Thanks to Vaak team
Muthuswami Dikshitar
[b](1775–1835)[/b]
stands as a monumental figure in Carnatic music, renowned for his profound contributions that seamlessly blend musical mastery with deep spiritual insight. As one of the illustrious Trinity of Carnatic composers, his works are celebrated for their intricate craftsmanship, scholarly depth, and devotional fervor. Among his numerous compositions, the Kamalamba Navavarana Kritis hold a distinguished place, epitomizing the confluence of art and spirituality.
The Kamalamba Navavarana Kritis are a set of eleven compositions dedicated to Goddess Kamalamba, enshrined in the Thyagaraja Temple of Tiruvarur.
Each kriti is meticulously crafted in a distinct raga and tala, embodying the essence of the corresponding avaranam and facilitating a musical journey through the layers of the Sri Chakra.
The rendition of this classic cycle of compositions begin with an invocatory song on Lord Ganesha and Lord Muruga.
https://youtu.be/WWfsMsTQeiQ?si=kKW7H3to511wQvuq
00:00:00 - Gowla -
Sri Maha Ganapathiravathu Mam - Misra Chapu
by Alathur Brothers
00:08:46 - Surutti - Balasubramanyam Bhajeham - Adi
by RK Srikantan
The 11 Navavarna kritis are as follows:
Dhyana Kriti
Serves as a meditative invocation, preparing the devotee for the ensuing spiritual journey. Utilizes the vocative case, directly addressing the Goddess and seeking her benevolent presence.
00:13:01 - Thodi - Alapana
00:24:49 - Thodi -
Kamalambike - Rupakam
by MS Subbulakshmi
......
1st Avaranam
Trailokyamohana Chakra ("Enchanter of the Three Worlds")
Represents the outermost enclosure, symbolizing the material realm and its allurements. The soothing Anandabhairavi raga complements the theme of divine protection amidst worldly enticements.
00:40:30 - Anandabhairavi - Alapana
00:45:46 - Anandabhairavi
- Kamalamba Samrakshathu -
Misra Chapu
by Semmangudi Srinivasa Iyer
2nd Avaranam
Sarvasaparipuraka Chakra ("Fulfillment of All Desires")
Denotes the sixteen-petaled lotus, associated with the fulfillment of noble desires. The grandeur of Kalyani raga reflects the completeness and auspiciousness of this chakra.
00:57:51 - Kalyani - Alapana
01:14:00 - Kalyani -
Kamalambam Bhajare -
Adi
by ML Vasanthakumari
3rd Avaranam
Sarvasamkshobana Chakra ("Agitator of All")
Embodies the eight-petaled lotus, signifying the stirring of the soul towards spiritual awakening. Shankarabharanam's majestic tone mirrors the transformative energy of this chakra.
01:27:46 - Shankarabharanam - Alapana
01:38:44 - Shankarabharanam -
Sri Kamalambikaya Katakshitoham -
Rupakam
by DK Jayaraman
4th Avaranam
Sarvasaubhagyadayaka Chakra ("Bestower of All Prosperity")
Relates to the fourteen-triangle enclosure, associated with bestowing auspiciousness and prosperity. The expansive nature of Kambhoji raga aligns with the chakra's theme of abundance.
01:50:08 - Kambhoji -
Kamalambikayai - Ata
by S Rajam
5th Avaranam
Sarvarthasadhaka Chakra ("Accomplisher of All Purposes")
Pertains to the ten-triangle enclosure, emphasizing the fulfillment of all endeavors. Bhairavi's depth and intensity convey the chakra's potent energies.
02:00:15 - Bhairavi - Alapana
02:15:43 - Bhairavi -
Sri Kamalambayah param -
Misra Jampa
by Madurai Mani Iyer
6th Avaranam
Sarvaraksakara Chakra ("Protector of All")
Represents the ten-triangle enclosure, focusing on divine protection. The haunting melody of Punnagavarali evokes a sense of seeking refuge and protection.
02:23:17 - Punnagavarali -
Kamalambikayaastava -
Rupakam
by Mani Krishnaswami
7th Avaranam
Sarvarogahara Chakra ("Curer of All Diseases")
Corresponds to the eight-triangle enclosure, symbolizing the eradication of all ailments and the attainment of perfect health. The gentle and soothing nature of Sahana raga reflects the healing and nurturing qualities associated with this chakra.
02:33:03 - Sahana - Alapana
02:42:19 - Sahana -
Sri Kamalambikayam -
Tisra Triputa
by Ramnad Krishnan
8th Avaranam
Sarvasiddhiprada Chakra ("Granter of All Perfections")
Pertains to the three-triangle enclosure, representing the bestowal of all accomplishments and spiritual perfections. The rare and evocative Ghanta raga enhances the mystic and profound nature of this chakra.
02:48:16 - Ghanta -
Sri Kamalambike -
Adi
by T Viswanathan
9th Avaranam
Sarvanandamaya Chakra ("Full of All Bliss")
Corresponds to the innermost point, the bindu, symbolizing the ultimate state of bliss and unity with the divine. Ahiri raga's poignant and meditative quality encapsulates the profound bliss and serenity of this chakra
02:54:29 - Ahiri - Alapana
02:56:36 - Ahiri
- Sri Kamalamba Jayati -
Rupakam
by M Balamuralikrishna
.
Mangala Kriti
Serves as the concluding piece, offering auspicious closure to the musical and spiritual journey.
The use of Sri raga, traditionally associated with auspiciousness, reinforces the sense of completion and benediction.
03:08:02 - Sri -
Sri Kamalambike -
Khanda Ekam
by
T.Brunda
Kamalamba Navavarana Kritis Muthuswami Dikshitar (1775–1835)
-
sam
- Posts: 1183
- Joined: 04 Mar 2020, 20:25
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sam
- Posts: 1183
- Joined: 04 Mar 2020, 20:25
Re: Kamalamba Navavarana Kritis Muthuswami Dikshitar (1775–1835)
Ref.
Sri Muthuswami Dikshitar and Sri Vidya (7 of 8) | sreenivasarao's blogs
https://sreenivasaraos.com/2012/09/14/s ... ya-7-of-8/
The most outstanding of such series of compositions is of course the magnificent Kamalamba Navavarana kritis. They are incomparable compositions and are the jewels of Carnatic music.These compositions, intellectually sublime steeped in deep devotion, are a testimony to Sri Dikshtar’s musical genius, his mastery over the Sanskrit language; and his thorough knowledge of and intense dedication to Sri Vidya, Sri Chakra and the worship of its avaranas.
Through its graceful lyrics , majestic sweep of ragas and descriptive details rich in mystical symbolism of Tantra, Mantra, Yoga, Sri Vidya and Advaita ; Dikshitar virtually threw open the doors to the secret world of Sri Vidya,to all those eager to approach the Divine Mother through devotion and music.
It is amazing how Sri Dikshitar builds into each of his crisp and well-knit structure of lyrics, the references to the name of the chakra; the names of its presiding deity, yoginis, mudras, Siddhis and the gurus of the Kadi tradition of Sri Vidya ;and to the seed(Beeja) mantras. In addition he manages to insert, as ever, cogently, the name of the raga and his signature. The Kamalamba Navavarana is a treasure house not merely to the classical musicians but also to the Sri Vidya upasakas.
Kamala is one of the ten maha_Vidyas, the principle deities of the Shaktha tradition of Tantra.
But, the Sri Kamalamba referred to by Sri Muthuswami Dikshitar in this set of kritis, is the Supreme Divine Mother herself.
The immediate inspiration to Dikshitar was, of course, Sri Kamalamba (regarded one of the sixty-four Shakthi centers), the celebrated deity at the famous temple of Sri Tyagaraja and Sri Nilothpalambika in Tiruvavur..
Interestingly, the temple complex also accommodates the shrines of Maha_Ganapathi, Subrahmanya, Dakshinamurty and Balamba; all Shakthi deities. The temple complex has a Pushkarini, a lake, named kamalalaya, the abode of Kamala.This tank is referred to by Sri Dikshitar , in his kritis , as Kamalalaya thirtha and the Devi is Kamalalaya thirtha vaibhave. The town of Tiruvarur is mentioned as Kamala nagara (e.g. Kamalanagara viharinai) and as Kamala pura(e.g.Kamalapura sadanam) ; referring to Devi as one who resides in and walks about the town of Kamalapura/Kamalanagara.
Sri Muthuswami Dikshitar follows the Smahara krama, the absorption path, of Sri Chakra puja and proceeds from the outer avarana towards the Bindu in the ninth avarana at the center of the Sri Chakra. At each avarana, he submits his salutation and worships the presiding deity, the yogini (secondary deity) and the attendant siddhis of that avarana; and describes the salient features of the avarana according to the Kadi School of the Dakshinamurthy tradition of Sri Vidya. It is in effect both worship and elucidation.
Sri Dikshitar devoted one composition to each of the nine avaranas. In addition, there is a Dhyana Kriti, a verse in meditation, preceding the set of nine; and a Mangala kriti, the verse celebrating the auspicious conclusion, at the end. Thus, the Navavarana composition of Dikshitar, per se, is a set of eleven kritis.
The Dhyana kriti Kamalambike_ashrita_kalpa_lathike is composed in Raga Todi (Rupaka). The Vaggeyakara Mudra is in – Guruguhakarane Sadashiva antahkarane
[The Dhyana-kriti in Todi does not bear the customary Raga_mudra, the name of its Raga.]
The concluding Mangala Kriti – Sri Kamalambike Shive pahimam, Lalite , Sripathi Vinute – is in the auspicious Sri Raga , set to Khanda Eka Taala. The Raga Mudra is in the opening line as Sri; and, the Vaggeyakara Mudra is the phrase Shankara-Guruguha-bhaktha vasankari.
Apart from these eleven Kritis; It is customary, as a prelude to Kamalamba Navavarana group of kritis, to invoke Maha_Ganapathi and Lord Subrahmanya by singing Shri Mahaganapathivaratu mam (Gaula) followed byBalasubrahmanyam Bhaje (Surati).
**
Thus , the vocal tradition of the Kamalamba Navavarana has , in all, a set of thirteen kritis. The core kritis are however the nine relating to nine avaranas of Sri Chakra.
