sangeethavaibhavam_oct13

AUM NAMAH SHIVAYA SANGEETHA VAIBHAVAM 14 Oct 13

http://vedantatattva.org/vedantagroup/SangeethaVaibhavam of 20

Sangeetha Vaibhavam

Salutations to all.

Knowingly or unknowingly we all are seeking just one ultimate goal of life – termed in

Vedanta as moksha it is complete cessation of sorrow and ever rejoicing in bliss. This goal is

achieved only through knowledge of the non-dual reality of Brahman or Ishwara as

pervading the entire world (and being our very nature of Consciousness that constantly

pulsates inside as I-exist, I-exist). But knowledge is easier said than done or implemented

in life. Majority of people are focused on the external world with lots of passions or

attachments. Therefore it is almost impossible for them to implement knowledge. The easier

solution for them thus is devotion towards Ishwara. Ishwara is none other than Brahman

but through seeking such an Ishwara who is endowed with all qualities (all-knowing, all-

pervasive etc.) we will be able to easily surrender unto Ishwara and progress in the spiritual

path. It is often tough to do something ourselves but when somebody else is there for help

us in doing what we want to do, we will be easily able to do it. When Ishwara is there with

us, we will be able to progress with full strength and passion in the spiritual path. Ishwara

isn’t just imaginary because he is the non-dual reality of Brahman (that which alone exists

as the substratum or essence of the entire illusory world of names and forms).

Though there may be different ways to please Ishwara the easiest is through music because

through music we can not only develop devotion but always revel in devotion. Music and

devotion go hand in hand (or at least should go hand in hand). True music is an offering

unto Ishwara and such a music will be appealing to oneself and others. It will be fulfilling for

oneself and others too. The music of M D Ramanathan was such that he would be singing

for himself and therefore it would be appealing to others as well (of course not everybody

would like everything in the world).

The purpose of this magazine is to bring out aspects of music in order to take us from the

state of sorrow that we are in to a state of eternal bliss (moksha). What better way to

moksha than through music which pervades the entire universe itself. There is music in a

child’s cry; there is music in the heart-beat; there is music in sleep; there is music in

nature; there is music everywhere and it is natural. Therefore hardly anybody would be

there who wouldn’t like music (one or the other type of music everybody will like).



Through that which we all like, we can easily focus on Ishwara and through focus on

Ishwara we will be able to attain the ultimate goal of life of moksha. In order to do that we

just have to put a little effort in understanding music so that we will be able to enjoy and

dive deep into it easily. Then eventually we will be able to ever rejoice in bliss in moksha

here itself.

May the non-dual reality of Lord bless us so that through music and devotion we will be able

to get rid of all sorrows and will be able to ever rejoice in bliss here and now itself.

AUM NAMAH SHIVAYA

Oct 14th



Anukramaanika

Sangeetha Vaibhavam .................................................................................................................................. 1

Sangeetha Prakaashanam ............................................................................................................................. 4

Hindustani Vivaranam ................................................................................................................................... 7

Raaga Vivaranam .......................................................................................................................................... 9

Kriti Deepam ............................................................................................................................................... 10

Acharya Arpanam ........................................................................................................................................ 14

Ishwara Smaranam ..................................................................................................................................... 17

Anukramaanika Nirdesham ........................................................................................................................ 20



Sangeetha Prakaashanam

In the earlier articles we have seen basics of Carnatic music like Swaras, Melakarta Raga,

Janya Raga, different types of songs and different Talams. We will see a little advanced

topic in this article called GrahaBhedham.

Grahabhedham is the process of shifting base or shurti to a different not keeping the

swarasthana of the raga same. We start with a specific raga and on a specific Sruthi and

when we do GrahaBhedham we shift the Shruti or base to another note of the Raga keeping

the other swarasthana of the raga. When we shift the Shruti, we get a different Raga. We

can see an example as well.

Let us take Raga Shankarabharana. Shankarabharana with Sa in ‘C’ or orukattai. Below

picture represent the keys of Shankarabharana in Harmonium of pitch C.

