Bengaluru -:- It is all about Music, Dance & Art !!!

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Bangalore R. Ramanath

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Sep 13, 2014, 1:26:54 AM9/13/14
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Dear Friends,
Thanks for the overwhelming response to the Book "Carnatic Summer" written by Sriram. (Check the attachment) Of the 100 copies supplied by Westland, only three copies are available. The book is priced at Rs.395/-. Westland is offering a 10% discount. Be a proud owner of this wonderful book having biography of over 20 legends.

Besides, Westland is offering a 40% discount for the biography of Balasaraswathi (See the attachment) Just 50 books are available. Be the early bird.
Best,
Murthy











  • at 6:00pm - 9:00pm
    2 days from now
  • GIRINAGAR SANGEETHA SABHA, 1196, 'Ananthashri',8th cross, Girinagar 2nd stage,Bangalore - 85 . Ph.26721284
VIOLIN TRIO BY :
VID. T.S.KRISHNAMURTHY
MASTER. VIBHUDENDRA SIMHA
MASTER. ANIRUDDH

VID.ANOOR DATTATREYA SHARMA - MRUDANGAM
VID.B.R.RAVIKUMAR - GHATAM


Hamsadhwani Kalamantapa Program 17: Lec dem by Ganakalashree Vid R A Ramamani on Pallavi and neraval in Manodharma Sangeetha

  • araswati Nilaya', 41, 14th cross, Between 1st and 2nd main, Near Rajesh Hotel, Vyalikaval, Bangalore, India 560003
Hamsadhwani - Kalamantapa welcomes you to a lec-dem on Pallavi and neraval in Manodharma Sangeetha by Ganakalashree Vid R A Ramamani RA
She will be accompanied by 
Vid Nalina Mohan - violin 
Vid H S Sudhindra - mridanga 

If you would like to receive details on future programmes under the series, please drop an email to hamsadhwanicreations@gmail.com. Entry is free and all programs are open to students/connoisseurs/musicians/rasikas.

Mukta and her Music

T. Mukta. File Photo
T. Mukta. File Photo

When one thinks of padams and javalis, one thinks of Muktamma.

“Komalatara pallava pada…” the bhava-laden voice flowed effortlessly filling the air. It belonged to a frail lady, lying on the bed. It was T. Mukta who belonged to the Veena Dhanam bani. Even as her life was fading away, all she could remember was her music.
Such was the powerful musical spirit of Muktamma. Her centenary was celebrated recently with two-day event jointly hosted by the Dr. V. Raghavan Centre for Performing Arts, Chennai, and the Sangeet Natak Akademi, New Delhi, where Muktamma’s matchless contribution to music was recalled with reverence.
Mukta had her initial training from her mother, Kamakshi Ammal, and later came under the tutelage of the renowned Kanchipuram Naina Pillai along with her sister, T.Brinda. Under the gurukulam system, Muktamma mastered over 300 kritis of Tyagaraja, besides those of Dikshitar, Syama Sastri and Patnam Subramanya Iyer, among others.
Later, Mukta learnt padams and javalis from her grandmother Veena Dhanammal and her aunt Lakshmiratnammal, and accumulated a rare and rich repertoire. She started performing with her sister from the age of 10. Her expertise in rendering ragas, especially rakti, was considered unique.
But Mukta was known for her rendition of padams and javalis. As one of the torch-bearers of that genre, Muktamma kept up the high standards of the Dhanammal bani. Her high tonal rendering of padams such as “Ososi”, “Rama Rama prana sakhi”, “Kuvalayakshiro” or “Payyadaa” or javalis such as “Nareemani” and “Smara Sundaraanguni,” are spoken of with awe even today.
How can one forget her accompaniment to her illustrious cousin T. Balasaraswati, at a rare event at The Music Academy’s annual festival where both the doyennes vied with each other to bring out one of their best and immortal performance?
The Central Sangeet Natak Akdemi, New Delhi, through the efforts of one of its founding members, Dr.V. Raghavan, stood by Muktamma in 1970, to launch an intensive training programme to foster the padam-javali tradition.
For all her musical accomplishments and her lineage, Muktamma remained a simple and unassuming person, who was always ready to share her knowledge with everyone who came seeking it. Her observations or comments were often short, sharp and sweet; she had a ready wit and often diffused tense moments with her humour.
Indeed Muktamma was a rare musician and a wonderful human being.

