बृन्दावनी तिल्लाना / एम. बालमुरली कृष्ण / कर्नाटिक संगीत

https://youtu.be/xZCxPOSLUns

Brindavani Thillana, Adi Thalam, a Carnatic music composition by
Dr. M. Balamuralikrishna.
This popular Indian Classical Music Thillana has been performed by
several musicians as well as by Bharatanatyam and Kuchipudi dancers.
This piece, where all the musicians get equal importance, is performed
in Chatusra nadai with interesting interludes of Konnakol and even Rap
style recitation of the lyrics.

Performing this fast-paced rendition as a
tribute to the great Mangalampalli Balamurali Krishna is team -
Sarvesh Karthick (Mridangam, Ghatam, Konnakol),
Madhu Iyer (Vocal),
Niveditha Arun (Veena),
Aditya Vinod (Violin),
Saigovind Vijayaraghavan ( Mandolin)
and Poornima Emani (Flute).

न जुनूँ रहा न परी रही / सिराज औरंगाबादी / फ़रीद अयाज़ - अबू मुहम्मद क़व्वाल

https://youtu.be/S7pjtSIozaM 

A perfect blend of mysticism, poetry, 
music and art of singing.

ख़बर-ए-तहय्युर-ए-इश्क़ सुन, न जुनूँ रहा न परी रही। 
न तो तू रहा न तो मैं रहा, जो रही सो बे-ख़बरी रही।।

चली सिम्त-ए-ग़ैब से एक हवा, के चमन सुरूर का जल गया। 
मग़र एक शाख़-ए-निहाल-ए-ग़म, जिसे दिल कहें सो हरी रही।।

वोह अज़ब घरी थी में जिस घरी, लिया दर्स नुस्ख़ा-ए-इश्क़ का। 
कि क़िताब अक़्ल की ताक़ में, ज्यूँ धरी थी त्यूँ ही धरी रही।।

किया ख़ाक आतिश-ए-इश्क़ ने, दिल-ए-बेनवा-ए-'सिराज' को। 
न ख़तर रहा न हज़र रहा, मग़र एक बे-ख़तरी रही।। 

Complete Gazal and Translation :

Khabar-e-tahayyur-e-ishq sunn, na junoon raha na pari rahi

Na toh tu raha na toh mein raha, jo rahi so be-khabari rahi

Shah-e-bekhudi ne ataa kia, mujhay ab libas-e-barahanagi

Na khirad ki bakhiyagari rahi, na junoon ki pardadari rahi

Chali simt-e-ghaib se aik hava, ke chaman suroor ka jal gaya

Magar aik shakh-e-nihal-e-gham, jise dil kahe so hari rahi

Nazar-e-taghaful-e-yaar ka, gila kis zuban se bayan karoon

Ke sharab-e-sad-qadaah aarzu, khum-e-dil mein thi so bhari rahi

Woh ajab ghari thi mein jis ghari, liya dars nuskha-e-ishq ka

Ke kitab aql ki taaq main, jyun dhari thi tyun hi dhari rahi

Tere josh-e-hairat-e-husn ka, asar iss qadar so yahan hua

Ke na aayine main jila rahi, na pari kuun jalva gari rahi

Kiya khak aatish-e-ishq ne dil-e-benava-e-Siraj ko

Na khatar raha na hazar raha, magar aik be-khatari rahi

Source : http://kashikeya.blogspot.com/2012/03/na-junoon-raha-na-pari-rahi-by-siraj.html

Siraj Aurangabadi 

(1763-1712), born at Aurangabad Maharashtra, was an 

Urdu poet who came after Wali Dakhani. 

His full name was Siraj-ud-Din Aurangabadi.  

Influenced by famous Persian poets like Hafiz,  

Siraj gave ghazal a new orchestration of mystical  

experience. Hence his ghazals have  

two-dimensional meanings - the mystical and  

metaphysical at one level,  

and the secular and physical at another.

Khabar-e-tahayyur-e-ishq is one of the best know ghazals 

of Siraj. I believe that explaining or paraphrasing a piece 

of poetry from one language in another is such an arduous 

task. More so if a poem of an Indian language is to 

be explained in English.