Let us say that we move the Sa from C to D and we use the rest of the keys that are used

for Shankarabharana from there on. Ri became Sa. The next swara Ga as we can see above

becomes ChathusrutiRishabham from the shifted Sa. Ma becomes SadharanaGandharam, Pa

becomes ShuddhaMadhyamam, Dha becomes Pa, Ni becomes ChathusrutiDhaivatam, higher

Sa becomes KaisikaNishadham and Ri becomes Sa. Thus, to reconcile when we shift one

note ahead from Shankarabharana we would get Sa, ChathusrutiRishabham,

SadharanaGandharam, ShuddhaMadhyamam, Panchamam, ChatusrutiDhaivatam,

KaisikaNishadam and Sa which is Raga Kharaharapriya.



Grahabhedham can be done on both Melakartha Raga and Janya Raga. If we are doing

GrahaBhedha on Janya Raga, the raga has to be symmetrical in both Arohana and

Avarohana. This rule doesn’t exist at all for Melakartha Ragas because they are

symmetrical. Let us take Mohanam for example, when we shift shruti to Ri we would get

Madhyamavati and when we shift the Shruti to Ga of Mohanam, we would get Hindolam.

The following list contains groups of melakartas that are Grahabeda derivable from each

other within any group.

1. Kanakaangi, Kaamavardhani

2. Rathnaangi, Gamanasrama, Jhankaaradhwani

3. Gaanamurthy, Visvambari, Shyaamalaangi

4. Vanaspathy, Maararanjani

5. Maanavathy, Kaantaamani

6. Senaavathy, Lataangi, Sooryakaantham

7. Hanumathodi, Mechakalyaani, Harikaambhoji, Natabhairavi,

Dheerasankaraabharanam, Kharaharapriya

8. Dhenuka, Chitraambari, Shanmugapriya, Shoolini

9. Naatakapriya, Vaachaspathy, Chaarukesi, Gowrimanohari

10. Kokilapriya, Rishabhapriya

11. Gaayagapriya, Dhaatuvardhani

12. Vakulaabharanam, Kosalam, Kiravaani, Hemavathy

13. Maayaamaalavagowla, Rasigapriya, Simhendhramadhyamam

14. Chakravaaham, Sarasaangi, Dharmavathy

15. Haatakaambari, Gavaambhodhi

16. Varunapriya, Raagavardhani

17. Naagaanandini, Bhavapriya, Vaagadheeswari



18. Gaangeyabhooshani, Neetimathy

19. Chalanaata, Subhapantuvaraali

20. Shadvidhamaargini, Naasikaabhooshani



Hindustani Vivaranam

Singers

Since we have seen most of what can be explained and understood from words or

descriptions about Hindustani music so let’s now see couple of singers who are THE

SINGERS of the 21st century and who alone have influenced music to the maximum in the

21st century.

Though many singers are famous and popularly known (and heard) still two stand out as

being great legends even during their times, let alone after their times. These two legends

are Ustad Amir Khan and Ustad Bade Ghulam Ali Khan. In a way both these singers filled

each other properly (they had their own territories and the other wouldn’t infringe on it).

Ustad Bade Ghulam Ali Khan was from the Patiala gharana and he was well known for his

thumris. His singing of thumris was perfect that Ustad Amir Khan would never sing thumris.

When questioned on this, he replied that Ustad Bade Ghulam Ali Khan sings it so well so

what can I sing on that? When we listen to Ghulam Ali Khan’s singing we can find it a little

fast paced but full of bhava. Bhava or passion that flows from amusic is what differentiates

normal singers from great singers. Great singers will be able to bring out the best bhava for

a song, a raga etc. Irrespective of whatever they sing, we will find bhava overflowing in it.

Weighty ragas were the forte of Ghulam Ali Khan along with the most versatile raga of

Bhairavi and Darbari.

An aspiring musician or a music fan just needs to listen to the ragas portrayed by both

these masters and they will be able to get a full perspective or view of the raga (there

would absolutely be nothing that would remain for them to know about the raga).