It was raining ragas here


S. VISWANATHAN
  • Dr.N.Ramani
    Special arrangementDr.N.Ramani
  • K.Gayathri
    Special arrangementK.Gayathri
  • P.Unnikrishnan
    Special arrangementP.Unnikrishnan
  • Sriranjani Darbha
    Special arrangementSriranjani Darbha
  • Sunil Gargyan.
    Special arrangementSunil Gargyan.

Seven artists, one concert platform, rare ragas and two occasions, next to next – all at the same venue.

A series of music concerts by veteran musicians were organised as part of the 16th anniversary of Nadhadweepam Trust and the 106th birthday celebrations of Semmangudi R. Srinivasa Iyer. The event took place at the Sringeri Mutt (where). On the occasion the following veterans were honoured – mridangam vidwan Umayalpuram K. Sivaraman with the ‘Nadhadweepa Kalanidhi’ title, musician P. Unnikrishnan with ‘Nadhadweepa Ratnakara’ and Prof. S. Thyagarajan with ‘Nadhadweepa Seva Ratna.’ The title carried a gold coin and a cash prize.
Veteran flautist N. Ramani, along with Nagai Muralidharan on the violin, Mannargudi Easwaran on the mridangam and E.M. Subramanian on the ghatam provided the inaugural concert. Ramani began his recital with a GNB kriti, ‘Saraswati Namo’ in ragam Saraswati and followed it up with the Swati Tirunal kriti, ‘Pankaja Lochani’ in Kalyani with brilliant niravals. He took up Tyagaraja’s ‘Entha Mudho’ in raga Bindhumalini, a rare one on the concert platform, and explored it further to bring out the beauty of the raga. He concluded the concert with a Nalinakanti thillana. The violin support added momentum to the concert and the two veteran Tala vidwans on the mridangam and ghatam gave pleasing korvais and pleasant thani.
P. Unnikrishnan along with Nagai Muralidharan, Mannargudi Easwaran and E.M. Subramanian perked up the spirit of the audience at the open air auditorium of the Mutt. Commencing with a Thanjavur Ponniah Pillai’s ‘Maya Swarupini’ in Mayamalavagowla, this young master rendered a soothing Chandrajyothi in Tyagaraja’s ‘Baagaayanayya’ with elaborate alapana and a volley of swaras. His main stay was in Kiravani for the kriti ‘Karunakarane Sivasankarane’ of Papanasam Sivan. He brilliantly brought out the breath-taking brighas, carefully caressing the sangatis with telling swaras and anuswaras. ‘Pibare Ramarasam,’ Ambujam Krishna’s ‘Ododi Vandhen Kanna’ (Dharmavati) and Bharati’s ‘Eppa Varuvaro’ (Jhonpuri) were the tail-enders of this two-hour concert.
Blessed with a pleasant voice Gayathri along with T.H. Vasantha (violin), Salem Srinivasan (mridangam) and Krishnaswamy (ghatam) offered a rollicking performance. Starting with a fast varnam ‘Mathe Malayadhwajam’ of Harikesanallur Muthaiah Bhaghavatar in Khamas set to Adi talam, she held a complete sway over the audience by churning out Mayamalavagowla for the Tyagaraja kriti ‘Meru Samanam,’ Dharmavati for Mysore Vasudevachar’s ‘Bajana Seya Radha’ and Brindavana Saranga for Dikshitar’s ‘Rangapuravihara.’ Her mainstay in Thodi ‘Kaddanavariki,’ set to Adi talam was of a high quality. Her rendition of a Paasuram in Ragamalika was a class apart.
Young Shwethambari Rajagopal’s concert with J. Anand (violin), Hariprasath (mridangam) and Harikishore (ganjira) was enjoyable. Her Kannada for Dikshitar’s ‘Sri Mathrubootham,’ Sankarabharanam for Swati Thirunal’s ‘Devi Jagath Janani,’ the extensive Pantuvarali (Mysore Vasudevachar’s ‘Sankara Ninne’) and the end Mukhari (‘Kasikku Poyyane’) were pieces aplomb.
A fast-paced vocal, interspersed with multi-layered and brisk swaras and sangatis, was the highlight ofSwarna Rethas’ concert. Assisted by Pudukkottai Ambikaprasad (violin), Konerirajapuram Varadharajan (mridangam) and Rajaganesh (ganjira), this young and exuberant vocalist offered a sprightly performance. With a fast varnam of Karur Dakshinamurthy, ‘Sami Ninne’ in ragam Sri, Swarna Rethas handled Mayamalavagowla in the kriti ‘Polla Puviyen’ and a touching Malayamarutham in Tyagaraja’s ‘Manasa Etulo’ with resounding sangatis and pleasant niravals. He took up Begada for extensive treatment in the Tyagaraja kriti ‘Nadha Upasana.’ The tukkadas included Swati Tirunal’s ‘Kangeyavasana’ in Hamir Kalyani, ‘Karpooram Narumo,’ a Thiruppavai in Khamas and ‘Vitasala thura’ of Tyagaraja in Janaranjani, a rare raga. The concert ended with an enticing tillana in Sindhubhairavi.
Sriranjani Darbha, an up-and-coming artist from the U.S., was supported by Raghavasimhan on the violin, Hariprasath on the mridangam and Agasthiar G. Girish on the ganjira on the wings. Her hour-long concert was lively. Her fast GNB varnam ‘Amboruha Padhame’ in Ranjani, Subbaraya Sastri’s ‘Janani Ninnu’ in Ritigowla and the main - Sankarabharanam (‘Devi Jagath Janani’ of Swati Tirunal) were well received by the audience.
The last concert was given by Sunil Gargyan, disciple of vidwan P.S. Narayanasamy, engaged the rasikas throughout his two-hour presentation. N.C. Madhav on the violin and a full house of tala vidwans - Konerirajapuram Varadharajan (mridangam), Tiruchi Krishnaswamy (ghatam) and Vishnupuram Raghu (morsing) provided able support. Commencing with a fast Sahana varnam, Thiruvottriyur Thiagarajar’s ‘Karunimpa,’ this young musician scaled high and deep into Lathangi (Papanasam Sivan’s ‘Venkataramana’) and perked up the concert through his Khambodi (‘O Rangasayee’ of Tyagaraja), drenched with a neat cascade of swaras and effective sangatis and niravals. His poise and ease in lower and higher octaves in the sancharams was a bliss. The accompanists enhanced the quality of the concert and the thani of the tala vidwans stood out.




