OmkAra praNava - shaNmukhapriya - Adi - M Balamuralikrishna

[@VinayakVRBPHC]

People with half knowledge will comment like this.... actually Balamurali sir's singing style is unmatched and people are lealous of his vidwath ... he is simply too good for any one to understand let alone reaching the class he had reached...Just enjoy this great legend and we may not see another of his kind in a yuga

[@appabombay]

👏..Superb rendition..🙏🏻🔥✌️Radhe Krishna

[@mysuruvasudevacharya]

Superb ! Omkara pranava (varanam) Ragam Shanmukhapriya 56th Mela Adi Talam BMK Krithi This song praises Lord Krishna sleeping on the leaf after the 'pralayam' sets in, the 'Vata Patra Sai'. It also praises Krishna's abilities, what sorts of good things Krishna could give to his devotees, and finally the song asks for friendliness amongst human beings, being selfless. pallavi and anupallavi OmkAra praNava nAdOdbhava Sruti laya svara sAnkEtika tribhuvana Sakti muraLi gAna svarUpi Oh embodiment (svarUpi) of the music (gAna) from the flute (muraLI) [1], the sound (SRti), the rhythm (laya) and the musical notes (svara) that are indicative (sAnkEtika) of the energy/power (Sakti) in the three worlds (tribhuvana), that arose from/was born out of (udbhava) from the primordial sound (OmkAra praNava nAda)! muktaayi svara sAhityam praLaya jala valaya puTalalalo tElanadE vaTa patram Sayanincu varaduni nAbhini veDalina kamala sanjanita vidhi mukha janita (OmkAra…) (Oh embodiment of the music from the flute, the sound, the rhythm, and the musical notes that are indicative of the energy in the three worlds, that arose from the primordial sound) which in turn was born (janita) from the face/mouth (mukha) of brahma who was created (sanjanita) from the lotus (kamala) arising (veDalina) from the navel (nAbhini) of the benefactor/giver of boons (varaduni) who is reclining (Sayanincu) on a fig (vaTa) leaf (patra) that is floating (tElanadE) on sheets (puTalalalO) of water (jala) that encompassed (valaya) the deluge (praLaya)! caraNam pada nIrajamulE nammiti (I) have trusted/believed in (nammiti) only in (the) lotus (nIrajamulE)-like feet! caraNa svara sAhityam 1 SASvatamai sukhamainadi (pada nIrajamulE nammiti) (I have believed in only the lotus-like feet) that are blissful (sukhamainadi) because they are eternal (SASvatamai). caraNa svara sAhityam 2 gAUrISa SrISa vidhIndra tyAgarAjAdi varya saparyalandu (pada nIrajamulE nammiti) (I have believed only in the lotus-like feet) that have accepted homage (saparyalandu) from the consort (Isa) of pArvati (gaurI), the consort (Isa) of lakshmI (SrI), brahma (vidhi) and indra, and from noble men like tyAgarAja and others (Adi). caraNa svara sAhityam 3 prabhavamu vibhavamu lInamulu daSa diSalu bhUmi gagana pavanamu salilamagni naga khaga taru mRgAdi sakalamu kalugu nI dayavalanE (pada nIrajamulE nammiti) (I have believed only in the lotus-like feet), for it is only because of your (nI) kindness and compassion (dayavalanE) that everything (sakalamu), including (Adi) the merger (lInamulu) of fortune (vibhavamu) and fame (prabhavamu), the ten (daSa) directions (diSalu), the earth (bhUmi), the sky (gagana), the wind (pavanamu), water (salilam), fire (agni), mountains (naga), birds (khaga), plants (taru), and animals (mRga), has been created (kalugu). caraNa svara sAhityam 4 nI nA yenEDu tAratamyamulu mAnagA suguNamicci sahanamu virAla vitaraNamu nijamunu balkuTalu sadA tEliyaga bhArata bhuvini janulu kalisi mElisi sukhamugA vadaluTE mA dhyEyamuga satkarmAcaraNamu bhaktyAnanda varamiDu Without accepting (mAnagA) differences (tArataryamulu) such as (yenEDu) yours (nI) and mine (nA), you have liberally (vitaraNamu) granted (icci) good character (suguNamu), patience (sahanamu), peity (virAla), the ability to always (sadA) understand (tEliyaga) and speak/utter (balkuTalu) the truth (nijamunu), so that the people (janulu) of India (bhArata bhuvini) [2] may live (vadaluTE) in unity (kalisi mElisi) happily (sukhamugA). Please grant (iDu) the boon (varam) that our (mA) goals (dhyEyamuga) be to perform good deeds (satkarmAcaraNamu), and experience bliss (Ananda) from devotion (bhakti). Raga Shanmukhapriya 56th mela Alias: shamugapriya Arohanam: S R2 G2 M2 P D1 N2 S Avarohanam: S N2 D1 P M2 G2 R2 S The quintessential feature of classical music is the underlying “ bhakthi” bhava that propells the raga bhavaand intertwines with the sahitya. When a raga magically evokes the bhakthi rasa, some feel elation, some cry, some feel their hair standing on end, while other less-fortunate ones feel nothing. Musical emotions are like an FM station, we have to tune into that “ bhakthi” frequency to receive those transmissions. The ragathat has that special power to evoke divinity is Shanmukhapriya. A raga that Lord “Shanmukha” loves, or rather, a raga that loves Lord Shanmukha perhaps? Dikshitar, as usual, had his name for this raga - “Chamaram.” It is a scale that is complete in itself, the notes that are present being Shadja, Chatusruti Rishaba, Sadharana Gandara, Prati Madhyama, Pancama, Shuddha Dhaivata, and Kaisiki Nishada. The Prati Madhyama is its defining note, and the harmonies that are possible in this scale are mind-blowing. While “Siddhi Vinayakam” of Dikshitar describes Ganesh Chaturti in detail in this raga, his “Sadasraye Abhayambike” is in praise of Goddess Abhayamba of Mayavaram. “Vadanevaru” is a rare composition of Thyagaraja in this raga and interestingly Shyama Sastri completely ingored it. The raga's beauty is fully revealed in the Tamizh compostions of Papanasam Sivan like “Saravanabhava ennum”, “Andavane”, and “Kannanai Pani Maname.” The heart-melting lyrics compliment the raga's pleading quality, resulting in a passionate outpouring of sheer musical beauty.

