Let my mind worship lord Padmanabha! He is adored by Gagadhara! Let lord Padmanabha reside in the hearts of the sages who are devoid of attachments like the ever-hovering bees over the lotus. He is the conqueror of the demons-the sons of Diti. He held aloft the great mountain. He resposes on the king of the serpent. He is adorned in golden rainment. He is more beautiful.. He is the exponent of the sentiment of love
Sindhubhairavi is one of the most interesting and colourful of ragas. A melange of swaras finds it way into this accommodative raga. Sindhubhairavi is a derivative of the Asavari thaat, and the conventional Aarohana / Avarohana being SRGMDNS / SNDPMGRS. The raga features the Sadja, Suddha and Chatusruti Rishabha, Suddha Madhyama (and Prati Madhyama in special phrases), Pancama, Suddha Dhaivata (and Chatusruti Dhaivata in special phrases), Kaisiki Nishada (and Kakali Nishada too), in fact, almost everything! This raga is suited for lighter pieces, exudes bhakti and sringara rasas, and could melt mountains. Classical compositions that are often sung in Sindhubhairavi include ‘Venkatachala Nilayam’ (Purandaradasa), ‘Kalyana Gopalam’ (Narayana Theertha), ‘Visweswara’, ‘Bhaja Bhaja’ and ‘Ramachandra Prabhu’ (Swati Tirunal), ‘Manadhirkugandhadhu’ (Tanjore Sankara Iyer), ‘Kantamam’ (Mayuram Viswanatha Sastri) among several others. One may recall Parvin Sultana’s rendition of the Punjabi anga ‘Bhavani Dayani’, Bhimsen Joshi’s abhang ‘Jeekaranjale’, and Kishori Amonkar’s rendition of ‘Koyaliya’, all scintillating pieces in this raga. Most ragamalika pieces also feature this raga.
Wishu all the best in Kumari Chi Swo Nandhana God blleasying for your allweays every once Time so yeni some times greatests goud luck on the way so you singing Bhakthi Githa very very Supperfaine Beauty full feavarit Feamous very very Exaleant performance greatests wonderful Telleanting Namastheye Shubhvagale
One of the most well-utilised ragas in film music would be Sindhubhairavi. M.S. Subbulakshmi's renditions of ‘Anandam En Solvene’ from Sakuntalai, ‘Brindavanathil Kannan Valarndha’ and ‘Kaatrinile’ from Meera, are exemplary depictions of this raga. M.K. Tyagaraja Bhagavatar’s renditions in Sindhubhairavi are some of the most refreshing, including ‘Bhoomiyil Maanida’ from Ashok Kumar, and ‘Vadhaname Chandra Bimbamo’ from Sivakavi. In ‘Vadhaname’, the complete octave is explored with splendid vocalisation in ‘...Madura Gaanamo…’, in lightning speed. Bharatiar’s ‘Theeratha Vilayattu Pillai’ in ragamalika featured Sindhubhairavi as the first raga in D.K. Pattammal’s voice (in the film Vedhaala Ulagam). ‘Sitham Ellam Enakku’ from Thiruvarutchelvar is a riveting piece, a composition of K.V. Mahadevan, who also composed ‘Manappara Madu Katti’ fromMakkalai Petra Magaraasi in this raga. The duo M.S. Viswanathan-Ramamoorthy has composed several pieces in this raga, including ‘Ennai Yarendru’ from Paalum Pazhamum, ‘Varayo Thozhi’ from Paasa Malar, and ‘Aaru Maname’ fromAndavan Kattalai. The use of the shehnai in ‘Varayo Thozhi’ is noteworthy. ‘Kalyana Saapaadu’ from Major Chandrakanth in the music of V. Kumar is a foot-tapping number in this raga, and one notices that most pieces in this ragas start at the Gandhara-Madhyama region and proceed to the Madhya-sthayi Sadja. M.S. Viswanathan's ‘Allah Allah’ from Mohammed-bin-Tughlaq, ‘Raman Ethanai Ramanadi’ fromLakshmi Kalyanam and ‘Unakkenna Mele Nindraai’ from Simla Special are evergreen pieces in Sindhubhairavi. In ‘Unakkenna’ the refrain ‘Thaai Madiyil Pirandom...’ ending with the thom-tha-dhomjathi beautifully encompasses the entire landscape of this raga - sheer genius. ‘Thiruthani Muruga’ from Neelagiri Express is a splendid composition in this raga by T.K. Ramamoorthy who passed away recently. Ilaiyaraaja’s forays into this raga reveal wondrous pastures and a few breathtaking examples of his many compositions in this raga are ‘Valaiosai’ from Satya in which the fusion of the raga with the guitars and Lata Mangeshkar’s voice make magic, ‘Shenbagame’ from Enga Ooru Paatukaaran, ‘Muthumani Maala’ from Chinna Goundar, ‘Madha Un Kovilil’ from Achaani (in this piece the Antara Gandhara is beautifully touched upon in ‘Thaai Endru Unnaithaan’), ‘Naanoru Sindhu’ (with a folksy touch) from Sindhubhairavi, and ‘Oru Naalum Unai’ from Ejamaan. Ilaiyaraaja has used this raga for even a sensuous number ‘Aatama Therottama’ from Captain Prabakaran.
