MS Amma practised what she sang day in and day out. She sang to please the Lord and donate (the collections totally) for public causes. Can we think of any other musician or other artiste of her kind ? St. Thiagaraja will be pleased to listen to his kriti NIDHI CHAALA SUKHAMA, only when it emanates from the golden voice of this Divine Singer of this Century. Rest r all singers and Amma is a practitioner of that Dharma enshrined in this Composition of the Sath Guru.

@shashisingh265

6 жыл бұрын

Beautiful. 🙏🙏

@melkoteranga

4 жыл бұрын

Sundaram Thiagarajan 11

@revathym7869

2 жыл бұрын

🙏💐

@urmilakanat

Жыл бұрын

If someone has a lot of money and a heart of gold, it is possible but what if someone want to donate but dnt have enough money.

@dorairaj7848

6 ай бұрын

​@@urmilakanat how much money is " enough" , for a person ?? Define the term "enough "...

We are really fortunate to be born in this Great Nation - Bharath - and blessed to listen to music rendered by great artist like MSS for which I thank the Lord .

@vedhachivukula5934

5 жыл бұрын

Bharath yes.....not India👌

@Kalpatharuvu

5 жыл бұрын

Me too

@Safar1967

4 жыл бұрын

I am regularly saying the same

@sanjaytyagi7982

2 жыл бұрын

Yes, indeed.