For the core nine kritis sang in worship of the Navavaranas of Sri Chakra, Sri Dikshitar employed nine different Ragas and eight different Vibhakthis (case endings denoting the noun) of Sanskrit grammar; and, in addition, for the ninth avarana kriti he employs a garland of all the eight Vibhakthis.
As regards the Raga-mudra, a distinctive feature of Sri Dikshitar’s compositions, the kritis in Anandabhairavi (first avarana), and shankarabharaaam (third avarana) indicate their Ragas only partially (the word “Ananda” for the former, and shankara for the latter). The kambhoji, Sahana, and Ahiri compositions have their Raga mudras hidden within complex phrases. In all the other kritis, the Raga mudra is explicit.
.
Sri Muthuswami Dikshitar and Sri Vidya (7 of 8) | sreenivasarao's blogs
https://sreenivasaraos.com/2012/09/14/s ... ya-7-of-8/
The most outstanding of such series of compositions is of course the magnificent Kamalamba Navavarana kritis. They are incomparable compositions and are the jewels of Carnatic music.These compositions, intellectually sublime steeped in deep devotion, are a testimony to Sri Dikshtar’s musical genius, his mastery over the Sanskrit language; and his thorough knowledge of and intense dedication to Sri Vidya, Sri Chakra and the worship of its avaranas.
Through its graceful lyrics , majestic sweep of ragas and descriptive details rich in mystical symbolism of Tantra, Mantra, Yoga, Sri Vidya and Advaita ; Dikshitar virtually threw open the doors to the secret world of Sri Vidya,to all those eager to approach the Divine Mother through devotion and music.
It is amazing how Sri Dikshitar builds into each of his crisp and well-knit structure of lyrics, the references to the name of the chakra; the names of its presiding deity, yoginis, mudras, Siddhis and the gurus of the Kadi tradition of Sri Vidya ;and to the seed(Beeja) mantras. In addition he manages to insert, as ever, cogently, the name of the raga and his signature. The Kamalamba Navavarana is a treasure house not merely to the classical musicians but also to the Sri Vidya upasakas.
Kamala is one of the ten maha_Vidyas, the principle deities of the Shaktha tradition of Tantra.
But, the Sri Kamalamba referred to by Sri Muthuswami Dikshitar in this set of kritis, is the Supreme Divine Mother herself.
The immediate inspiration to Dikshitar was, of course, Sri Kamalamba (regarded one of the sixty-four Shakthi centers), the celebrated deity at the famous temple of Sri Tyagaraja and Sri Nilothpalambika in Tiruvavur..
Interestingly, the temple complex also accommodates the shrines of Maha_Ganapathi, Subrahmanya, Dakshinamurty and Balamba; all Shakthi deities. The temple complex has a Pushkarini, a lake, named kamalalaya, the abode of Kamala.This tank is referred to by Sri Dikshitar , in his kritis , as Kamalalaya thirtha and the Devi is Kamalalaya thirtha vaibhave. The town of Tiruvarur is mentioned as Kamala nagara (e.g. Kamalanagara viharinai) and as Kamala pura(e.g.Kamalapura sadanam) ; referring to Devi as one who resides in and walks about the town of Kamalapura/Kamalanagara.
Sri Muthuswami Dikshitar follows the Smahara krama, the absorption path, of Sri Chakra puja and proceeds from the outer avarana towards the Bindu in the ninth avarana at the center of the Sri Chakra. At each avarana, he submits his salutation and worships the presiding deity, the yogini (secondary deity) and the attendant siddhis of that avarana; and describes the salient features of the avarana according to the Kadi School of the Dakshinamurthy tradition of Sri Vidya. It is in effect both worship and elucidation.
Sri Dikshitar devoted one composition to each of the nine avaranas. In addition, there is a Dhyana Kriti, a verse in meditation, preceding the set of nine; and a Mangala kriti, the verse celebrating the auspicious conclusion, at the end. Thus, the Navavarana composition of Dikshitar, per se, is a set of eleven kritis.
The Dhyana kriti Kamalambike_ashrita_kalpa_lathike is composed in Raga Todi (Rupaka). The Vaggeyakara Mudra is in – Guruguhakarane Sadashiva antahkarane
[The Dhyana-kriti in Todi does not bear the customary Raga_mudra, the name of its Raga.]
The concluding Mangala Kriti – Sri Kamalambike Shive pahimam, Lalite , Sripathi Vinute – is in the auspicious Sri Raga , set to Khanda Eka Taala. The Raga Mudra is in the opening line as Sri; and, the Vaggeyakara Mudra is the phrase Shankara-Guruguha-bhaktha vasankari.
Apart from these eleven Kritis; It is customary, as a prelude to Kamalamba Navavarana group of kritis, to invoke Maha_Ganapathi and Lord Subrahmanya by singing Shri Mahaganapathivaratu mam (Gaula) followed byBalasubrahmanyam Bhaje (Surati).
**
Thus , the vocal tradition of the Kamalamba Navavarana has , in all, a set of thirteen kritis. The core kritis are however the nine relating to nine avaranas of Sri Chakra.
For the core nine kritis sang in worship of the Navavaranas of Sri Chakra, Sri Dikshitar employed nine different Ragas and eight different Vibhakthis (case endings denoting the noun) of Sanskrit grammar; and, in addition, for the ninth avarana kriti he employs a garland of all the eight Vibhakthis.
As regards the Raga-mudra, a distinctive feature of Sri Dikshitar’s compositions, the kritis in Anandabhairavi (first avarana), and shankarabharaaam (third avarana) indicate their Ragas only partially (the word “Ananda” for the former, and shankara for the latter). The kambhoji, Sahana, and Ahiri compositions have their Raga mudras hidden within complex phrases. In all the other kritis, the Raga mudra is explicit.
.
-
sam
- Posts: 1183
- Joined: 04 Mar 2020, 20:25
Re: Kamalamba Navavarana Kritis Muthuswami Dikshitar (1775–1835)
M S Subbulakshmi
- Kamalaambike -
Todi
.
https://youtu.be/yzMKcy9NyI0?si=fyrtIRYFVYb-3ZL8.
Substance of the song:
kamalAmbike - Oh Goddess kamaAlmbika (the Lotus Mother)
Ashrita kalpalatike - Who is like a Kalpaka tree (that grants all boons) to those who seek refuge in You
caNDike - fierce One, one of the ten aspects of Shakti
kamanIya - attractive
aruNAmshuke - wearing the red robe
kara vidh.rtashuke - holding a parrot in the hand
mAm - me
ava - protect
kamalAsanAdi pUjita - worshipped by Brahma and other Gods
kamalapade - possessing lotus Feet
bahuvarade - showering plenty of boons (to devotees)
kamalAlayatIrtha vaibhave - imparting greatness to the tank KamalAlaya
shive - Auspicious One
karuNArNave - ocean of mercy
sakalalokanAyike - Ruler of all the worlds
saN^gItarasike - delighting in music
sukavitvapradAyike - granting the boon of poetic genius
sundari - Beautiful One
gatamAyike - Who has transcended the illusion
vikaLebhara mukti - salvation without body (videha mukti)
dAnanipuNe - adept in granting
aghaharaNe - One Who dispels all sins
viyadAdibhUtakiraNe - Who emanates the five elements, space, air, fire, water and earth
vinodacaraNe - with enchanting Feet
aruNe - reddish
sakale - full, complete
guruguhakaraNe - Mother of Guruguha
sadAshivAntaHkaraNe - inhabiting the heart of Lord Shiva
akacaTatapAdivarNe - the Embodiment of all letters, a, ka, ca, Ta, ta, pa etc
akhaNdaikarasapUrNe - filled with matchless bliss
......
https://www.medieval.org/music/world/ca ... amala.html
Oh Kamalambike, You are the Kalpaka tree to those who seek refuge in You. You, the Candika-fierce one wearing beautiful red silk and sporting a parrot in the hand, protect me.
Her lotus-like feet are worshipped by Brahma and others. She who bestows abundant blessing, who is the cause of the glory of Kamalalaya Lake, consort of Shiva, ocean of compassion.
She, the sovereign ruler of all the world, is fond of music. She who bestows the talent of poesy and is lovely. She who is beyond Maya-delusion, expert in granting salvation, remover of distress, whose rays are the five elements i.e. ether, etc. She whose feet are beautiful and red in color, who is radiant, mother of Guruguha and resides in the heart of Sadashiva. She who is the personification of the alphabet i.e. A, Ka, Ca, Ta, Ta, Pa, etc. She is the only essence of all the pervasive universe.
- Kamalaambike -
Todi
.
https://youtu.be/yzMKcy9NyI0?si=fyrtIRYFVYb-3ZL8.
Substance of the song:
kamalAmbike - Oh Goddess kamaAlmbika (the Lotus Mother)
Ashrita kalpalatike - Who is like a Kalpaka tree (that grants all boons) to those who seek refuge in You
caNDike - fierce One, one of the ten aspects of Shakti
kamanIya - attractive
aruNAmshuke - wearing the red robe
kara vidh.rtashuke - holding a parrot in the hand
mAm - me
ava - protect
kamalAsanAdi pUjita - worshipped by Brahma and other Gods
kamalapade - possessing lotus Feet
bahuvarade - showering plenty of boons (to devotees)
kamalAlayatIrtha vaibhave - imparting greatness to the tank KamalAlaya
shive - Auspicious One
karuNArNave - ocean of mercy
sakalalokanAyike - Ruler of all the worlds
saN^gItarasike - delighting in music
sukavitvapradAyike - granting the boon of poetic genius
sundari - Beautiful One
gatamAyike - Who has transcended the illusion
vikaLebhara mukti - salvation without body (videha mukti)
dAnanipuNe - adept in granting
aghaharaNe - One Who dispels all sins
viyadAdibhUtakiraNe - Who emanates the five elements, space, air, fire, water and earth
vinodacaraNe - with enchanting Feet
aruNe - reddish
sakale - full, complete
guruguhakaraNe - Mother of Guruguha
sadAshivAntaHkaraNe - inhabiting the heart of Lord Shiva
akacaTatapAdivarNe - the Embodiment of all letters, a, ka, ca, Ta, ta, pa etc
akhaNdaikarasapUrNe - filled with matchless bliss
......
https://www.medieval.org/music/world/ca ... amala.html
Oh Kamalambike, You are the Kalpaka tree to those who seek refuge in You. You, the Candika-fierce one wearing beautiful red silk and sporting a parrot in the hand, protect me.