Lecture – demonstration by Smt. Kalapini Komkali, world 
renowned Hindustani Classical Vocalist and daughter of Pt. 
Kumar Gandharva. 

Accompanied by:
Dr. Ravindra Katoti on Harmonium
Sri. Udayraj Karpur on Tabla

Entry Free: Limited seating, please call in (Tuesdays through Sundays 11.30AM to 7.00PM, Mondays 4.30PM to 7.00PM) to book your seat. Ph: 080-41210720







  • at 6:00pm - 9:00pm
    2 days from now
  • GIRINAGAR SANGEETHA SABHA, 1196, 'Ananthashri',8th cross, Girinagar 2nd stage,Bangalore - 85 . Ph.26721284
VIOLIN TRIO BY :
VID. T.S.KRISHNAMURTHY
MASTER. VIBHUDENDRA SIMHA
MASTER. ANIRUDDH

VID.ANOOR DATTATREYA SHARMA - MRUDANGAM
VID.B.R.RAVIKUMAR - GHATAM


Hamsadhwani Kalamantapa Program 17: Lec dem by Ganakalashree Vid R A Ramamani on Pallavi and neraval in Manodharma Sangeetha

  • araswati Nilaya', 41, 14th cross, Between 1st and 2nd main, Near Rajesh Hotel, Vyalikaval, Bangalore, India 560003
Hamsadhwani - Kalamantapa welcomes you to a lec-dem on Pallavi and neraval in Manodharma Sangeetha by Ganakalashree Vid R A Ramamani RA
She will be accompanied by 
Vid Nalina Mohan - violin 
Vid H S Sudhindra - mridanga 

If you would like to receive details on future programmes under the series, please drop an email to hamsadhwanicreations@gmail.com. Entry is free and all programs are open to students/connoisseurs/musicians/rasikas.

Mukta and her Music

T. Mukta. File Photo
T. Mukta. File Photo

When one thinks of padams and javalis, one thinks of Muktamma.