Besides, a ghazal is like a beautiful and fragrant flower, 

which gives you pleasure but you cannot pass the sublime 

experience on to another person on a vehicle of words. 

I am trying this difficult task for the benefit of my friends 

and, in doing so, am fully aware that my effort is 

most likely to be inadequate.

The text of the ghazal (in Roman script), followed by a 

paraphrase and the explanatory notes (as best as I can explain) 

follow:

Khabar-e-tahayyur-e-ishq sunn, na junoon raha na pari rahi

Na toh tu raha na toh mein raha, jo rahi so be-khabari rahi

On learning the amazing saga of love, neither the frenzy 

(junoon) was left, nor did the sweetheart (pari) remain. 

I was ‘me’ no more, you were ‘thee’ no more; only a 

state of oblivion remained.

This she'r reminds me of the lines from Rumi:

I always thought that
I was me — but no,I was you
and never knew it.

The consciousness of self is obstructive and it is only 

the removal of 'knowledge' and 'thought' (Rumi has 

used the words ‘thought’ and ‘knew’) that leads to 

the state of self-unconsciousness where the lover 

and the beloved become one.

Shah-e-bekhudi ne ataa kia, mujhay ab libas-e-barahanagi

Na khirad ki bakhiyagari rahi, na junoon ki pardadari rahi

The gift of the ‘Lord of Ecstasy’ to me was a garb of 

nakedness. All that the wisdom had stitched was 

gone; the veil of madness no longer remained.

At the spiritual level the couplet can be interpreted like this: 

My beloved, the shah-e-bekhudi has ripped naked my 

heart and soul, ridding them of the layers of stitching 

by the misguided intellect, which is nothing more 

than a veil of madness. The extreme of love endows the 

heart with divine purity. Reason and intellect have 

been viewed as hindrances, and the perceived sanity 

as madness. 

Chali simt-e-ghaib se aik hava, ke chaman zahoor ka jal gaya

Magar aik shakh-e-nihal-e-gham, jise dil kahe so hari rahi

A sweeping wind, which came from beyond the 

visible world, consumed the visible garden 

with fire; just one branch on the tree of grief, 

which they call heart, despite the blaze retained 

its green.

The reference here is to the lost Paradise, and the 

perennial quest to re-unite with it. The Divine 

breeze would burn the worldly existence leaving 

behind the hope for reunion. The worldly 

existence (chaman) has been likened to a tree of 

sorrow and suffering, and the Divine breeze as 

the liberator. Nothing grows on that tree except 

sadness, caused by the separation from his 

beloved. Now that entire existence is gone, only 

the abode of the beloved (heart) has survived.

Nazar-e-taghaful-e-yaar ka, gila kis zuban se bayan karoon

Ke sharab-e-sad-qadaah aarzu, khum-e-dil mein thi so bhari rahi

I am speechless to complain about the indifferent 

and uncaring glances (nazar-e-taghaful-e-yaar) of 

my beloved; the wine of desire that filled 

the heart remained suppressed, concealed.

At the temporal level, these lines would simply 

suggest that there is a heart overflowing with 

desires which one is unable to express due to 

the indifferent looks of the beloved. At the 

metaphysical level it would suggest that the 

worldly desires are often out of sync with the 

Divine commandments.

Woh ajab ghari thi mein jis ghari, liya dars nuskha-e-ishq ka

Ke kitab aql ki taaq main, jyun dhari thi tyun hi dhari rahi

It was at a moment strange that I read a book of 

love; the book of reason, brushed aside, 

remained shelved and sheathed.

Reason (aql-o-khirad), the product of mind is 

considered a detriment, hindering the spontaneity 

of heart. A person guided by logic and reason is 

too calculative to be able to devote to pure love; 

whereas selfless love is motivated by heart 

and not mind. For that reason love and brain 

are just incompatible. Mind is deceitful, 

untrustworthy, selfish and devious whereas 

heart is pure, untainted and selfless. As Iqbal 

said: bekhatar kuud para aatishe-namrood mein 

ishq/aql thi mehvi-tamasha-e-lab-baam abhi

Tere josh-e-hairat-e-husn ka, asar iss qadar so yahan hua

Ke na aayine main jila rahi, na pari kuun jalva gari rahi

Your bewitching beauty, love, such a spell 

did cast; the mirror stood bereft of gloss 

and beauty seemed to freeze.

