Temple Music of India (Set of 4 Audio CDs )

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‘Haveli Sangeet’ was the temple music primarily practiced by ‘Pushti Margi Sampradaya’. The devotional poetry on Lord Krishna always connected the devotees with the temples. But due to the influence of the Mughal era, the bhakti movement turned inwards and the devotees created virtual temples at Haveli-s (home) and Nukuynja-s (Site for the idols of Radha -Krishna) and continued their worship. So the place where the image of Lord Krishna was installed and worship. So the place where the image of Lord Krishna was installed and worshipped by the devotees was called ‘Haveli’.

The rituals of Nitya Seva are an offering to Lord Krishna. The service describes the days of Little Krishna with Yashoda while she brought him up as the most betloved and pampered one in the Haveli- the house where little Krishna grew up. Each and every ritual in Haveli Sangeet is performed live with musicians. The text of Nitya Seva illustrates the various rituals that are performed during different services and offerings to little Krishna, starting from the ritual of Waking-up in the morning till bed-time in the night. The devotees and followers of Pushti Margi Sampradaya offer service to the painting of Shri Nathji—The Purna Purushottam-Portraying the sentiments of Yashoda Minyya. The Lord is woken up in the morning, the image is cleaned with a fresh cloth and offered the mangal bhog of bu7tter, sugar crystals, milk and several other things. While these customs of offering seva represent only an activity, the maternal love of a mother comes to the fore when the devtees sing krtan-s expressing parental affection and piety. These sentiments come alive in the soul Stirring coulplets or Padas (lyrical verses) written by eight poets, such as Soordas, Krishna Das, Nand Das, Chhith Das, Chaturbhuj Das, Parmandanda Das, Govind Das & Kumbhan Das, popularly known as the Ashtachhap or Eight Seals.

In Haveli Sangeet, every activituy revolves around Lord Krishna. The Style was sung in the form of Kirtans, bhajans, samaj gayan and bhava nirtya. The dominant style of singing was dhrupad and dhamar as it incorporates the most sublime fusion of classical and folk music. The temples of Radha Vallabh at Vrindaban, Krishna at Nandgaon, Shri Radha Rani at Barsana, and Shri Nathji at Nathadwara reverberate with such music, which uses quality literature. The ‘Nathadwara’ Temple in Rajasthan was the main seat of this Vaishnava Devotional cult. The Cult has created a rich historical tradition of temple-based music or ‘Haveli Sangeet’.

Shri Vallabhacharya, the founder of this tradition has preached that for the upliftment of Jiva (Soul), a Jivha (tongue) should perform the seva (service) of Parabrahma by singing about the glory of the Lord and be his sevak (servant). The services of Parabrahma Shri Krishna Chandra is of two kinds and is conducted in two different ways.

Name Seva- recitation of His name or Roop Seva, which is a served rendered to the idol of the Divine. When you offer service to either a painting or an idol of the Divine it is called Roop Seva. The recitation of mantras or songs in praise of the Divine and his various activates, also known as Bhagvad-Lila-s is called Nama Seva. In spite of the difference in the path of these two services, there is no difference between the form and the name of the Divine being.

In Pushit system, the process of Krishna Seva brings to either three types of sentiments into a divine confluence. This is the Triveni of Kriya Shakti- the Power to do, Gyan Shakti- the Power of knowledge and the heart-felt deep sentiments of devotion. When a blance is brought between Nama seva and Roop Seva it flows into a spiritual stream of sweet nectar. Devotees can obtain spiritual strength through the grace of Lord Krishna, when they sing songs in His praise. The heart can experience these soft feelings through the pada gana that is presented in these albums.

The musical history of the post-Ashtachhap period of Pushti-sangeet co-exists with many developments in Hindustani art music. The advent of the dhrupad, khayal and tappa, the dissociation of dance from music and the shift from the pakhawaj to the table, all happened during this period.