“Komalatara pallava pada…” the bhava-laden voice flowed effortlessly filling the air. It belonged to a frail lady, lying on the bed. It was T. Mukta who belonged to the Veena Dhanam bani. Even as her life was fading away, all she could remember was her music.
Such was the powerful musical spirit of Muktamma. Her centenary was celebrated recently with two-day event jointly hosted by the Dr. V. Raghavan Centre for Performing Arts, Chennai, and the Sangeet Natak Akademi, New Delhi, where Muktamma’s matchless contribution to music was recalled with reverence.
Mukta had her initial training from her mother, Kamakshi Ammal, and later came under the tutelage of the renowned Kanchipuram Naina Pillai along with her sister, T.Brinda. Under the gurukulam system, Muktamma mastered over 300 kritis of Tyagaraja, besides those of Dikshitar, Syama Sastri and Patnam Subramanya Iyer, among others.
Later, Mukta learnt padams and javalis from her grandmother Veena Dhanammal and her aunt Lakshmiratnammal, and accumulated a rare and rich repertoire. She started performing with her sister from the age of 10. Her expertise in rendering ragas, especially rakti, was considered unique.
But Mukta was known for her rendition of padams and javalis. As one of the torch-bearers of that genre, Muktamma kept up the high standards of the Dhanammal bani. Her high tonal rendering of padams such as “Ososi”, “Rama Rama prana sakhi”, “Kuvalayakshiro” or “Payyadaa” or javalis such as “Nareemani” and “Smara Sundaraanguni,” are spoken of with awe even today.
How can one forget her accompaniment to her illustrious cousin T. Balasaraswati, at a rare event at The Music Academy’s annual festival where both the doyennes vied with each other to bring out one of their best and immortal performance?
The Central Sangeet Natak Akdemi, New Delhi, through the efforts of one of its founding members, Dr.V. Raghavan, stood by Muktamma in 1970, to launch an intensive training programme to foster the padam-javali tradition.
For all her musical accomplishments and her lineage, Muktamma remained a simple and unassuming person, who was always ready to share her knowledge with everyone who came seeking it. Her observations or comments were often short, sharp and sweet; she had a ready wit and often diffused tense moments with her humour.
Indeed Muktamma was a rare musician and a wonderful human being.

It was raining ragas here


S. VISWANATHAN
  • Dr.N.Ramani
    Special arrangementDr.N.Ramani
  • K.Gayathri
    Special arrangementK.Gayathri
  • P.Unnikrishnan
    Special arrangementP.Unnikrishnan
  • Sriranjani Darbha
    Special arrangementSriranjani Darbha
  • Sunil Gargyan.
    Special arrangementSunil Gargyan.

Seven artists, one concert platform, rare ragas and two occasions, next to next – all at the same venue.

