While we are all much aware of the ashtapadi-s of Sri Jayadeva Mahakavi, there exist many other ashtapadi-s composed on various other deities of the Hindu pantheon.
One such significant, yet unnoticed work is that of Upanishad Brahmendra alias Ramachandrendra Yati. The students of Sanskrit literature are much aware of this Yogi through his commentaries on the 108 celebrated Upanishad - s.
He has also composed few musical works like Sri Rama Taranga and Sri Rama Ashtapadi-s. He was a Sri Rama Upasaka and has worshipped Sri Ramachandra as a saguna and nirguna brahmam.
More about this composer can be read here:
https://tlmthelostmelodies.wordpress.co ... brahmam-2/
We, The Lost Melodies has ventured to popularize the ashtapadi-s written by this Yogi. These were actually tuned by Sri Muthuswamy Diksitar is to be remembered.
The project is explained here:
https://youtu.be/YQrldnqxp3g
Sri Rama Ashtapadi-s of Upanishad Brahma Yogi
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The Lost Melodies
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Lakshman
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Re: Sri Rama Ashtapadi-s of Upanishad Brahma Yogi
His compositions were listed in one of the journals of the Madras .Music Academy
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The Lost Melodies
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Re: Sri Rama Ashtapadi-s of Upanishad Brahma Yogi
Dr. Raghavan has given a list of compositions in one of his article. But the full text is not available anywhere.
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RSR
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Re: Sri Rama Ashtapadi-s of Upanishad Brahma Yogi
An absolutely great article by the one and only sreenivasaras
https://sreenivasaraos.com/2012/10/08/s ... ndra-yogin
<quote>
6.3. Sri Upanishad Brahmendra was an integral part of the tradition that was in vogue during those times when the sanyasins based in Advaita ideology also cultivated Bhakthi (devotion) and Sangitha (music). Apart from Upanishad Brahmendra the two other Advaita-sanyasins – Sri Narayana Thirtha and Sri Sadashiva Brahmendra – excelled in practice of Nada-vidya as a part of their Sadhana. This was followed by Sri Tyagaraja who had a great affinity towards Upanishad Brahmendra. Sri Tyagaraja too, like his ideal, lovingly adorned Sri Rama in hundreds of his songs; and he too later in his life took to sanyasa – bringing together devotion, music and knowledge of self (jnana– vairagya). They all asserted that Bhakthi was the means (sadhana) to realize the goal (sadhya) of attaining unity with God or Brahman.
6.4. Besides this , there arose, in the Cauvery delta , a movement – Bhajana Sampradaya – that firmly believed in the power of the sacred name (Namasiddantha).It asserted the faith that recital of the holy name in loving devotion and giving expression to that through soulful music (nama samkirtana) was the most potent means for liberation. The movement cut across the distinctions of caste (varna) and the stages of life (ashrama). It brought into its fold householders, men, women and children of all sections of the society. Sri Sridhar Venkatesha Ayyaval, Sri Bhodendra Sarasvathi and Sri Bashyam Gopala Krishna Sastry renowned as the triumvirate of Bhajana tradition were the prominent leaders of the congregational devotion (Bhajana mandali) practices. They were followed by Sri Venkataramana – Sadgurusvami who strengthened and gave a form to the Bhakthi and Bhajana-paddathi movement.
Influence on Sri Tyagaraja and Sri Mutthuswami Dikshitar
7.1. The influence of Sri Upanishad Brahman on Sri Tyagaraja and Sri Mutthuswami Dikshitar was significant. Sri Upanishad Brahman and Sri Tyagaraja shared the intense fervour of devotion to their Ista-devatha Sri Rama and to his nama-samkirtana, singing the glory of the Lord. Sri Upanishad Brahman and Sri Mutthuswami Dikshitar shared the principles of Advaita philosophy, the use of its terms in their songs and the adoption of classic Sanskrit as the language of their music.
7.2. While he was living in Thanjavur (prior to 1780), he (then known as Ramacandrendra Sarasvati) used to conduct discourses on Ramayana and also lead chorus-singing of the devotional songs he composed in praise of Sri Rama. It is said, the boy Thyagaraja who was in his early teens, say of ten-twelve years, used to attend, along with his father (Ramabrahmam), the musical discourses and Bhajans conducted by the Sanyasin. (Thiruvayaru where the Ramabrahmam family lived is just 13 Km from Thanjavur).