Her lotus-like feet are worshipped by Brahma and others. She who bestows abundant blessing, who is the cause of the glory of Kamalalaya Lake, consort of Shiva, ocean of compassion.
She, the sovereign ruler of all the world, is fond of music. She who bestows the talent of poesy and is lovely. She who is beyond Maya-delusion, expert in granting salvation, remover of distress, whose rays are the five elements i.e. ether, etc. She whose feet are beautiful and red in color, who is radiant, mother of Guruguha and resides in the heart of Sadashiva. She who is the personification of the alphabet i.e. A, Ka, Ca, Ta, Ta, Pa, etc. She is the only essence of all the pervasive universe.
-
sam
- Posts: 1183
- Joined: 04 Mar 2020, 20:25
Re: Kamalamba Navavarana Kritis Muthuswami Dikshitar (1775–1835)
Navavarana Krithis
Mani Krishnaswami.
Sangitha KalANidhi MaNi krishnaswami
sings all the 11 krutis
2+1+7+1
https://youtu.be/ITsHPjwjaxk?si=-61BUEVmjqYlvWyR
..
Mani Krishnaswami.
Sangitha KalANidhi MaNi krishnaswami
sings all the 11 krutis
2+1+7+1
https://youtu.be/ITsHPjwjaxk?si=-61BUEVmjqYlvWyR
..
-
sam
- Posts: 1183
- Joined: 04 Mar 2020, 20:25
Re: Kamalamba Navavarana Kritis Muthuswami Dikshitar (1775–1835)
Sanskrit lyrics, word by word meanin for all the 11 krutis in the set.
..
Sri Maha Ganapatiravatu - Raga Gaula
https://guru-guha.blogspot.com/2008/08/ ... avatu.html
.
Bala Subhrahmanyam - Raga Surati
https://guru-guha.blogspot.com/2008/02/ ... -raga.html.
Kamalaambike Asrita - Raga Todi - Navaavarana
Dhyaana Keerthanam
kamalAmbikE ASrita - rAgaM tODi - tALaM rUpakam.
https://guru-guha.blogspot.com/2007/09/ ... srita.html
.
........
Kamalaambaa Samrakshatu - Raga Ananda Bhairavi - Navaavarana Kriti - First Avarana
kamalAmbA saMrakshatu mAm - rAgaM Ananda bhairavi - tALaM tiSra tripuTa
https://guru-guha.blogspot.com/2007/08/ ... shatu.html
.
Kamalaambaam Bhajarae - Raga Kalyaani - Navaavarana Kriti -
Second Avarana.
.
https://guru-guha.blogspot.com/2007/09/ ... jarae.html
.
Sri Kamalaambikayaa Kathaakshitoham - Raga Sankaraabharanam - Navaavarana Kriti -
Third Avarana
SrI kamalAmbikayA kaTAkshitO(a)haM- rAgaM SankarAbharaNam - tALaM rUpakam
.
https://guru-guha.blogspot.com/2007/09/ ... kayaa.html
.
Kamalaambikaayai Kanakaamsukaayai - Raga Kaambhoji - Navaavarana Kriti - Fourth Avarana
https://guru-guha.blogspot.com/2007/09/ ... aayai.html
.
Sri Kamalaambikaayaah Param - Raga Bhairavi - Navaavarana Kriti -
Fifth Avarana
.
https://guru-guha.blogspot.com/2007/09/ ... ayaah.html
.
Kamalaambikaayaastava - Raga Punnaaga Varaali - Navaavarana Kriti - Sixth Avarana
.https://guru-guha.blogspot.com/2007/09/ ... astava.htm
Sri Kamalaambikaayaam Bhaktim - Raga Sahaana - Navaavarana Kriti - Seventh Avarana
.
https://guru-guha.blogspot.com/2007/09/ ... ayaam.html
Sri Kamalaambikae Avaava - Raga Ghanta - Navaavarana Kriti -
Eighth Avarana.
https://guru-guha.blogspot.com/2007/09/ ... bikae.html
..
Sri Kamalaambaa Jayati - Raga Aahiri - Navaavarana Kriti -
Ninth Avarana
.
https://guru-guha.blogspot.com/2007/09/ ... ayati.html
.
Sri Kamalaambike Sive - Raga Sri - Navaavarana Kriti -
Mangalam..tALaM khaNDa Ekam.
.https://guru-guha.blogspot.com/2007/09/ ... sivae.html.
.
..
Sri Maha Ganapatiravatu - Raga Gaula
https://guru-guha.blogspot.com/2008/08/ ... avatu.html
.
Bala Subhrahmanyam - Raga Surati
https://guru-guha.blogspot.com/2008/02/ ... -raga.html.
Kamalaambike Asrita - Raga Todi - Navaavarana
Dhyaana Keerthanam
kamalAmbikE ASrita - rAgaM tODi - tALaM rUpakam.
https://guru-guha.blogspot.com/2007/09/ ... srita.html
.
........
Kamalaambaa Samrakshatu - Raga Ananda Bhairavi - Navaavarana Kriti - First Avarana
kamalAmbA saMrakshatu mAm - rAgaM Ananda bhairavi - tALaM tiSra tripuTa
https://guru-guha.blogspot.com/2007/08/ ... shatu.html
.
Kamalaambaam Bhajarae - Raga Kalyaani - Navaavarana Kriti -
Second Avarana.
.
https://guru-guha.blogspot.com/2007/09/ ... jarae.html
.
Sri Kamalaambikayaa Kathaakshitoham - Raga Sankaraabharanam - Navaavarana Kriti -
Third Avarana
SrI kamalAmbikayA kaTAkshitO(a)haM- rAgaM SankarAbharaNam - tALaM rUpakam
.
https://guru-guha.blogspot.com/2007/09/ ... kayaa.html
.
Kamalaambikaayai Kanakaamsukaayai - Raga Kaambhoji - Navaavarana Kriti - Fourth Avarana
https://guru-guha.blogspot.com/2007/09/ ... aayai.html
.
Sri Kamalaambikaayaah Param - Raga Bhairavi - Navaavarana Kriti -
Fifth Avarana
.
https://guru-guha.blogspot.com/2007/09/ ... ayaah.html
.
Kamalaambikaayaastava - Raga Punnaaga Varaali - Navaavarana Kriti - Sixth Avarana
.https://guru-guha.blogspot.com/2007/09/ ... astava.htm
Sri Kamalaambikaayaam Bhaktim - Raga Sahaana - Navaavarana Kriti - Seventh Avarana
.
https://guru-guha.blogspot.com/2007/09/ ... ayaam.html
Sri Kamalaambikae Avaava - Raga Ghanta - Navaavarana Kriti -
Eighth Avarana.
https://guru-guha.blogspot.com/2007/09/ ... bikae.html
..
Sri Kamalaambaa Jayati - Raga Aahiri - Navaavarana Kriti -
Ninth Avarana
.
https://guru-guha.blogspot.com/2007/09/ ... ayati.html
.
Sri Kamalaambike Sive - Raga Sri - Navaavarana Kriti -
Mangalam..tALaM khaNDa Ekam.
.https://guru-guha.blogspot.com/2007/09/ ... sivae.html.
.
-
sam
- Posts: 1183
- Joined: 04 Mar 2020, 20:25
Re: Kamalamba Navavarana Kritis Muthuswami Dikshitar (1775–1835)
Sri Muthiswamy Dikshitar's
Kamalamba Navavarana Krithis Vol 1
Jukebox II
D.K.Jayaraman
https://youtu.be/-k9QMSDGFGA
upload by Carnatic classical
08:11 -- -- Kamalambike.......(Todi)...dhyaanam
===......
09:11 -- -- Kamalamba Samrakshatu....(AanandaBhairavi)
15:42 -- -- Kamalamba Bhajare.....KalyaaNi)..
21:46 -- -- Sri Kamalambikaya Katakshitoham((Sankarabaranam)
34:34 -- -- Kamalambikayai.....(Kamboji)
=========================================-------------------------------------------
Sri Muthiswamy Dikshitar's Kamalamba Navavarana Krithis Vol.2 ||
D.K. Jayaraman
https://youtu.be/AQLuRqjRRkU
uploaded by Carnatic claasical
vol-2
--
Sri Kamalambikayah Param Nahi.....Bhairavi
Kamalambikayastava Bhaktoham.....punnaagavaraaLi
Sri Kamalambikayam Bhaktim Karomi....sahaana
Sri Kamalabike Avava....Ghanta
Sri Kamalamba Jayati....Ahiri
...........
Sri Kamalambike....ShriRaagam
--------------------
Kamalamba Navavarana Krithis Vol 1
Jukebox II
D.K.Jayaraman
https://youtu.be/-k9QMSDGFGA
upload by Carnatic classical
08:11 -- -- Kamalambike.......(Todi)...dhyaanam
===......
09:11 -- -- Kamalamba Samrakshatu....(AanandaBhairavi)
15:42 -- -- Kamalamba Bhajare.....KalyaaNi)..
21:46 -- -- Sri Kamalambikaya Katakshitoham((Sankarabaranam)
34:34 -- -- Kamalambikayai.....(Kamboji)
=========================================-------------------------------------------
Sri Muthiswamy Dikshitar's Kamalamba Navavarana Krithis Vol.2 ||
D.K. Jayaraman
https://youtu.be/AQLuRqjRRkU
uploaded by Carnatic claasical
vol-2
--
Sri Kamalambikayah Param Nahi.....Bhairavi
Kamalambikayastava Bhaktoham.....punnaagavaraaLi
Sri Kamalambikayam Bhaktim Karomi....sahaana
Sri Kamalabike Avava....Ghanta
Sri Kamalamba Jayati....Ahiri
...........
