Gayatri Mantra

"The Gayatri Mantra is no doubt the most important prayer in Indian culture and possibly the most famous. Traditionally sung at sunrise and sunset, it resonates at dawn in the ashrams. It honors the light of the solar star and has a purifying power. The artist from India settled in Switzerland, Manish Vyas, devotes a new album to this universal ode. A fresh opportunity to discover its power and benefits." Esprit Magazin, France, 6.2021

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Healing Mantras

"A bhakti yogi was truly at work here, who with his soulful music expresses his love for the Divine, and at the same time imparts healing for body and soul." Yoga Das Magazin Schweiz 5.2021

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DIVING INTO DEVOTION, Zürich 2020

Having grown up in India, surrounded by the sounds of temple bells, music, chanting and Kirtans right out of my home, one sometimes misses that atmosphere when one lives in the West. So on the occasion of Janmashtami 2018, it was truly a pleasure to perform Kirtan with my Band, at the Krishna Temple in Zurich. It almost felt like being in India, also because a high number of the public was from India and Sri Lanka, dressed in colorful clothes, present at the temple to express their devotion to Krishna, the Lord with the flute. It was amazing how people from these diverse backgrounds responded to the Kirtan. Many people who approached me after the concert shared with me that they especially enjoyed the fact that after a long time, there was a Kirtan at the temple in its authentic form, with the flavor of Bhakti, as they feel when they are in India. For me it was just a natural process because that is how we grew up, that is what we learnt, that is how we spent many afternoons and evenings in our living-room-floors just singing devotional songs with family, friends, neighbors, kids... sometimes with no space for one single more person in the room! So, i guess the people present that day felt this energy. I truly enjoyed the temple and everyone's participation who was present there, they sang along, danced along, dived into Bhakti. Also, i personally have always had a very close connection to Lord Krishna and his qualities of simplicity and joyfulness; his "being in the world but not of the world" and of course, his eternal connection with music from India. This special feeling also inspired me to share some stories of Krishna which are always a duding light on the path of truth. All in all - a very nourishing experience to dive into devotion. Om Sai Ram - Manish Vyas

 

Jubileum 40 Years Krishna Temple Zürich Magazine, 11.2020

YOGA MAGAZINE UK: "The authentic tradition of Mantra and sacred music from India" Manish Vyas 10.2020

Twenty years ago, as I had started touring the world as a musician, I came across the growing scene of western bhakti music and initially was good news to see the interest in our tradition, but as the sounds of this bhakti music started flowing towards me, I became more and more stunned. As an Indian growing with bhakti around me, I could not relate to this presentation where one cannot distinguish the bridge between the content and the music. The whole perspective of its roots, history, beauty, authenticity and above all its sacredness and grace was absent. I tried to explain people and many of them would still not see it – I was like that child who showed the truth about the naked king.

Read full article (PDF) in below link or read in our Blog

REVISTA YOGA JOURNAL ESPAÑA: "EL PRIMER Y ÚLTIMO SONIDO" Manish Vyas 9.2020

Nāda Yoga es el Yoga del Sonido, es una práctica mística muy antigua que se practica utilizando la voz, la respiración y el movimiento como una forma de sanación, empoderamiento y autorealización. En la India, la música vocal es aquella que posee el lugar más elevado, porque la voz alcanza un nivel de magnetismo y expresión que los instrumentos no pueden conseguir del todo, y además la voz puede reflejar más el estado vibracional de la persona que canta. Es sabido que, a través de los instrumentos de la India, tradicionalmente se ha intentado expresar el sonido de la manera más cercana posible a la voz humana. El Nātya Shāstra, el texto en sánscrito más antiguo de la India sobre música clásica y artes escénicas, comienza afirmando que, «la garganta humana es una Shareer Veena, o un instrumento de cuerda perteneciente al cuerpo». Significa que nuestro cuerpo se convierte en nuestro instrumento musical cuando cantamos. Entonamos este instrumento a través de la postura, la respiración y técnicas vocales específicas. (...)