Ustad Amir Khan contrary to Ustad Bade Ghulam Ali Khan was known for his very slow or ati

vilambit laya (pace). He would sing all songs in ati vilambit laya – this doesn’t mean that he

wasn’t adept in singing in druta laya. The ati vilambit khayal would be followed by druta and

often ati druta laya khayal. Ustad Amir Khan also was well known for his taranas many of

which are written by himself. Big ragas like Yaman, Darbari, Marwa etc. were the forte of

Ustad Amir Khan. If we just listen to the different Yaman renderings of this master we will

just flow into it. The mood that is evoked is that of meditative or contemplative. The singing

style itself used to be that way. The greatness of this master is that his way of singing has



become a new gharana, Indore Gharana. Often swaras at good pace would be rendered

effortlessly by Ustad Amir Khan (also known as Khandameru where practice of singing

different permutations and combinations is practiced and undertaken in a concert).

It is often impossible to talk about great masters and their music which has inspired millions

of people in the world. Since I myself am one of the million people therefore it is absolutely

impossible for me to keep on writing about these two great masters. The only way we can

know their true value is through listening to their recordings. When we listen, then we will

be able to realize the greatness of their music and the legacy they have left behind through

their music.

May we offer our tributes to these two great masters and try to listen to their music so that

we are swept in the nectar of the ocean of music and are able to rejoice in bliss.



Raaga Vivaranam

Reetigowla

Reethigowla is the janyam of 22ndMelakartha Raga called Kharahapriya.

Arohanam: Sa Ga2 Ri2 Ga2Ma1Ni2Dha2Ma1Ni2Ni2Sa

Avarohanam: Sa Ni2Dha2 Ma1Ga2Ma1Pa Ma1Ga2 Ri2 Sa

Reethigowlais very captivating and raga that can be easily identifiable raga for the vakra

pattern it follows in Arohana and Avarohana. This raga is also known as Vakra raga because

of its pattern in arohana and avarohana. The Jivaswaras for this raga are Ma and Ni. The

gamaka on Ri slightly resembles the Ri of AnandaBhairavi but the gamaka is not as strong

as it is in AnandaBhairavi. Even light music in this raga would be very captivating and very

melodious to listen.

We can see the avarohana goes like Ni Dha Ma, but in the lower octave Ni Pa Ni NiSa is

most commonly used phrase. Other common phrases are Ni Sa Ga Ga Ma, Ga Ma Ni Ni Sa,

Ni Dha Ma Ni Ni Sa. Since this raga pattern itself is crooked, there cannot be many notable

patterns. There is also usage of Pa Dha Ni NiSa in the middle octave which is a very rare

usage and many consider that this type of usage is not a right usage. MuthuswamyDikshitar

calls this as NariReethigowla. Thyagaraja swami has composed many songs in this

Reethigowla and we can say that Thyagaraja swami composed more songs in Reethigowla

than other 2 of the Trinities.

Some of the popular songs in this Raga

DvaitamuSukhamaadvaitamuSukhama – Thyagaraja Swami

Jo Jorama – Thyagaraja Swami

ParipalayaParipalaya – Thyagaraja Swami

Paripalayamam – Swati Tirunal

Sri Nilotpalanayike – MuthuswamyDikshitar

Jananininnuvina – SubbarayaShastri



Kriti Deepam

In the previous article we saw the dhyanakriti of KamalambaNavavarna – Kamalambike. In

this article we will see the first of the NavavarnaKamalambaSamrakshatu.

As we saw in the previous article, KamalambaNavavarna is the group of 9 kritis of

MuthuswamyDikshitar on Devi. The Navavarna had 2 more kritis, one was the prayer before

the first Navavarna and another was the MangalaKriti which is after the 9thKriti. We also saw

in the previous article that each kriti speak about one part of the Sri Chakra from the idea

perspective and each kriti is written in each of the Vibhaktis or Nouns of Sanskrit which is a

beauty of this group of Kritis from poetic sense. In the previous article we saw the

dhyanakriti, Kamalambike which was set in the Raga Thodi. In this article we will see about

the first of the NavavarnaKalamabaSamrakshatu which is set in Raga AnandaBhairavi. This

is in the PrathamaVibhakti or nominative case and it is about Trailokyamohana Chakra.

