Krithi: Govinda Ghataya
Ragam: Bhairavi
Thalam: Jhamapa
Composer: Narayana Theerthar
Vocal: Padma Chandilyan
Padma Chandilyan (also spelled Sandilyan), born on 27 September 1955, is an eminent Indian Carnatic classical vocalist and a guru par excellence. She is the daughter of the celebrated Tamil writer Chandilyan and received advanced musical training under the legendary maestro Palghat K. V. Narayanaswamy. Under his guidance, she imbibed a deep commitment to classicism, sruti shuddham, bhava, and adherence to tradition. A respected performer and teacher, Padma Chandilyan has nurtured and shaped many musicians of the younger generation, earning recognition for her dedicated mentorship and uncompromising standards. Her music reflects depth, clarity, and emotional sensitivity, rooted firmly in the classical Carnatic idiom. Music runs richly in her family. She is closely associated with noted mridangist Srimushnam Raja Rao, and her son, Raghavendra Rao widely known as music composer Sean Roldan has carved a distinctive place in contemporary Indian music. Through performance, teaching, and artistic legacy, Padma Chandilyan continues to contribute significantly to the preservation and propagation of Carnatic classical music.
Violin: T K Padmanabhan
Mridangam: Neyveli K Ganesh
Morsing: S Manikantan
This verse is from Krishna Leela Tharangini composed by Narayana Theertha, and in this particular Tharangam it is indeed placed in the dramatic setting where Mother Yasoda beholds the cosmic vision in the mouth of child Krishna. She is overwhelmed with divine astonishment on seeing the entire cosmos in Krishna’s mouth. In ecstatic realization, she praises him as Govinda, the Supreme Being known through the Vedas, the son of Nanda whose lotus feet are meditated upon by great yogis none other than Sri Maha Vishnu himself.
Pallavi
Govinda ghataya mama ananda mamruta miha
Anupallavi
Sree nandatanaya bahu yogeendra sura vinuta
Charanam 1
Aganita guna grama aparimita nija kama
nigama paramarama nikhila moha virama
nagadhara ghana syama natajana kumuda soma
agha harana sarva sama asuramandala bheema
Charanam 2
Parama purusha sesha pala pari jana tosha
pari hruta khila dosha pataga vahana sesha
paryanka mrudu bhasha parama mangalavesha
niravadya gopapuri niyata varamani bhoosha
Charanam 3
Navamuktikahara nanda gopakumara
bhava bhandana vidoora bhadrada sukhakara
avanata janadhara aparimita subhachara
navaneeta chora nara narayanavatara
Charanam 4
Saradindu sama vadana sata manmadha samana
gurutarananda ghana kunda sundara radana
pari gandhi gana dalana palitakhila bhuvana
sarasa narayana theertha satya phaladana deivam
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Meaning:
O Govinda, bestow upon me the nectar of divine bliss here and now.
O son of Nanda, praised and worshipped by great yogis and the devas (celestial beings).
You are the repository of countless virtues, the fulfiller of true desires, the supreme essence of the Vedas and the dispeller of delusion, You lifted the Govardhana mountain, are dark and beautiful like a rain cloud, are like the moon that makes the lotus-hearts of devotees bloom, destroy sins, remain impartial to all, and are terrifying to the hosts of demons.
You are the Supreme Being who protects and delights your devotees and removes all their faults, Garuda is your vehicle and you recline upon Adisesha, you speak gently and are adorned in auspicious attire, and you are the flawless jewel who beautifies and adorns Gokula.
You wear a shining garland of fresh pearls and are the dear son of Nanda, you remove worldly bondage and grant auspiciousness and happiness, you are the support of those who bow to you and perform immeasurably noble deeds, and you are the butter thief and the incarnation of Sriman Narayana in human form on earth.
Your face shines like the autumn moon and you are more charming than a hundred Cupids, you are the very embodiment of supreme bliss, your teeth are beautiful like jasmine buds, you destroy powerful enemies and protect all the worlds, and you are the divine Lord worshipped by Narayana Theertha who truly grants the fruits of devotion.
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