Sri Kamalambike....ShriRaagam
--------------------
-
sam
- Posts: 1183
- Joined: 04 Mar 2020, 20:25
Re: Kamalamba Navavarana Kritis Muthuswami Dikshitar (1775–1835)
Devi Navavarna Krithis
Bombay Sisters
..
https://youtu.be/-43Hf53LAuI?si=oNUt9VzCSf7CdobN
Kamalambike 0:00:00
Kamalamba Samrakshathu 0:09:16
Kamalambam Bhajare 0:15:09
Sri Kamalambikaya 0:22:19
Sri Kamalambikayai 0:28:22
Sri Kamalambaya Param Nahire 0:35:23
Kamalambikaya 0:44:28
Sri Kamalambikayam 0:54:36
Sri Kamalambike 1:07:12
Sri Kamalambike Jayathi 1:14:32
Sri Kamalambike Siva Pahimam 1:26:00
Bombay Sisters
..
https://youtu.be/-43Hf53LAuI?si=oNUt9VzCSf7CdobN
Kamalambike 0:00:00
Kamalamba Samrakshathu 0:09:16
Kamalambam Bhajare 0:15:09
Sri Kamalambikaya 0:22:19
Sri Kamalambikayai 0:28:22
Sri Kamalambaya Param Nahire 0:35:23
Kamalambikaya 0:44:28
Sri Kamalambikayam 0:54:36
Sri Kamalambike 1:07:12
Sri Kamalambike Jayathi 1:14:32
Sri Kamalambike Siva Pahimam 1:26:00
-
sam
- Posts: 1183
- Joined: 04 Mar 2020, 20:25
Re: Kamalamba Navavarana Kritis Muthuswami Dikshitar (1775–1835)
Which deity is Kamalambah in Thiruvarur?
Is she the usual consort of Siva?
Very difficult to answer.
Ofcourse she is but yet she is mentioned as a supreme most Goddess
worshipped by Siva, Vishnu, Brahma.
She is not Parvathi even.
She is the primordial Mother Goddess.
Dr.P.P.Narayanaswamy gives a detailed interpretation.
.
It may be a sacrilege even for casual theists and non practitioners of even an attempt at srividya cult, to even to talk about the chakra.
Arrogant dallying with Thanthra rituals, even in recitation level, may bring harmful retribution instead of realization.
So, it is safer to leave out the description of sri chakra layers and just have an overview.
..
https://sanskritdocuments.org/doc_devii ... raNam.html
Gives the sanskrit lyrics
https://sanskritdocuments.org/doc_devii ... rtham.html
Gives descriptive introduction, word by word translation, information about the shrine and its numerous sub shrines.
This may be useful to numerous devotees unfortunately uprooted from the sacred homeland and learning through books only.
Quite a few visit Thiruvaiyaru but may not visit Thiruvarur just a few miles nearby.
Tanjore, Thiruvaiyaru, Thiruvarur , so close to each other, in a hallowed triangle, associated with Shyama Sastry, Thyaagaraaja swami and Muthuswami dikshitar.respectively.,,almost a miracle that the Trinity were contemporaries.
.
Dr.PPN now.
The shrine of Goddess kamalAmbA
TiruvArUr is a small town in the south Indian district of
Ta~njAvUr, about 35 miles east of the town of Ta~njAvUr,
situated as a railway junction between NAgapaTTaNam and
Ta~njAvur, as well as between MayilAdutturai and KAraikkuDi,
in the KAveri river delta.
This is the location of the vast temple complex dedicated to Lord TyAgarAja (Shiva).
Seven temples in the vicinity of TiruvArUr are designated as
'sapta viTa~Nka kShetram'-s of TyAgarAja (somAskanda), and
the foremost among them is the 'vIthI viTa~Nka' TyAgarAja of
the majestic TiruvArUr temple. The massive structure of this
temple is enclosed in a huge quadrangle that measures 846 feet
in length, and 666 feet in breadth. There are four gopurams
(temple towers) on the four sides, and three smaller ones
inside the complex. The eastern entrance is vast and spacious
(110 feet by 60 feet), and has the huge rAja gopuram (main
temple tower) 120 feet tall. It is a gigantic five-tiered
structure topped with 11 'kalasham'-s (sacred pots), and has
the unique and unusual feature that it abruptly diminishes in
size as it rises.
There are three prAkArams (complex walls,
circumambulatory paths) in this temple, and numerous shrines
too many to count, big and small, are scattered throughout.
The TyAgarAja shrine is located in the innermost prAkAram,
to the south of the ValmIkanAtha (pRRithvI li~Ngam or ValmIka
li~Ngam-ant-hill)) shrine within the same prAkAram.
Both share a common mukha maNDapam
. Four other important shrines,
HATakeshvara, Acaleshvara, SiddhIshvara, Anandeshvara are
located at the four cardinal points (southewest, southeast,
northeast, and northwest, respectively) of the middle
prAkAram.
The consort of TyAgarAja is NIlotpalAmbA, the
goddess of blue lotus.
In TevAram songs, she is affectionately
addressed in tamil as ``alliyankotai''.
Her shrine is located in
the second prAkAram on the right side.
The unique feature is
that here, nIlotpalAmbA is depicted as blessing her second son,
skanda (subrahmaNya) with her hand on his forehead.
The KamalAmbA shrine is in the northwest corner of the outermost ⁿprAkAram, well away from the main shrines, with its own MaNDapam
and circumambulatory passages that makes an angle with the
prAkAram wall
. This shrine is traditionally and ritually
unconnected with the main shrine of TyAgarAja.
Here, the
Goddess is depicted in a meditating posture. While NIlotpalAmbA
is supposed to represent the ``bhoga shakti'' of Lord Shiva,
KamalAmbA represents the ``yoga shakti''.
It is to be observed
that muttusvAmi dIkShitar never associated kamalAmbA with
TyAgarAja, and considered only NIlotpalAmbA as the consort
of the deity.
All the eleven kIrtanams of the KamalAmbA
NavavAvaraNam series are engraved in marble slabs on the walls
at the entrance to the main sanctorum of Goddess KamalAmbA.
The huge tank, kamalAlayam is located on the western side
of the temple complex. and covers an enormous area of 25
acres (compared to only 20 acres area of the temple complex).
There is a shrine dedicated to nAganAthasvAmi in the middle of
the tank, approached only by boat. The grand float festival
that takes place in this tank is indeed very magnificent..
.
With this background information, let us try to understand the 11 krutis one by one as elucidated by Dr.PPN
...
Is she the usual consort of Siva?
Very difficult to answer.
Ofcourse she is but yet she is mentioned as a supreme most Goddess
worshipped by Siva, Vishnu, Brahma.
She is not Parvathi even.
She is the primordial Mother Goddess.
Dr.P.P.Narayanaswamy gives a detailed interpretation.
.
It may be a sacrilege even for casual theists and non practitioners of even an attempt at srividya cult, to even to talk about the chakra.
Arrogant dallying with Thanthra rituals, even in recitation level, may bring harmful retribution instead of realization.
So, it is safer to leave out the description of sri chakra layers and just have an overview.
..
https://sanskritdocuments.org/doc_devii ... raNam.html
Gives the sanskrit lyrics
https://sanskritdocuments.org/doc_devii ... rtham.html
Gives descriptive introduction, word by word translation, information about the shrine and its numerous sub shrines.
This may be useful to numerous devotees unfortunately uprooted from the sacred homeland and learning through books only.
Quite a few visit Thiruvaiyaru but may not visit Thiruvarur just a few miles nearby.
Tanjore, Thiruvaiyaru, Thiruvarur , so close to each other, in a hallowed triangle, associated with Shyama Sastry, Thyaagaraaja swami and Muthuswami dikshitar.respectively.,,almost a miracle that the Trinity were contemporaries.
.
Dr.PPN now.
The shrine of Goddess kamalAmbA
TiruvArUr is a small town in the south Indian district of
Ta~njAvUr, about 35 miles east of the town of Ta~njAvUr,
situated as a railway junction between NAgapaTTaNam and
Ta~njAvur, as well as between MayilAdutturai and KAraikkuDi,
in the KAveri river delta.
This is the location of the vast temple complex dedicated to Lord TyAgarAja (Shiva).
Seven temples in the vicinity of TiruvArUr are designated as
'sapta viTa~Nka kShetram'-s of TyAgarAja (somAskanda), and
the foremost among them is the 'vIthI viTa~Nka' TyAgarAja of
the majestic TiruvArUr temple. The massive structure of this
temple is enclosed in a huge quadrangle that measures 846 feet
in length, and 666 feet in breadth. There are four gopurams
(temple towers) on the four sides, and three smaller ones
inside the complex. The eastern entrance is vast and spacious
(110 feet by 60 feet), and has the huge rAja gopuram (main
temple tower) 120 feet tall. It is a gigantic five-tiered
structure topped with 11 'kalasham'-s (sacred pots), and has
the unique and unusual feature that it abruptly diminishes in
size as it rises.
There are three prAkArams (complex walls,
circumambulatory paths) in this temple, and numerous shrines
too many to count, big and small, are scattered throughout.
The TyAgarAja shrine is located in the innermost prAkAram,
to the south of the ValmIkanAtha (pRRithvI li~Ngam or ValmIka
li~Ngam-ant-hill)) shrine within the same prAkAram.
Both share a common mukha maNDapam
. Four other important shrines,
HATakeshvara, Acaleshvara, SiddhIshvara, Anandeshvara are
located at the four cardinal points (southewest, southeast,
northeast, and northwest, respectively) of the middle
prAkAram.
The consort of TyAgarAja is NIlotpalAmbA, the
goddess of blue lotus.
In TevAram songs, she is affectionately
addressed in tamil as ``alliyankotai''.
Her shrine is located in
the second prAkAram on the right side.
The unique feature is
that here, nIlotpalAmbA is depicted as blessing her second son,
skanda (subrahmaNya) with her hand on his forehead.
The KamalAmbA shrine is in the northwest corner of the outermost ⁿprAkAram, well away from the main shrines, with its own MaNDapam
and circumambulatory passages that makes an angle with the
prAkAram wall
. This shrine is traditionally and ritually
unconnected with the main shrine of TyAgarAja.
Here, the
Goddess is depicted in a meditating posture. While NIlotpalAmbA
is supposed to represent the ``bhoga shakti'' of Lord Shiva,
KamalAmbA represents the ``yoga shakti''.
It is to be observed
that muttusvAmi dIkShitar never associated kamalAmbA with
TyAgarAja, and considered only NIlotpalAmbA as the consort
of the deity.
All the eleven kIrtanams of the KamalAmbA
NavavAvaraNam series are engraved in marble slabs on the walls
at the entrance to the main sanctorum of Goddess KamalAmbA.
The huge tank, kamalAlayam is located on the western side
of the temple complex. and covers an enormous area of 25
acres (compared to only 20 acres area of the temple complex).