This album features the famous Ashtachhap Haveli Sangeet (also Known as Temple Music) on Lord Krishna, which was traditionally sung by the temple priests in ancient times. In this album, the compositions are sung in the soulful voice of Rattan Mohan Sharma, representing the Temple Music of India.

The rituals of Nitya Seva are an offering to Lord Krishna. The service describes the days of Little Krishna with Yashoda while she brought him up as the most betloved and pampered one in the Haveli- the house where little Krishna grew up. Each and every ritual in Haveli Sangeet is performed live with musicians. The text of Nitya Seva illustrates the various rituals that are performed during different services and offerings to little Krishna, starting from the ritual of Waking-up in the morning till bed-time in the night. The devotees and followers of Pushti Margi Sampradaya offer service to the painting of Shri Nathji—The Purna Purushottam-Portraying the sentiments of Yashoda Minyya. The Lord is woken up in the morning, the image is cleaned with a fresh cloth and offered the mangal bhog of bu7tter, sugar crystals, milk and several other things. While these customs of offering seva represent only an activity, the maternal love of a mother comes to the fore when the devtees sing krtan-s expressing parental affection and piety. These sentiments come alive in the soul Stirring coulplets or Padas (lyrical verses) written by eight poets, such as Soordas, Krishna Das, Nand Das, Chhith Das, Chaturbhuj Das, Parmandanda Das, Govind Das & Kumbhan Das, popularly known as the Ashtachhap or Eight Seals.

In Haveli Sangeet, every activituy revolves around Lord Krishna. The Style was sung in the form of Kirtans, bhajans, samaj gayan and bhava nirtya. The dominant style of singing was dhrupad and dhamar as it incorporates the most sublime fusion of classical and folk music. The temples of Radha Vallabh at Vrindaban, Krishna at Nandgaon, Shri Radha Rani at Barsana, and Shri Nathji at Nathadwara reverberate with such music, which uses quality literature. The ‘Nathadwara’ Temple in Rajasthan was the main seat of this Vaishnava Devotional cult. The Cult has created a rich historical tradition of temple-based music or ‘Haveli Sangeet’.

Shri Vallabhacharya, the founder of this tradition has preached that for the upliftment of Jiva (Soul), a Jivha (tongue) should perform the seva (service) of Parabrahma by singing about the glory of the Lord and be his sevak (servant). The services of Parabrahma Shri Krishna Chandra is of two kinds and is conducted in two different ways.

Name Seva- recitation of His name or Roop Seva, which is a served rendered to the idol of the Divine. When you offer service to either a painting or an idol of the Divine it is called Roop Seva. The recitation of mantras or songs in praise of the Divine and his various activates, also known as Bhagvad-Lila-s is called Nama Seva. In spite of the difference in the path of these two services, there is no difference between the form and the name of the Divine being.

In Pushit system, the process of Krishna Seva brings to either three types of sentiments into a divine confluence. This is the Triveni of Kriya Shakti- the Power to do, Gyan Shakti- the Power of knowledge and the heart-felt deep sentiments of devotion. When a blance is brought between Nama seva and Roop Seva it flows into a spiritual stream of sweet nectar. Devotees can obtain spiritual strength through the grace of Lord Krishna, when they sing songs in His praise. The heart can experience these soft feelings through the pada gana that is presented in these albums.

The musical history of the post-Ashtachhap period of Pushti-sangeet co-exists with many developments in Hindustani art music. The advent of the dhrupad, khayal and tappa, the dissociation of dance from music and the shift from the pakhawaj to the table, all happened during this period.

This album features the famous Ashtachhap Haveli Sangeet (also Known as Temple Music) on Lord Krishna, which was traditionally sung by the temple priests in ancient times. In this album, the compositions are sung in the soulful voice of Rattan Mohan Sharma, representing the Temple Music of India.