[@girishm5244]

Very well written and explained. Thanks

[@jayamandiramrameshkumar639]

Swargeeya Sri BMK's songs always takes us to a celestial level which is filled with bhava, raaga, thala, and laya without losing the sahityam. It's quite natural for a singer like him to show gestures, which has nothing to do with ego (that's common sense). It's good to enjoy the song which is standing in a higher level compared to other singers. So sad that some "Bommas" are negatively commenting!

[@pallavisreetambraparni6995]

Beautiful varnam in shanmukhapriya

[@LearnCarnaticMusic]

Yes it is his own [BMK] composition - very well embellished with poetic sanskrit/samskrita. He is a genius in more than a way.

[@JayanthiNadig]

Two of my favourites BMK and MSG... Love Carnatic music because of BMK... Thanks for the post...

[@ksnsbt]

Excellent rendering in a different but interesting style typical of BMK's.The Divine Beauty of the Raga SM priya well brought out by BMK. Kindly upload more varieties in the RAGA.May Lord Shanmugha Bless you.

[@ranna.]

Amazing, thanks for sharing

[@ShootMyMonkey]

No, the impression you had is indeed correct. The two of them had some sort of falling out, which I think was way back in the '60s, so when I saw this video and saw the date in the background reading 1996, I was really surprised as well. I spoke to MSG a few weeks back, but he wasn't willing to comment on what the issue was or how they managed to make up in the end.