Superb by MSS Amma ! Nidhi chaala sukhama Raga Kalyani, 65 Mechakalyani janya Misra chapu/Triputa Talam Thyagaraja Swamigal Krithi In this keertana Tyagaraja compares the happiness in possessing wealth to the devotion to Rama. He gives many examples to explain this. Are you happy with your treasure or are you happy with the pleasant service to Rama, Oh my heart. tell me the truth. Are curds (yogurt) butter and milk tasty or is the nectar of meditating and singing the praise of Rama happy ? Is the experience of equanimity and control of the senses which is like a holy bath in Ganga river pleasant? Or is indulging in deplorable mire of earthly pleasures which is like a bath in well water pleasant ? Is praising men for worldly bonds happy or is singing the praise of Lord Tyagaraja happy? The song and its context are very famous. Serfoji II, (Sharabhoja in Sanskrit), the scholar king of Tanjore, in whose domain Thiruvayyaru, Tyagaraja's hometown fell, is said to have invited him to perform at the palace and to be rewarded with much gold, in the early 1800s. Performing at the palace meant performing at the king's pleasure and not purely in the worship of the Lord. It might also have meant panegyrizing a mortal, or "narastuti". Tyagaraja, predictably, refused the king's offer with this song. Eventually, the king, himself a composer, visited his hometown and listened to Tyagaraja sing. Serfoji II, the last king of Tanjore to have had monarchical powers, was a widely read scholar, with an Indian and a western education. It has even been recently claimed that he had pioneered cataract surgeries. A less enlightened king of that time might have considered Tyagaraja's refusal an insult and jailed and tortured him. As another version of the legend goes, after his offer was declined, Serfoji II ordered his soldiers to fetch him, but immediately suffered a searing pain in the stomach. This remained incurable, until Tyagaraja prayed for him, when Serfoji II visited him. About the verses: There is a subtlety in my using 'His Kind' for, "Rama's Sannidhi" or Rama's abode. One meaning of kind is 'family' or class. Rama is the only major god in the Hindu pantheon, who is generally depicted in his temples with his entourage, Sita, Lakshmana, Hanuman etc- the "Rama parivara" or the Rama family. In most other temples, the Lord, be that Siva or Vishnu, will almost always have a separate shrine set apart from His consort. This is according to the laws governing structural and liturgical practices in temples. In the South of the country there are two main sets of rules or Agamas for Vishnu temples, that apply to Rama temples too, the Vaikanasa and the Pancharatra Agamas. Some famous temples precede the known redactions of these rules, for example the famous and wealthy Tirupati temple. Again, you may take service to 'His Kind', as meaning service to any and all of the Gods, which is probably what Tyagaraja meant. A dip in the River Ganges, in North India, is said to expiate all sins. Many holy towns lie on its banks. Some "licensed out" words: Daasharathi- son of Dasaratha, Rama; dhyana- meditation; dadhi- milk curd, yogurt. While Tyagaraja's point in the earlier parts of this kriti, is about being discerning and serving God, we can see his wider context of the ephemerality of material objects, true to his Advaitin heritage. In fact, man's conflict with his baser instincts, mainly the lust for wealth and power, and the teaching that succumbing to them, could only to be one's detriment in the long run, is a very ancient and very common theme in all cultures, from the earliest literature known to man. We know that Tyagaraja did not choose the path of the craven and lived his life out a saint. What happens if one does choose the craven path? P nidhi cAla sukhamA rAmuni sannidhi sEva sukhamA nijamuga palku manasA !! Are you happy with your treasure or are you happy with the pleasant service to Rama, Oh my heart. tell me the truth. AP dadhi navanIta kshIramulu ruciyO dASarathi dhyAna bhajana sudhA rasamu ruciyO (nidhi) !! Are curds (yogurt) butter and milk tasty or is the nectar of meditating and singing the praise of Rama happy ? C dama Samam(a)nu gangA snAnamu sukhamA kardama dur-vishaya kUpa snAnamu sukhamA !! 4mamata bandhana yuta nara stuti sukhamA 5su-mati tyAgarAja nutuni kIrtana sukhamA (nidhi) Is the experience of equanimity and control of the senses which is like a holy bath in Ganga river pleasant? Or is indulging in deplorable mire of earthly pleasures which is like a bath in well water pleasant ? Is praising men for worldly bonds happy or is singing the praise of Lord Tyagaraja happy? Comments/Ref :- -dama Sama - Six Virtues - shaDguNa sampat - Sama - control upon his own mind; dama - control upon his physical body; titiksha - forbearence for the odds and evens of the nature; samAdhAna - equanimity of all beings and having a sympathetic mind; uparati - indifference with a sAkshi type of mind; Sraddha - sincere adherence to the words of guru and SAstrAs, by word and deed. - nijamuga - truthfully. Use of this word is significant. It is a pointer to the inner conflict which we face in decision making on moral issues. In this regard the following verse in kaTha Upanishad is relevant - SrEyasca prEyasca manushyam Etastau samparItya vivinakti dhIra: SrEyO hi dhIrO(a)bhi prEyasO vRNItE prEyO mandO yOga-kshEmAd-vRNItE (I-ii-2) “The preferable and the pleasurable approach man. The man of intelligence, having considered them, separates the two. The intelligent one selects the electable in preference to the delectable; the non-intelligent one selects the delectable for the sake of the growth and protection (of the body etc).” (Translation by Swami Gambhirananda) KALYANI mELam is the flagship of the prati madhyama segment of the mELakartA scheme (mELams 37 to 72), just like the position enjoyed by sha”nkarAbharaNam among the shuddha madhyama group (mELams 1 to 36). These two form a set of complementary mELams like Shakti and Shiva. If sha”nkarAbharaNam is shiva’s favourite, then, Goddess is very much pleased with kalyANi, which also bears her name! In the mELakartA chart, kalyANI occupies No. 65, and is called mEcakalyANi, to conform to the kaTapAyAdi saMkhyA counting, to yield the number 65 (ma = 5, ca = 6, reversing 56 yields 65). This is the 5th rAgam in the 11th rudra cakram. Hence the mnemonic name is “rudra mA (ri gu mi pa dhi nu)”. The dIkSitar school uses the nomenclature shAnta kalyANi, in their asampUrNa mELa paddhati (which also yields 65 in the kaTapayAdi notation (sha = 5, ta = 6). ArOhaNam: S Ri Gu Mi Pa dhi Nu S (S R2 G3 M2 P D2 N3 S’) avarOhaNam: S Nu Dhi Pa Mi Gu Ri S (S’ N3 D2 P M2 G3 R2 S) The notes taken by kalyANI are: shaDjam, catushruti rSabham (R2), antara gAndhAram (G3), prati madhyamam (M2), catushruti dhaivatam (D2), and kAkali niSAdam (N3). As the prati madhyama counterpart of mELam 29 (sha”nkarAbharaNam), it differs from sha”nkarAbharaANam in just one note, namely the madhyamam. It is a sarva svara gamaka vArikA rakti rAgam --- all the notes of kalyANi are rendered as tIvra svarams, and with rich gamakams, and all are rAga chAyA svarams. The notes “ga” and “pa” are amsha svarams; also, ri, ga, dha, ni are nyAsa svarams. Gamakams like kampitam, sphuritam, tripuccham, when added to the svara sa~ncArams add an extra dimension of beauty to kalyANi. jhaNTa prayOgams like RR GG MM DD, GG MM DD NN, MM DD NN RR, as well as dATu prayOgams like NGRN, DNRNDN, GND NGR are pleasant and suit well for this rAgam. Also, prayogams that omit the notes “sa” and “pa” (like DNRGM DNRND MGRN) lend elegance to kalyANi. Subtle srutis like tIvra antara gAndhAram (81/64) and tIvra kAkali niSAdam (243/128) show up in some places