Publicado por Yoga Journal España, edición Septiembre 2020

GLÜCKSPOST MAGAZIN, Switzerland: "SOUND AND MANTRA" by Manish Vyas 7.2020

(click link below for German and Spanish)

Between mantra and fondue

Specially in music, globalization has triggered many enjoyable connections. An Indian in Switzerland wonders about this.

You have to imagine this: As a Swiss, you travel to far away country like Japan, and wherever people find out where you come from, their faces light up and you hear the word “fondue”. Your joy lasts until you accept one of the many invitations. Not long after sitting at the table, you know: what is being eaten here has little to do with fondue.

Manish Vyas finds himself in this situation. The Indian musician has been living in Eastern Switzerland for several years due to love. He loves the Alpine land, but has a hard time with what has been widespread in the West due to the enthusiasm for Mantra.

He grew up with the sacred syllables of Sanskrit. In Hinduism, mantras have been transmitted by the legendary Rishis since prehistory till today. If there´s something clear for Manish Vyas, as product of his musical training, is that in order for a mantra to develop its healing effects, it is important to pronounce it correctly. The meaning of the sounds and the intention are rather secondary.

"Do they even know what they're singing?" He thinks occasionally when he hears western stars rocking, rapping or yelling into the microphone on stage when singing mantras. But instead of criticizing others, he prefers to set a good example. In private lessons and small groups, he teaches students the Indian Harmonium and the difficult-to-master Tabla. With angelic patience, he practices the singing of mantras with them.

However, Manish Vyas achieved the greatest broad impact as composer. Many songs on his numerous CDs (manishvyas.com) are very melodic and catchy. On "Ananda Nada" he plays the Santoor, the Indian Hackbrett. He is well aware that this instrument also has a place in the folklore of his new homeland. For the CD, he had his picture taken while playing Santoor on a mountain lake in the Swiss Alps. He doesn't need to sing "Zäuerli”* for that.

* Swiss Jodeln

 

(Link below for full article) Published 7.2020 : Glückspost (CH)

YOGA MAGAZINE UK: "SOUND AND MANTRA" by Manish Vyas 7.2020

"THE GOAL OF PERFORMANCE ARTS SINCE MILLENNIA IN INDIA, INCLUDING MUSIC, HAS NEVER BEEN ENTERTAINMENT; BUT ULTIMATELY HAS ALWAYS BEEN TO LET THE SPECTATOR EXPERIENCE HIS OWN CONSCIOUSNESS, SEE AND FEEL THE SPIRITUAL VALUES INNATE IN HIM, AND RISE TO A HIGHER LEVEL OF CONSCIOUSNESS." Manish  Vyas

 

(Link below for full article) Published 7.2020 : YOGA Magazine, London UK | Online Magazine

INTERVIEW: The Science of Mantra and sacred music from India, YOGA AKTUELL Magazine 6.2020

The authentic tradition of Mantra and sacred music from India

 

“This is an ancient culture of more than ten thousand years, with roots in spirituality and inspired by wise and enlightened beings, who have been able to touch spaces in the most hidden corners of sound, allowing to unfold its natural powers when rightly applied.“

 

Manish Vyas is composer, singer, multi-instrumentalist and has produced a wide range of albums. Many also know him from his concerts, workshops, retreats and teaching of Mantra, singing, Harmonium. Born and raised in India, Manish has recently moved to Switzerland where he lives with his wife. He studied with some of the most masterly Indian musicians and spiritual teachers. Manish says about his path: “The musical journey helps the spiritual journey and vice versa. They are complementary.”


We talked with him about certain issues with the Mantra and sacred Indian music in the West such as poor presentation of the authentic tradition, lack of proper musical elements in context with Mantra, dilution due to mispronunciation as well as distortion of the real purpose. We asked him to give some basic insights into the actual essence of this science and sacred Indian music.