A.R. Rahman’s ‘Nenjinile’ from Uyire and ‘Margazhi Thingal Allavaa’ from Sangamam show varied hues of this rather, the latter being a more conventional approach to the scale. Harris Jayaraj has tried his hand in Sindhubhairavi in ‘Ivan Dhaanaa’ from Saamy and ‘Theeye Theeye’ from Maattrraan. In Hindi film music too this raga has been widely used, and one recalls ‘Joth Se Joth’ from the film Sant Gnyaneshwar in the lilting voices of Lata and Mukesh. ‘Mile Sur Mera Tumhara’, a multilingual song that is close to our hearts has been composed in this raga by Louis Banks and sung by several legends in Indian music, including Bhimsen Joshi and M. Balamuralikrishna. Sindhubhairavi raga, a personal favourite, has innumerable memorable melodies, of which only a fraction has been mentioned in this article.
P: bhaja bhaja mAnasa harim anavaratam bhakta parAyaNam ati shubha charitam Oh mind, Sing the glory of Hari incessantly. He is engrossed in the welfare of devotees. He is the most auspicious one. C1 shuka sanakAdi munIshvara vinutam jagati samasta carAcara vitatam Great sages Suka, Sanaka and others worship him. He is the all-pervading force behind the dynamic and static creations. C2 jahi dhanadAra sutAdishu rAgam svapna samEshu hi mamataa rahitam Fascination towards wealth, wife, children and others is like a dream because of ego. C3 pankajanAbham anantapurEsham pannaga parivrDhamAnca vilasitam Worship Lord Padmanabha of Anantapuram who reclines on Adisesha serpent.
This interesting story which tells us two things, namely that God removes the poverty of a true devotee even without the express prayer for it and that the devotee should not have any attachment to wealth of any kind, has always been a favourite of religious discourse. Swati Tirunal closely follows the story in the Bhagavata. There are passages in the Upakhyana which echo lines in the Bhagavata. Compare for instance the sloka. The description of Krishna as seen by kuchela in the song poorna chandranana is the author's own. The anxiety of Kuchela as to what he could tell his wife on returning home is expressed in the charana. In the song Jalathisutha has also no corresponding passage in the original. These are added by the author for effect in the narration; so too the description of the bazaars and streets in Dwaraka. Quite in tune with the theme of the narration, the work has at its beginning song Bhaja Bheja Marasa calling for the cultivation of Bhakti, and concludes with a sloka emphasizing it again. The work bristles with rhyme and alliteration. There is repetition of the last part of the final words in the charanas. In the song Ahaha naivajane and this is in accordance with the observation made by some Sanskrit grammar like Melputtur Narayana Bhatta that in utterance under strong feeling, even parts of words may be repeated. This incidentally reveals the intensity of the scholarship of Swati Tirunal since this is not a matter of common knowledge or practice although psychologically fully justifiable. The songs are all simple in form and of varying lengths, the charanas varying between three and five. Three of them have only Pallavi and Anupallavi. The ragas are also mostly the common ones but those adopted from the North like Bihag. Yamunakalyani, Kafi and Bibhas also figure. The raga of the popular song smarati nu nam sadayam is found given as Madhyamavati, but it is invariably rendered in Bihag. The verses are in diverse meters. Some of these can be sung to tala, as for instance the opening verse in Khandachapu and in Adi. Meruswami performed Harikatha in the royal presence using this work in February 1838 and the delighted Maharaja presented him with a pair of gold bangles, a golden necklace, a pair of shawls and Rs. 500.