A series of music concerts by veteran musicians were organised as part of the 16th anniversary of Nadhadweepam Trust and the 106th birthday celebrations of Semmangudi R. Srinivasa Iyer. The event took place at the Sringeri Mutt (where). On the occasion the following veterans were honoured – mridangam vidwan Umayalpuram K. Sivaraman with the ‘Nadhadweepa Kalanidhi’ title, musician P. Unnikrishnan with ‘Nadhadweepa Ratnakara’ and Prof. S. Thyagarajan with ‘Nadhadweepa Seva Ratna.’ The title carried a gold coin and a cash prize.
Veteran flautist N. Ramani, along with Nagai Muralidharan on the violin, Mannargudi Easwaran on the mridangam and E.M. Subramanian on the ghatam provided the inaugural concert. Ramani began his recital with a GNB kriti, ‘Saraswati Namo’ in ragam Saraswati and followed it up with the Swati Tirunal kriti, ‘Pankaja Lochani’ in Kalyani with brilliant niravals. He took up Tyagaraja’s ‘Entha Mudho’ in raga Bindhumalini, a rare one on the concert platform, and explored it further to bring out the beauty of the raga. He concluded the concert with a Nalinakanti thillana. The violin support added momentum to the concert and the two veteran Tala vidwans on the mridangam and ghatam gave pleasing korvais and pleasant thani.
P. Unnikrishnan along with Nagai Muralidharan, Mannargudi Easwaran and E.M. Subramanian perked up the spirit of the audience at the open air auditorium of the Mutt. Commencing with a Thanjavur Ponniah Pillai’s ‘Maya Swarupini’ in Mayamalavagowla, this young master rendered a soothing Chandrajyothi in Tyagaraja’s ‘Baagaayanayya’ with elaborate alapana and a volley of swaras. His main stay was in Kiravani for the kriti ‘Karunakarane Sivasankarane’ of Papanasam Sivan. He brilliantly brought out the breath-taking brighas, carefully caressing the sangatis with telling swaras and anuswaras. ‘Pibare Ramarasam,’ Ambujam Krishna’s ‘Ododi Vandhen Kanna’ (Dharmavati) and Bharati’s ‘Eppa Varuvaro’ (Jhonpuri) were the tail-enders of this two-hour concert.
Blessed with a pleasant voice Gayathri along with T.H. Vasantha (violin), Salem Srinivasan (mridangam) and Krishnaswamy (ghatam) offered a rollicking performance. Starting with a fast varnam ‘Mathe Malayadhwajam’ of Harikesanallur Muthaiah Bhaghavatar in Khamas set to Adi talam, she held a complete sway over the audience by churning out Mayamalavagowla for the Tyagaraja kriti ‘Meru Samanam,’ Dharmavati for Mysore Vasudevachar’s ‘Bajana Seya Radha’ and Brindavana Saranga for Dikshitar’s ‘Rangapuravihara.’ Her mainstay in Thodi ‘Kaddanavariki,’ set to Adi talam was of a high quality. Her rendition of a Paasuram in Ragamalika was a class apart.
Young Shwethambari Rajagopal’s concert with J. Anand (violin), Hariprasath (mridangam) and Harikishore (ganjira) was enjoyable. Her Kannada for Dikshitar’s ‘Sri Mathrubootham,’ Sankarabharanam for Swati Thirunal’s ‘Devi Jagath Janani,’ the extensive Pantuvarali (Mysore Vasudevachar’s ‘Sankara Ninne’) and the end Mukhari (‘Kasikku Poyyane’) were pieces aplomb.
A fast-paced vocal, interspersed with multi-layered and brisk swaras and sangatis, was the highlight ofSwarna Rethas’ concert. Assisted by Pudukkottai Ambikaprasad (violin), Konerirajapuram Varadharajan (mridangam) and Rajaganesh (ganjira), this young and exuberant vocalist offered a sprightly performance. With a fast varnam of Karur Dakshinamurthy, ‘Sami Ninne’ in ragam Sri, Swarna Rethas handled Mayamalavagowla in the kriti ‘Polla Puviyen’ and a touching Malayamarutham in Tyagaraja’s ‘Manasa Etulo’ with resounding sangatis and pleasant niravals. He took up Begada for extensive treatment in the Tyagaraja kriti ‘Nadha Upasana.’ The tukkadas included Swati Tirunal’s ‘Kangeyavasana’ in Hamir Kalyani, ‘Karpooram Narumo,’ a Thiruppavai in Khamas and ‘Vitasala thura’ of Tyagaraja in Janaranjani, a rare raga. The concert ended with an enticing tillana in Sindhubhairavi.
Sriranjani Darbha, an up-and-coming artist from the U.S., was supported by Raghavasimhan on the violin, Hariprasath on the mridangam and Agasthiar G. Girish on the ganjira on the wings. Her hour-long concert was lively. Her fast GNB varnam ‘Amboruha Padhame’ in Ranjani, Subbaraya Sastri’s ‘Janani Ninnu’ in Ritigowla and the main - Sankarabharanam (‘Devi Jagath Janani’ of Swati Tirunal) were well received by the audience.
The last concert was given by Sunil Gargyan, disciple of vidwan P.S. Narayanasamy, engaged the rasikas throughout his two-hour presentation. N.C. Madhav on the violin and a full house of tala vidwans - Konerirajapuram Varadharajan (mridangam), Tiruchi Krishnaswamy (ghatam) and Vishnupuram Raghu (morsing) provided able support. Commencing with a fast Sahana varnam, Thiruvottriyur Thiagarajar’s ‘Karunimpa,’ this young musician scaled high and deep into Lathangi (Papanasam Sivan’s ‘Venkataramana’) and perked up the concert through his Khambodi (‘O Rangasayee’ of Tyagaraja), drenched with a neat cascade of swaras and effective sangatis and niravals. His poise and ease in lower and higher octaves in the sancharams was a bliss. The accompanists enhanced the quality of the concert and the thani of the tala vidwans stood out.




Lecture – demonstration by Smt. Kalapini Komkali, world 
renowned Hindustani Classical Vocalist and daughter of Pt. 
Kumar Gandharva. 

