Brahma Kadigina Padamu

Pallavi
brahma kaḍigina pādamu |
brahmamu dāne nī pādamu ||


Charanam
celagi vasudha golicina nī pādamu |
balitala mōpina pādamu |
talakaka gaganamu tannina pādamu |
balaripu gācina pādamu ||
kāmini pāpamu kaḍigina pādamu |
pāmutala niḍina pādamu |
prēmapu śrīsati pisikeḍi pādamu |
pāmiḍi turagapu pādamu ||
parama yōgulaku pari pari vidhamula |
vara mosageḍi nī pādamu |
tiru vēṅkaṭagiri tiramani cūpina |
parama padamu nī pādamu ||

rahma kaDigina pAdamu
pa : బ్రహ్మ కడిగిన పాదము|

బ్రహ్మము తానెని పాదము||


ca : చెలగి వసుధ కొలిచిన నీ పాదము|

బలి తల మోపిన పాదము|

తలకగ గగనము తన్నిన పాదము|

బలరిపు గాచిన పాదము||



ca : కామిని పాపము కడిగిన పాదము |

పాము తలనిడిన పాదము|

ప్రేమతొ శ్రీ సతి పిసికెడి పాదము |

పామిడి తురగపు పాదము||


ca : పరమ యోగులకు పరి పరి విధముల|

పరమొసగెడి నీ పాదము|

తిరువేంకటగిరి తిరమని చూపిన|

పరమ పదము నీ పాదము||

In English:

pa : Brahma Kadigina Paadamu |
Brahmamu Taanenee Paadamu ||


ca : Chelagi Vasuda Golicina Nee Paadamu |
Bali Tala Mopina Paadamu |
Talagaka Gaganamu Tannina Paadamu |
Balaripu Gaacina Paadamu ||


ca : Kaamini Paapamu Gadigina Paadamu |
Paamu Talanidina Paadamu |
Premapu Shreesati Pisikedi Paadamu |
Paamidi Turagapu Paadamu ||


ca : Parama Yogulaku Pari Pari Vidhamula |
Varamosagedi Nee Paadamu |
Tiru Venkatagiri Tiramani Coopina |
Parama Padamu Nee Paadamu ||

Background of this song:

Here annamayya is explaining the Greatness of the lotus feet of Lord VEnkaTEswara, an incarnation of the supreme lord NARAYANA. He glorifies the lotus feet of VEnkaTEswara remembering the leelas(divine actions) of HIS incarnations.


Meaning:

pa :

This lotus feet of NARAYANA was cleansed by the Brahma(In vAmana avatAram of lord NARAYANA, while measuring the whole universe the third step of lord went to sathya lOka( residence of Brahma, the four headed god). With this unexpected Guest of lord's feet , Brahma astonished and immediately started cleansing lord's feet by taking the vedAs as water in to his kamanDalam.That water only now called as Ganga). This holy feet itself is "Brahmam"(Note here, it is not brahma(the four faced god, but it is Brahmam, the supreme Lord).

ca 1 :

This holy feet measured the whole world in HIS first step(as i stated above in vAmana avatAram). This holy feet was put on Bali head( a asura king, grand son of a great devotee PrahlAda) during vAmana avatAra, in HIS third step. This holy feet only kicked (measured)the sky in HIS second step. This holy feet only then protected the Bali by sending him in to pAtALa loka (the bottom most loka of the 14 lokas, where lord NARAYANA will be the Guardian for this lOkam, according to a boon given to PrahlAda by lord itself).

ca 2 :

This Holy feet of Lord NARAYANA cleansed all the sins of the passionate lady(In RAMA avataram of lord , Ahalya after touching this holy feet, got released by the curse of her husband Gautama sage). This holy feet was put on the poisonous snake KAlindi(In krishna avataram of lord, HE put his holy foot prints on the head of this snake and ordered it to vacate the pond for the benefit of the GOkulam). This holy feet is smoothly pressed by HIS consort Sri Maha Lakshmi on milky ocean. This is the holy feet which will be riding on the horse in Kalki avataram.

ca 3 :

This is the holy feet which will grant the salvation in different ways for the great sages. This is the holy feet which showed that this Tirumala (Tiru vEnkaTa giri) hill itself is noting but VAIKUNTAM (paramapadam).