Pallavi

Kamalaambasamrakshatumaamhrtkamalaanagaranivaasini

Goddess Kamalamba, Please protect me, who resides in the lotus city of heart

When we analyze our life we would understand that there is a sense of insecurity and fear

for many things in our life. No one in the world would want to experience pain in their life

and hence would want to seek protection from fears of life. Most times we try to find

security from someone in the world or something in the world. But the protection from the

Lord cannot match any other protection we may get. Any protection we might get from the

world would for sure cannot be permanent because nothing in the world is permanent. So,

Lord is the only protector who protects the entire creation. The entire universe came from

the Lord and it is the Lord who also protects them. It is thus easy to understand that Lord

alone can protect us. Therefore, if we are seeking protection it is best to seek protection

from Lord than anything else.

If Lord protects the entire creation, why should we seek protection from Lord? Even though

Lord is protecting the entire creation, we have to remember that Lord in order for us to

know that Lord is protecting. If we are seeking something it means that we don’t have that.

If we are seeking protection then it means that we don’t know that we are protected by the

Lord all the time. If we want to be protected it is possible only if we keep Lord in our mind.



Thus, Dikshitar here says hrt Kamala nagaranivasini. Heart is known to be the seat of the

Lord as Lord Krishna has mentioned in Bhagavad Gita as well that Lord resides in the heart

of every being. But if we are to consider heart as the temple of Lord, we would want to keep

it as beautiful as possible. We can see here the devotion of Dikshitar from the way of how

Devi is remembered to be in the heart.

Anupallavi:

Sumanasaraadhitaabjamukhisundaramanapriyakarasakhi

Kamalajaanandabodhasukhikaantaataarapanjarashukhi

Worshipped by pure-minded devotees, O Lotus faced, who attracts the mind of the

Siva, who is of the nature of Knowledge-Bliss (of Brahman), who is ever happy,

one who is the beautiful parrot residing in the cage of the sound (of OM).

Lord Krishna speaks about 4 types of devotees in Bhagavad Gita, they are Artha, Artharthi,

Jijnaasu and Jnaani. Out of these 4 types of Bhaktas Lord Krishna says that Jnaanibhaktas

are the greatest. This is because they realized Lord as their own very nature. That is the

highest devotion and such devotees are greatest devotees. Jnaanibhaktas who have realized

their nature as the Lord, will have Lord in their mind naturally. Other type of Bhaktas have

to put effort to remember the Lord. When we are able to keep the Lord in our mind all the

time, that is the greatest worship. Devi is attracted to Lord Siva, and is always remains in

his mind and always next to the Lord. Lord Siva is known to sit absorbed in the

contemplation of Brahman renouncing everything. Lord shines in the mind of those who

takes resort only on Lord leaving everything else. Dikshitar says here that the mind of Lord

Siva, who is the embodiment of renunciation, is attracted towards Devi.

What is the nature of such Devi? Scriptures mention the nature of Brahman as Sat-Chit-

Anandam. Sat is that Brahman alone exists on all 3 periods of time and beyond the time as

well. Chit is the Consciousness that illuminates everything and Anandam is the non-dual

bliss of Brahman. Devi who is of the nature of Brahman only can give happiness to

everyone. How can such a Devi be known? Dikshitar says that such a Devi who is of the

nature of Brahman resides in the primal sound of OM. This indirectly means that such a Devi

can be known through the scriptures and there is no other means. Scriptures are the

ultimate source of knowledge for Brahman and hence if such a Brahman is to be known, it

can be known through the study of scriptures under the guidance of Guru.



