vinayaka Nannu2. Nee Dhayaradha3. Himagiri Thanaye4. Maalai Saathinal5. Rathna Oonjalil8. Ezhil Udaya Raagavane9. Kottumelam And Anandhame11.
Theeradha Villayattu12. Varanam – Sunodhavinodhini - Adi – N.S.Ramachandran2. Manasunillpa – Abhogi – Adi – Thyagarajar3. Ganamoorthy – Ganamoorthy – Adi - Thyagarajar4. Barusae – Brindavanasaranga – Adi - Meera5. Sadha Nin – Shanmukapriya – Misrachapu – Maharajapuram Santhanam6.
Sarangan – Ragamalika - Adi – Maharajapuram Santhanam7. Thillana – Basant Bihar - Adi – Maharajapuram Santhanam'1. Manikanda Swamy2. Sabari Girisa3. Aayiram Aayiram5.
Udukku Chandai6. Hadiharan Manidhan7. Charana Gosham8. Pamba Nathi'1. Pambaikarai Oram9. Paatha Pulley (L.R.Eswari)12. Malai Soozhum (L.R.Eswari)13.
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Aabaranam (L.R.Eswari)'1. Varugudhu Varugudhu2. Pallikatta Eduthkittu5.
Nei Manakkum6. Guruswamy Guruswamy7. Padhinettu Padigalil8. Sabarimalai Kattukkulle9. Ariya Pizhaiyum10. Raja Pandhalathu Raja11.
Swamy Ayyappa Swamy12. Vararayya Vavar (L.R.Eswari)13. Kannimoola (L.R.Eswari)'1. Villaali Veeranavan3.
Eesan Umai Paakan4. Manigandan Namam5. Thunai Nee Varuvai6. Puliyil Yeri Punidhan7. Ayyappanmaar Goshathilay9. Pamba Vasa10. Pamba Nathi Malare11.
Ponnambala Medey12. Vararayya Vavar'1. Sri Vighneshwara Lagu Pooja2. Navagraha Pooja3. Sri Soorya Gayathri and Kavacham4. Sri Chandra Gayathri and Kavacham5.
Sri Angaraha Gayathri and Kavacham6. Sri Budha Gayathri and Kavacham7. Sri Brahaspthi Gayathri and Kavacham8. Sri Sukra Gayathri and Kavacham9. Sri Sanaischara Gayathri and Kavacham10. Sri Raagu Gayathri and Kavacham11. Sri Kedhu Gayathri and Kavacham12.
MangalamThe Navagraha Pooja is important as the planets are considered to play a major role in deciding the destiny of man. All the nine grahas (planets) have the vital role to give us Pleasure or pain in life.
In astrology, great importance is placed on the positions of the “Navagraha” in the twelve constellations of the zodiac, their planetary movements and their effect on human beings. A particular “graham” are said to remove the ill effects. Lord Surya was worshipped by Lord Rama before the war against Ravana. His grace is believed to lead to power, position, good health and so on.
Chandra’s grace is required for the health of mind and consequently the body. The “Rasi” in a horoscope is decided by the position of the moon, just as the “Lagna” is ruled by the Sun.
Lord Angaraka, is the moulder of leaders of countries. He graces those who stand up for truth.
Lord Buddha is the giver of Wisdom. He imparts knowledge and beauty, prayers to Lord Guru can alleviate the suffering brought about by adverse positioning of any of “Grahas”. Guru is the Lord of the Devas associates with wisdom, Vedanta jnana, and purity of thought, word and deed. Fortunate beings are those with Lord Sukra strong in their horoscope. Sukra is proficient in all the Sastras. He can even bring the dead back to life. Sanaischara is a beneficient “graham” Any adverse effect is due to placement in an individual horoscope which could overcome by worshipping him.
Rahu and Kethu, also do a let good.' Sri Ayyappan Suprabatham2. Sri Ayyappan Kavacham3. PadigaliManikantan Naman7.
Thunai Nee Varuvai8. Nerungudhu Nerungudhu (K.S.Raja)9. Thulli Thulli (K.S.Raja)10. Pamba Nadhi'1. Angelina Pradaana2. Sri Ramapattabhishekam3. Sarvakaarya siddhiThe repeated reading of Valmiki’s Ramayana and especially the Sundara Kaanda is considered to be sacred.
It bestows enormous powers to the reader and listener. It is common to any sect. The Ramayana contains the mystic syllables. It is an expository of Vedic Mantras. It is also studded with the letters of Gayathri mantra and many other incantations. The reading of certain sargas or cantos in Sundara and yuddhakaanda has been carried on form the days of yore for some specific advantage and relief apart from the mental solace one gets after listening or reading it. The select and the most efficacious portions in the whole of Ramayana are Anguliya Pradaana sarga (Sundara Kaanda- 36th canto) Sarvakaarya Siddhi sera (Sundarakaanda -41st canto) and Sri Ramapattabhisheka Sarga (Yuddha Kaanda -131st canto).
Hence, in this C.D these sargas are devotionally recited by the traditional Pandit Thanjavur S.Radhakrishna Sasthrigal.The Uma samhita, Skanda and a few other Purina’s praise highly of the efficacy of the repeated reading of the Ramayana, and the former text confirms that the reading even the Diseases which defy treatment will be cured. Longevity will result there form. Enmity from every quarter will vanish. Family problems will cease. Fear of premature death will disappear. Debts will be liquidated. All undertakings will be successful.