@ramamurthycherukupalli2873

4 жыл бұрын

Subramanian R b

Celestial voice of Bharata Ratna MS Subbu Lakshmi is the right match to the divine composition of Sri. Thiagaraja. Let us enjoy.

Excellent rendering!!! Amma you already reached the sannidhi of RAMA. HE might be enjoying your melodious voice.

@srinivasavivek5294

3 жыл бұрын

Absolutely true.

@kanagammr643

3 жыл бұрын

True to the best of blessings

M.S. sub ulakshmi's songs are ever green

For every song, I feel (of course it's only my opinion) that there is some particular artist who has internalized the song to such an extent and rendered to such perfection that their version, and that recording, literally defines the song for the coming generations. For Nidhichaala Sukhama, this recording my MS Amma is definitely the defining version.

@narayananeelam41

2 жыл бұрын

Ecstatically soul- enchanting ,heart- entrancing transporting the soul to divine heights-- a musical vehicle to transport our soul to the feet of the Lord,the Master Mucian

Blessed to hear a nice rendering by MS.Nothing more to say.

Amma's singing hits the soul straight .. happens when you practise what you sing ! ... What a kalyani ! I m at peace 🕊️

@venuprabhusanthakumar5964

7 ай бұрын

I FULLY AGREE.

Proud to be an Indian and lover of carnatic music.Great rendering by MSS Nidhi Chala Sukhamaa.

నిధి చాల సుఖమా? రాముని సన్నిధి సేవ సుఖమా? నిజముగ పలుకు మనసా! మహాద్భుతం. త్యాగరాజాచార్యుల వారికి పాదాభివందనాలు. 🙏

What a rendition by our dear MS Amma!! Blessed to hear her voice!!

I find it hard to believe anyone not liking this. However, I would not resort to name calling. It is unfortunate that the person cannot appreciate Goddess Saraswati rendering this piece through the sweet voice of MS Amma.

we r very proud Indians to be in country where great people like ms subbu lakshmi born her music heals all our problems

Beautiful Raag!! ❤

Grief before hope, dark slipping to dawn, silence prior to applause. Waah

M.S.amma you are with us always through your divine music

Divine voice, divine talent and divine character. 🙏

To listen to your singing this divine song is the "sukham" for us humans, Amma ! 🙏🙏❤️🙏🙏

Very melodious and superb rendering of the devotional song to Lord Sri Rama

Nidhichala sukama is the of the songs that was classically marked a signature by the great maestro Ariyakudi Ramanuja Iyengar in his renderings. Later on the next generation vocalists mainly MS Amma used to include this in her concerts for celebrated rendition! Unlike Ariyakkudi she didn't go for a singing a vinyaasam n swarakalpana with the Anupallavi lines..Instead she hauled to the Charanam in a madyamakalam ...presented a sweet niraval...@ 'mamata bandhana yuta narastuti sukhamaa' and took a balanced blend of melodical rhythm and rhythmical melody! She rather presented a very slow mode for sworoms n by then she could create a perfect layam and stayed at Vilambita or slow and concluded the recital.prompting the percussionist to present a Thiyaavarthanam....very good rendition..Pranams

@vishalvenkat6074

2 ай бұрын

Truly cherish your detailed explanations of the song and how the artist have their unique way of presenting it. Have been reading your comments under various songs on youtube for some time now. Really admire your knowledge Mr. Madan.

