Really super

Tears of joy of when Shri KVN renders and this song. Toward the end when he sings with a slide “rajadhi rajashri Thyagaraja..” melts my heart. ❤

'AraNa poruLE anudinam' ......Class composition of Mayuram Vishwanatha Shastriin the 'Karaharapriya' raagam! Good recital....

Good Voice..Excellent Rendition

So beautifully rendered !👌👌👌

Excellent rendition by Vid. Shri Balajishankar

There are wonderful medicines in homeopathy to correct voice box problems

🙏🙏🙏

But why did he stop singing concerts?

திரும்பவும் சாரை பார்த்தது எவ்வளவு சந்தோஷம் தெரியுமா. தஞ்சாவூர் சங்கர ஐயர் சிஷ்யை

Super

There is no sync between the song and the tala in the video.

If balaji continued he would be the super star of CM unfortunately he is out of professional singing , what a pity

Incredible singer, unfortunately not as well known as he should be. His Cheravademira rendition is the best! 👏

Woderful

Pure blish in its pure form of rendition 🙏🙏

🙏

Nice to hear, I am blessed to hear this sir. Thanks for sharing this on KZbin

what a wonderful voice..Beautiful kalyani ..wish to see his concert again...

This is bliss.

Really we are missing a great master 🙏

Very good padantharam

What a pathos in the voice and rendition appropriate for the song!

Very good

tks for uploading this. very rare kriti in this raga

In the kRti ‘SAntamu lEka’ - rAga SAma, SrI tyAgarAja states that one cannot attain any comfort without tranquility - peace of mind. pallavi SAntamu lEka saukhyamu lEdu sArasa daLa nayana anupallavi dAntunik(ai)na vEdAntunik(ai)na (SA) caraNam 1 dAra sutulu dhana dhAnyamul(u)NDina sAreku japa tapa sampada kalgina (SA) caraNam 2 Agama SAstramul(a)nniyu cadivina bhAgavatul(a)nucu bAguga pEr(ai)na (SA) caraNam 3 yAg(A)di karmamul(a)nniyu jEsina bAguga 1sakala hRd-bhAvamu telisina (SA) caraNam 4 rAj(A)dhi rAja SrI rAghava tyAga- rAja vinuta sAdhu rakshaka tanak(2u)pa(SAntamu) Gist O Lotus petal eyed! O Over-lord of Kings, SrI rAghava! O Lord praised by this tyAgarAja! O Protector of the pious people! Without tranquility of mind, there is no comfort. To him, whether an ascetic or a vEdAntin, without tranquility of mind, there is no comfort. Even if - there are wife, children, wealth and provisions (in plenty), one always has the fortune of recitation of names of Lord and penances, one has erudition in all the Agama SAstras, one has high reputation as a great devotee of the Lord, one performs all kinds of vEdic actions like sacrificial oblations etc., one knows well the true purport (significance) of all (these sacrifices) - without tranquility of mind, there is no comfort. Without Self attaining quietitude of mind, there is no comfort. Word-by-word Meaning pallavi SAntamu lEka saukhyamu lEdu sArasa daLa nayana Without (lEka) tranquility (SAntamu) of mind, there is no (lEdu) comfort (saukhyamu), O Lotus (sArasa) petal (daLa) eyed (nayana)! anupallavi dAntuniki-aina vEdAntuniki-aina (SA) To him, whether (aina) an ascetic (dAntuniki) (dAntunikaina) or (aina) a vEdAntin (vEdAntuniki) (vEdAntunikaina), without tranquility of mind, there is no comfort, O Lotus petal eyed! caraNam 1 dAra sutulu dhana dhAnyamulu-uNDina sAreku japa tapa sampada kalgina (SA) Even if there are (uNDina) wife (dAra), children (sutulu), wealth (dhana) and provisions (dhAnyamulu) (literally cereals) (dhAnyamuluNDina) (in plenty), even if one always (sAreku) has (kalgina) the fortune (sampada) of recitation of names (japa) of Lord and penances (tapa), without tranquility of mind, there is no comfort, O Lotus petal Eyed! caraNam 2 Agama SAstramulu-anniyu cadivina bhAgavatulu-anucu bAguga pEru-aina (SA) Even if one has erudition (cadivina) in all (anniyu) the Agama SAstras (SAstramulu) (SAstramulanniyu), even if one has (aina) high (bAguga) reputation (pEru) (pEraina) as (anucu) a great devotee (bhAgavatulu) (bhAgavatulanucu) of the Lord, without tranquility of mind, there is no comfort, O Lotus petal eyed! caraNam 3 yAga-Adi karmamulu-anniyu jEsina bAguga sakala hRd-bhAvamu telisina (SA) Even if one performs (jEsina) all kinds of (anniyu) vEdic actions (karmamulu) (karmamulanniyu) like sacrificial oblations (yAga) etc (Adi) (yAgAdi), even if one knows (telisina) well (bAguga) the true purport (significance) (hRd-bhAvamu) of all (sakala) (these sacrifices), without tranquility of mind, there is no comfort, O Lotus petal eyed! caraNam 4 rAja-adhi rAja SrI rAghava tyAgarAja vinuta sAdhu rakshaka tanaku-upa(SAntamu) O Over-lord (adhirAja) of Kings (rAja), SrI rAghava! O Lord praised (vinuta) by this tyAgarAja! O Protector (rakshaka) of the pious (sAdhu) people! without Self (tanaku) attaining quietitude of mind (upSAntamu) (tanakupaSAntamu), there is no comfort, O Lotus petal eyed!