Bewildered by your beauty (Josh-e-hairat-e-husn), 

I had such a mark on my heart (yahan is a pointer 

towards the heart) that the heart (aayina , the 

mirror of heart) has lost all its shine (the basic 

quality of a mirror) and angel (pari is used as 

simile to refer profound beauty) had no 

beauty left to reveal (‘kuun’means ko).

Kiya khak aatish-e-ishq ne dil-e-benava-e-Siraj ko

Na khatar raha na hazar raha, magar aik be-khatari rahi

The fire of love reduced to ashes Siraj’s voiceless 

heart; fears and cares got consumed, intrepid 

courage held the field.

The fire of love (aatish-e-ishq) has burnt the 

voiceless heart (dil-e-benava) of Siraj to ashes. 

The heart is so liberated from fears (be-khatari) 

that there is no feeling of vulnerability or threat 

left. (As Iqbal has used the word bekhatar: bekhatar 

kood para aatish-e-namrood mein ishq).

प्रभु मेरे अवगुण चित ना धरो.../ सूर दास / पण्डित मुकुल शिवपुत्र

https://youtu.be/AuRZ13IcPok

A divine, pure and sublime voice of Pandit Mukul Shivputra, 
the worthy son of the great Pandit Kumar Gandharva that has 
sadly some how disappeared due to addiction to alcohol after 
2010. 'Has been rehabilitated later by god's grace.

प्रभु मेरे अवगुण चित ना धरो |
समदर्शी प्रभु नाम तिहारो, चाहो तो पार करो ||

एक लोहा पूजा मे राखत, एक घर बधिक परो |
सो दुविधा पारस नहीं देखत, कंचन करत खरो ||

एक नदिया एक नाल कहावत, मैलो नीर भरो |
जब मिलिके दोऊ एक बरन भये, सुरसरी नाम परो ||

एक जीव एक ब्रह्म कहावत, सुर श्याम झगरो |
अबकी बेर मोही पार उतारो, नहि पन जात तरो ||

श्री जगन्नाथ अष्टकम / आदि शंकराचार्य

https://youtu.be/S5Kju8cBD8g

रचना : आदि शंकराचार्य 

स्वर : विशाखा देवी दासी 

श्रीजगन्नाथाष्टकम् 

कदाचित्कालिन्दीतटविपिनसङ्गीतकरवो  
मुदा गोपीनारीवदनकमलास्वादमधुपः । 
रमाशम्भुब्रह्मामरपतिगणेशार्चितपदो
जगन्नाथः स्वामी नयनपथगामी भवतु मे ॥ १ ॥

भुजे सव्ये वेणुं शिरसि शिखिपिंछं कटितटे 
दुकूलं नेत्रान्ते सहचरकटाक्षं विदधते ।
सदा श्रीमद्वृन्दावनवसतिलीलापरिचयो
जगन्नाथः स्वामी नयनपथगामी भवतु ने ॥ २ ॥

महाम्भोधेस्तीरे कनकरुचिरे नीलशिखरे
वसन् प्रासादान्तस्सहजबलभद्रेण बलिना ।
सुभद्रामध्यस्थस्सकलसुरसेवावसरदो
जगन्नाथः स्वामी नयनपथगामी भवतु मे ॥ ३ ॥

कृपापारावारास्सजलजलदश्रेणिरुचिरो
रमावाणीसौमस्सुरदमलपद्मोद्भवमुखैः । 
सुरेन्द्रैराराध्यः श्रुतिगणशिखागीतचरितो
जगन्नाथः स्वामी नयनपथगामी भवतु मे ॥ ४ ॥

रथारूढो गच्छन् पथि मिलितभूदेवपटलैः
स्तुतिप्रादुर्भावं प्रतिपद मुपाकर्ण्य सदयः ।
दयासिन्धुर्बन्धुस्सकलजगता सिन्धुसुतया
जगन्नाथः स्वामी नयनपथगामी भवतु मे ॥ ५ ॥