Namaskaram msg subbulakshmi amma live our world

What a singing... "Pranamam"

Never forgetable devine voice &keerthana

perfect lesson for a kalyani raga /perfect example for devotion

Such a beautiful day🙏🙏🙏 really God is great Suuuuperp ragam unbelievable voice

The Great Nidhi ~ MS Subbulakshmi Amma Evergreen Forever 🙏🙏🙏🙏🙏🙏🙏🙏🙏🙏🙏🙏🙏🙏🙏🙏🙏❤️🙏❤️🙏❤️🙏🙏🙏🙏🎉👍👍🎉👍🎉🎉🎉🎉🎉🎉🎉🎉🎉🎉🎊🎊🎊🎊🎊🎊🎊🎊🎊🎊🎊🎊🎊🎊🎊🎊🙏🎊🎊🎊

Amazing ! ❤

Wow! Simply mesmerizing.

Superb rendering !

Thyagaraja.... great

Divine.

What a wonderful

Just the divine voice .

My Regards To You Hey Saraswati MAA Naman Give Me Your Blessings My High Musical Success My High Musical Success Om Shanti Vocalist Adrish Mukherjee 🙏🙏🙏

Incredible Mridangam playing - who is the artist?

@sivakumar261

5 жыл бұрын

It's T.K Murthy

It is very melodious To listen

,namaste amma

Devine

MSS Amma Meru sakshat Saraswati Mata🙏🙏🙏🙏🙏🙏🙏🙏🙏🌺🌹❤

10:55 nidhichala sukama raagam: kalyaaNi 65 mEcakalyaaNi mEla Aa: S R2 G3 M2 P D2 N3 S Av: S N3 D2 P M2 G3 R2 S taaLam: caapu Composer: Tyaagaraaja Language: Telugu *pallavi* nidhicAla sukhamA rAmuni sannidhi sEva sukhamA nijamuga balku manasA (nidhicAla) *anupallavi* dadhi navanIta kSIramulu ruciyO dAsharathi dhyAna bhajana sudhArasamu ruciyO (nidhicAla) *caraNam* dama shamamanu gangA snAnamu sukhamA kardama durviSaya kUpa snAnamu sukhamA mamata bandhana yuta narastuti sukhamA surapati tyAgarAja nutuni kIrtana sukhamA (nidhicAla) *Meaning:* O Mind! Tell me honestly which induces unalloyed bliss, material wealth or the wealth of the Lord's darshana and service at His shrine? Which is more delicious? Taste of milk, butter and the curd or the nectarine experience of meditation and worship of Rama, son of Dasharatha? The divine tranquility experienced by one who has controlled his senses is as refreshing as a bath in the Ganga, whereas indulging in carnal pleasures is as detestible as wallowing in the slush of a dirty well. Is it not obviously the height of bliss to sing the glory of the eternal compassionate Lord, rather than flatter or praise a short-lived mortal bloated with arrogance and self conceit? పల్లవి: నిధి చాల సుఖమా రాముని సన్నిధి సేవ సుఖమా నిజముగ పల్కు మనసా అనుపల్లవి: దధి నవనీత క్షీరములు రుచియో1 దాశరథి ధ్యాన భజన సుధా రసము రుచియో చరణం: దమ శమమను2 గంగా స్నానము సుఖమా కర్దమ దుర్విషయ కూప స్నానము సుఖమా మమతా 3 బంధన యుత నర స్తుతి సుఖమా సుమతి4 త్యాగరాజ నుతుని కీర్తన సుఖమా Variations 1రుచియో - రుచో 3మమత - మమతా