Charanam:

TirpuraadiChakreshwarianimaadisidheeshwarinityakaameshwari

Devi, who rules over the nine chakras beginning with Tripura, who is the Lord of

Siddhis like Anima etc, ever the Lord of all desires (or boons)

Although constant remembrance of the Lord is the most essential thing and there is no

restriction about when and where we should remember the Lord, but scriptures put forth

ways to worship the Lord so as to make us more disciplined. There will be Mantra to

chanted during the worship, there will be a seat to invoke the Lord which is called the

Yantra and there will be a specific rule to be adopted which is the Tantra. Sri Chakra is the

Yantra for Devi, and Sri Chakra stands for Devi. As we saw in the last article, Sri Chakra has

9 parts in it and each part has a name. Since Sri Chakra as whole stand for Devi, Devi is the

ruler of every part of it. Scriptures talk about ashta siddhis or eight powers which are

Anima, Mahima, Garima, Laghima, Praapti, Praakaamya, Istva, and Vashtva. Scriptures also

talk about many more miraculous powers. Devi is the source of all this miraculous powers

and so it is understood that Devi is the controller of all these powers. Devi being the Lord of

the entire creation is the mother of all. Mother always takes care of all the needs of her

child and likewise the Divine Mother takes care of the needs of all people in the world and is

the Lord of all desires granting all boons for Her children.

Kshitipuratrailokhyamohanachakravartiniprakata yogini

The entire earth being the capital city of Devi, one who is the enchanter of all

three worlds and also ruler of it, manifest yogini

The earth or the Bhulokha is considered very important because it is from the world man

can realize Brahman and end their cycle of life and death. There are various stories in

puranas in which people from higher lokhas take birth in the world to get the knowledge of

Brahman and realize their nature of Brahman. Thus, the world is considered to be the

capital city of Devi because of there is chance of realizing Brahman. There are so many

things that are attractive in this world and in all the other worlds. All these attractive things

or places attracts the mind of the people. But Devi who is the source of everything in the

world is the greatest enchanter of everyone in all three worlds. Scriptures say that every

time we get any happiness from anything in the world, it is implicitly shows the presence of

the Lord because Lord is the essence of everything in the world.



Suraripumahishaarudaadimardininigamapuraanaadisamvedini

Destroyer of demons like Mahishasura and others who are the enemies of Devas,

who is known through sacred texts through Sruti, Smrti, Puranaetc

Lord created this entire world and in order to govern the world and take care of every

aspect of the world, Lord himself became various devatas ruling every aspect of the world.

But the asuras or the demons always cause problems to the Devatas obstructing them from

performing their duty. The difference between the Devatas and Asuras is that Devatas take

resort to the Lord whenever they are in trouble and they completely surrender to the Lord

whereas Asuras don’t have any surrender and they want to go against the Lord. Devi is the

destroyer of all demons and thereby protects the devatas from all problems that could be

caused by the Asuras. Such a Devi can only be known through scriptures. Scriptures came

into existence during creation and is the ultimate source of knowledge of Brahman.

Scriptures include Sruti consisting of Upanishads, Smriti such as Bhagavad Gita, Puranas

and Itihasas. Each of these speak about Brahman as the Ultimate Reality in different ways

and thus Dikshitar here says that Devi can be known through the Scriptures.

TirpureshiGuruguhajananitripurabhanjanaranjani

Madhuripusahodaritripurasundarimaheshwari

Goddess of Tripura, Mother of Guruguha (Lord Muruga), who enchants the

destroyer of Tripura (Lord Siva). Sister of the one who destroyed Madhu (Lord

Vishnu), who has a slender waist, Goddess Tripurasundari, the great Goddess.

Tripura can be considered as the three worlds and Devi is the Lord of all three worlds. As we

have seen above, all worlds came from Devi and hence Devi is the controller and protector

of all three worlds. Devi is the consort of Lord Siva and Mother of Lord Muruga. Guruguha is

also the mudra of Dikshitar that has been used in the Kritis. Devi is also the sister of Lord

Vishnu who destroyed great asuras like Madhu. Devi is also known as Tripurasundari, one

who is the most beautiful in all 3 worlds and Devi is the greatest Lord or the Ultimate reality

of Brahman.