Rajeeva Netraya

ప|| రాజీవ నేత్రాయ రాఘవాయ నమో | సౌజన్య నిలయాయ జానకీశాయ ||
చ|| దశరథ తనూజాయ తాటక దమనాయ | కుశిక సంభవ యజ़్జ గోపనాయ |
పశుపతి మహా ధనుర్భంజనాయ నమో | విశద భార్గవరామ విజయ కరుణాయ ||
చ|| భరిత ధర్మాయ శుర్పణఖాంగ హరణాయ | ఖరదూషణాయ రిపు ఖండనాయ |
తరణి సంభవ సైన్య రక్షకాయనమో | నిరుపమ మహా వారినిధి బంధనాయ ||
చ|| హత రావణాయ సంయమి నాథ వరదాయ | అతులిత అయోధ్యా పురాధిపాయ |
హితకర శ్రీ వేంకటేశ్వరాయ నమో | వితత వావిలిపాటి వీర రామాయ ||

pa|| rAjIva nEtrAya rAGavAya namO | saujanya nilayAya jAnakISAya ||
ca|| daSaratha tanUjAya tATaka damanAya | kuSika saMBava yaj~ja gOpanAya |
paSupati mahA dhanurBaMjanAya namO | viSada BArgavarAma vijaya karuNAya ||
ca|| Barita dharmAya SurpaNaKAMga haraNAya | KaradUShaNAya ripu KaMDanAya |
taraNi saMBava sainya rakShakAyanamO | nirupama mahA vArinidhi baMdhanAya ||
ca|| hata rAvaNAya saMyami nAtha varadAya | atulita ayOdhyA purAdhipAya |
hitakara SrI vEMkaTESvarAya namO | vitata vAvilipATi vIra rAmAya ||

Sriman Narayana

English Transliteration of Lyrics here follows..
rAgam: bauLi tALam: Adi

shrI annamAcArya viracita

pallavi

shrIman nArAyaNa shrIman nArAyaNa
shrIman nArAyaNa nI shrIpAdame sharaNu

caraNam

kamalAsati mukhakamala kamalahita
kamalapriya kamalekShaNA
kamalAsanahita garu.dagamana shrI
kamalanAbha nI padakamalame sharaNu || 1 ||

parama yogijana bhAgadheya shrI
paramapuruShA parAtparA
paramAtmA paramANurUpa shrI
tiruveN^kaTagiridevA sharaNu || 2 ||

Oh, Auspicious Narayana, I seek the shelter of your auspicious feet. Oh, one whose wife is KamalA, having the face of a lotus, one who tends lotus, one who likes lotus, one with eyes like lotus, Oh, one in lotus posture, one who rides the eagle Garuda, Oh, one with a lotus on his navel, I seek your lotus feet. One who brings good fortune to great yogis One the supreme soul beyond, Oh one who gives substance to an atom Oh, God of Thiruvenkata mountains, I seek your feet.

shrIman nArAyaNa shrIman nArAyaNa shrIman nArAyaNa nI shrIpAdame sharaNu kamalAsati mukhakamala kamalahita kamalapriya kamalekShaNA kamalAsanahita garu.dagamana shrI kamalanAbha nI padakamalame sharaNu parama yogijana bhAgadheya shrI paramapuruShA parAtparA paramAtmA paramANurUpa shrI tiruveN^kaTagiridevA sharaNu


Sri Tallapaka Annamacharya (Telugu: శ్రీ తాళ్ళపాక అన్నమాచార్య) (or Annamayya) (May 9, 1408 – February 23, 1503) was the official songmaster of the Tirumala Venkateswara Temple,[1] and a Telugu composer who composed thousands of keertana songs,[2] many of which were in praise of Lord Sri Venkateswara Swami. The musical form of the keertana songs that he composed have strongly influenced the structure of Carnatic music compositions,[3] which are still popular among Carnatic music concert artists.[4] Sri Annamacharya is remembered for his saintly life, and is honoured as a great Bhakta/devotee of Bhagwaan Govinda by devotees and saintly singers.[5]

