A delightful song, beautiful composition, beautiful rendering. You can listen on the link given below, if you like it you may get the CD.
A. From the movie Kanakadasa starring Dr. Rajkumar (Rajanna)
Kanakadasa and the Lord of Udipi Sourced From : http://srinivasiyer.blogspot.com/2011/08/kanakadasa-and-lord-of-udipi.html
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Vyasaraaya once adviced Kanakadasa to perform a pilgrimage to the famous Udipi temple which enshrines Lord Krishna in the form of a kid, and to sing his songs to the Lord at this sacred place. Udipi is the karmabhoomi of Madhvacharya, the chief proponent of the Dvaita tradition and philosophy. According to legend, Madhvacharya retrieved the present icon of the Lord from a big lump of sandalwood which was unknowingly present (unknown to the ship crewmen, but sensed through divine vision by the saint) and was being carried in a ship that had set sail from Dwaraka (the ancient kingdom of Krishna) ferrying sandalwood and other materials for sale to a region in the southern part of India. Madhwacharya calmed a storm that had risen near the coast of Udipi, and saved this ship from destruction. In payment, he asked for this particular lump of sandalwood, out of which came forth the beautiful idol that has been enshrined in the Udipi Sri Krishna temple today.
The head of the Udipi mutt was aware of Vyasaraaya’s and Kanakadasa’s devotion. On Kanakadasa’s arrival at the mutt, he immediately made arrangements for Kanakadasa’s stay in a hut outside the western perimeter of the main temple. The next day, Kanakadasa went for a darshan of the Lord at Udipi. The casteist brahmin priests and attendants did not allow him to enter the main temple, and spoke abusive words to Kanakadasa and turned him back. A dejected and sad Kanakadasa returned to his hut. He took his tamburi and went outside his hut, and started singing his songs in praise of the Lord Sri Krishna.
He was completely immersed in and lost in singing about the grace of the Lord, and in pleading with the Lord to shower His mercy and grace on him, and bless him with a vision of His beautiful face. Being His Dasa, he did not ask for any worldly wealth and did not care for it. All he wanted was just a darshan of the Lord. Suddenly there was an earthquake. The western outer wall crumbled, and a few slabs of stone in the inner wall of the sanctum sanctorum cracked open. The idol of Sri Krishna which was originally facing east, turned around and faced Kanakadasa, who was sitting on the western side of the temple.
Kanakadasa’s major works are:
Nalacharitre (Story of Nala)
Haribhaktisara (crux of Krishna devotion)
Nrisimhastava (compositions in praise of Lord Narasimha)
Ramadhanyacharite (story of ragi millet) and an epic
Kanakadasa rationalized bhakti (devotion) by giving worldly similes. His writing has intimate touch that identifies the reader with the poet himself. His two famous compositions in translation are given below. One condemns caste system in a refined poetic way and the other wonders, at the colorful and baffling creation of God Almighty in child-like wonder.
His Nalacharite is based on the famous love-story of Nala and Damayanti, which appears in Mahabarata. Though a great devotee of Lord Krishna, Kanakadasa gives his own interpretation. Nala who is in love with Damayanti, exercises restraint svayamvara (choosing bride/bridegroom) ceremony to win over Damayanti by allowing Indra and other gods a chance to win over her. When he loses everything in a dice-game and goes to forest, stubbornly followed by Damayanti, he deserts her in sleep, hoping that she may go back to her parents and have better life. He later drives king Rituparna to second declared svayamvara of Damayanti, to see his wife married to a suitable person and be happy! Lord Krishna appears only once casually to rescue the caravan with which the hapless Damayanti was traveling and was attacked by wild elephants.
Haribhaktisara is essence of devotion to Lord Krishna as the name indicates. A work of one hundred and ten verses with chorus line ‘deva rakshisu nammananavarata’, it is a prayer song, sung by Madhva men and women in Karnataka while performing everyday chores. It teaches complete surrender to God.
Nrisimhastava is a work dealing with glory of god Narasimha (half man-half lion).
Kanakadasa’s Ramadhanyacharite has quite an unconventional theme. It is about a battle of words between ragi (millet) and rice, each claiming superiority. They go to god Rama for justice. With the help of sages, Rama proves the superiority of ragi over rice. Ragi becomes blessed by absorbing quality of Raghava, another epithet of Rama. It is interpreted as poverty and humility being upheld by the poet above material wealth. Even today ragi is food of the poor.
Mohanatarangini, although a kavya (poem in classical style) written with all conventional eighteen descriptions, deals with eroticism. Pleasure-based eroticism of Shri Krishna with consorts and Aniruddha-Usha form the main theme.
It excels in depicting contemporary life. The description of Shri Krishna’s Dwaravati (Dwaraka) is very similar to that of Vijayanagara, under Krishnadevaraya as noticed by foreign travelers. The market place with colorful stalls with various commodities, well demarketed lanes brimming with craftsmen, clients and merchants, royal garden parties and glory of the palace etc find place in Mohanatarangini. It echoes the contemporary Portuguese travelers’ accounts. A drinking bout of men and women of working class is very picturesque. We feel as if Kanakadasa is providing a running commentary on an actually happening scene. It is for such unconventional and down-to-earth descriptions as also for social awareness that the great poet-saint has become immortal.
D. Read More here : http://www.dvaita.org/haridasa/dasas/kanaka.html