Oh Mind! Do meditate upon Lord HARI forever. He is engrossed in the well being of his devotees. His exploits are non-pareil and auspicious. He is extolled by sages like SUKA and SANAKA. He is the all-pervading spirit of sentient and insentient of this wold. These attachments like-mine, my wife, wealth, children etc., are dream-like in nature, brought about by ones ego. Please reflect upon Lord PANKAJANABHA, the Lord of ANANTAPURA! who is gloriously reclining on the serpent.
![CAMPปลิ้น | EP.76[1/2] โจโฉเปิดป่าโหดรับโอ๊ต-ป๊อบ รอบนี้พี่เอาจริง!](http://i.ytimg.com/vi/pNg5O7Pf-a0/mqdefault.jpg)
Nandana very good excellent 👍👍👍👍
Excellent rendition marvelous voice 🎉🎉🎉😊
Super excellent voice 👍👍👍👍
Let my mind worship lord Padmanabha! He is adored by Gagadhara! Let lord Padmanabha reside in the hearts of the sages who are devoid of attachments like the ever-hovering bees over the lotus. He is the conqueror of the demons-the sons of Diti. He held aloft the great mountain. He resposes on the king of the serpent. He is adorned in golden rainment. He is more beautiful.. He is the exponent of the sentiment of love
Nandana is Almighty's gift to the Rasikas.
Sindhubhairavi is one of the most interesting and colourful of ragas. A melange of swaras finds it way into this accommodative raga. Sindhubhairavi is a derivative of the Asavari thaat,
and the conventional Aarohana / Avarohana being SRGMDNS / SNDPMGRS.
The raga features the Sadja, Suddha and Chatusruti Rishabha, Suddha Madhyama (and Prati Madhyama in special phrases), Pancama, Suddha Dhaivata (and Chatusruti Dhaivata in special phrases), Kaisiki Nishada (and Kakali Nishada too), in fact, almost everything! This raga is suited for lighter pieces, exudes bhakti and sringara rasas, and could melt mountains.
Classical compositions that are often sung in Sindhubhairavi include ‘Venkatachala Nilayam’ (Purandaradasa), ‘Kalyana Gopalam’ (Narayana Theertha), ‘Visweswara’, ‘Bhaja Bhaja’ and ‘Ramachandra Prabhu’ (Swati Tirunal), ‘Manadhirkugandhadhu’ (Tanjore Sankara Iyer), ‘Kantamam’ (Mayuram Viswanatha Sastri) among several others. One may recall Parvin Sultana’s rendition of the Punjabi anga ‘Bhavani Dayani’, Bhimsen Joshi’s abhang ‘Jeekaranjale’, and Kishori Amonkar’s rendition of ‘Koyaliya’, all scintillating pieces in this raga. Most ragamalika pieces also feature this raga.
Wishu all the best in Kumari Chi Swo Nandhana God blleasying for your allweays every once Time so yeni some times greatests goud luck on the way so you singing Bhakthi Githa very very Supperfaine Beauty full feavarit Feamous very very Exaleant performance greatests wonderful Telleanting Namastheye Shubhvagale
Your spiritual looks and divine voice will take you to high heights in Bakthi Sangeetham in the near future.
Super voice excellent singing 💯
Super duper 🎉🎉❤🎉🎉
Very good excellent 🎉🎉🎉🎉
Very good excellent 🎉🎉🎉
Excellent rendition 🎉🎉🎉
Beautiful singing Nandana kutty👏👏👏👏👌👌👌👌
One of the most well-utilised ragas in film music would be Sindhubhairavi.
M.S. Subbulakshmi's renditions of ‘Anandam En Solvene’ from Sakuntalai, ‘Brindavanathil Kannan Valarndha’ and ‘Kaatrinile’ from Meera, are exemplary depictions of this raga.