He is widely regarded as the Pada-kavita Pitaamaha (grand old man of song-writing) of the Telugu language.[6]
Annamacharya was born on Vaisakha Suddha Pournami in the year Sarwadhari (May 9, 1408) in Tallapaka, a village in current day Kadapa district of Andhra Pradesh, India.[7] His wife, Thimmakka,[8] had written Subhadra Kalyanam, and is considered the first female poet in Telugu literature. Their son, Pedda Tirumalacharya, and grandson, Tallapaka Chinnayya, were also composers and poets. The Tallapaka compositions are considered to have dominated and influenced the structure of Carnatic music compositions.[9] Annamacharya lived for 94 years until Phalguna Bahula Dwadasi (12th day after full moon) in the year Dhundhubhi (February 23, 1503).

Annamacharya is said to have composed as many as 32,000 sankeertanas (songs) on Bhagwaan Govinda Venkateswara,[10] of which only about 12,000 are available today.
Annamacharya considered his compositions as floral offerings to Bhagwaan Govinda. In the poems, he praises Venkateswara, describes his love for him, argues and quarrels with the Lord, confesses the devotee's failures and apprehensions, and surrenders himself to Venkateshwara. His songs are classified into the Adhyaatma (spiritual) and Sringaara (romantic) sankeertanas genres. His songs in the "Sringaara" genre worship Bhagwaan Venkateswara by describing his amorous and romantic adventures of Venkateswara and Alamel Manga, while others describe the Bhakti of his devotees.
In his later keertanas, he espouses subjects such as morality, dharma and righteousness. He was one of the first few who opposed the social stigma towards the untouchable castes in his era,[11] with his sankeertanas explaining that the relationship between God and human is the same irrespective of the latters' color, caste and financial status, in beautiful yet powerful usage of words in his song "Brahmam Okkate Parabrahmam Okkate..."

His choice of words gives a mellifluous tone to his songs, charming the listener. His prodigious literary career earned him a place among the all-time greats of Telugu literature.[12]

According to legend, Annamacharya met up with Purandara Dasa and both of them composed music and lyrics.[13] They met when Annamacharya had invited Purandara Dasa to join him in singing praise.[14]

While enjoying popularity in his own days, his compositions were forgotten for over three centuries for some inexplicable reason. They were later found engraved on copper plates, hidden for centuries inside the Sri Venkateswara temple at Tirumala, just opposite the Hundi, concealed in a very small room.

Tirumala Tirupati Devasthanams, also known as TTD, has been endeavouring to preserve the rich heritage of his compositions. Garimella Balakrishna Prasad (born 9 November 1948) set the musical tune for more than 600 Annamacharya songs. He has been the Asthana Gayaka of the Tirumala temple at Tirupati since 1983. He is regarded as a pioneer in rendering devotional music in classical style, especially the Annamacharya sankirtanas. He composed tunes for famous keerthanas such as Vinaro Bhagyamu Vishnukatha, Bramha Kadigina Padamu, Jagadapu Chanuvula and Pidikedu Thalambralu... which became popular among the devotees. All these devotional songs are predominantly in Sanskrit and Telugu.

Muddugare Yashoda

In this lovely song, Annamacharya describes the beauty of little Krishna, comparing him with the various precious stones like diamond, ruby, sapphire, etc.

He is the lovely toddler (pearl) of Yashoda, playing in her front yard. He is the all powerful; son of Devaki.||

He is the manikyam (ruby) of all gopikas. He is the vajrayudham (all-powerful diamond like weapon) to the evil Kamsa. He is the emerald (paccha) of the three worlds (lokas), radiating light. Dwelling in everyone, He is our little Krishna.||

He is the coral (pagadamu) of beautiful Rukmini. He is the agate (gomedhikamu) that lifted Govardhana mountain. He is the cat's eye (vydooryam) in between conch (Sankham) and discus (Chakram). He is lotus-eyed (Kamalaksha), our saviour. ||

He is like the topaz (pushyaragam) on the heads of Kaliya (serpent). He is the sapphire (Indraneelam), our protector, dwelling in Sri Venkatadri (Seshachalam). He is the divine gem in the ocean of milk. He is Padmanabha (one with lotus at navel), moving like a boy amongst us. || - Annamayya (15 Century)