Indha super stars podhuma, innum konjam Venuma

ATHPUTHAM....ATHPUTHAM....ATHPUTHAM......

Mesmerizing voice! Hope we hear more.

Superb ! praNatArti harAya rAgaM sAmanta Adi talam Muthuswami Dikshitar Krithi This Kriti is in the fourth Vibhakti ‘ cidAnanda nAtha’ is the Deeksha Nama of Muthuswamy Dikshitar Think this Krithi is on Thiruvaiyaru Thyagaraja Temple on panchandeeswararar ( Shiva ) The raga Samanta is found documented in the Sangaraha Cudamani as a janya of Naganandini despite the fact that no known compositions of Tyagaraja are assigned to the raga. The arohana/avarohana krama is given as SRSMGMPDNS/SNDNPMGRS The composition ‘pranatArthiharAya’ is notated by Vidvan Veena Sundaram Iyer in SRGM notation and the following is the summary of it. • He gives the ragas arohana/avarohana only as SRGMPDNS/SNDPMGRS • The kriti starts off as P N s s N D P M G S • Dhaivata & rishabha are varja in the aroha phrases • PNs, Ps, sP, smgr,sNPMGM, sNDP , sDNP , PsND are found • In one or two places the sancara goes far up to tara pancama • D3 is encountered in 5 places in the composition We can observe that by-and-large the raga lakshana as per the Venkatamakhi gitam and Sundaram Iyer’s notation is fairly aligned. The profusion of janta prayogas on the Nishada and Madhayama notes, seen in the gitam is however not to be seen in ‘Pranatarthiharaya’. P praNatArti harAya namastE vara dharma saMvardhanI sahitAya Salutations to you, (you who are) the remover of the distress of those who have bowed to you, the one in the company of Goddess Dharmasamvardhani, C praNata gaNa pati guru guha tAtAya prasiddha kshEtra pAla sEvitAya (madhyama kAla sAhityam) ghRNi SaSi vahni nayanAya nandi turagAya cidAnanda nAthAya panca nada kshEtra prakASakAya pAka SAsana nuta padAmbujAya the father of Ganesha and Guruguha who bow to you, the one attended to by the renowned Kshetrapala (Bhairava), the one whose eyes are the sun, moon and fire, the one whose mount is Nandi, the lord of bliss of consciousness, the one who brightens the sacred place Pancha-nada (Tiruvaiyaru), the one whose lotus-feet are extolled by Indra (slayer of the demon Paka).