There is a shrine dedicated to nAganAthasvAmi in the middle of
the tank, approached only by boat. The grand float festival
that takes place in this tank is indeed very magnificent..
.
With this background information, let us try to understand the 11 krutis one by one as elucidated by Dr.PPN
...
-
sam
- Posts: 1183
- Joined: 04 Mar 2020, 20:25
Re: Kamalamba Navavarana Kritis Muthuswami Dikshitar (1775–1835)
LecDem 24
Academic Session 2025
Vidwan RK Shriramkumar
at The Music Academy
Madras"
https://youtu.be/CQg7rvuYBCk?si=xrjM5FMAoSLaFxu5.
Date & Time: 28th Dec 2025, 8.05 am
Speaker: Vidwan RK Shriramkumar
Topic: The Kamalamba Navavarana kriti-s
of Muthuswāmi Dikshitar
Academic Session 2025
Vidwan RK Shriramkumar
at The Music Academy
Madras"
https://youtu.be/CQg7rvuYBCk?si=xrjM5FMAoSLaFxu5.
Date & Time: 28th Dec 2025, 8.05 am
Speaker: Vidwan RK Shriramkumar
Topic: The Kamalamba Navavarana kriti-s
of Muthuswāmi Dikshitar
-
thenpaanan
- Posts: 677
- Joined: 04 Feb 2010, 19:45
Re: Kamalamba Navavarana Kritis Muthuswami Dikshitar (1775–1835)
One curious thing about the Kamalamba navavarnam discussions that I have seen is that they always focus on the lyrics. There is any number of blogs and lec dems on the kritis extolling the specific intricacies of SriVidya and the lyrical virtuosity in all the kritis. But I am yet to come across a discussion about the music in these kritis. Surely there are unique phrases and Dikshitar's unmatched ability to produce capsules of raga delineations is very evident in these "gems" that we extoll so much!
Please let us have a discussion on the *musical* qualities of these compositions.
-T
Please let us have a discussion on the *musical* qualities of these compositions.
-T
-
sam
- Posts: 1183
- Joined: 04 Mar 2020, 20:25
Re: Kamalamba Navavarana Kritis Muthuswami Dikshitar (1775–1835)
I am searching for INSTRUMENTAL renditions, only where, we can find special handling of raagams, in this set.
The raagams chosen are in no way confined to this set only.
.so, their speciality cannot be delinked from the saahithyam.
.
There is a major qualitative difference between the musical compositions of Thyaagaraaja swami, Shyaama saastry and of Muthuswami Dhikshitar.
TS and SS were in effect dvaitham followers. MD was an advaithin..
Sathguru did not care much for literary and gramar aspect.It was spontaneous. It could vary from deeply contemplative soaking in melody to high speed 'nenarunchi.' Great variety but same theme.
MD on the otherhand, had a propensity for grammar, as if he was teaching sanskrit through his compositions. It takes away spontaniety.
Though like SS, he was a devi upasaka, his practice was thanthric, which was not the way of either TS or SS.
All these vibakthi kruthis sound artificial and show offof literary mastery..
So many vibakthi sets cannot be spontaneous.
I have in mind some great purandaradasa saahithyams...the mood is entirely different.
.This should not be taken as a criticism of MD compositions.
.
It is like difference between Shakespeare poetry- prose to the poetry of Milton.
.
MD has given us atleast a hundred great music compositions, which we should listen without diverting our attention to the word play, mysticism, philosophy, puranic reference etc, I am sure that those kruthis can captivate even if we do not know sanskrit. The voice timbre and range of the vocalist also matters there. Not everyone can sing 'maaye' .
.
Our famous musicians sang these kruthis with focus on music only.
...
Very few have ventured to sing the full set..not possible in a concert but have given a recording.
Vaak team is thus bringing the music to us.
I wonder if it is ever possible to convey the musical bliss to another listener. We can only give them the opportunity.
..
Still, MD is no less a master composer for basing his creations, on things like astrology, sthala puranas, , demonstration of vibakthi, illustration of asampoorna melakartha scheme, vivadi melas, adroit insertion of raga mudra, choice of ragas etc ... which neither TS nor SS even attempted. Their focus was different...in fact pure music in a way.- with bhakthi alone as the theme.
..
For students of tamil literature, the difference between poems of kamban, iLango adikal and Bharathi.
.....
For serious and knowledgeable music lovers, the following passage may be of interest...given in Next post.
.
But even if we spot them, how to convey it to others except in youtube timestamp?But I am yet to come across a discussion about the music in these kritis. Surely there are unique phrases and Dikshitar's unmatched ability to produce capsules of raga delineations is very evident in these "gems" that we extoll so much!spot such uniqueness.
The raagams chosen are in no way confined to this set only.
.so, their speciality cannot be delinked from the saahithyam.
.
There is a major qualitative difference between the musical compositions of Thyaagaraaja swami, Shyaama saastry and of Muthuswami Dhikshitar.
TS and SS were in effect dvaitham followers. MD was an advaithin..
Sathguru did not care much for literary and gramar aspect.It was spontaneous. It could vary from deeply contemplative soaking in melody to high speed 'nenarunchi.' Great variety but same theme.
MD on the otherhand, had a propensity for grammar, as if he was teaching sanskrit through his compositions. It takes away spontaniety.
Though like SS, he was a devi upasaka, his practice was thanthric, which was not the way of either TS or SS.
All these vibakthi kruthis sound artificial and show offof literary mastery..
So many vibakthi sets cannot be spontaneous.
I have in mind some great purandaradasa saahithyams...the mood is entirely different.
.This should not be taken as a criticism of MD compositions.
.
It is like difference between Shakespeare poetry- prose to the poetry of Milton.
.
MD has given us atleast a hundred great music compositions, which we should listen without diverting our attention to the word play, mysticism, philosophy, puranic reference etc, I am sure that those kruthis can captivate even if we do not know sanskrit. The voice timbre and range of the vocalist also matters there. Not everyone can sing 'maaye' .
.
Our famous musicians sang these kruthis with focus on music only.
...
Very few have ventured to sing the full set..not possible in a concert but have given a recording.
Vaak team is thus bringing the music to us.
I wonder if it is ever possible to convey the musical bliss to another listener. We can only give them the opportunity.
..
Still, MD is no less a master composer for basing his creations, on things like astrology, sthala puranas, , demonstration of vibakthi, illustration of asampoorna melakartha scheme, vivadi melas, adroit insertion of raga mudra, choice of ragas etc ... which neither TS nor SS even attempted. Their focus was different...in fact pure music in a way.- with bhakthi alone as the theme.
..
For students of tamil literature, the difference between poems of kamban, iLango adikal and Bharathi.
.....
For serious and knowledgeable music lovers, the following passage may be of interest...given in Next post.
.
Last edited by sam on 25 Jan 2026, 08:43, edited 3 times in total.
-
sam
- Posts: 1183
- Joined: 04 Mar 2020, 20:25
Re: Kamalamba Navavarana Kritis Muthuswami Dikshitar (1775–1835)
https://sreenivasaraos.com/2012/09/14/s ... ya-7-of-8/
There are several theories explaining Dikshitar’s selection of Ragas for these kritis. Sri Dikshitar was a meticulous person and had a methodical approach to life and to his works.
Dr. R K Srikantan, the celebrated Carnatic musician and scholar, feels that the Ragas selected for these kritis are stringed together by an underlying scheme that is at once simple and logical.
He observes that the Raga of each kriti flows into the next, seamlessly with minimum alteration in the structure of its swaras. Here is an extract from his article:
Sri Dikshitar followed the Venkatamakhin sampradaya – the scheme of classifying the Ragas –
where Bhairavi and Ananda- bhairavi were treated as Upanga – Ragas.
The Ragas adopted by Sri Dikshitar for the nine (Navavarana) Kritis, could broadly be classified under three main categories:
two Mela-karta Ragas (Kalyani and Shankarabharnam);
three Upanga Ragas (Shahana, Bhairavi, Aanda-bhairavi); and
four Bhashanga Ragas (khambhoji, Punagavarali, Ghanta and Ahiri).
.
The Swara-structure, the sequential change of Ragas was methodical:
Sri Dikshitar has used only four Chakras * – Veda, Netra, Bana and Rudra. This corresponds to the four types of structures in the Sri-Chakra, viz.: square (chaturanga), circle (vyuha), triangle (tri kona) and point (bindu).
The Swara-structure, the sequential change of Ragas was methodical:
1. From Ananda-bhairavi to Kalyani meant a change of Gandhara.
2. From Kalyani to Shankarabharanam meant a only a change of madhyama.
3. From Shankarabharanam to Khamboji meant an addition of a nishada.
4. From khamboji to Bhairavi meant removal of the additional nishada, addition of a dhaivata and change of gandhara.
5. From Bhairavi to Punnagavarali meant removal of the additional dhavata and introduction of a rishabha.
6. The next song shows changes in gandhara and dhaivata after the removal of the additional rishabha.
7. Ghanta indicates addition of Rishabha and dhaivatha with change in gandhara.
8. The last change is extremely complex. It basically indicates addition of gandhara and nishadha..
As regards the Ahiri, the Raga of the kriti associated with the ninth avarana, there is a view, the raga has all the twenty-two notes in the octave; and such a fusion of all melodic and temporal elements in the same kriti is rather unusual especially when the pallavi has distinctive prose sections put together, seamlessly.
There are several theories explaining Dikshitar’s selection of Ragas for these kritis. Sri Dikshitar was a meticulous person and had a methodical approach to life and to his works.
Dr. R K Srikantan, the celebrated Carnatic musician and scholar, feels that the Ragas selected for these kritis are stringed together by an underlying scheme that is at once simple and logical.
He observes that the Raga of each kriti flows into the next, seamlessly with minimum alteration in the structure of its swaras. Here is an extract from his article:
Sri Dikshitar followed the Venkatamakhin sampradaya – the scheme of classifying the Ragas –
where Bhairavi and Ananda- bhairavi were treated as Upanga – Ragas.
The Ragas adopted by Sri Dikshitar for the nine (Navavarana) Kritis, could broadly be classified under three main categories:
two Mela-karta Ragas (Kalyani and Shankarabharnam);
three Upanga Ragas (Shahana, Bhairavi, Aanda-bhairavi); and
four Bhashanga Ragas (khambhoji, Punagavarali, Ghanta and Ahiri).