 

YOGA AKTUELL: Manish, you are currently working on a documentary movie which will be out by the end of this year. Can you tell us what it is about?

Manish Vyas: I came to realize that many people related to Yoga in the West have an immense interest in Mantra. But seeing how this tradition is represented, I think it is about time to introduce people to the authentic sound and understanding of this tradition. It is much more than what the west knows so far. When one grows up in a certain culture, one clearly has the feeling of what the cultural elements are like and if one has been a student of a tradition, one knows this even much more in depth. So when you go to another continent and you see that your traditions or culture are presented in a distorted way, in a “weird” way, then you are simply stunned what is being presented in the name of Mantra, Kirtan and Indian sacred music.

SPUREN MAGAZINE: Article: "The first and the last Sound" by Manish Vyas

There is a reason why when a thousand trained Sanskrit priests chant Vedic texts for a certain purpose, the energy created through it is so condensed, powerful and amazing that the immediate space as well as everyone in the vicinity will be affected by the vibrations of these voices and if one is open and receptive, it can transit the listener to a total different realm.

This article was published in Spuren Magazin Switzerland on 3.2020 edition.

You can find the link to the full article here on the Blog.

ESPRIT MAGAZINE Revue Ananda-Nada album, France 3.2020

YOGA CHILL

He is the master of Santoor. From this traditional-instrument which resembles a Zither on a table, Manish creates bewitching pieces. By adding his voice, the strings of the Sitar and Violin, the musician sets for us the decor of an attractive and sacred India. Ananda Nada, his twentieth album is a boarding-pass to the placid banks of the river Ganges. One can play it to practice yoga (its melodies unfold the sensations of pranayam), accompany the day at home or simply once when things are not going so smooth. Find his concerts and teachings online, from the mountains of Switzerland where he resides. www.manishvyas.com  -- esprit YOGA France No. 55, 5.2020

ORIGINAL:

Il est le maître du Santoor. De cet instrument traditionnel pas très séduisant, qui ressemble à une cithare sur table, Manish crée des mélopées envoûtantes. En y posant sa voix et les cordes du sitar et du violon, le musicien plante pour nous le décor d’une Inde séduisante et sacrée. Ananda Nada, son vingtième album est une carte d’embarquement pur les rives placides du Gange. À écouter pour pratiquer le yoga (ses morceaux déploient les sensations du pranayama), accompagner une journée chez soi ou simplement quand ça  ne va pas. Retrouvez  ses concerts et ses enseignements en ligne, depuis les montagnes de Suisse où il réside. www.manishvyas.com  -- esprit YOGA France, 3.2020

AUSTRALIAN YOGA MAGAZINE, 3.2020

Review Published of Album Ananda Nada, on the March-May edition of Yoga Life Magazine Australia.

SPUREN MAGAZINE, 3.2020

One instrument – two very different ways of playing them: The Kanun is said to have found its way a thousand years ago from the Byzantine Empire to us, where it has been well established as Hackbrett in the folk-music up to today; Santoor, which is an instrument played with two wooden-sticks, went from the Sufis from Persia to India, where it was given a permanent place in classical music as well as being incorporated in the hymn-calls of the Islamic mystics. Manish Vyas, who has been living in Eastern Switzerland for a few years, took up the Santoor with new enthusiasm when he encountered the Hackbrett in Appenzeller folk music. On Ānanda Nāda (www.manishvyas.com), his twentieth CD, the versatile Indian musician combines Santoor with plenty of resonance in bountiful swinging loops with Sitar, Tabla, Duduk, Violin and vocals, to create a catchy, rich meditation music. | Martin Frischknecht, editor of Spuren Magazine, Switzerland 3.2020

YOGA DAS MAGAZIN, Switzerland 3.2020

Connection to the Core

Manish Vyas. Ananda Nada, Blissful sounds of Santoor. Time: 59‘15 Euro. Found on: www.manishvyas.com or musik platforms online