Accompanied by:
Dr. Ravindra Katoti on Harmonium
Sri. Udayraj Karpur on Tabla

Entry Free: Limited seating, please call in (Tuesdays through Sundays 11.30AM to 7.00PM, Mondays 4.30PM to 7.00PM) to book your seat. Ph: 080-41210720
























The life and times of Kalinga Rao

MURALIDHARA KHAJANE

Tributes paid to one of the pioneers of Sugama Sangeeta

Meenakshamma, Kalinga Rao’s wife, at a programme to mark the birth centenary of the singer at Ravindra Kalakshetra in Bangalore on Saturday.— Photo: V. Sreenivasa Murthy
Meenakshamma, Kalinga Rao’s wife, at a programme to mark the birth centenary of the singer at Ravindra Kalakshetra in Bangalore on Saturday.— Photo: V. Sreenivasa Murthy
The daylong programme, organised by the Department of Kannada and Culture at Ravindra Kalakshetra on Saturday, to mark the birth centenary of P. Kalinga Rao, one of the pioneers of Sugama Sangeeta, took connoisseurs down memory lane.
Ardent admirers of Kalinga Rao stood in line to view the black-and-white photographs of the musical genius’s 67-year-old journey. The photographs were from the archives of B.S. Vishwanath.
Beladingala Hakki by singer Jayashree Arvind on the life and works of Kalinga Rao, three CDs of famous songs, Ranga Geethegalu and radio plays were released on the occasion by Minister of State for Kannada and Culture Umashree.
Though Chief Minister Siddaramaiah, Transport Minister Ramalinga Reddy and Union Minister for Chemicals and Fertilizer Ananth Kumar were scheduled to attend, they were not present.
Mr. Siddarmaiah was visiting flood-affected areas of north Karnataka.
Meenakshamma, Kalinga Rao’s wife, lit the lamp with the help of Ms. Umashree and others. The Minister felicitated Ms. Meenakshamma.
Musicians belonging to various genres paid tribute to Kalinga Rao. Associates of singer H.R. Leelavathi, Shamantaka Mani and B.S. Keshava Rao were present.
Describing Kalinga Rao as the singer, who promoted the cause of Kannada, both before and after the unification of Karnataka, Ms. Umashree observed it was difficult to imagine Kannada light music without Kalinga Rao.
“The government is planning to institute an award in his name to promote the genre,” she said.
Actor and theatre personality H.G. Somashekara Rao, an associate of Kalinga Rao, recalled his time with the singer.


Carnatic Classical Veena duet by Vidushi Geetha Ramanand & Vidushi Revathi Murthy on 14th July 2012, Saturday 6:30pm


Bharatanatyam by Sri Praveen Kumar, 6:30pm

Odissi by Mrs. Saritha Mishra on 15th July 2012, 7:30pm


ALL ARE WELCOME

Music, dance examinations


The Karnataka Secondary Education Examination Board will conduct special music, dance and talavadya examinations as follows: practical exam will commence on October 7 and theory on November 2. Students may collect admission tickets from exam centres from September 30 onwards. Examiners appointed for the practical exam should report on October 6 at 10 a.m. at the allotted centres. — Staff Reporter


Do not miss this event if, you are around Indiranagar.



Thought for Life

- Guruji Viswanath
(Founder Guardian, Manava Seva Kendra, Bengaluru)
Source: 365 Day 100 Year Calendar

 
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
BE, JUST BE -:- BELONG don't Be Long -:- LIFE is SIMPLE, Don't Complicate It -:- PLAY Like a CHILD, PERFORM Like a PROFESSIONAL -:- paNbu (CULTURE) is paNivu (HUMILITY) plus aNbu (LOVE) -:- LIGHT and SOUND are ILLUSION, DARKNESS and SILENCE are TRUTH -:- Build the EDIFICE called LIFE on the unshakable FOUNDATION of SELF-CONFIDENCE -:- The DOOR to HEAVEN is a PIN HOLE, the SOUL fattened by even the slightest EGO cannot enter it -:- I am a SERVANT in BODY, a FRIEND in MIND, GOD in HEART and the SILENCE beyond all these three -:- From THOUGHT comes DOUBT, QUESTIONS and FEAR, SILENCE is the only TRUE FAITH & the only TRUEST KNOWLEDGE -:-  Only the BOND with the AGELESS SELF can give freedom from BONDAGE
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Bangalore R. Ramanath

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  • Pages: 311
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  • Category: Music

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