Navaratri and Navavarna Kritis
The two most significant composers in this league are Muthuswami Dikshitar and Syama Sastri, the former being a Sri Vidya Upasaka and the latter a hereditary priest at the Bangaru Kamakshi Amman Temple, Thanjavur.
Dikshitar was initiated into Sri Vidya by Chidamabaranatha Yogi. His compositions on Devi contain Bijaksharas. His Navavaranam on Kamalamba is his significant contribution to the repertoire of Carnatic music. Being his birthplace, it is but natural that Dikshitar had a special attachment to Tiruvarur, especially to Kamalamba.
Worshipping Lalitha Parameswari in the form of Srichakra (the mystic Wheel) is considered the highest order of Devi Upasana.
The Wheel has nine enclosures and at the center is the Bindu. Dikshitar has composed nine kirtans, each having details of the Chakra and Avarana.
Majestic in style and composed in high-flown Sanskrit, the kritis reveal his profound knowledge in Mantra and Yantra Sastras. From the poetical and musical aspects, the tempo, the rhythm and above all, the fragrance of bhakti makes these compositions jewels that adorn Amba Parameswari. While Dikshitar's approach is intellectual, Syama Sastri's is like a child clinging to the mother for her attention.
All these composers have their own ways and styles of approach, but their voices unite in seeking Her benevolence and grace, celebrated across the country through this festival.
Worshipping Lalitha Parameswari in the form of Srichakra (the mystic Wheel) is considered the highest order of Devi Upasana. The Wheel has nine enclosures and at the center is the Bindu. Dikshitar has composed nine kirtans, each having details of the Chakra and Avarana. Majestic in style and composed in high-flown Sanskrit, the kritis reveal his profound knowledge in Mantra and Yantra Sastras. From the poetical and musical aspects, the tempo, the rhythm and above all, the fragrance of bhakti makes these compositions jewels that adorn Amba Parameswari.
All these composers have their own ways and styles of approach, but their voices unite in seeking Her benevolence and grace, celebrated across the country through this festival.
Kamalamba Navavarna Krithi)
Navaratri festival, a beautiful blend of art and culture commences on Amavasya in the month of Puratasi (Ashwini) is Sharada Navaratri: the most celebrated of the four Navaratri. Devi, who takes center stage for 10 days, is worshipped in several ways, music is one. Almost all the composers of Carnatic music have sung on Durga, Lakshmi, and Saraswati - Trisakti.
It is Swati Tirunal Maharaja, who composed the Navaratri kritis, to be sung during these nine days. These kritis are rendered in their specific order at the concerts held at the Thiruvananthapuram Palace for Navaratri. He pleads 'Pahi mam'' (protect me) on behalf of all of us, to protect everyone, in these compositions.
The two most significant composers in this league are Muthuswami Dikshitar and Syama Sastri, the former being a Sri Vidya Upasaka and the latter a hereditary priest at the Bangaru Kamakshi Amman Temple, Thanjavur.
Dikshitar was initiated into Sri Vidya by Chidamabaranatha Yogi. His compositions on Devi contain Bijaksharas. His Navavaranam on Kamalamba is his significant contribution to the repertoire of Carnatic music. Being his birthplace, it is but natural that Dikshitar had a special attachment to Tiruvarur, especially to Kamalamba.
Worshipping Lalitha Parameswari in the form of Srichakra (the mystic Wheel) is considered the highest order of Devi Upasana.
The Wheel has nine enclosures and at the center is the Bindu. Dikshitar has composed nine kirtans, each having details of the Chakra and Avarana.
Majestic in style and composed in high-flown Sanskrit, the kritis reveal his profound knowledge in Mantra and Yantra Sastras. From the poetical and musical aspects, the tempo, the rhythm and above all, the fragrance of bhakti makes these compositions jewels that adorn Amba Parameswari. While Dikshitar's approach is intellectual, Syama Sastri's is like a child clinging to the mother for her attention.
The tone of almost all of Syama Sastri's compositions is the same. He pleads to the Mother for her protection repeatedly (Brovavamma, Devi Brova, and Brova Samayamu). His Navaratnamalika, sung in Madurai, is a class by itself. His longing for Her glance is repeatedly revealed in his description of Her eyes like Sarojadalanetri, Meenanetri, Meenalochana, and Neelayatakshi. Among the Devi Kriti composers, he was fortunate to serve Kamakshi at her sanctum sanctorum. That moving experience is reflected in his compositions.