On his latest CD, the Indian musician Manish Vyas takes us on a joyful and deeply relaxing journey. The soulful music, led by a Santoor (an instrument from Kashmir, which is similar to the dulcimer) brings you from the first note to a state of absolute peace, joyful calm and confidence. The eight songs with their melodies based Ragas, the basic melodic structure of classical Indian music, are a balm for the soul contributing to the fact that one automatically connects oneself with one's inner being. And it doesn't matter whether you listen to the music during cooking, driving, meditation, or during a tranquil yoga class.

The musician and composer, who is now living in Switzerland, is proud to bring the rich Indian music tradition closer to people in the West. And he particularly wants to contribute with his music so that the listeners can come into contact with themselves. He says: “In ancient India, music had always been considered sacred, as a means of connecting with the highest. That’s why music was one of the best offerings to deities in the temples. Indian music has this incredible capacity to create gaps of silence, which connects us with what is known as Anāhat Nāda - the unstruck sound - where everything has begun and where everything dissolves. ”  Karin Reber, Yoga Das Magazin 3.2020

Ref: www.manishvyas.com/ananda-nada

YOGA AKTUELL 8.2019 Germany

Many practitioners have experience with meditation music and also with asana practice combined with sound, which has been tried out by most. Music which serves as accompaniment for the yogic breathing exercises, is probably unknown to many. Years ago, Manish Vyas composed music for Pranayam, with his gentle, inspiring and authentic approach to Indian music, though so far it had only been available on his website. Now it is available on all major music platforms. The compositions, which are finely tuned to the practice of Pranayam and specifically support the practitioners, are a true journey of discovery that one can embrace with confidence. Manish Vyas has been practicing Pranayam for more than 20 years himself and has captured the qualities and effects of the different techniques as well as having been able to create perfectly matching sound compositions. For this he has used breathing techniques such as Ujjayi, Bhastrika, Anulom-Vilom, Kapalabhati, etc. In the end, a Shanti Mantra leads deep into the spirit of silence. The album is an absolute enrichment for the Pranayam practice - at least this is my personal feeling, reflected as well in the praising feedbacks of other enthusiastic practitioners. Nina Haisken | Yoga Aktuell 8.2019

ORIGINAL:

Mit Meditationsmusik haben viele Praktizierende Erfahrung, und auch Asana-Praxis in Verbindung mit Klang haben die meisten schon ausprobiert. Musik, die speziell als Begleitung für die yogischen Atemübungen dient, dürfte hingegen vielen bislang unbekannt sein. Schon vor Jahren komponierte Manish Vyas, dessen behutsamer, inspirierter und authentischer Zugang zu indischer Musik für Pranayam, doch bislang war sie nur direkt auf seiner Website zu hören. Jetz ist sie über alle grossen Musikplattformen erhältlich. Die Kompositionen, die fein auf die Pranayama-Praxis abgestimmt sind und den Praktizierenden spezifisch dabei unterstützen, sind eine wahre Endeckungsreise, auf die man sich vertrauensvoll einlassen kann. Manish Vyas praktiziert selbst seit mehr als 20 Jahren Pranayama und hat die Qualitäten und Wirkungen der verschiedenen Techniken so genau erfasst, dass er perfekt damit korrespondierende Klangkompositionen erschaffen konnte. Dafür hat er die heute geläufstigen Techniken wie Ujjayi, Bhastrika, Anuloma-Viloma, Kapalabhati u.a. ausgewählt. Zum Abschluss führt ein Shanti Mantra nochmals tief in die Geisteruhe. Das Album ist, so sagt zumindest mein persönliches Empfinden, und so spiegeln es auch die lobenden Feedbacks anderer begeisterter Anwender wider, eine absolute Bereicherung für die Pranayama-Praxis. Nina Haisken | Yoga Aktuell 8.2019