Goddess of Music

@kgopalan6899

2 жыл бұрын

M S Amma is the only person to sing this song since she lived her life as what the song told to live

Great amma🎉

Whenever I listen her , Carnatic classical blood inside me gets more power 🙏 feel Blessed to listen 🙏 Thank you SurTal to upload this

Excellent👍👍👍👍👍👏👏👏👏👏 OMG

Superrrrr hit like to the video

Ms amma 🙏

So nice

எம் எச் அம்மா ஒரு இசைகடவுள்🙏

After pushpa song🔥

மதுரை சண்முகவடிவு சுப்புலஷ்மி MSS அவர்கள்

She is a CELESTIAL BODY but regretfully never left any deciple to continue her legacy very sad

Namaskaram Amma...

🙏

Here are the Detalis Nidhi chaala sukhamaa Raga Kalyani, 65 Mechakalyani janya Aa: S R2 G3 M2 P D2 N3 S Av: S N3 D2 P M2 G3 R2 S Taalam:Mishrachaapu Thyagaraja Krithi What should sate you truly, O Mind? Wealth or the service of His Kind? Should milk, curd and butter, the palate cheer? Or the nectar of singing about the Sire? Subduing the baser instincts, Is a dip in the holy Ganges; Giving in to carnal instincts, Into a pit of refuse one submerges. Should it please to sing a mortal frail, Bound by egotist cords, Or should it please to forever hail, The Lord of the gods? The song and its context are very famous. Serfoji II, (Sharabhoja in Sanskrit), the scholar king of Tanjore, in whose domain Thiruvayyaru, Tyagaraja's hometown fell, is said to have invited him to perform at the palace and to be rewarded with much gold, in the early 1800s. Performing at the palace meant performing at the king's pleasure and not purely in the worship of the Lord. It might also have meant panegyrizing a mortal, or "narastuti". Tyagaraja, predictably, refused the king's offer with this song. Eventually, the king, himself a composer, visited his hometown and listened to Tyagaraja sing. Serfoji II, the last king of Tanjore to have had monarchical powers, was a widely read scholar, with an Indian and a western education. It has even been recently claimed that he had pioneered cataract surgeries. A less enlightened king of that time might have considered Tyagaraja's refusal an insult and jailed and tortured him. As another version of the legend goes, after his offer was declined, Serfoji II ordered his soldiers to fetch him, but immediately suffered a searing pain in the stomach. This remained incurable, until Tyagaraja prayed for him, when Serfoji II visited him. About the verses: There is a subtlety in my using 'His Kind' for, "Rama's Sannidhi" or Rama's abode. One meaning of kind is 'family' or class. Rama is the only major god in the Hindu pantheon, who is generally depicted in his temples with his entourage, Sita, Lakshmana, Hanuman etc- the "Rama parivara" or the Rama family. In most other temples, the Lord, be that Siva or Vishnu, will almost always have a separate shrine set apart from His consort. This is according to the laws governing structural and liturgical practices in temples. In the South of the country there are two main sets of rules or Agamas for Vishnu temples, that apply to Rama temples too, the Vaikanasa and the Pancharatra Agamas. Some famous temples precede the known redactions of these rules, for example the famous and wealthy Tirupati temple. Again, you may take service to 'His Kind', as meaning service to any and all of the Gods, which is probably what Tyagaraja meant. A dip in the River Ganges, in North India, is said to expiate all sins. Many holy towns lie on its banks. Some "licensed out" words: Daasharathi- son of Dasaratha, Rama; dhyana- meditation; dadhi- milk curd, yogurt. While Tyagaraja's point in the earlier parts of this kriti, is about being discerning and serving God, we can see his wider context of the ephemerality of material objects, true to his Advaitin heritage. In fact, man's conflict with his baser instincts, mainly the lust for wealth and power, and the teaching that succumbing to them, could only to be one's detriment in the long run, is a very ancient and very common theme in all cultures, from the earliest literature known to man. We know that Tyagaraja did not choose the path of the craven and lived his life out a saint. What happens if one does choose the craven path? A Comparative study: Faust is a very well known example and warning in the west, against such choice. Faust makes a pact with the Devil, attains material success and is snatched in a ghastly way at his peak, though he lately may have seen the light. Two Fausts are famous. In English, Marlowe's play, 'Doctor Faustus' from 1592, ends with this chorus, a clear word of caution: Cut is the branch that might have grown full straight, And burned is Apollo's laurel-bough, That sometime grew within this learned man. Faustus is gone: regard his hellish fall, Whose fiendful fortune may exhort the wise, Only to wonder at unlawful things, Whose deepness doth entice such forward wits To practise more than heavenly power permits. So, Faustus could have thrived and achieved on his own; but temptation forced him to go over to the dark side and he paid the price. Some of Goethe's Faust, in German, the most celebrated work in that