Video

@zerocool8651 9 months ago mOkSamu galadA bhuvilO jIvanmuktulu gAni vAralaku anupallavi sAkSAtkAra nI sadbhakti sangIta jnAna vihInulaku caraNam prANanAla sam-yOgamu valla praNava nAdamu sapta svaramulai bAraga vINA vAdana lOluDau shivamanO vidha merugaru tyAgarAja vinuta Meaning: Is salvation attainable by anyone in this world, who has not realised the Self? Are you not, Lord, ever ready to vouchsafe your vision to those intensely yearning for it? Is Beatitude attainable by anyone who has not experienced the profound ecstacy of devotional music? The vital force praaNaa and anaala, fire, combine to generate praNava, the Omkaara (sound of Om). From that Omkaara, the seven musical notes emerge. To those who cannot intuitively perceive the mind of Shiva, who worships naada through the VeeNa, is salvation attainable?

Love you, Abhishek.

Great music. I have a request. By listening to music since long years I am able to identify around 20to 25 Ragas. I make an attempt to identify new Ragas. It will be very useful if either the artists inform the Raha or it can be inserted when identifying the song ex Meru samana Raga..,.,.. Tala........ Hope my request will be considered. Devine music🙏🙏

the thavil beats suit the alapana a lot. kudos to the three of you

unbelievable anna.....just blissful khamas...never heard such an improvisation on a raga like khamas...the akaara...ooff..super anna..big fan

Amazing

Outstanding rendition. On par with iconic MLV Ammas rendition of this kriti

Yes. It is Kruthi Bhat.

🙏🙏🙏♥️♥️

Great rendition! True genius

Mridangam is a classic. However, I dislike Abhishek, lacks melody.

awesome awesome tq

No .words,to,estimate,his, caliber.hat,s,off .

Can someone give the link for this particular concert in full?

Why are you keeping quiet about TMK fiasco? It your dharmic duty to condemn TMK and MMA OPENLY. Otherwise we will consider that you are also part of the mob that’s bent on destroying our divine Carnatic music. Just a warning.

pallavi rAma nIpai tanaku prEma bOdu sItA anupallavi tAmarasa nayana nIdEmO mAya gAni caraNam 1 manasu nIpAdamulanE jEra kanulu nI rUpamunE kOra vinu nI parulEka nOrurA tanapai idi nI karuNarA caraNam 2 janani janakAptulanyulu dhana kanaka guru vElpulu dinamu nIvE anumATalu anagha nnivi bhUSaNamulu caraNam 3 bhOgAnubhavamulandu bAguga buddhi nIyandu tyAgarAjuni hrdayamandu vAgIshanandamandu

Annamaachary is popularly known as PADA KAVITAA PITHAMAHUDU, composed 32000 sankeerthanams on lord venkateswara without mentioning his name he wrote all in copper plates available accidentally in tirumala devastanam, come to public by great works sri raallapally ananthakrishnamacharyulu and veturi prabhakara satry. We all indebted to the very tough job to publication of present available compositions. Nedunuri excellently tuned many compositions which rendered by ms subbulakshmi and others.

Classic..... 🎉

🙏👌

ഗംഭീരം 👏👏👏

ಬಾಲಮುರಲಿಕೃಷ್ಣರನ್ನು ಬಿಟ್ಟರೆ ಅನಂತರದ ನನ್ನ ಆಯ್ಕೆ ಅಭಿಶೇಕ್ ರಘುನಾಮ್ ❤

Please read last paragraph, it is very very important. What a versatile artiste you are! I think it’s matter of time before some bharathanatyam videos and paintings are uploaded. Not being sarcastic. Have you ever tried? I didn’t like your music in 2011, but now I started liking, not sure if it’s the improvement in your music or my reception or both!! I have a request. Everyone has been screaming in social media that music is about Bhakti.. But improving one’s consciousness and going to higher planes are possible only by improving jnana. Look at the anupallavi or shri muladhara chakra? Why don’t we some senior and junior music students restrict Dikshitar kritis to those from authentic sources? For example Shri kanthimatheem is not in SSP. Maye tvam yaahi has D1 and 3 charanams. If vocalists like you educate , even laymen will understand

PURE BLISS..... EPITOME OF ECATASY

Genius

🙏🏼🙏🏼🙏🏼

Firstly, please use headphones or speakers to truly experience any recording. Here, please listen to at least 6-7secs from the spot mentioned under “Key Moments”: ◆ I love how beautifully Vid. Abhishek has enjoyed the naada of the raga/song. It is one thing to sing something but another to inject presence into it with love. Key Moments: 0:16, 0:32, 1:17, 2:43, 3:39 (the whole first part of the charanam), 5:13, ◆ As open, empathetic listeners, I think we can appreciate the brilliance in the conception and delivery of some sangathis, temporarily ignoring the fact that it might have come in the way of the mood of the kriti’s meaning. One can notice how effortlessly he fits in sangathis without compromising on the consistency of the laya-heartbeat of the rendition. That is what makes the flow surreal. Key Moments: 2:19, 2:30, 2:56, 3:20, 3:24, 6:05, 6:15, ◆ I think we must take a moment to appreciate how original and creative Vid. Anantha’s accompaniment has been here - one of the highlights for me. In this case, heavily inspired by thavil, the rich choice of grooves offers some beautiful forms of accentuation and playing with tension-release. One might argue that it is unnecessarily busy and deviating from the sole aim of maintaining rhythm, but again, this is just one unique take on accompaniment - specific to that day, mood, etc. We must appreciate the free-spiritedness and conviction behind it. Key Moments: 1:44 and the whole anupallavi, 2:34, 4:09, 5:44 (the whole second part of the charanam in the higher octave), ◆ Vid. Anantha always has creative fillers/interludes that lead up to a spot back in the song seamlessly - that too while sometimes melding the start of the interlude with the previous groove to make it organic. Key Moments: 1:28, 1:38, 2:52, 5:03, 7:01 ◆ Most grooves used in accompaniment are parallel to the song; i.e. they won’t have a direct correlation with the tune or the lyric. But some grooves assert the sarvalagu-ness/layam/parallelism stronger than others. Here are a few examples of such grooves that are massive and exude majesty (moved me to tears): 3:15, 4:44, 6:00. Vid. Anantha’s choice of sollus (phrases) and grandeur/majesty are inseparable. The tapasya in his fingers make every single stroke be tailored to perfection, loaded with ‘weight’ and rotundity. ◆ And btw, only a daring brilliant violinist like Vid. Vittal can respond to a moment like this on the spot!: 3:24