M.K. Tyagaraja Bhagavatar’s renditions in Sindhubhairavi are some of the most refreshing, including ‘Bhoomiyil Maanida’ from Ashok Kumar, and ‘Vadhaname Chandra Bimbamo’ from Sivakavi. In ‘Vadhaname’, the complete octave is explored with splendid vocalisation in ‘...Madura Gaanamo…’, in lightning speed.
Bharatiar’s ‘Theeratha Vilayattu Pillai’ in ragamalika featured Sindhubhairavi as the first raga in D.K. Pattammal’s voice (in the film Vedhaala Ulagam). ‘Sitham Ellam Enakku’ from Thiruvarutchelvar is a riveting piece, a composition of K.V. Mahadevan, who also composed ‘Manappara Madu Katti’ fromMakkalai Petra Magaraasi in this raga.
The duo M.S. Viswanathan-Ramamoorthy has composed several pieces in this raga, including ‘Ennai Yarendru’ from Paalum Pazhamum, ‘Varayo Thozhi’ from Paasa Malar, and ‘Aaru Maname’ fromAndavan Kattalai. The use of the shehnai in ‘Varayo Thozhi’ is noteworthy.
‘Kalyana Saapaadu’ from Major Chandrakanth in the music of V. Kumar is a foot-tapping number in this raga, and one notices that most pieces in this ragas start at the Gandhara-Madhyama region and proceed to the Madhya-sthayi Sadja.
M.S. Viswanathan's ‘Allah Allah’ from Mohammed-bin-Tughlaq, ‘Raman Ethanai Ramanadi’ fromLakshmi Kalyanam and ‘Unakkenna Mele Nindraai’ from Simla Special are evergreen pieces in Sindhubhairavi. In ‘Unakkenna’ the refrain ‘Thaai Madiyil Pirandom...’ ending with the thom-tha-dhomjathi beautifully encompasses the entire landscape of this raga - sheer genius.
‘Thiruthani Muruga’ from Neelagiri Express is a splendid composition in this raga by T.K. Ramamoorthy who passed away recently.
Ilaiyaraaja’s forays into this raga reveal wondrous pastures and a few breathtaking examples of his many compositions in this raga are ‘Valaiosai’ from Satya in which the fusion of the raga with the guitars and Lata Mangeshkar’s voice make magic, ‘Shenbagame’ from Enga Ooru Paatukaaran, ‘Muthumani Maala’ from Chinna Goundar, ‘Madha Un Kovilil’ from Achaani (in this piece the Antara Gandhara is beautifully touched upon in ‘Thaai Endru Unnaithaan’), ‘Naanoru Sindhu’ (with a folksy touch) from Sindhubhairavi, and ‘Oru Naalum Unai’ from Ejamaan. Ilaiyaraaja has used this raga for even a sensuous number ‘Aatama Therottama’ from Captain Prabakaran.
Absolutely Blissful All the Best Wishes to the Child 👋👌👋
Bhaja bhaja manasa Ragam Sindhu Bhairavi Adi talam Swati Thirunal Krithi
This song is Kuchela Upaakhyanam; Sanskrit.
Kuchelopakhyana- A Harikatha basd on the story of Kuchela and Krishna
Excellent singing👍[Thaen] Sindhu[m] bhairavi🤗Long Live dear child🙌🥰
Very nice and sweet voice excellent rendition lovely singing leading to Divinity blissful vibration the way of presentation fantastic ❤❤❤❤🎉🎉
Thank you so much for your sharing spritual services congratulations
Very good 🎉🎉🎉
🙏
A.R. Rahman’s ‘Nenjinile’ from Uyire and ‘Margazhi Thingal Allavaa’ from Sangamam show varied hues of this rather, the latter being a more conventional approach to the scale.
Harris Jayaraj has tried his hand in Sindhubhairavi in ‘Ivan Dhaanaa’ from Saamy and ‘Theeye Theeye’ from Maattrraan.
In Hindi film music too this raga has been widely used, and one recalls ‘Joth Se Joth’ from the film Sant Gnyaneshwar in the lilting voices of Lata and Mukesh.