"In India the mother is the center of the family and our highest ideal. She is to us the representative of God, as God is the mother of the universe.- Swami Vivekananda

P.S: "TELUGU - Italian of the East" - Niccolo Da Conti, 15th Century Italian explorer
(As all the native words in Telugu end with a vowel sound)


muddugarE yasOda
raagam: kurinji
29 shankaraabharaNam janya
Aa: S N3 S R2 G3 M1 P D2
Av: D2 P M1 G3 R2 S N3 S

taaLam:
Composer: Annamaacaarya
Language:

pallavi

MuddugAre YasodA mungiti muthyamuvidu
DidderAni mahimala Devaki suthudu

caraNam 1

Anthanintha gollethala arachethi mAnikyamu
PanthamAdey Kamsuni pAli vajramu
KAnthula moodu lokAla Garudapachapoosa
Chenthala mAlonunna Chinni Krishnudu
caraNam 2

ratikeli rukminiki rangumovi pagadamu
mithi gOvardhanapu Gomedikamu
sathamye SankhachakrAla sandula vaidooryamu
gathiyai mammu gAche KamalAkshudu
caraNam 3

kAlinguni talapye gappina pushyarAgamu
yelleti Sri VenkatAdri Indraneelamu
pAlajalanidhilona bAyani Divya ratnamu
bAluneevale dhrigi PadmanAbhudu


Sri Tallapaka Annamacharya (Telugu: శ్రీ తాళ్ళపాక అన్నమాచార్య) (or Annamayya) (May 9, 1408 – February 23, 1503) was the official songmaster of the Tirumala Venkateswara Temple,[1] and a Telugu composer who composed thousands of keertana songs,[2] many of which were in praise of Lord Sri Venkateswara Swami. The musical form of the keertana songs that he composed have strongly influenced the structure of Carnatic music compositions,[3] which are still popular among Carnatic music concert artists.[4] Sri Annamacharya is remembered for his saintly life, and is honoured as a great Bhakta/devotee of Bhagwaan Govinda by devotees and saintly singers.[5]

He is widely regarded as the Pada-kavita Pitaamaha (grand old man of song-writing) of the Telugu language.[6]
Annamacharya was born on Vaisakha Suddha Pournami in the year Sarwadhari (May 9, 1408) in Tallapaka, a village in current day Kadapa district of Andhra Pradesh, India.[7] His wife, Thimmakka,[8] had written Subhadra Kalyanam, and is considered the first female poet in Telugu literature. Their son, Pedda Tirumalacharya, and grandson, Tallapaka Chinnayya, were also composers and poets. The Tallapaka compositions are considered to have dominated and influenced the structure of Carnatic music compositions.[9] Annamacharya lived for 94 years until Phalguna Bahula Dwadasi (12th day after full moon) in the year Dhundhubhi (February 23, 1503).

Annamacharya is said to have composed as many as 32,000 sankeertanas (songs) on Bhagwaan Govinda Venkateswara,[10] of which only about 12,000 are available today.
Annamacharya considered his compositions as floral offerings to Bhagwaan Govinda. In the poems, he praises Venkateswara, describes his love for him, argues and quarrels with the Lord, confesses the devotee's failures and apprehensions, and surrenders himself to Venkateshwara. His songs are classified into the Adhyaatma (spiritual) and Sringaara (romantic) sankeertanas genres. His songs in the "Sringaara" genre worship Bhagwaan Venkateswara by describing his amorous and romantic adventures of Venkateswara and Alamel Manga, while others describe the Bhakti of his devotees.
In his later keertanas, he espouses subjects such as morality, dharma and righteousness. He was one of the first few who opposed the social stigma towards the untouchable castes in his era,[11] with his sankeertanas explaining that the relationship between God and human is the same irrespective of the latters' color, caste and financial status, in beautiful yet powerful usage of words in his song "Brahmam Okkate Parabrahmam Okkate..."