YOGA AKTUELL, Germany 4.2019

Authenticity is a big concern for Manish Vyas - especially with regard to the handling of the Indian Mantra tradition and with Indian music. The multi-instrumentalist, composer and singer who learned to play tabla with Ustad Allarakha, et al., is deeply rooted in the tradition and in its essence. One can feel this in his works - even if one does not know exactly about it and even if one can’t tell intellectually the difference to much of what has become known in the West under the term "mantra music;" one experiences it in the feeling that this music leaves behind, and in the fine mental state triggered, or the inner state of being that the music is able to bring. When Manish Vyas infuses Mantras with music, in order to further enhance their subtle effects - knowing that Mantras not necessarily need music in order to unfold their purpose - then he does it with an attitude of full respect choosing with great care the appropriate melodies, instruments and rhythms. Based on Indian Ragas and with the exclusive collaboration of truly virtuoso instrumentalists, one can call the album Mangalam a musical blessing - the title describes the intention that unfolds and manifests with each sound. - Nina Haisken for Yoga Aktuell, Germany 4.2019

OMNIA MAGAZINE, Liechtenstein, 2019

Mantras connect you with your soul. The new CD Mangalam by the Indian composer and multi-instrumentalist Manish Vyas is a beautiful piece of indian fusion music for inner alignment. ‘Auspicious’ means the name Mangalam, and that's how these songs sound. They go direct to the heart and embrace the body and soul. When one listens to this soulful music, one inevitably asks oneself, where the spiritual roots of the musicians lie. Among other things, Manish had been responsible for the music department at the Osho Ashram in Pune. His new CD gives goose-bumps and it’s a heart-opening sound experience. -- Manuela Immler for OMNIA

SPUREN MAGAZINE, Switzerland, 12.2018

ENTERING INTO THE NEW

Here comes the soundtrack for the start of the New Year: Mangalam, the new mantra collection of the richly-blessed-with-talents Indian musician, Manish Vyas. The round begins with an invocation of Ganesha, the elephant-head God of knowledge and wisdom, who acts as guardian of the new beginnings. It’s followed by hymns to Brahma and Ram and his companion Sita. After a heartfelt prayer to be guided from darkness to light, the foundation for the title song has been set: Mangalam stands for the desire for a promising new beginning under the blessings of Lord Vishnu.

 

As always with Manish Vyas, his CD impresses with plenty of substance and we can be sure that he intones these sacred sounds as they were received by the Rishis millennia ago. On this depends the effectiveness of a mantra. Manish's velvety voice, his inviting melodies and the use of a West-Eastern instrumentation make his music extremely accessible and to take immediately. The swiss-german mantra for it: guets Neus! (Good News!) MF

 

 

Martin Frischknecht for SPUREN MAGAZINE 12.2018

AUSTRALIAN YOGA LIFE magazine, 12.2018

"Beautifully composed Indian melodies, keeping the true essence and natural healing power of the mantras and Sanskrit sounds."―Australian Yoga Life Magazine Dec. 2018, album Mangalam, music reviews

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OSHO NEWS ONLINE MAGAZINE, UK

TOGGENBURGER ZEITUNG, Oct 2018

Es wird ein ganz besonderer Abend mit einem ganz besonderen Konzert. Soviel war klar im Vorfeld. Es wird indisches Essen geben, indische Musik, indisches Flair im Chössi und pure Entspannung. Manish Vyas, ein Geheimtipp für die 

Meisten, besucht Lichtensteig und bringt seine Musik mit. Für einige Fans der indischen Musik war das innere Aufforderung genug, ins Toggenburg zu reisen. In der Tat, vor dem Chössi standen nicht nur Autos aus St.

Gallen, sondern auch aus Zürich und Luzern. Es war also nicht nur das typische Chössi Publikum aus dem Toggenburg da, sondern auch welches von ausserhalb, wahrscheinlich sogar die Mehrheit.