Superb ! Santamu leka Ragam Sama 28th Mela janya Deshadi Talam Thyagarajar Krithi Raga Sama or Shyama. As per the Music History of India, this raga is said to be the earliest raga to be used. Perhaps it has something to do with the Sama Vedam? Raga Sama is meditative one. The raga is usually presented at a gentle pace without much fanfare and shorn of embellishments such as gamaka. The beauty of the raga is embellished by the use of long pauses and appropriate turn of phrases by experienced performers and allows the listener to easily experience the essence of this melody. In this philosophic Kruti Tyagaraja expresses that a person may possess every thing but he cannot be really happy without peace of mind. P SAntamu lEka soukhyamu lEdu sArasa daLa nayana || O Rama,your eyes are beautiful like lotus petals. There is no happiness without peace of mind. AP dAntuni kaina vEdAntuni kaina || Even a person who has full control over his sensory organs, who is adept in philosophic thoughts may not be happy without peace of mind. C1 dAra sutulu dhana dhAnyamu lunDina sAreku japa tapa sampada kalgina || One may be leading life with wife and children,one may possess abundant wealth of money and grain and one may perform regular prayer and chant mantras,he may not be happy without peace of mind. C2 yAgAdi karmamu lanniyu chEsina bAguga sakala hrudbhAvamu telisina One may perform yagas and rituals and may understand others views well, he still may remain unhappy. C3 & 4 Agama SAstramu lanniyu chadivina bhAgavatulanuchu bAguga pEraina || rAjAdhirAja SrirAghava tyAga rAja vinuta sAdhu rakshaka tanakupa One might study Vedas and other Sastras well and may also be a renowned devotee,he may not be happy. O emperor Raghava,you are the savior of ascetics.Tyagaraja worships you. Raga Saveri Janyam of 15th mela Mayamalavagowlai. Aro: S R1 M1 P D1 S Av: S N3 D1 P M1 G3 R1 S An Interaction of Expert Musicologists :- Dr V V Srivatsa (Introduction): Saveri is an ancient raga with many textual references. This raga is classified as a Bhashanga raga in Sangeeta Ratnakara, albeit with the name Savari. This raga has a place of pride in Carnatic music, as can be also seen in the proverb, "Kaveri snaanam, Saveri Gaanam", which is duly reflected in a composition by Dikshitar. Each swara has a significant role. Gandhara and Nishada, at Trisruti levels, render this raga as Bhashanga. Rishabha, Madhyama and Nishada are raga-chhayya swaras, which bring out the nuances of this raga. Madhyama is unique, often called Saveri Madhyama. It is one of the select ragas with compositions by all members of the Carnatic Trinity. There is a marked conceptual similarity between Dikshitar and Syama Sastri. Some rare sancharas can be found in "Karmame Balavanta", a Tyagaraja kriti. There is considerable esoteric significance in some passages of the kriti "Sri Rajagopala" by Dikshitar. Syama Sastri's first composition was in this raga. Many post-Trinity composers have used this raga, unto recent times. A great legacy. Dr Pramila Gurumurthy: The earliest reference is by Parshwadeva (11th Century). Narada's classification under the time theory details Saveri as a derivative of Gauda, apt for rendition between noon and 3 pm. Sarangadeva refers to raga Sauviri only. The Brihaddharma Purana mentions Saveri as a janya raga of Gowda mela. Annamacharya and Purandaradasa have composed in this raga. Ramamatya refers to Saveri as a janya raga of Salanganata mela. The references by Somanatha to a raga Saveri as a derivative of the Mallari scale perhaps is in respect of Suddhasaveri. Venkatamakhin opines that Saveri is a derivative of Gowla mela. The melodic identity of this raga is established in works like Raga Lakshanamu, Sangeeta Saramrita and Sangeeta Sampradaya Pradarsini. The Sangeeta Saramrita deems Saveri to be a morning raga. Shadja is used as Graha, Nyasa and Amsa swaras. Many compositions are available with notation in the Sangeeta Sampradaya Pradarsini. B Subba Rao has expressed a view that Saveri is getting popular in Hindustani music too. There is no eqivalent for Saveri in the Pann system. P S Narayanaswami (Creativity): Saveri is a very unique raga affording ample scope for manodharma. The three swaras, Rishaba, Madhyama and Dhaivata play a vital role. It is difficult to prescribe any uniformity in Manodharma in respect of this raga. (P S Narayanaswamy rendered an alapana which was crisp and embellished with all desirable facets of this raga.) Dr M Narmada (Ornamentations / Gamakas): It is the judicious combination of swara and gamakas that accentuate the beauty of this raga and facilitate Raganubhava. (The proximity and combination of Shadja and Rishaba was demonstrated by her, duly accentuating the gamaka element with Rishaba swara). The effect is such that some may adopt the zonal concept, within the raga framework. (The effect of using gamaka with Dhaivata was also demonstrated.) For a total aesthetic effect, the key is the judicious use of the gamaka with any swara. Saveri is a gamaka - variga raga but not extensible to all swaras. This raga gives the anubhava of Sringara, Santa and Adbhuta rasas.