परब्रह्मापीडः कुवलयदलोत्फुल्लनयनो
निवासी नीलाद्रौ निहितचरणोऽनन्तशिरसि ।
रसानन्दो राधासरसवपुरालिङ्गनसखो
जगन्नाथः स्वामी नयनपथगामी भवतु मे ॥ ६ ॥

न वै प्रार्थ्यं राज्यं न च कनकतां भोगविभवं
न याचेऽहं रम्यां निखिलजनकाम्यां वरवधूं ।
सदा काले काले प्रमथपतिना गीतचरितो
जगन्नाथः स्वामी नयनपथगामी भवतु मे ॥ ७ ॥

हर त्वं संसारं द्रुततरमसारं सुरपते
हर त्वं पापानां विततिमपरां यादवपते ।
अहो दीनानाथं निहितमचलं निश्चितपदं
जगन्नाथः स्वामी नयनपथगामी भवतु मे ॥ ८ ॥

इति श्रीमद् शङ्कराचार्यप्रणीतं जगन्नाथाष्टकं सम्पूर्णं॥

TRANSLATION :
1) Sometimes in great happiness Lord Jagannatha makes
a loud concert with His flute in the groves on the banks of
the Yamuna. He is like a bumblebee tasting the beautiful
lotus like faces of the cowherd damsels of Vraja, and great
personalities such as Laksmi, Siva, Brahma, Indra, and
Ganesa worship His lotus feet. May that Jagannatha Svami
be the object of my vision. 2) In His left hand Lord Jagannatha holds a flute, on His head
He wears peacock feathers, and on His hips He wears fine
yellow silken cloth. From the corners of His eyes He bestows
sidelong glances upon His loving devotees, and He always
reveals Himself through His pastimes in His divine abode of
Vrndavana. May that Jagannatha Svami be the object of my vision. 3) On the shore of the great ocean, within a large palace atop the
brilliant, golden Nilacala Hill, Lord Jagannatha resides with His
powerful brother Balabhadra and His sister Subhadra, who sits
between Them. May that Jagannatha Svami, who bestows the
opportunity for devotional service upon all godly souls, be the
object of my vision. 4) Lord Jagannatha is an ocean of mercy and as beautiful as a
row of blackish rain clouds. He is the storehouse of bliss for
Laksmi and Sarasvati, and His face resembles a spotless
full-blown lotus. The best of demigods and sages worship Him,
and the Upanisads sing His glories. May that Jagannatha Svami
be the object of my vision. 5) When Lord Jagannatha moves along the road on His Rathayatra
car, at every step large assemblies of brahmanas loudly chant prayers
and sing songs for His pleasure. Hearing their hymns,
Lord Jagannatha becomes very favorably disposed toward them.
He is the ocean of mercy and the true friend of all the worlds.
May that Jagannatha Svami, along with His consort Laksmi,
who was born from the ocean of nectar, be the object of my vision. 6) Lord Jagannatha, whose eyes resemble full-blown lotus petals,
is the ornament on Lord Brahma’s head. He resides on Nilacala Hill
with His lotus feet placed on the heads of Anantadeva. Overwhelmed
by the mellows of love, He joyfully embraces Srimati Radharani’s body, which
is like a cool pond. May that Jagannatha Svami be the object of my vision.
7) I do not pray for a kingdom nor do I pray for gold, rubies, or wealth.
I do not ask for a beautiful wife as desired by all men. I simply pray that
Jagannatha Svami, whose glories Lord Siva always sings, may be the
constant object of my vision. 8) O Lord of the demigods, please quickly remove this useless material
existence I am undergoing. O Lord of the Yadus, please destroy this vast,
shoreless ocean of sins. Alas, this is certain Lord Jagannatha bestows
His lotus feet upon those who feel themselves fallen and have no shelter
in this world but Him. May that Jagannatha Svami be the object of my vision. 9) The self-retrained, virtuous soul who recites these eight verses glorifying Lord Jagannatha becomes cleansed of all sins and duly proceeds to Lord Visnu’s abode.