.
The Swara-structure, the sequential change of Ragas was methodical:
Sri Dikshitar has used only four Chakras * – Veda, Netra, Bana and Rudra. This corresponds to the four types of structures in the Sri-Chakra, viz.: square (chaturanga), circle (vyuha), triangle (tri kona) and point (bindu).
The Swara-structure, the sequential change of Ragas was methodical:
1. From Ananda-bhairavi to Kalyani meant a change of Gandhara.
2. From Kalyani to Shankarabharanam meant a only a change of madhyama.
3. From Shankarabharanam to Khamboji meant an addition of a nishada.
4. From khamboji to Bhairavi meant removal of the additional nishada, addition of a dhaivata and change of gandhara.
5. From Bhairavi to Punnagavarali meant removal of the additional dhavata and introduction of a rishabha.
6. The next song shows changes in gandhara and dhaivata after the removal of the additional rishabha.
7. Ghanta indicates addition of Rishabha and dhaivatha with change in gandhara.
8. The last change is extremely complex. It basically indicates addition of gandhara and nishadha..
As regards the Ahiri, the Raga of the kriti associated with the ninth avarana, there is a view, the raga has all the twenty-two notes in the octave; and such a fusion of all melodic and temporal elements in the same kriti is rather unusual especially when the pallavi has distinctive prose sections put together, seamlessly.
-
sam
- Posts: 1183
- Joined: 04 Mar 2020, 20:25
Re: Kamalamba Navavarana Kritis Muthuswami Dikshitar (1775–1835)
kamalAmbA saMrakshatu mAm -
Ananda bhairavi
Radha Jayalakshmi
https://youtu.be/HpcM_G-uwp0?si=MsUdCobGK9nGUZ6y.
....
"Kamalamba in Anandabhairavi
MS Subbulakshmi"
Kamalamba Samraksatu-
Anandabhairavi- Dikshitar-
Dr. S. Ramanathan"
https://youtu.be/xW5w9jifFko?si=-teNipSXZKtXLJAv
Meaning (From Todd Mc Comb's web page: http://www.medieval.org/music/world/car ... amala.html):
May goddess Kamalamba,
who resides at the heart of Kamalangara,
protect me.
Her lotus-like face is praised by virtuous people.
She who is the beloved companion of Lord Sundara-Shiva, who revels in joy deriving from wisdom and is very beautiful.
She is like the she-parrot in the center of the cage known as Tara.
She is suzerain of the Chakra cosmogram, i.e. tripura etc., goddess for the Siddhi powers such as Anima.
She is eternal and beloved of Kameshvara-Nityakameshvari.
She is the sovereign ruler of the Trailokya Mohana Chakra, the circle which beguiles the three worlds.
She is the manifestation of Yogic power, conqueror of the enemies of celestials such as Mahishasura.
She is revealed in holy scriptures.
She is the spouse of Tripuresha-Shiva and the mother of Guruguha.
She enjoyed the destruction of Tripura.
She is the sister of Vishnu, who is the enemy of the demon Madhu.
She is slender-waisted, Tripurasundari the great goddess and spouse of Maheshvara.
May goddess Kamalamba, who resides ("nivasini") at the heart ("hrut") of Kamalangara, protect ("samrakshatu") me ("maam").
Her lotus-like ("abja") face ("mukhi") is praised ("sa-aaradhita") by virtuous people ("su-mana").
She who is the beloved ("manah-priyakara") companion ("sakhi") of Lord Sundara-Shiva, who revels in joy ("ananda") deriving from wisdom ("bodha") and is very beautiful
. She is like the she-parrot ("shuki") in the center of the cage ("panjara") known as Tara.
She is suzerain of the Chakra cosmogram ("chakra-eshwari"), i.e. tripura etc., goddess ("eshwari") for the Siddhi powers such as Anima. She is eternal ("nitya") and beloved of Kameshvara-Nityakameshvari.
She is the sovereign ruler ("vartini") of the Trailokya Mohana Chakra, the circle that beguiles the three worlds.
She is the manifestation ("prakata") of Yogic power ("yogini"), conqueror of the enemies ("ripu") of celestials ("sura") such as Mahishasura.
She is revealed ("samvedhini") in holy ("nigama") scriptures ("puraana")
. She is the spouse of Tripuresha-Shiva and the mother ("janani") of Guruguha
. She enjoyed ("ranjani") the destruction ("bhanjana") of Tripura.
She is the sister ("sahodari") of Vishnu, who is the enemy ("ripu") of the demon Madhu.
She is slender-waisted ("talodhari"), Tripurasundari the great goddess and spouse ("eshwari") of Maheshvara.
.
Ananda bhairavi
Radha Jayalakshmi
https://youtu.be/HpcM_G-uwp0?si=MsUdCobGK9nGUZ6y.
....
"Kamalamba in Anandabhairavi
MS Subbulakshmi"
Kamalamba Samraksatu-
Anandabhairavi- Dikshitar-
Dr. S. Ramanathan"
https://youtu.be/xW5w9jifFko?si=-teNipSXZKtXLJAv
Meaning (From Todd Mc Comb's web page: http://www.medieval.org/music/world/car ... amala.html):
May goddess Kamalamba,
who resides at the heart of Kamalangara,
protect me.
Her lotus-like face is praised by virtuous people.
She who is the beloved companion of Lord Sundara-Shiva, who revels in joy deriving from wisdom and is very beautiful.
She is like the she-parrot in the center of the cage known as Tara.
She is suzerain of the Chakra cosmogram, i.e. tripura etc., goddess for the Siddhi powers such as Anima.
She is eternal and beloved of Kameshvara-Nityakameshvari.
She is the sovereign ruler of the Trailokya Mohana Chakra, the circle which beguiles the three worlds.
She is the manifestation of Yogic power, conqueror of the enemies of celestials such as Mahishasura.
She is revealed in holy scriptures.
She is the spouse of Tripuresha-Shiva and the mother of Guruguha.
She enjoyed the destruction of Tripura.
She is the sister of Vishnu, who is the enemy of the demon Madhu.
She is slender-waisted, Tripurasundari the great goddess and spouse of Maheshvara.
May goddess Kamalamba, who resides ("nivasini") at the heart ("hrut") of Kamalangara, protect ("samrakshatu") me ("maam").
Her lotus-like ("abja") face ("mukhi") is praised ("sa-aaradhita") by virtuous people ("su-mana").
She who is the beloved ("manah-priyakara") companion ("sakhi") of Lord Sundara-Shiva, who revels in joy ("ananda") deriving from wisdom ("bodha") and is very beautiful
. She is like the she-parrot ("shuki") in the center of the cage ("panjara") known as Tara.
She is suzerain of the Chakra cosmogram ("chakra-eshwari"), i.e. tripura etc., goddess ("eshwari") for the Siddhi powers such as Anima. She is eternal ("nitya") and beloved of Kameshvara-Nityakameshvari.
She is the sovereign ruler ("vartini") of the Trailokya Mohana Chakra, the circle that beguiles the three worlds.
She is the manifestation ("prakata") of Yogic power ("yogini"), conqueror of the enemies ("ripu") of celestials ("sura") such as Mahishasura.
She is revealed ("samvedhini") in holy ("nigama") scriptures ("puraana")
. She is the spouse of Tripuresha-Shiva and the mother ("janani") of Guruguha
. She enjoyed ("ranjani") the destruction ("bhanjana") of Tripura.
She is the sister ("sahodari") of Vishnu, who is the enemy ("ripu") of the demon Madhu.
She is slender-waisted ("talodhari"), Tripurasundari the great goddess and spouse ("eshwari") of Maheshvara.
.
-
thenpaanan
- Posts: 677
- Joined: 04 Feb 2010, 19:45
Re: Kamalamba Navavarana Kritis Muthuswami Dikshitar (1775–1835)
This seems to be also literary analysis of a different sort. Changing one note to go from Kalyani to Shankarabharanam etc is grammatical analysis of the ragas on paper (meaning, in practice, there is a lot more difference between the two).sam wrote: ↑24 Jan 2026, 20:57 https://sreenivasaraos.com/2012/09/14/s ... ya-7-of-8/
There are several theories explaining Dikshitar’s selection of Ragas for these kritis. Sri Dikshitar was a meticulous person and had a methodical approach to life and to his works.
Dr. R K Srikantan, the celebrated Carnatic musician and scholar, feels that the Ragas selected for these kritis are stringed together by an underlying scheme that is at once simple and logical.
He observes that the Raga of each kriti flows into the next, seamlessly with minimum alteration in the structure of its swaras. Here is an extract from his article:
I was looking for something along the lines of a comparison of the Kalyani in kamalAmbAm bhajarE vs bhajarE rE citta or any unusual prayogAs that are found in these kritis (such as the jaNTa phrase at the tail end of the anupallavi in the Sahana kriti). We also know that the Anandabhairavi in this kriti is the Dikshitar version (as distinct from the SyAmA SastrI version). of the rAgA.
What do we want Carnatic aspirants to learn from these kritis? Only that they have complex grammatical structure and pointers to our spiritual heritage?
I asked ChatGPT what is unique musically about the great Bhairavi navAvaraNam (the most difficult one in my reckoning), and this is what ChatGPT says
The above seems to have been extracted from articles in the Hindu and Indian Express. Somewhat superficial (what is a "perfectly structured murcchana framework"? - sounds like internal dialog between musicologists) but headed in the right direction.
The fifth vibhakti kriti in the Kamalamba Navavaranam series, set in Bhairavi raga, is unique in its handling of the raga due to its emphatic use of suddha dhaivata throughout and a judicious integration of chatusruti dhaivata within a perfectly structured murcchana framework. This composition exemplifies Muthuswami Dikshitar’s scholarly depth, showcasing the raga’s full scope and lyrical grandeur. The meandering phrases in the Madhya sthayi are particularly delightful."
Are there more/better analyses of this sort available? The Srikantan article says something about the Ahiri rAgA that I did not know. But is the Ahiri navAvaraNa kriti also somehow a unique expression of Ahiri on its own?
