Скачать или смотреть Parashakti Manaparada Napai - Saveri - Tyagaraja - Dr. M Balamuralikrishna - An Archival Recording

Saint Tyāgarāja is described as a confluence of 3S - Spirituality, Saintliness and Sangīta. The harmony of these find expression in every composition that sprang from his heart.

For Tyāgarāja, Lord Rāma is the manifested form of the supreme Brahman, the all-pervading indwelling Self. Firmly rooted in this state of bliss, hundreds of compositions came to him on various deities for the benefit of mankind to facilitate tread their path of spiritual journey.

When one is absorbed to experience (in a realm beyond the body, mind, and intellect) the presence of Divinity, the omniscient Self, wouldn’t one see the same Divinity shining the manifestation of various Gods and Goddesses?

Saint Tyāgarāja has composed several compositions on the mother Goddess Dharma-samvardhani, the consort of Pancha-nadīshwara of Tiruvaiyaru and we could find the following compositions in his oeuvre.
1. Karuña jūdavamma - Tódi
2. Parāshakthi manuparāda nāpai - Sāvéri
3. Nīvu bróvavalenamma - Sāvéri
4. Bālé bāléndu bhūshañi - Rītigowla
5. Amma Dharma samvardhani - Atāña
6. Vidhi shakrādulaku dorakunā - Yamunā Kalyāñi
7. Shivé pāhimam - Kalyāñi
8. Amba ninnu nammitinanté - Ārabhi

In this album, a rendition of “Parāshakthi manuparāda nāpai” (O mother, why don’t You take care of me?) in the rāga Sāvéri is presented in all details.

When we listen to the composition “Parāshakthi manuparāda nāpai, we could observe it is not just the deity that is glorified in this composition, but addresses a process to get to the altar of divinity as the deity worshiped here becomes the vehicle in carrying our thoughts. Tyāgarāja combines in himself the devotion of Prahlāda, the music of Nārada and the eloquence of Vālmiki for our philosophical pursuit.

The recording of Dr. Mangalampalli Balamuralikrishna (BMK) presented here is a remastered and restored version of an old radio recording of All India Radio.

I believe there are very few musicians like BMK to show us the extent to which one could empathise and mirror the intent of a composer. In this rendition BMK aptly portrays this valuable aspect. It is only then that the intrinsic worth and merit of a composition stands out.