language, was actually written during Tyagaraja's own time. Goethe is said to have taken almost 60 years writing and revising his work. It ends with an amount of redemption for Faust, as he does go to Heaven. Interestingly, Goethe was also a competent scientist for some of his life, and an administrator. The two Fausts and Tyagaraja's song may differ in some of the contextual details, but the message is that we should not yield to temptation. While Faust takes an explicit shortcut against the law of Nature, and probably Man's law too in some places, Tyagaraja is warning us to not seek even justly gained material pleasures. The king, himself a connoisseur and a composer, would only have been rewarding his genius, and no dishonesty or shortcuts were involved. But among pious Hindus, then as now, all material wealth, whether rightly or wrongly gained, is itself considered a pollutant and an evil at a par with the ways of the deal Faust makes with the devil. It is a long held Hindu belief, that without austerity there can be no enlightenment. The pursuit of enlightenment and not the pursuit of happiness, is the Hindu way of life. Tyagaraja and his historical context: Wondered what living by the exhortations he makes in this song, would have actually meant to Tyagaraja. Two hundred years later, it is easy for us to forget the daily context, and just take it as a sign of his impending deification or Moksha. But, at that time? In his time? What did living with such arduous convictions do to him and how did it temper his later music? As noted above, legend tells us that, Tyagaraja's repudiation of wealth and "Narastuti" was caused by an invitation from Raja Serfoji II. Actually, Tyagaraja makes almost a dozen stronger rebukes of materialism in his songs - Durmargachara, covered on this site, is one such example. So, why should this graphic legend be attached to this one song alone? I say legend with some trepidation, but my defence and excuse are that we really have no certain documentation of this case too, just like with many other Tyagaraja incidents. Anyhow, granting this Serfoji II incident to be the complete fact for a moment, let's try to decipher what his action might have meant, in the practical sense, and what his motivations might have been, and the consequences. For, saint he might have been, and it might have been a simple age, but then too, were practicalities of everyday living to be answered. Mozart's lavish spending resulting in financial turmoil is well-known. Wagner, was frequently in debt, and bankrupt more than once. In fact, he had to flee his creditors across Europe several times. Of course, the culture and system in India were both different, and Tyagaraja followed Nadopasana or Nadayoga doctrince. Tyagaraja's time lay right at the eve of British ascendancy in South India. They had just succeeded in the Carnatic Wars. Serfoji II, though a monarch, had little power, and his court can hardly be compared to that of, say, Krishnadeva Raya. He was already a pensioner of the British administration. With the decline of Vijayanagara by the early seventeenth century, the power vacuum in the deep south of India, was filled by a combination of some former Naik governors declaring independence, some newly risen nawabs, and vast number of liminal chieftains. This did not provide a conducive environment for Music and the Arts to flourish. A flourishing empire such as that of Vijayanagara or of the Pallavas, could systematically patronize the Arts over a period of some centuries. But, well before Tyagaraja's time, this had ceased to be the case. Patronage lay largely in the hands of individual chieftains, prosperous merchants and so on, and rarely continued for decades. It was a highly disorganized and decentralized system.Printing and publishing too, though known, had not yet taken off, and music transcription was hardly mature, not to speak of music composition or performance being sustainable careers - often the artiste ploughed a lonely furrow. With the nation being in upheaval and patronage remaining on a low scale and not a grand scale, such as a court-composer at a contemporary great court in Europe might command, the highest patronage offered by Serfoji or another ruler, might not have been much! Tyagaraja, we may deduce, refused patronage with strings, and did not abjure all patronage. It was not a time or place in which one may refuse royal patronage only on pain of death, and walking two days in any direction put one out of Serfoji's dominions! Refusing Serfoji's patronage may not have ruined a composer and Tyagaraja indeed was supported by a few private patrons and friends, such as during his long pilgrimage to the north. Tyagaraja, it must be remembered, was not an unattached wandering monk, like say, Sadhashiva Brahmendra, but a saintly householder, and certainly maintained and taught a small corps of disciples who preserved and gifted his work to posterity. We may therefore take this song as a rebuke of all baseness than of all wealth, - "Be craven in nothing at all!"