-T
-
sam
- Posts: 1183
- Joined: 04 Mar 2020, 20:25
Re: Kamalamba Navavarana Kritis Muthuswami Dikshitar (1775–1835)
Then PANan Sir,
MD kruthis are not just music compositions. As NaadopAsaka sir used to insist, no kruthi of The Trinity should be dissociated from the Saahithyam,
MD Kamalaamba Navaavarnam set is especially sacred, because it is not just vibhakthi series but nava aavarNa set.
Perhaps, it is the sole Navaavarna set
.That is why it is being presented in a separate thread.
.
We have another serious problem as well.
SS and TS followed sampoorna mk scheme of Govindacharyawhile ,
MD followed the more orthodox and earlier asapoorna MK
So even the same raagam name can have different prsentations.
.
Forumites like srinath and ajaysimha have made many such illuminating and educative posts in Raagam section.
You are a veteran yourself, a singer too, but a bit missing the religious aspect of CM thus trying to emulate HM .
.
As we have just seen Anandabhairavi aavarna kruthi,
kindly let me quote from seniors.
.....
https://www.rasikas.org/forums/viewtopic.php?t=7112
....
Quotes.
There was no uniformity, in conceptual terms, even among the members of the Carnatic music Trinity.
..
Muthuswami Dikshitar, who has composed five sterling pieces in the raga has avoided Antara Ga and Kakali Ni throughout.
.
1. Manasaguruguha - Tisra Eka
2. Dandayudhapanim - Roopaka
3. Tyagarajayogavaibhavam - Roopaka
4. Kamalamba - Misra Eka
5. Anandeswarena - Misra Eka
.
MD has not used any special prayogam in kamalaamba kruthi.
"Muthuswamy Dikshitar Kriti-
Manasa Guruguha-
Anandabhairavi- Rupakam-
DK Pattammal"
.
https://youtu.be/WXfG6a5FsEI?si=ttuorgBMz4A-_z-D
.
DK Pattammal-
Thyagaraja Yoga Vaibhavam-
AnandaBhairavi-Rupakam-Dikshitar"
https://youtu.be/QTGlondhqoE?si=1AU3ejBc2Rq8Ubae
.
DK Pattamal-
Anandaeswarena -
AnandaBhairavi- Ekam-
Dikshitar"
https://youtu.be/rlwJbkLp9mc?si=1VHRRBH_YR1NorTM
.
"DK Pattammal-
Kamalamba-
Anandabhairavi- Dikshitar"
.
https://youtu.be/crYz5LzziDw?si=lLKbcA057DZE2dGb
.
Amritha Murali -
daNDAyudapANIm daNDita -
Anandabhairavi - dIkshitar - .
https://youtu.be/Faw6lnFBfAE?si=vVcpUiy0WThwBRtU
..
Now for an authentic instrumental rendition
"Lalgudi Jayaraman-
Kamalamba Samraksatu-
Anandabhairavi-Misra Chapu-Dikshitar-Violin"
.
https://youtu.be/Ao-gWeHG7v4?si=zFuJYPlrBMV4K6QW
SS verson.
..
If Dikshitar's Anandabhairavi as embodied in his songs is beautiful without Antara Ga and Kakali Ni, in the hands of Syama Sastri, the raga which is obviously very dear to him, shines in all its lustre due to the introduction of these two anya swaras.
In his five songs inclusive of the Varnam 'Samini rammanave', the several idiomatic expressions and the characteristic phrases that the raga admits of, are profusely used.
No doubt to him the raga became the most suitable medium for expressing the surging emotions of the devout heart to the divine.
......................
O Jagadamba -
Anandhabhairavi -
G. N. Balasubramaniam
Vintage 78 rpm
https://youtu.be/Q8zMAhvGNEg?si=ZuMXZ1fvHAtzbHlR
.
"O Jagadamba -
Anandhabhairavi -
M. S. Subbulakshmi"
Vintage 78 rpm
.
https://youtu.be/SPUUup2VKfs?si=2a6LzAm2DVHWWGtH
Watch "O Jagadamba -
Anandhabhairavi -
M. S. Subbulakshmi"
Vocal with veeN
Kartheek sharma..upload
https://youtu.be/gtMJibCkwwo?si=RA2lbze1SH6t8bem
"Shyama Shastri Kriti-
Marivere Gati-
Anandabhairavi-Misra Chapu-
GN Balasubramaniam"
Vintage 78 rpm
https://youtu.be/cKijxc089uM?si=GlO_KI9JUf7B5ul8
.
Samaganapriye Amba -
Anandhabhairavi -
G. N. Balasubramaniam"
Vintage 78 rpm
https://youtu.be/WwgdQGvHprE?si=Yvua5yji5bptyjIF.
.....
Now for a unique BAND rendition
..
Himachala Tanaya -
Anandha Bhairavi -
The Carnatic Band of Maharaja of Mysore"
https://youtu.be/wW40NXl-4Nk?si=0A82zlPwHAT473Ik
Vintage 78 rpm
.Today I am really glad to upload a very rare recording of the Royal Carnatic Reed Band playing a Shyama Sastri krithi set to Anandha Bhairavi raga. This is a beautiful krithi on goddess parvathi. We can see that the reed band had played this beautifully. The Maharaja, Krishna Raja Wadiyar IV, himself used to play eight instruments and therefore had a very good band which comprised of both Hindustani & Carnatic musicians. The band had also recorded a number of Hindustani songs.
Thank you for inducing me to locate these music too.
...
.
.
MD kruthis are not just music compositions. As NaadopAsaka sir used to insist, no kruthi of The Trinity should be dissociated from the Saahithyam,
MD Kamalaamba Navaavarnam set is especially sacred, because it is not just vibhakthi series but nava aavarNa set.
Perhaps, it is the sole Navaavarna set
.That is why it is being presented in a separate thread.
.
We have another serious problem as well.
SS and TS followed sampoorna mk scheme of Govindacharyawhile ,
MD followed the more orthodox and earlier asapoorna MK
So even the same raagam name can have different prsentations.
.
Forumites like srinath and ajaysimha have made many such illuminating and educative posts in Raagam section.
You are a veteran yourself, a singer too, but a bit missing the religious aspect of CM thus trying to emulate HM .
.
As we have just seen Anandabhairavi aavarna kruthi,
kindly let me quote from seniors.
.....
https://www.rasikas.org/forums/viewtopic.php?t=7112
....
Quotes.
There was no uniformity, in conceptual terms, even among the members of the Carnatic music Trinity.
..
Muthuswami Dikshitar, who has composed five sterling pieces in the raga has avoided Antara Ga and Kakali Ni throughout.
.
1. Manasaguruguha - Tisra Eka
2. Dandayudhapanim - Roopaka
3. Tyagarajayogavaibhavam - Roopaka
4. Kamalamba - Misra Eka
5. Anandeswarena - Misra Eka
.
MD has not used any special prayogam in kamalaamba kruthi.
"Muthuswamy Dikshitar Kriti-
Manasa Guruguha-
Anandabhairavi- Rupakam-
DK Pattammal"
.
https://youtu.be/WXfG6a5FsEI?si=ttuorgBMz4A-_z-D
.
DK Pattammal-
Thyagaraja Yoga Vaibhavam-
AnandaBhairavi-Rupakam-Dikshitar"
https://youtu.be/QTGlondhqoE?si=1AU3ejBc2Rq8Ubae
.
DK Pattamal-
Anandaeswarena -
AnandaBhairavi- Ekam-
Dikshitar"
https://youtu.be/rlwJbkLp9mc?si=1VHRRBH_YR1NorTM
.
"DK Pattammal-
Kamalamba-
Anandabhairavi- Dikshitar"
.
https://youtu.be/crYz5LzziDw?si=lLKbcA057DZE2dGb
.
Amritha Murali -
daNDAyudapANIm daNDita -
Anandabhairavi - dIkshitar - .
https://youtu.be/Faw6lnFBfAE?si=vVcpUiy0WThwBRtU
..
Now for an authentic instrumental rendition
"Lalgudi Jayaraman-
Kamalamba Samraksatu-
Anandabhairavi-Misra Chapu-Dikshitar-Violin"
.
https://youtu.be/Ao-gWeHG7v4?si=zFuJYPlrBMV4K6QW
SS verson.
..
If Dikshitar's Anandabhairavi as embodied in his songs is beautiful without Antara Ga and Kakali Ni, in the hands of Syama Sastri, the raga which is obviously very dear to him, shines in all its lustre due to the introduction of these two anya swaras.
In his five songs inclusive of the Varnam 'Samini rammanave', the several idiomatic expressions and the characteristic phrases that the raga admits of, are profusely used.
No doubt to him the raga became the most suitable medium for expressing the surging emotions of the devout heart to the divine.
......................
O Jagadamba -
Anandhabhairavi -
G. N. Balasubramaniam
Vintage 78 rpm
https://youtu.be/Q8zMAhvGNEg?si=ZuMXZ1fvHAtzbHlR
.
"O Jagadamba -
Anandhabhairavi -
M. S. Subbulakshmi"
Vintage 78 rpm
.
https://youtu.be/SPUUup2VKfs?si=2a6LzAm2DVHWWGtH
Watch "O Jagadamba -
Anandhabhairavi -
M. S. Subbulakshmi"
Vocal with veeN
Kartheek sharma..upload
https://youtu.be/gtMJibCkwwo?si=RA2lbze1SH6t8bem
"Shyama Shastri Kriti-
Marivere Gati-
Anandabhairavi-Misra Chapu-
GN Balasubramaniam"
Vintage 78 rpm
https://youtu.be/cKijxc089uM?si=GlO_KI9JUf7B5ul8
.
Samaganapriye Amba -
Anandhabhairavi -
G. N. Balasubramaniam"
Vintage 78 rpm
https://youtu.be/WwgdQGvHprE?si=Yvua5yji5bptyjIF.
.....
Now for a unique BAND rendition
..
Himachala Tanaya -
Anandha Bhairavi -
The Carnatic Band of Maharaja of Mysore"
https://youtu.be/wW40NXl-4Nk?si=0A82zlPwHAT473Ik
Vintage 78 rpm
.Today I am really glad to upload a very rare recording of the Royal Carnatic Reed Band playing a Shyama Sastri krithi set to Anandha Bhairavi raga. This is a beautiful krithi on goddess parvathi. We can see that the reed band had played this beautifully. The Maharaja, Krishna Raja Wadiyar IV, himself used to play eight instruments and therefore had a very good band which comprised of both Hindustani & Carnatic musicians. The band had also recorded a number of Hindustani songs.