Acharya Arpanam

In the previous article we saw the life of Maharaja Swati Tirunal, in this article we shall the

life of OothukaaduVenkataKavi.

OothukaaduVenkataKavi was one of the most prominent composers and poet from South

India. Oothukaadu is a small village on the northern bank of river Vettar (a branch of River

Kaveri) located in PapanasamTaluk of Tanjore District, about 13 km south of Kumbakonam.

Since VenkataKavi lived most of his life in Oothukaadu, his name had the name of his place

as well. He was a very ardent devotee of Lord Krishna and he was so attached to the

SwayambuVigraham in Oothukaadu of Lord Krishna dancing on Kalinga.

Veda is the source for the music and music can be used as the aid or sadhana towards the

goal of Moksha. If music can be used as an aid towards the goal of Moksha then naturally

the question would be how can we use it for the goal of Moksha? Through music we can sing

our heart out to the Lord which would help us to have focus on the Lord at least during the

period of singing. When we are able to practice more and more, the period of remembrance

of Lord would increase which there by help us move closer towards the Lord. If this is the

way music can be used as a sadhana towards the goal of Moksha, naturally the next

question would be are there people who have done it and attained the goal? And the answer

is of course, yes. There are musicians and composers who work hard to become a great

composer and they do become great composers because that is what they wanted to

become. But there are extraordinary people who are devotees and happen to use music as

a way of showing their devotion. The music that comes out of great devotees will be filled

with devotion and that make the music great. These great devotees naturally stand out as

greatest musicians among other great musicians because their music is not to display their

talent but to rejoice in singing about the Lord. OothukaduVenkataKavi is one such devotee

who made music for the Lord and not for any other reason.

OothukaduVenkataKavi is believed to have lived during pre-trinity period and was believed

to be lived approximately between 1700 and 1765. OothukaduVenkataKavi was born to

SubbuKuttiIyer and Venkamma in Mannargudi, a temple town near Tanjore in South India.

They lived for a little while in a small place called Needamangalam and then they moved

permanently toOothukadu. OothukaduVenkataKavi grew up and lived the rest in

Oothukadu. He lived in a very pious and conducive atmosphere for being devoted to Lord.



He had an elder brother by name Kattu Krishna Iyer, who was a great musician in the court

of Tanjore. The Kavi remained a celibate entire life and always lived in the contemplation of

Lord all the time.

When he was young initial music was taught by PooranoorNatesaBhagavatarand then later

he wanted to learn music from another person called Sri Krishna Yogi. Sri Krishna Yogi

refused to teach him music and he was also refused by his own brother who was a great

musician in the court of Tanjore. On seeing the Kavi very disappointed, his mother told him

to pray to Lord Krishna and take him as his music Guru and there would be a solution. Upon

hearing this, OothukaduVenkataKavi went to the Krishna temple and started praying to Lord

Krishna who was dancing on Kalinga. Lord Krishna then appeared in front of the Kavi and

gave him all the knowledge and transformed his life forever. That is what divine intervention

would do to devotees who are sincere. Lord would not only grant the boon of a sincere

devotee of what they want but added to that would be the spiritual transformation which is

very vital than the boon itself. Only very few would be able to recognize the spiritual

transformation that happens but most people would only be interested in the boon they

would get from the Lord. And those who recognize the spiritual transformation are the great

devotees and we can know that very clearly from the life of OothukaduVenkataKavi right

after that. In many of the songs he has mentioned Lord Krishna as his Divine Perceptor.