7.3. The musicologists and experts opine that the traces of Ramacandrendra Sarasvati‘s influence can be found in the Divya-nama-samkirtana songs composed by Sri Thyagaraja. They point out the similarities in the structure of songs and in the word-play (pada-jaala) employed by Sri Thyagaraja and his inspiration, Ramacandrendra Sarasvati. (e.g.,Kanakambara; Kanakavasana; Celakanaka; Hatakacela;Bhaktha-chandana; Sakalonnata; Rajavandya; Sitamanohara; Rajivaksha; Ranabhima; Jitakama; Navanitasa; Sara-sarastara; Mruduvacana; Niramayanga; Nadapradipa; Nadasadhana; etc.
Further it is said; Sri Tyagaraja’s songs: Dhyaname varamaine; Gangasnaname; and Kotinadula which emphasize that the real snana and thirtha (the bath and the holy waters of the pilgrimage) are verily in the contemplation on the name of the Lord and not in the rivers , were inspired by Sri Upanishad Brahmendra‘s Tarangas in his Sri Rama Taranga . It is also mentioned that this work of Sri Upanishad Brahmendra was in turn influenced by the songs in most enchanting opera Krishna-Leela-Tarangini of Sri Narayana Thirtha (1650 -1745).
7.4. As regards Sri Mutthuswamy Dikshitar, he too met Sri Upanishad Brahmendra. After about seven years of stay and study at Varanasi, Sri Dikshitar on his way back home to Thiruvarur, stayed for some time with Sri Upanishad Brahmendra in his mutt at Kanchipuram. This is said to have taken place in the year 1809 when Sri Dikshitar was about thirty-four years of age; and Sri Upanishad Brahmendra was about sixty-two. During his stay, Sri Dikshitar set to music Rama Ashtapadhi a collection of stanzas composed by Sri Upanishad Brahmendra adoring the glory of Sri Rama. This musical composition is, sadly, lost now.
</quote>
https://sreenivasaraos.com/2012/10/08/s ... ndra-yogin
<quote>
6.3. Sri Upanishad Brahmendra was an integral part of the tradition that was in vogue during those times when the sanyasins based in Advaita ideology also cultivated Bhakthi (devotion) and Sangitha (music). Apart from Upanishad Brahmendra the two other Advaita-sanyasins – Sri Narayana Thirtha and Sri Sadashiva Brahmendra – excelled in practice of Nada-vidya as a part of their Sadhana. This was followed by Sri Tyagaraja who had a great affinity towards Upanishad Brahmendra. Sri Tyagaraja too, like his ideal, lovingly adorned Sri Rama in hundreds of his songs; and he too later in his life took to sanyasa – bringing together devotion, music and knowledge of self (jnana– vairagya). They all asserted that Bhakthi was the means (sadhana) to realize the goal (sadhya) of attaining unity with God or Brahman.
6.4. Besides this , there arose, in the Cauvery delta , a movement – Bhajana Sampradaya – that firmly believed in the power of the sacred name (Namasiddantha).It asserted the faith that recital of the holy name in loving devotion and giving expression to that through soulful music (nama samkirtana) was the most potent means for liberation. The movement cut across the distinctions of caste (varna) and the stages of life (ashrama). It brought into its fold householders, men, women and children of all sections of the society. Sri Sridhar Venkatesha Ayyaval, Sri Bhodendra Sarasvathi and Sri Bashyam Gopala Krishna Sastry renowned as the triumvirate of Bhajana tradition were the prominent leaders of the congregational devotion (Bhajana mandali) practices. They were followed by Sri Venkataramana – Sadgurusvami who strengthened and gave a form to the Bhakthi and Bhajana-paddathi movement.
Influence on Sri Tyagaraja and Sri Mutthuswami Dikshitar
7.1. The influence of Sri Upanishad Brahman on Sri Tyagaraja and Sri Mutthuswami Dikshitar was significant. Sri Upanishad Brahman and Sri Tyagaraja shared the intense fervour of devotion to their Ista-devatha Sri Rama and to his nama-samkirtana, singing the glory of the Lord. Sri Upanishad Brahman and Sri Mutthuswami Dikshitar shared the principles of Advaita philosophy, the use of its terms in their songs and the adoption of classic Sanskrit as the language of their music.