Extraordinary powers would descend. And Sri Rama will shower his mercy and kindness. According to the pattabisheka sarga recited in this, the man who reads or hears is freed from sin; he is blessed with children; conquers the earth and dominates his enemies; Women give birth to long lived sons; the read gets long life; overcomes all trials and tribulation; reunited form the separated partners; and gets the desired boons.' Venkateswara Suprabhatham2. Vishnu Sahasranamam3. Raghu Veera Gadyam4.
Garuda DandakamThese are the days men undergo mental stresses, physical strains and suffer for want of mental peace! Where no medicines could give relief, the spiritual path is restored to and it is effective. Pray your best and leave the rest to god. Sanskrit is called a divine language to reach the ethereal region as she is phonetically sharp and powerful. This Compact disc contains special Sanskrit Prayers to Lord Vishnu, the omnipotent, omniscient and omnipresent Lord, and the merciful savoir of the World.
He is Narayana, who incarnated in different forms in order to protect the virtuous and put an end to the wicked. He is the Mega Lord of brilliance, the ultimate of penance, and the great immanent God.Vishnu Sahasranama is a popular recitation of the thousand names of Lord Vishnu. The chanting of this stotra, bestows all wealth and riches on devotees and the hearing of theses names drive away the poverty, the anxiety, the mental disturbance, the fear, and the incurable diseases. The devotees become relieved of their sorrows and attain happiness and mental peace!Sri Venkateshwara Suprabhatham, a unique composition to awaken the Lord is recited for the dawn of a good day! And in order to awaken our intellect to have easy access to the enlightenment.Raghuveeragadyam of Vedanta Desika is an exclusive rhythmic recitation in a special Dandaka metre, extolling Raghuveeragadyam of Vedanta Desika is an exclusive rhythmic recitation in a special Dandaka metre, extolling the virtues of Sri Rama. Hearing of which is the ellxir to all the ills of life, and it bestows the fruit of hearing the entire Ramayana.Garuda-dandakam of Desika is in praise of Garuda, the vehicle of Lord Vishnu, the hearing of this Stotra drives away enemies, and saves the devotees from the effects of poisonous creatures.Sri. P.S.Raghuraman, M.Phil, Sri.K.Malolakannan, Sri.
P.Jagadeesha Bhat and a host of others have recited these in the traditional manner with the academic touch and guidance of their Guru, Dr.R.Thaigarajan. M.A.Ph.D., and with the help of Sri.V.R.Manikkavinayagam, Music Director'1. Siva Sahasranama (from Rudra Yaamala Tantra)2. Siva Panchaksharam3. Dvadasa Jyothirlingaani4. Suvarnamaala Stuti5.
Siva Ashtakam6. Linga Ashtakam7.
Visvanatha Ashtakam8. Bilva Ashtakam9. Vaidyanatha Ashtakam10.
Chandrasekhar a Ashtakam11. Kaalabhairava Ashtakam12. Siva Taandava Stotra13. Maargabandhu StotraThese are the days men undergo mental stresses, physical strains and suffer for want of mental peace! Where no medicines could give relief the spiritual path is resorted to and it is effective. Pray your best and leave the rest to god. Sanskrit is called a divine language to reach the ethereal region, as she is phonetically sharp and powerful.
The compact disc contains special Sanskrit prayers to Lord Siva (the auspicious) a powerful deity noted for bestowing boons and satisfying the aspirations of the devotees. Siva is the God of Gods.
He is the embodiment of love. Kindness, wisdom and knowledge. He is the form of Linga. Symbolical of the eternal union of the paternal and maternal principles from which all phenomenal variations have originated. Shiva is also called Nataraja (the King of Dancers) in his ‘Taandava’ (cosmic dance), danced for the welfare of the universe by destroying the evil forces and restoring the universe with the creative forces! He is Dakshinamurthi as he gave wisdom to the rishis, Mruthynnjaya as he saves his devotees from the fear of death!
The Maha Sivaraatri the Padosha, the 13th day of the dark and bright fornight (Krishna and Sukla Pakshas) and the month Maragasisha are the important periods of workship of Siva. Hence, in order to propitiate the all-powerful Almighty the important recitations of Ashcakes viz, Siva Chandrasekhar, Kalabhairava, Viswanatha, Vidhyanatha and Margabndhu stotra.
Dwadasa jyotirlinga stotra panchashara stotra. Suvarnamala stuti, Tandava stotra and a rare piece of Sivasahasranama form the Rudrayamala Tantra are presented here.
Sri.K.Malokannan, Sri.K.Shivarajan, Sri P.Jagadeesha Bhat and a host of others have recited these in the traditional manner with the academic touch and guidance of their Guru.Dr.R.Thiagarajan.' Gayatri Mantras2.
Mrutyunjaya Stotra3. Mrita Sanjivani Stotra4. Amrita Sanjivani StotraThe Sanskrit term”Gayatri Mantra” denotes the guaranteed protection to those who thick of it, Sound it by uttering it and meditate upon it. It is in essence, a mystical metrical composition of rhythmic syllables intended to produce and order of sound or tune, consistently with the invocatory process of incantation enshrined in it.
The order of sound and its repetition has a primary and a greater value than the actual meaning of the ideas in it.
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