OothukaduVenkataKavi started spending lot of time in solitude and in contemplation of the

Lord and he composed music not for making it known to everyone but just for the Lord to

listen. That is why there are not many things known about the Kavi and whatever we know

as the compositions of Kavi are some of many that he composed. The compositions that is

known now of the Kavi are known through Needamangalam Krishnamurthy Bhagavathar

who seem to be a descendant of OothukadvuVenkataKavi’s brother’s family. Another

greatness of these great devotees is their respect for other great Mahatmas. His

compositions are a great testimony that he has been greatly influenced by great Mahatmas

like Valmiki, Vyasacharya, 12 azhwars, 63 Nayanmars and other great composers like

Purandaradasa and TulasiDasa. OothukaduVenkataKavi has composed songs in Tamil,

Sanskrit and Marathi. Most of his compositions are dance oriented and contains mostly of

Madhyamakaala passages. The very first song he composed was IduOru in the Raga

Begada. He has composed seven Raga Malikas and three tillanas in Surati, SinduBhairavi.

He also made lot of Operas or stage dramas of Ramayana, Mahabharata and Bhagavatham.



Around 16th-17th century Marathas ruled in the Tanjore region and they are known to be

patrons of art and music. OothukaduVenkataKavi was influenced by the Marathas and he

has composed few songs in Marathi as well .He has also used Hindustani Ragas like

Dvijavanti, HamirKalyan and SinduBhairavi. In addition to the compositions, he also wrote

some books, RudraSabdam, NandanaGeetam, Kalinga-NartanaPrabhavam,

RajagoplaNirtyotsavam, and Sri Krishna Ganam. Sri Krishna Ganam is considered to be

translation of SrimadBhagavatam and he also wrote another work called Rasapadam in Kriti

form.

There are many popularly known songs of OothukaduVenkataKavi. Some of them are

ThayeYashoda in the Raga Thodi, AlaipaayudheKanna in the Raga Kaanada, Nandagopla in

the Raga Abheri, Neerajasamaneelakrishna in the Raga Jayatasri, Kuzhaloodimanamellaam

in the Raga Kamobji. One of the significant highlights as mentioned earlier of

Oothukaduvenkatakavi was that most of the compositions are in Madhyama Kala. There are

group Kritis composed by the Kavi. Kavi had composed a SaptaratnaKritis like Thyagaraja

Swami’s PancharatnaKrti, and he had also composed KamakshiNavavarnaKritis or group of

9 Kritis in the praise of Goddess Kamakshi. Just like

MuthuswamyDikshitarsKamalambaNavavarnaKritis which speak about each of the 9

components of Sri Chakra, in KamakshiNavavarna also speak about each component of Sri

Chakra. This clearly shows that he was not only just a devotee of Lord Krishna, he was also

expert of the very secretive Devi upasana as well.

Thus we can see here a brief life of OothukaduVenkataKavi, who was a great devotee of

Lord, who was a great musician and who was also great poet in writing the songs, is

someone to be looked upto for their greatness not Just being a musician but as a role model

of how we could use music to reach the ultimate goal of Moksha.



Ishwara Smaranam

Ellaam ariyunnor amme ente vallayma nee ariyille

Vallaathe njaan alayunne ghora samsaaramaam saagarathil

O all-knowing Mother! Why aren’t you knowing my restless state

I am struggling in this dense ocean of Samsaara

Scriptures say that Moksha is the ultimate goal of life to be achieved and this is because

only Moksha can give happiness that is permanent. And purpose of every birth we take in

this world is to attain this goal of Moksha and scriptures point out that the goal of Moksha

can be attained only through the knowledge of Brahman as mentioned in the scriptures. If

we don’t have this Knowledge of Brahman as ones own nature, we would be born in this

world again and again and we would never get that permanent happiness as mentioned in

the scriptures.

Even though scriptures say that we have to gain this Knowledge of Brahman as ones own

nature it is often very difficult to gain this knowledge and gain conviction about this

knowledge. We often get distracted when we see the things in the world and thus we more

often move away from progressing towards the goal of Moksha. There is a very obvious

necessity for the effort towards this goal of Moksha but more than individual effort, we need

to have grace of the Lord to be able to progress in the path. Thus we could see here a

devotee praying to the Lord, that Lord being all knowing why letting devotee to suffer in this

world and why not grant the greatest boon of Moksha?