pa Enna oru gamberrmana voice...miss you sir...hope to you hear u soon..

Radhe Krishna Thank you so much of your lovely sharing the excellent kkerthanai "PraNarArthi HarAya Namaste" Samanta Ragam beautifully rendered by the Carnatic Musical Vocal Exponent, Vidhwan Sri Balaji Shankar ji.

AraNa poruLE. rAgA: kharaharapriyA. rUpaka tALA. Composer: Mayuram Vishvanatha Shastri. P: AraNa poruLE anudinam AdarittaruLE aDiyavargaLukk- A: vAraNa mukhanE tuNai vArum sumukhanE sakala kAraNa kAraNanE pUraNanE bhuvanam pugazh C: Adaravu tand-ALavE mudalvA nin ponnaDi paNindEn nAda rasikanE nan madhura kIrtanai paNinduraittEn pEdara hitanE en siru mozhi Erkka un tuNai aNindEn shrIdhara maruganE shubhakara cinmaya rUpanE guruguha sOdara varadanE jayamiga nI tara vishvamIdaruLuya

good singing and great footage

who is the veena accompanist

I believe Balaji Shankar sir is now longer singing, at least not professionally. Had a problem with his voicebox (larynx), he moved to Dehli to pursue his studies. I think hes in the IT field now. Such a great singer.

Good rendition.

as for my information he had to stop singing due to illness and heard that he has recovered . no information further. wish he live peacefully with good health wherever he is.

Brother pls come back! We need you!

Shri Balaji renditions are superb. In all renditions the raga uniqueness is reflected. Highly talented

I tried about year back for Balaji's clip in youtube, but alas din't get any. Glad that today there are many. He is not only torch bearer of his guru D K Jayaraman's tradition, but has every bit in him to be a great master by himself. Why he is not singing these days ? Incapacitated ? I had a cassette of him, with such gems like "Nambi Kettavarevarayya" in Hindola. Its unfortunate that he is not singing these days. Lets pray he returns soon.

Please Balaji sing for your die hard fans!! no body can beat u

Do you know whereBalaji Shankar is now ?

HI whre this young singer now? Balaji is blessed with a honey coated sweet deep voice which i could compare with anyone. What politics is going on in south indian music field ? what is behind this dear one to quit field? If any body read this mail or Balaji himself, i can do a lot. If Balaji stops singing, it the greatest loss to carnatic music and India. Does anybody understand this?

so happy that Balaji Shankar is back in the singing circuit. I have missed his singing after his rendition of the Dikshitar CD. Please post more. Balaji -- If you have not, please set up a website with links to your great renditions

ahaaa!! great redition..:)

Very beautiful singing. His voice flows very naturally with lot of bhava. Please post post more of this musician.

Great singing .

Great singing . Look forward to Balaji coming back into the Concert circuit what a silken voice and great rendering :)