His choice of words gives a mellifluous tone to his songs, charming the listener. His prodigious literary career earned him a place among the all-time greats of Telugu literature.[12]

According to legend, Annamacharya met up with Purandara Dasa and both of them composed music and lyrics.[13] They met when Annamacharya had invited Purandara Dasa to join him in singing praise.[14]

While enjoying popularity in his own days, his compositions were forgotten for over three centuries for some inexplicable reason. They were later found engraved on copper plates, hidden for centuries inside the Sri Venkateswara temple at Tirumala, just opposite the Hundi, concealed in a very small room.

Tirumala Tirupati Devasthanams, also known as TTD, has been endeavouring to preserve the rich heritage of his compositions. Garimella Balakrishna Prasad (born 9 November 1948) set the musical tune for more than 600 Annamacharya songs. He has been the Asthana Gayaka of the Tirumala temple at Tirupati since 1983. He is regarded as a pioneer in rendering devotional music in classical style, especially the Annamacharya sankirtanas. He composed tunes for famous keerthanas such as Vinaro Bhagyamu Vishnukatha, Bramha Kadigina Padamu, Jagadapu Chanuvula and Pidikedu Thalambralu... which became popular among the devotees. All these devotional songs are predominantly in Sanskrit and Telugu.

Brahmamokate Parabrahmamokate

from http://www.karnatik.com/c1107.shtml

thandanana abi (brahma okaTE)
raagam: bowLi
15 maayamaaLava gowLa janya
Aa: S R1 G3 P D1 S
Av: S N3 D1 P G3 R1 S

OR

naadanaamakriyaa
15 maayamaaLava gowLa janya
Aa: S R1 G3 M1 P D1 N3
Av: N3 D1 P M1 G3 R1 S N3

taaLam: aadi
Composer: Annamaacaarya
Language: Telugu

pallavi

tandanAnA Ahi tandanAnA purE tandanAna bhALa tandanAnA bhaLA
brahmamokaTE para brahmamokaTE brahmamokaTE para brahmamokaTE

caraNam 1

kanduvagu hInAdhikamu lindulEvu andariki shrI harE antarAtmA
indulO jantukulamu intA okaTE andariki shrI harE antarAtmA

caraNam 2

ninDAra rAjU nidrincu nidrayu okaTE anDanE baNTu nidra adiyu okaTE
meNDaina brahmANuDu meTTu bhUmi okaTE caNDAlundEti sari bhUmi okaTE

caraNam 3

anugu dEvatalakunu ala kAma sukhamokaTE ghanakITa pashuvulaku kAma sukham okaTE
dIna mahOrAtramulu tegi dhanAdyuna-kokaTE vonara nirupEdakunu okaTE aviyu

caraNam 4

koralu SiSTnnamulu gonu nAkkalokaTE tirugu duSTAnnamulu dinu nAkkalokaTE
paragu durgandhamulapai vAyuvokaTE varusha parimaLamupai vAyuvokaTE

caraNam 5

kaDagi Enugu mIda kAyu eNda okaTE pudami suanakamu mIda bolayu-nendokaTE
kaDu puNyalanu pApa karmulanu sarigAva jaDiyu shrI venkaTEShvaru nAma-mokaTE

Meaning:
pallavi: "Tandanana" is a word giving the punch of rhythm in the song. Ahi, Pure, Bhala are the words expressing the excitement or ecstasy or appreciation. The absolute spirit is one & only one.

caraNam 1: There are no differences of low & high. "Srihari" (A name of Vishnu. Vishnu is the form of God who is in charge of maintenance, protection of the good & destruction of the bad. In this context, Srihari is the Supreme Spirit) is the indwelling Spirit to one and all. All the beings in creation are one because the indwelling spirit in every creature is one and the same.

caraNam 2: Sleep is same to all, be it a king or a servant. Be it a "Brahmin" (man of the highest caste) or "Chandala" (man of the lowest caste), the earth they live on is the one and the same.

caraNam 3: The sensual pleasure is one and the same either for angels or for the insects and animals. The day and night are equal to the rich as well as to the poor.

caraNam 4: One could afford to eat tasty food and the other the condemned food. But the tongues that taste the food are alike. An object of fragrance or an object of foul smell, the air that carries the smell is one and the same.

caraNam 5: Be it an elephant or a dog, the sun shines alike on both of them. For the good and the bad, Lord Venkateshwara alone is "The Savior".