‘Haveli Sangeet’ was the temple music primarily practiced by ‘Pushti Margi Sampradaya’. The devotional poetry on Lord Krishna always connected the devotees with the temples. But due to the influence of the Mughal era, the bhakti movement turned inwards and the devotees created virtual temples at Haveli-s (home) and Nukuynja-s (Site for the idols of Radha -Krishna) and continued their worship. So the place where the image of Lord Krishna was installed and worship. So the place where the image of Lord Krishna was installed and worshipped by the devotees was called ‘Haveli’.

The rituals of Nitya Seva are an offering to Lord Krishna. The service describes the days of Little Krishna with Yashoda while she brought him up as the most betloved and pampered one in the Haveli- the house where little Krishna grew up. Each and every ritual in Haveli Sangeet is performed live with musicians. The text of Nitya Seva illustrates the various rituals that are performed during different services and offerings to little Krishna, starting from the ritual of Waking-up in the morning till bed-time in the night. The devotees and followers of Pushti Margi Sampradaya offer service to the painting of Shri Nathji—The Purna Purushottam-Portraying the sentiments of Yashoda Minyya. The Lord is woken up in the morning, the image is cleaned with a fresh cloth and offered the mangal bhog of bu7tter, sugar crystals, milk and several other things. While these customs of offering seva represent only an activity, the maternal love of a mother comes to the fore when the devtees sing krtan-s expressing parental affection and piety. These sentiments come alive in the soul Stirring coulplets or Padas (lyrical verses) written by eight poets, such as Soordas, Krishna Das, Nand Das, Chhith Das, Chaturbhuj Das, Parmandanda Das, Govind Das & Kumbhan Das, popularly known as the Ashtachhap or Eight Seals.

In Haveli Sangeet, every activituy revolves around Lord Krishna. The Style was sung in the form of Kirtans, bhajans, samaj gayan and bhava nirtya. The dominant style of singing was dhrupad and dhamar as it incorporates the most sublime fusion of classical and folk music. The temples of Radha Vallabh at Vrindaban, Krishna at Nandgaon, Shri Radha Rani at Barsana, and Shri Nathji at Nathadwara reverberate with such music, which uses quality literature. The ‘Nathadwara’ Temple in Rajasthan was the main seat of this Vaishnava Devotional cult. The Cult has created a rich historical tradition of temple-based music or ‘Haveli Sangeet’.

Shri Vallabhacharya, the founder of this tradition has preached that for the upliftment of Jiva (Soul), a Jivha (tongue) should perform the seva (service) of Parabrahma by singing about the glory of the Lord and be his sevak (servant). The services of Parabrahma Shri Krishna Chandra is of two kinds and is conducted in two different ways.

Name Seva- recitation of His name or Roop Seva, which is a served rendered to the idol of the Divine. When you offer service to either a painting or an idol of the Divine it is called Roop Seva. The recitation of mantras or songs in praise of the Divine and his various activates, also known as Bhagvad-Lila-s is called Nama Seva. In spite of the difference in the path of these two services, there is no difference between the form and the name of the Divine being.

In Pushit system, the process of Krishna Seva brings to either three types of sentiments into a divine confluence. This is the Triveni of Kriya Shakti- the Power to do, Gyan Shakti- the Power of knowledge and the heart-felt deep sentiments of devotion. When a blance is brought between Nama seva and Roop Seva it flows into a spiritual stream of sweet nectar. Devotees can obtain spiritual strength through the grace of Lord Krishna, when they sing songs in His praise. The heart can experience these soft feelings through the pada gana that is presented in these albums.

The musical history of the post-Ashtachhap period of Pushti-sangeet co-exists with many developments in Hindustani art music. The advent of the dhrupad, khayal and tappa, the dissociation of dance from music and the shift from the pakhawaj to the table, all happened during this period.

This album features the famous Ashtachhap Haveli Sangeet (also Known as Temple Music) on Lord Krishna, which was traditionally sung by the temple priests in ancient times. In this album, the compositions are sung in the soulful voice of Rattan Mohan Sharma, representing the Temple Music of India.