Thank you for inducing me to locate these music too.
...
.
.
-
thenpaanan
- Posts: 677
- Joined: 04 Feb 2010, 19:45
Re: Kamalamba Navavarana Kritis Muthuswami Dikshitar (1775–1835)
Samsam wrote: ↑31 Jan 2026, 11:24 Then PANan Sir,
MD kruthis are not just music compositions. As NaadopAsaka sir used to insist, no kruthi of The Trinity should be dissociated from the Saahithyam,
MD Kamalaamba Navaavarnam set is especially sacred, because it is not just vibhakthi series but nava aavarNa set.
Perhaps, it is the sole Navaavarna set
.That is why it is being presented in a separate thread.
.
We have another serious problem as well.
SS and TS followed sampoorna mk scheme of Govindacharyawhile ,
MD followed the more orthodox and earlier asapoorna MK
So even the same raagam name can have different prsentations.
.
Forumites like srinath and ajaysimha have made many such illuminating and educative posts in Raagam section.
You are a veteran yourself, a singer too, but a bit missing the religious aspect of CM thus trying to emulate HM .
.
As we have just seen Anandabhairavi aavarna kruthi,
kindly let me quote from seniors.
.....
https://www.rasikas.org/forums/viewtopic.php?t=7112
Thanks for taking the effort to post a detailed response. Without posts like yours, there will be no forum to speak of.
I am not arguing that the navAvaraNam set is not sacred. It is one of my most precious learnings. They drew me in to the music like no other.
I am simply saying that there is a severe imbalance here in the discussions between the melodic and the textual aspects -- for some reason the latter is being seen here as spiritual whereas the former is not. To me the melodic construction is just as spiritual and hallowed as the text.
MD had a very distinct take on the same ragas from the other two of the Trinity. It may be related to the asamPURNa mela or simply the different tradition that he came from.
Thanks for reminding me of the earlier posts. I went and read through them again. Not much on the navAvaraNam kriti itself. On the whole it is a "no fuss" Anandabhairavi of the "older" variety (without the antara gA) however it does have its uniquness. For example, at the beginning of the anupallavi the phrase "sumanasa ArAdhitA..." is unique to me because the manasa glides directly from Pa to high Sa which is very common for the rAga. But the next consonant '(A)rA' goes the reverse glide from high Sa to pa. I have never encountered this construction elsewhere. The usual approach is to go Sa ni dha pa where we get the glimpse of the chatusruti dha usage, which you see even in Dikshitar's AnandEshwarENa in the first line itself. (Of course it is possible that this unusual construction is found elsewhere and I don't know about it. If so please point).
To end, I was pointing out that there are far more praise for the literary aspect of these kritis than the melodic aspect. There are so many lec dems on these kritis that are all one way. Why not have a lec dem that goes the other way?
-T
-
sam
- Posts: 1183
- Joined: 04 Mar 2020, 20:25
Re: Kamalamba Navavarana Kritis Muthuswami Dikshitar (1775–1835)
thenpaanan sir,
I am in complete agreement with you. I have no doubt at all, that you see divinity, in music tunes themselves and so a true Naadopaasana person just as Thyaagaraaja swami himself was.
Divinity is not drawn from words or theme.
It is drawn from notes themselves.
The basic tenet in HM.
Only that we get enhanced divinity when matched with literary quality and divine theme too.
And in the case of dhaasa koottam and Thyagaraja swami, a perfect unity of precepts and practice.
....
As you rightly pointed out, in the discourses about kamalaamba set, there is so much about the srichakram, triangles upward-downward ,and such, with very little about the special musical phrases employed by MD.
Regrettably, the lecdem in music academy video by a vidwan whom we all respect much, was vacuous, but for the singing and even in the dilemma about which aanandhabairavi to render.
It is rarely that a creative artiste is able to expound it.
To the best of my knowledge, the previius generation of vidwans, never spoke about their art . Rightly so. Bharathy was an inspired poet but his prose is almost pedestrian in style though lofty in content. And intent.
...generally,
an aalaap preceding any rendition is in a way, belittling the composer and his creation.....what may be worse, Is it permissible to do an aalaap using SS-TS AB and then sing an MD AB kruthi? just because the audience is generally more attuned to one version? Or that was the way we were taught?
I think, there are two solutions specifically to MD kruthis.
The first option is to give an instrumental ..version by reputed orthodox vaiNikas as kalpakam swaminathan. Our current SK, could have made hs violin to expound the music ..special prayogams in each aavarNam.
But then we would be totally ignoring the poetry of the lyrics and the mystical and philosophical import of those words..though, we may not subscribe to that school of thanthrcism.
.
I think the best solution is to render the kruthi as Brundha and Muktha sometimes used to,.. sing the kruthi with saahithyam in a section and immediately sing the same as swarams.
Not kalpanaa swarams or improvised chittaiswaram, but a literal rendering as perhaps, students are taught in their notebook notations.
.
Such notations are already available but only strict classicists like Brundha -Muktha had the conviction and respect to Trinity kruthis to follow that not in home sessions only but in exalted public platforms.
.
Concert vocalists have been singing with voice support accompanists for so many decades but very few, even renowned duos , like Bombay sisters adopted the BM duo practice..
Learned vetran rasikas who can give swaram equivalent of any sung fragment of tune in a jiffy, may or may not agree,l
In the opinion of greenhorns like me, it will sufficiently pay homage to the poesy, philosophy, practice, music and emotion in MD kruthis especially..
..
I invite veteran rasikas in this forum like yourself, suresh, aruN, to give your music commentary with specific reference to time stamp in the videos given.
How far the legendary artistes have really sung MD AB RAGA than the more common SS-TS AB.
Even more, MD has given us a few more kruthis in AB.
So, as thenpaanan sir points out, a really valuable service would be to show how MD has handled the same raagam differently in each such kruthi , not absractly but with video sample and time stamp
Kindly bear with me if I am too presumptuous.
..
.
I am in complete agreement with you. I have no doubt at all, that you see divinity, in music tunes themselves and so a true Naadopaasana person just as Thyaagaraaja swami himself was.
Divinity is not drawn from words or theme.
It is drawn from notes themselves.
The basic tenet in HM.
Only that we get enhanced divinity when matched with literary quality and divine theme too.
And in the case of dhaasa koottam and Thyagaraja swami, a perfect unity of precepts and practice.
....
As you rightly pointed out, in the discourses about kamalaamba set, there is so much about the srichakram, triangles upward-downward ,and such, with very little about the special musical phrases employed by MD.
Regrettably, the lecdem in music academy video by a vidwan whom we all respect much, was vacuous, but for the singing and even in the dilemma about which aanandhabairavi to render.
It is rarely that a creative artiste is able to expound it.
To the best of my knowledge, the previius generation of vidwans, never spoke about their art . Rightly so. Bharathy was an inspired poet but his prose is almost pedestrian in style though lofty in content. And intent.
...generally,
an aalaap preceding any rendition is in a way, belittling the composer and his creation.....what may be worse, Is it permissible to do an aalaap using SS-TS AB and then sing an MD AB kruthi? just because the audience is generally more attuned to one version? Or that was the way we were taught?
I think, there are two solutions specifically to MD kruthis.
The first option is to give an instrumental ..version by reputed orthodox vaiNikas as kalpakam swaminathan. Our current SK, could have made hs violin to expound the music ..special prayogams in each aavarNam.
But then we would be totally ignoring the poetry of the lyrics and the mystical and philosophical import of those words..though, we may not subscribe to that school of thanthrcism.
.
I think the best solution is to render the kruthi as Brundha and Muktha sometimes used to,.. sing the kruthi with saahithyam in a section and immediately sing the same as swarams.
Not kalpanaa swarams or improvised chittaiswaram, but a literal rendering as perhaps, students are taught in their notebook notations.
.
Such notations are already available but only strict classicists like Brundha -Muktha had the conviction and respect to Trinity kruthis to follow that not in home sessions only but in exalted public platforms.
.
Concert vocalists have been singing with voice support accompanists for so many decades but very few, even renowned duos , like Bombay sisters adopted the BM duo practice..
Learned vetran rasikas who can give swaram equivalent of any sung fragment of tune in a jiffy, may or may not agree,l
In the opinion of greenhorns like me, it will sufficiently pay homage to the poesy, philosophy, practice, music and emotion in MD kruthis especially..
..
I invite veteran rasikas in this forum like yourself, suresh, aruN, to give your music commentary with specific reference to time stamp in the videos given.
How far the legendary artistes have really sung MD AB RAGA than the more common SS-TS AB.
Even more, MD has given us a few more kruthis in AB.
So, as thenpaanan sir points out, a really valuable service would be to show how MD has handled the same raagam differently in each such kruthi , not absractly but with video sample and time stamp
Kindly bear with me if I am too presumptuous.
..
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Last edited by sam on 05 Feb 2026, 15:55, edited 2 times in total.
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sam
- Posts: 1183
- Joined: 04 Mar 2020, 20:25
Re: Kamalamba Navavarana Kritis Muthuswami Dikshitar (1775–1835)
Sathguru has given us 3 songs in Anandha Bairavi.
..
"neeke teliyakapothe -
Ananda bhairavi- Adi- Hyderabad brothers -
https://youtu.be/RsLCyS4uMZE?si=vla8tC6pNmMJl7o9
.
The second one is an uthsava sampradhaya kruthi.
Ksheera saagara vihaara
SK BKMBAY SISTERS LALITHA-SAROJA
https://youtu.be/1Sxqv_PGHkM?si=jIXoU61e54Sy3SLe
.
BMK
https://youtu.be/AEwV5UECwtw?si=SdE2jv4wtFPcvgkA
.
.
..
"neeke teliyakapothe -
Ananda bhairavi- Adi- Hyderabad brothers -
https://youtu.be/RsLCyS4uMZE?si=vla8tC6pNmMJl7o9
.
The second one is an uthsava sampradhaya kruthi.
Ksheera saagara vihaara
SK BKMBAY SISTERS LALITHA-SAROJA
https://youtu.be/1Sxqv_PGHkM?si=jIXoU61e54Sy3SLe
.
BMK
https://youtu.be/AEwV5UECwtw?si=SdE2jv4wtFPcvgkA
.
.