Other information:
Lyrics contributed by Lakshman Ragde.

It is said that this song was a folk song sung called "tandana padam" sung with a folk instrument called "dappu."

Sri Tallapaka Annamacharya (Telugu: శ్రీ తాళ్ళపాక అన్నమాచార్య) (or Annamayya) (May 9, 1408 – February 23, 1503) was the official songmaster of the Tirumala Venkateswara Temple,[1] and a Telugu composer who composed thousands of keertana songs,[2] many of which were in praise of Lord Sri Venkateswara Swami. The musical form of the keertana songs that he composed have strongly influenced the structure of Carnatic music compositions,[3] which are still popular among Carnatic music concert artists.[4] Sri Annamacharya is remembered for his saintly life, and is honoured as a great Bhakta/devotee of Bhagwaan Govinda by devotees and saintly singers.[5]

He is widely regarded as the Pada-kavita Pitaamaha (grand old man of song-writing) of the Telugu language.[6]
Annamacharya was born on Vaisakha Suddha Pournami in the year Sarwadhari (May 9, 1408) in Tallapaka, a village in current day Kadapa district of Andhra Pradesh, India.[7] His wife, Thimmakka,[8] had written Subhadra Kalyanam, and is considered the first female poet in Telugu literature. Their son, Pedda Tirumalacharya, and grandson, Tallapaka Chinnayya, were also composers and poets. The Tallapaka compositions are considered to have dominated and influenced the structure of Carnatic music compositions.[9] Annamacharya lived for 94 years until Phalguna Bahula Dwadasi (12th day after full moon) in the year Dhundhubhi (February 23, 1503).

Annamacharya is said to have composed as many as 32,000 sankeertanas (songs) on Bhagwaan Govinda Venkateswara,[10] of which only about 12,000 are available today.
Annamacharya considered his compositions as floral offerings to Bhagwaan Govinda. In the poems, he praises Venkateswara, describes his love for him, argues and quarrels with the Lord, confesses the devotee's failures and apprehensions, and surrenders himself to Venkateshwara. His songs are classified into the Adhyaatma (spiritual) and Sringaara (romantic) sankeertanas genres. His songs in the "Sringaara" genre worship Bhagwaan Venkateswara by describing his amorous and romantic adventures of Venkateswara and Alamel Manga, while others describe the Bhakti of his devotees.
In his later keertanas, he espouses subjects such as morality, dharma and righteousness. He was one of the first few who opposed the social stigma towards the untouchable castes in his era,[11] with his sankeertanas explaining that the relationship between God and human is the same irrespective of the latters' color, caste and financial status, in beautiful yet powerful usage of words in his song "Brahmam Okkate Parabrahmam Okkate..."

His choice of words gives a mellifluous tone to his songs, charming the listener. His prodigious literary career earned him a place among the all-time greats of Telugu literature.[12]

According to legend, Annamacharya met up with Purandara Dasa and both of them composed music and lyrics.[13] They met when Annamacharya had invited Purandara Dasa to join him in singing praise.[14]

While enjoying popularity in his own days, his compositions were forgotten for over three centuries for some inexplicable reason. They were later found engraved on copper plates, hidden for centuries inside the Sri Venkateswara temple at Tirumala, just opposite the Hundi, concealed in a very small room.

Tirumala Tirupati Devasthanams, also known as TTD, has been endeavouring to preserve the rich heritage of his compositions. Garimella Balakrishna Prasad (born 9 November 1948) set the musical tune for more than 600 Annamacharya songs. He has been the Asthana Gayaka of the Tirumala temple at Tirupati since 1983. He is regarded as a pioneer in rendering devotional music in classical style, especially the Annamacharya sankirtanas. He composed tunes for famous keerthanas such as Vinaro Bhagyamu Vishnukatha, Bramha Kadigina Padamu, Jagadapu Chanuvula and Pidikedu Thalambralu... which became popular among the devotees. All these devotional songs are predominantly in Sanskrit and Telugu.