This is MUSIC FOR THE SOUL,! BRILIANT COMBINATION !

He is a Samrat in Hindustani music too. If there are other Hindustani songs could it be uploaded?

Grand

ആഹാ ഗംഭീരം

Nice, body language to b avoided.

From that brilliant start with Shankarabharanam to the lilting beauty of Adideva, you have both brought forth the beauty and charm of the great man's music. What a lovely tribute...saved for posterity!

Amazing

🙏🙏🙏

Sounds humanly impossible..... 🙏🏻🙏🏻🙏🏻🙏🏻

🙏

Wonderful rendering yes....

Wonderful

Wonderful. Nerve numbing

🙏👌

, 🙏

I listen to many songs of yours regularly What to say Filling my hear with ecstasy Bhagwati will bless you all Keep it up

😊

God. Ultimate, blessed to listen 🙏🙏

mAyammAyani-Ahiri In the kRti ‘mAyAmmAyani’ - rAga Ahiri(tALa Adi), SrI SyAmA Sastry prays to Mother mInAkshi at Madurai. pallavi 1mA(y)ammA(y)ani nE 2pilacitE mATl(A)Da rAdA 3nAtO ambA anupallavi 4nyAyamA (mIn(A)ksh(a)mmA) mIn(A)kshik(i)di ninnu vinA 5vErE dikk(e)var(u)nnAru (mAyammA) caraNam 1 sarasija bhava hari hara nuta su-lalita nI pada pankajamula sthiram(a)ni nammiti nammiti nammitini karuNa jUDavE 6kAtyAyani kALikA bhavAni paramESvari sundarESu rANi bAl(A)mbA madhura vANi (mAyammA) caraNam 2 vinuta jana pApa vimOcani O jananI ghana nIla vENi 7vidaLita dAnava maNDala damanI vanaja lOcanA sudhA-kar(A)nanA vara dAyaki anayamu ninu kOri(y)unnAn(a)mmA bangAru bommA (mAyammA) caraNam 3 abhayam(o)sagi nannu brOvumu O varadA 8nera dAtavu gadA ambikA biDDapai goppaga daya rAdA akhila lOka jananI anAtha rakshaki anETi birudu gAdA vaibhavamu gala SyAma kRshNa sOdari 9vIra Sakti tripura sundari (mAyammA) Gist O Mother! O Mother mInAkshi! O Most Lovely Mother extolled by brahmA, vishNu and Siva! O Mother kAtyAyani! O kALikA! O bhAvAni! O Supreme Goddess! O Queen of Lord sundarESa! O Mother bAlA! O Sweet spoken! O Mother who redresses sins of those who extol You! O Mother who bore us! O Mother with rain-cloud like, dark tresses! O Destroyer of entire community of asuras! O Lotus Eyed! O Moon Faced! O Bestower of boons! O Golden Idol! O Bestower of Boons! O ambikA! O Mother of entire Worlds! O Sister of that celebrated vishNu - SyAma kRshNa! O Valorous Sakti, tripura sundari! If I call You ‘O My Mother’, won’t You talk to me? Is it fair? Is this fair for mInAkshi? Who else than You is there as my refuge? I thrice affirm that I steadfastly trusted Your feet lotus. I remain constantly praying to You. Aren’t You very generous? Won’t You have compassion on Your child abundantly? Don’t You have the appellation of ‘Protector of destitutes’? Please show mercy. Please protect me, granting refuge. If I call You ‘O My Mother’, won’t You talk to me?

pallavi khElati piNDANDE bhagavAn khElati piNDANDE caraNam 1 haMsaH sO(a)haM haMsaH sO(a)haM haMsaH sO(a)haM sO(a)hamiti caraNam 2 paramAtmA(a)haM paripUrNO(a)haM brahmaivA(a)haM ahaM brahmEti caraNam 3 tvak cakshuH Sruti jihvA ghrANE panca vidha prANOpasthAnE caraNam 4 Sabda sparsha rasAdika mAtrE sAttvika rAjasa tAmasa mitrE caraNam 5 buddhi manaScittAhaMkArE bhU jala tEjO gagana samIrE caraNam 6 paramahaMsa rUpENa vihartA brahma vishNu rudrAdika kartA

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What a Valachi

Remembered the 'enna thavam ' by vidwan Sethalapathy Balasubramaniam.Abhishek is my favourite carnatic musician in today's world. Thank you very much for this Abhishek.