आज बाज़ार में पा-ब-जौलां चलो... / फैज़ अहमद फैज़ / नय्यरा नूर

https://youtu.be/v2xFpnKZUXs

नज़्म : फैज़ अहमद फैज़ 

स्वर : नय्यरा नूर

आज बाज़ार में पा-ब-जौलां चलो 
चश्म-ए-नम जान-ए-शोरीदा काफी नहीं
तोहमत-ए-इश्क़ पोशीदा काफी नहीं
आज बाज़ार में पा-ब-जौलां चलो

दस्त-अफ्शां चलो, मस्त-ओ-रक़्सां चलो
खाक-बर-सर चलो, खूं-ब-दामां चलो
राह तकता है सब शहर-ए-जानां चलो

हाकिम-ए-शहर भी, मजम-ए-आम भी
तीर-ए-इल्ज़ाम भी, संग-ए-दुश्नाम भी
सुबह-ए-नाशाद भी, रोज़-ए-नाकाम भी

इनका दमसाज़ अपने सिवा कौन है
शहर-ए-जानां मे अब बा-सफा कौन है
दस्त-ए-क़ातिल के शायां रहा कौन है

रख्त-ए-दिल बांध लो दिलफिगारों चलो
फिर हमीं क़त्ल हो आयें यारों चलो

आज बाज़ार में पा-ब-जौलां चलो

Word Meanings :

जौलां / jolan – shackles
शोर / Shor – noise/turmoil
चश्म / chashm – eyes
नम / nam – wet
शोर / Shor – noise/turmoil
तोहमत / Tohmat – accusation/charge
पोशीदा / posheeda – secret/inwardly/hidden
दस्त / dast – hands
अफ्शां / afshan – rattle/sprinkle/scattered
दस्त-अफ्शां / dast-afshan – literal meaning is hands scattered; it means dancing
मस्त / mast – intoxicated/mad/overjoyed/rapt
रक़्सां / raqsaan – dancing
खाक / khaak – dust
दामां (दामन) / daaman – dress
हाकिम / hakim – ruler
मजम / majma – assembly/congregation/crowd/gathering
इल्ज़ाम / ilzaam – allegation/accusation/libel/censure
संग / sang – stone
दुश्नाम / dushnam – abuse/invective/revile
नाशाद / naashaad – cheerless/joyless
नाकाम / naakam – unsuccessful
दमसाज़ (dam-saaz) – friend/supporter
सफा / safa – clean/pure
शायां / shaayaan – worthy
रख्त / rakht – apparatus/luggage
फिगार / figaar – afflicted/wounded

Nayyara Noor (Born 3 November, 1950) is a Pakistani playback singer who is considered one of South Asia's popular film songs playback singer and a stage performer. She performs in the live ghazal singing concerts on Pakistan Television shows or in concert halls in the country. She has mainly been active from 1971-2012.

Nayyra Noor didn't sing much because she is very choosy and careful about her work. She started her carrier with PTV in 70s astonishing people with her unique style. In showbiz glamorous world she appeared on TV in exceptionally simple dressing having no makeup, no jewelry, presenting the song without any movements.

हो साधो यह तन ठाठ तम्बूरे का.../ कबीर

https://youtu.be/lTmCtuQvtNY

हो साधो यह तन ठाठ तम्बूरे का.. 
/ कबीर 

 हो   साधो , 

ये  तन  ठाठ  तम्बूरे  का 

पांच  तत्त्व का बना है  तम्बूरा 
तार  लगा  नव तुरे  का  ( अनुनाद / प्रतिध्वनि  ) 

ऐंचत  तार  मरोरत खूंटी
निकसत  राग  हजुरे  का  

टुटा  तार  बिखर  गयी  खूंटी 
हो  गया  धूर  मधूरे  का 

या देहि का गर्व  न कीजे 
उड़ गया  हंस तम्बूरे का 

कहे कबीर सुन भाई साधो 
अगम   पंथ  इक सुरे का 

TRANSLTION :

O wise ones!
This body – a splendid tambura!
Made of the five elements, this tambura
strung together with nine resonances.

Tighten the strings, twist the pegs
and the song of the lord emerges.

The strings snap, pegs lie scattered.
The sweetness has turned to dust.

Dont cling in vain to this body.
Its swan has flown away.

Kabir says, listen seekers:
the path of the brave is pathless.

– Kabir