PRANAAMS TO MS AMMA !! WHAT ELSE I HAVE ?

@sitharamathew6996

4 жыл бұрын

Yuhu

@sitharamathew6996

4 жыл бұрын

J

@sitharamathew6996

4 жыл бұрын

Hj

🙏😌♥️

Smooth voice like butter

தியாகராஜ கிருதி - நிதி4 சால - ராகம் கல்யாணி - Nidhi Chala - Raga Kalyani பல்லவி நிதி4 சால ஸுக2மா ராமுனி ஸன்னிதி4 ஸேவ ஸுக2மா 1நிஜமுக3 பல்கு மனஸா அனுபல்லவி த3தி4 நவனீத க்ஷீரமுலு 2ருசியோ தா3ஸ1ரதி2 த்4யான ப4ஜன ஸுதா4 ரஸமு 2ருசியோ (நி) சரணம் 3த3ம ஸ1மமனு க3ங்கா3 ஸ்நானமு ஸுக2மா கர்த3ம து3ர்விஷய கூப ஸ்நானமு ஸுக2மா 4மமத ப3ந்த4ன யுத நர ஸ்துதி ஸுக2மா 5ஸுமதி த்யாக3ராஜ நுதுனி கீர்தன ஸுக2மா (நி) பொருள் - சுருக்கம் மனமே! உண்மையாகச் சொல்வாய் - செல்வம் மிக்கு சுகமாமோ அன்றி இராமனின் சன்னிதி சேவை சுகமாமோ? தயிர், வெண்ணெய், பால் ஆகியவை சுவையாமோ? தாசரதியின் தியானம், பஜனையெனும் அமுதச் சாறு சுவையாமோ? மனவொடுக்கம், மனவமைதியெனும் கங்கை நீராடல் சுகமாமோ? அருவருப்பான, தீய விடயங்களெனும் கிணற்று நீராடல் சுகமாமோ? அகந்தைக் கட்டுண்ட மனிதர்களின் புகழ்ச்சி சுகமாமோ? நல்லுள்ள, தியாகராசன் போற்றுவோனின் கீர்த்தனை சுகமாமோ

@sureshp8188

7 жыл бұрын

Varagooran Narayanan sir commendable work by you .

@narayananramaswamy623

6 жыл бұрын

Thank a lot Sir.

@arunrangaswamy1428

4 жыл бұрын

Nice explanation.... Jai Sri Ram

@rudrananivadekar7914

4 жыл бұрын

so this is translation?

@rangamurali7667

3 жыл бұрын

@@rudrananivadekar7914 yes🙏

2022

who is on the violin

@ganesanbala7283

Жыл бұрын

Might be Kanyakumari.

good one

The repertoire of music traditiins in carnatic and hindusthan are orphaned and dwarfed infront of our bollywood and pseudo cultural fusions.. I feel we must create university's of Reserch purely for traditional music systems of our nation whose real greatness lies in the cultural ethos and not in military might..

Good one

@karthikk-lc1sb

6 жыл бұрын

Dr.Venkata Vishnubhotla p

Words are not enough to say...

Amazing ! ❤

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