‘Mile Sur Mera Tumhara’, a multilingual song that is close to our hearts has been composed in this raga by Louis Banks and sung by several legends in Indian music, including Bhimsen Joshi and M. Balamuralikrishna.
Sindhubhairavi raga, a personal favourite, has innumerable memorable melodies, of which only a fraction has been mentioned in this article.
P: bhaja bhaja mAnasa harim anavaratam bhakta parAyaNam ati shubha charitam
Oh mind, Sing the glory of Hari incessantly. He is engrossed in the welfare of devotees. He is the most auspicious one.
C1 shuka sanakAdi munIshvara vinutam jagati samasta carAcara vitatam
Great sages Suka, Sanaka and others worship him. He is the all-pervading force behind the dynamic and static creations.
C2 jahi dhanadAra sutAdishu rAgam svapna samEshu hi mamataa rahitam
Fascination towards wealth, wife, children and others is like a dream because of ego.
C3 pankajanAbham anantapurEsham pannaga parivrDhamAnca vilasitam
Worship Lord Padmanabha of Anantapuram who reclines on Adisesha serpent.
👍👍👍👍❤❤❤❤
This interesting story which tells us two things, namely that God removes the poverty of a true devotee even without the express prayer for it and that the devotee should not have any attachment to wealth of any kind, has always been a favourite of religious discourse. Swati Tirunal closely follows the story in the Bhagavata. There are passages in the Upakhyana which echo lines in the Bhagavata. Compare for instance the sloka.
The description of Krishna as seen by kuchela in the song poorna chandranana is the author's own. The anxiety of Kuchela as to what he could tell his wife on returning home is expressed in the charana.
In the song Jalathisutha has also no corresponding passage in the original. These are added by the author for effect in the narration; so too the description of the bazaars and streets in Dwaraka. Quite in tune with the theme of the narration, the work has at its beginning song Bhaja Bheja Marasa calling for the cultivation of Bhakti, and concludes with a sloka emphasizing it again. The work bristles with rhyme and alliteration. There is repetition of the last part of the final words in the charanas.
In the song Ahaha naivajane and this is in accordance with the observation made by some Sanskrit grammar like Melputtur Narayana Bhatta that in utterance under strong feeling, even parts of words may be repeated. This incidentally reveals the intensity of the scholarship of Swati Tirunal since this is not a matter of common knowledge or practice although psychologically fully justifiable.
The songs are all simple in form and of varying lengths, the charanas varying between three and five. Three of them have only Pallavi and Anupallavi. The ragas are also mostly the common ones but those adopted from the North like Bihag. Yamunakalyani, Kafi and Bibhas also figure. The raga of the popular song smarati nu nam sadayam is found given as Madhyamavati, but it is invariably rendered in Bihag. The verses are in diverse meters. Some of these can be sung to tala, as for instance the opening verse in Khandachapu and in Adi.
Meruswami performed Harikatha in the royal presence using this work in February 1838 and the delighted Maharaja presented him with a pair of gold bangles, a golden necklace, a pair of shawls and Rs. 500.
അതിമനോഹരം 🎉🎉🎉🎉🎉🎉
Oh Mind! Do meditate upon Lord HARI forever. He is engrossed in the well being of his devotees. His exploits are non-pareil and auspicious.
He is extolled by sages like SUKA and SANAKA. He is the all-pervading spirit of sentient and insentient of this wold.
These attachments like-mine, my wife, wealth, children etc., are dream-like in nature, brought about by ones ego.
Please reflect upon Lord PANKAJANABHA, the Lord of ANANTAPURA! who is gloriously reclining on the serpent.
Credit ( Extracts from Swathi Thirunal & his Music by Dr. S. Venkata Subramonya Iyer, Courtesy : College Book House, Thiruvananthapuram)
❤🎉
❤
Excellent Divine Rendition
Hare Krishna ❤
💃👌
God bless you Nandana kutti!
Excellent singing, beautiful voice, divine. Our blessings to the young artist. Can I know from whom you are learning?
Thank you for your kind words🙏.She is learning from Sri.Perumbavoor .G.Raveendranath and Smt.Prarthana Sai Narasimhan.
Thank you for the link