[@venu65315]

What an extraordinary person SRI BMK SIR !! Look at the way HE has motivated MSG SIR AND mannargudi EASWARAN SIR to match HIM ! See the xpression of happiness in them while playing !! HIS OWN COMPOSITION !!!!! WHO IS MORE GIFTED ? NO DOUBT WE ARE.look at the ease with which HE RENDERS. VENU

[@aaaiiih]

This song is his own composition! Its so much unique and beautiful....In an interview he had told he wrote this when he was very young, GReat!

[@emry01]

Mannargudi Easwaran was simply amazing for this song. MSG seems to be enjoying. A great combo indeed. Not to mention the genius of BMK.

[@srinathnanjangud]

I have enjoyed karnataka music by vocal artist

[@gopi12ful]

very nice composition ,exellent singer in the century.

[@rawalbhola9372]

excellent bhajan

[@mahadevaswamytk1891]

My favourite songs. Thanks

[@sampathkamalashile1194]

🙏🙏🙏god music🙏

[@pallavisreetambraparni6995]

🙏🙏🙏

[@RamyaKumar27]

Very true Vinayak. Such an amazing composer and performer.

[@dipeeshgangan]

❤️❤️

[@sanjeevramabhadran]

Good to see BMK and MSG live on the same stage. I was under the impression that they had stopped performing together some years back - was that not the case?

[@gagandeepkalshi3615]

This is very beautiful!!

[@srinirmalakanduri9216]

Can anyone share notations of this varnam pls 🙏

[@acusuresh]

an excellent song.

[@Vishu95100]

Now, he has left all of us.... May his soul rest in peace!

[@VinayakVRBPHC]

Entanerchina is also a wonderful song ... why cant u load it sir....

[@ramamohanprasadsarva7488]

mbk, ms, iddaru poteepadethe shanmukhuduyenduku preethudu kadu?very fine rendition.

[@guitarguy1381]

that is a beautiful composition Is this BalamuraliKrishna's own? He's got such unique ideas in his compositions. Very creative.

[@sudokshinamannachatterjee8893]

celestial

[@narayanababuvedula8446]

Omkaara praNava naadOdbhava SRti laya saankEtika tribhuvana Sakti muraLi gaana svarUpi pada nirajamulE nammiti praLaya jala valaya puTalalO tElenadE vaTapatram Sayaninchu varaduninaabhini varalina kamala sanjanita vidhi mukha janita Omkaara praNava........ pada nirajamulE nammiti SaaSvatamai sukhamainadi gaarISa SriiSa vidhiindra tyaagaraajaadi varya saparyalandu pada niirajamulE nammiti prabhavamu vibhavamu liinamai daSa diSalu bhuumi gagana pavana salila agni naga khaga taru mRgaadi sakalamulu kalugu nii daya valana pada niirajamulE nammiti nii naa yaneDu taaratamyamulu maanaga suguNamicci sahanamu viraLa vitaraNamu nijamununu palkuTaku sadaa bharata bhuvini janulu kalisi melasi sukhamugaa varaluTE maa dhyEyamugaa satkarmaacharaNamu bhaktyAnanda varamiDu pada niirajamulE nammiti.... ఓంకార ప్రణవ నాదోద్భవ శృతి లయ సాంకేతిక త్రిభువన శక్తి మురళి గాన స్వరూపి పద నిరజములే నమ్మితి ప్రళయ జల వలయ పుటలలో తేలెనదే వటపత్రం శయనించు వరదునినాభిని వరలిన కమల సంజనిత విధి ముఖ జనిత ఓంకార ప్రణవ........ పద నిరజములే నమ్మితి శాశ్వతమై సుఖమైనది గారీశ శ్రీశ విధీంద్ర త్యాగరాజాది వర్య సపర్యలందు పద నీరజములే నమ్మితి ప్రభవము విభవము లీనమై దశ దిశలు భూమి గగన పవన సలిల అగ్ని నగ ఖగ తరు మృగాది సకలములు కలుగు నీ దయ వలన పద నీరజములే నమ్మితి నీ నా యనెడు తారతమ్యములు మానగ సుగుణమిచ్చి సహనము విరళ వితరణము నిజమునును పల్కుటకు సదా భరత భువిని జనులు కలిసి మెలసి సుఖముగా వరలుటే మా ధ్యేయముగా సత్కర్మాచరణము భక్త్యానంద వరమిడు పద నీరజములే నమ్మితి....