Illamattaarumee vaazhvil ente allal akkattuvaan amme

Ethranaal ee vidham amme njaan ee dukhabhaandam chumakendhu

There is nobody else to remove my sorrows O AMMA!

O AMMA! How longer do I have to carry the burden of sorrow within myself?

When a child is in distress, it naturally goes to its mother with the faith that mother would

remove its distress. Whether the mother really removes it or not the child would go to its

mother. Likewise a real devotee would seek only Lord during the time of distress. The

devotee would know very clearly that there isno one in the world who can remove the

distress of the devotee and give him happiness. Thus a real devotee would always take

refuge in Lord alone and not on anything or anyone else in the world. When a devotee



surrenders unto Lord and takes refuge in Lord, Lord removes the distress of the devotee

and brings solace to the devotee. But with the changing world, the situation of distress

comes again and again. A real devotee who loves the Lord very dearly would want to find a

permanent solace from the Lord which is possible only by gaining knowledge of Brahman.

Until gaining such a knowledge, the devotee would keep seeking the grace of the Lord and

would always surrender to the Lord. We could see here devotee surrendering completely to

the Lord and praying to remove the sorrows ones and for all.

Premaswaroopini amme ennil kaarunyam thoovuka ille

Allum pakalum entamme vannen ullil vilanganum amme

O Mother of the nature of pure love, won’t you shower your compassion on Me?

O AMMA! Come to my heart and reside there at all time

We always find lot of people showering love and affection but there is no love in the world

that can match with the love of Lord to everyone in the world. The difference between the

love we see in the world and the love of the Lord to the entire creation is that the love of

Lord is unconditional. Such an unconditional love can be shown by the Lord and Guru alone

and no one else could. This is because Lord is the Self of all and being the Self of all Lord

can only Love everyone. It also shows that Lord is the nature of Love also and when there is

unconditional love like that showered on the devotee how can that not reflect back? Lord

would be most dearest thing for the devotee and would always want to remember the Lord

in his heart all the time. A lover would always remember his love naturally and likewise a

devotee who loves the Lord very dearly would want to remember the Lord all the time

because that remembrance of Lord gives him happiness.

Vedantavedi allamme avivekiyaay ulloru paithal

Maathaavum nee amrithaanandamayi paalooti nirvrithi eku

O AMMA! This is not a godha for vedantic discussions and tests. I am a small child

who doesn’t have viveka.

O Mother please give me milk of immortality and bliss, there-by give me moksha

As mentioned earlier, the only way to attain moksha is through the knowledge of the

scriptures. Systematic study of scriptures under the guidance of the competent Guru is

absolutely necessary to attain moksha. In order for the knowledge to be effective for the

student, the student should surrender to Guru or the Lord, because without devotion the

knowledge would have no meaning. We can always find great Mahatmas being so humble to

everyone and everything. Even though they may have the peak of knowledge, yet they



would appear very simple, which is one of the characteristics of great Mahatmas. Thus, we

can see here the devotee surrendering unto the Lord everything and praying for the grace

of the Lord, the Ultimate grace being the boon of Moksha which is unlimited Anandam.

This song of Amma was set in the Raga Reethigowla.



Anukramaanika Nirdesham

1. Editorial – a general message

2. Sangeetha Prakaashanam – music and concepts of music explained in simple terms.

3. Hindustani Vivaranam – concepts of Hindustani music explained in a comparative

study with carnatic music.

4. Raaga Vivaranam – analysis/explanation of a raaga.

5. Kriti Deepam – a kriti of music explained.

6. Acharya Arpanam – remembrance of an acharya of music.

7. Ishwara Smaranam – remembrance of Ishwara through a devotional song.

1. Comments

2. Suggestions

3. Corrections (word, sloka, content etc.)

4. Would like to see specific content

5. Would like to contribute (through research from websites, don’t need to write up the

content yourself)

Mail [email protected].

Feel free to forward this to anyone who might be interested.

Online download of the magazine can be found at

http://vedantatattva.org/vedantagroup/SangeethaVaibhavam/

Subscribing and unsubscribing can be done by mailing [email protected].

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