7.2. While he was living in Thanjavur (prior to 1780), he (then known as Ramacandrendra Sarasvati) used to conduct discourses on Ramayana and also lead chorus-singing of the devotional songs he composed in praise of Sri Rama. It is said, the boy Thyagaraja who was in his early teens, say of ten-twelve years, used to attend, along with his father (Ramabrahmam), the musical discourses and Bhajans conducted by the Sanyasin. (Thiruvayaru where the Ramabrahmam family lived is just 13 Km from Thanjavur).
7.3. The musicologists and experts opine that the traces of Ramacandrendra Sarasvati‘s influence can be found in the Divya-nama-samkirtana songs composed by Sri Thyagaraja. They point out the similarities in the structure of songs and in the word-play (pada-jaala) employed by Sri Thyagaraja and his inspiration, Ramacandrendra Sarasvati. (e.g.,Kanakambara; Kanakavasana; Celakanaka; Hatakacela;Bhaktha-chandana; Sakalonnata; Rajavandya; Sitamanohara; Rajivaksha; Ranabhima; Jitakama; Navanitasa; Sara-sarastara; Mruduvacana; Niramayanga; Nadapradipa; Nadasadhana; etc.
Further it is said; Sri Tyagaraja’s songs: Dhyaname varamaine; Gangasnaname; and Kotinadula which emphasize that the real snana and thirtha (the bath and the holy waters of the pilgrimage) are verily in the contemplation on the name of the Lord and not in the rivers , were inspired by Sri Upanishad Brahmendra‘s Tarangas in his Sri Rama Taranga . It is also mentioned that this work of Sri Upanishad Brahmendra was in turn influenced by the songs in most enchanting opera Krishna-Leela-Tarangini of Sri Narayana Thirtha (1650 -1745).
7.4. As regards Sri Mutthuswamy Dikshitar, he too met Sri Upanishad Brahmendra. After about seven years of stay and study at Varanasi, Sri Dikshitar on his way back home to Thiruvarur, stayed for some time with Sri Upanishad Brahmendra in his mutt at Kanchipuram. This is said to have taken place in the year 1809 when Sri Dikshitar was about thirty-four years of age; and Sri Upanishad Brahmendra was about sixty-two. During his stay, Sri Dikshitar set to music Rama Ashtapadhi a collection of stanzas composed by Sri Upanishad Brahmendra adoring the glory of Sri Rama. This musical composition is, sadly, lost now.
</quote>
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The Lost Melodies
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Re: Sri Rama Ashtapadi-s of Upanishad Brahma Yogi
We are indeed blessed to present you with a tuned version and a translation of the 'ahvana tarangam'. It is to be noted that none of the articles on Upanishad Brahmendra gives sahitya of his works.
https://youtu.be/MGnpLRYvzyU
https://youtu.be/MGnpLRYvzyU
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The Lost Melodies
- Posts: 80
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Re: Sri Rama Ashtapadi-s of Upanishad Brahma Yogi
Bilahari is not a skeleton with the scale 'SRGPDS - SNDPMGRS. It was a 'raga' with life. It had its own unique phrases. As mentioned earlier, we worship 'ragas' as 'paramatma'. An attempt was made to reflect this thought while tuning this ashtapadi.
In this ashtapadi, the composer has used all the 52 aksharas in the Sanskrit language like a garland. Each half of a pada begins with an akshara. To our knowledge, no other composition exists with a similar structure. This proves the command this composer had over the language.
The first ashtapadi 'sri rama tubyam' in the raga Bilahari
https://www.youtube.com/watch?v=a69wuLrSHTk
In this ashtapadi, the composer has used all the 52 aksharas in the Sanskrit language like a garland. Each half of a pada begins with an akshara. To our knowledge, no other composition exists with a similar structure. This proves the command this composer had over the language.
The first ashtapadi 'sri rama tubyam' in the raga Bilahari
https://www.youtube.com/watch?v=a69wuLrSHTk