[@ShootMyMonkey]

Balamurali's alapanas tend to be that way. You listen to people like SKR or TNS, the raga becomes clearly apparent within the first pidi. BMK, to me, is the exact opposite: he'll go through an entire alapana of several minutes, and it'll still be ambiguous at the end. Well, that's his intention, it seems.

[@meeragopalakrishnan8417]

SKR and TNS are incomparable when it comes to enchanting with their vidwath

[@ShootMyMonkey]

Personally, I think of highest of him as a composer. There are people who do more fascinating and deep vinyasam in practice. There is vidwath out there I'd put above BMK, at least when it comes to performance. Sorry I'm not a zealot who views him as this infallible manifestation of all that is perfect. I say a lot about MSG, but I'll admit that there are things that others like LGJ have done better.

[@meeragopalakrishnan8417]

Yes. Each artiste is unique and make for a variety we can enjoy. The plus about BMK is his creativity. I lose patience sometimes with his gimmicks but have come to accept him as a whole. MSG of course is something else altogether. I just love his bani. And the fact that he shines equally well in Hindustani.

[@ramabommaraju2715]

If you listen without looking at him- his music is absolutely first class. The most annoying thing about BMK is his "hava bhavam"- His gestures are pathetic display of his elephant sized ego.

[@meeragopalakrishnan8417]

I think he was a musician par excellence. And is entitled to his ego. Despite whatever you can say about him, when you discuss his music, all his faults pale in comparison. You can talk about his ego if you can even sing a bit like him!

[@kameshcasukhela1190]

You comment is very moronic. His apparent ego stems from the fact that most musicians are afraid of his knowledge. He sublimed his entire being in service of music. If that shows off as his ego then so be it.

[@skMahathi]

A person with so much ego cannot accompany on viola for an vocalist.....after dealing with many contoversies with the same person...

[@summushieremiasclarkson4700]

The man was just exhausted with the silliness of the general political atmosphere that sadly, to this day perhaps, better defines Carnatic Music than the music itself. For decades, he endured every self-proclaimed critic deriding his creative approach as blasphemy to the unwritten tenets of Carnatic music. This assessment is particularly baffling to the discerning observer, as his approach was very traditional, in my opinion. He never violated the rules of the raga or the composer's intent, to the point of not indulging in neraval (except in rare circumstances), as dragging the sahithyam would, in his view, damage the phrasing. He presented several valid criticisms of the music of the day, including the tendency of musicians to deliberately obfuscate the enunciation, and sometimes pronounciation to provide their singing with additional technical flair, which was as unpleasant as it was unnecessary. Not to mention the truly abominable akara and gamaka renditions of even those with excellent diction, for instance, Tiger Varadachariar. Of course, he often indulged in the excesses of his own creativity, which was quite irksome to me and a few others, but nevertheless he stands to me as not an infallible genius, however, as a unliteral monument to brilliance, unmatched by anyone perhaps since Patnam Subramanya Iyer. In this regard he had much in common with my other great personal hero, G.N. Balasubramaniam. However, he was absolutely correct in his assessment of the trinity; were they not also pioneers of their time? Much has been said of this, and even more will be, so I have said enough. But Prince Rama Varma goes into detail concerning his supposed "ego", in his three-part lecture demonstration on Dr. BMK, which is available on KZbin.

[@abhiramjayachandran3227]

I met him twice..spoke to him.. He was a personification of humility and exuded so much of affection