Oothukkadu Venkata Kavi, a pre-trinity composer, known for his scintillating compositions on Krishna, composed the Kamakshi Navavaranam. Here, the kritis, set to minor and anti ragas, are in the order of the Navavarana puja procedure. The use of different jatis in talas and change of the Kalai and Nadai are absolutely remarkable in the compositions. The use of Madhyamakala Sahitya is also complex and intricate.
All these composers have their own ways and styles of approach, but their voices unite in seeking Her benevolence and grace, celebrated across the country through this festival.
Muthuswami Dikshitar being a Sri Vidya Upasaka and the latter a hereditary priest at the Bangaru Kamakshi Amman Temple, Thanjavur. Dikshitar was initiated into Sri Vidya by Chidamabaranatha Yogi. His compositions on Devi contain Bijaksharas. His Navavaranam on Kamalamba is his significant contribution to the repertoire of Carnatic music. Being his birthplace, it is but natural that Dikshitar had a special attachment to Tiruvarur, especially to Kamalamba.
Worshipping Lalitha Parameswari in the form of Srichakra (the mystic Wheel) is considered the highest order of Devi Upasana. The Wheel has nine enclosures and at the center is the Bindu. Dikshitar has composed nine kirtans, each having details of the Chakra and Avarana. Majestic in style and composed in high-flown Sanskrit, the kritis reveal his profound knowledge in Mantra and Yantra Sastras. From the poetical and musical aspects, the tempo, the rhythm and above all, the fragrance of bhakti makes these compositions jewels that adorn Amba Parameswari.
All these composers have their own ways and styles of approach, but their voices unite in seeking Her benevolence and grace, celebrated across the country through this festival.
Here are Navavarna Kritis are set in praise of the Goddess Kamalamba who is enshrined in Tiruvarur in the Tanjore district of Tamil Nadu in South India. The Goddess is the reference to the Divine Mother of the Universe or the Supreme Consciousness.
The lyrics and the descriptive details are loaded with the mystical symbolism of the Vedantic (Advaita) tradition and the chakras of the human system are closely linked to the evolutionary aspects described in the compositions that reflect the scholarly reach, musical depth and mystical significance of the composer. Navavarna refers to the 9 layers of the Sri Chakra yantra, one of the primary modes of Devi worship. Each avarna has a deity associated with it, which is mentioned in each of the songs.
Musically, they are par excellence and the majestic sweep of well-known ragas (melodic forms) like Todi, Kalyani, Kambhoji, Sankarabharanam, Sahana, Anandabhairavi, and Bhairavi are offset against haunting melodies in lesser-known ragas like Punnagavarali, Ghanta, and Ahiri.
Dikshitar uses several talas (time measures) although Rupakam (3 beats) seems to be his favorite. Ata talam (14 beats) and Misra Jampa (10 beats) in the Kambhoji and Bhairavi pieces are rarely used because of the technical difficulty in executing these. An added element is the use of different case endings (which Dikshitar uses in his other group krities like the Abhayamba and Nilotpalamba set). The Dhyana (invocatory) Kriti in Todi is in the vocative case, followed by the Anandabhairavi in the nominative, Kalyani in the accusative, Sankarabharanam in the instrumental, Kambhoji in the dative, Bhairavi in the ablative and so on. The ninth avarana Kriti in Ahiri has all the cases; the raga itself has all the 22 Sruti (notes) in the octave. It is believed that such a fusion of all melodic and temporal elements in the same Kriti is a musical way of expressing the advaitic ideal of "Aham Brahmasmi" or complete union with the Absolute. Indeed, the Ahiri composition is very unusual musically especially the Pallavi which has a repeating and distinctive prose section, is seamlessly put together.
The set concludes with a short and sweet Mangalam (auspicious conclusion) in Sri ragam set in Khanda Ekam (5 beat talam). The entire set consists therefore of the dhyanam (invocation), the nine avaranas, and the Mangalam (conclusion), a total of 11 pieces.
Kamalaambike (Navavarnam: Dhyana Krithi)
Ragam: Thodi (8th melakarta)
ARO: S R1 G2 M1 P D1 N2 S ||
AVA: S N2 D1 P M1 G2 R1 S ||
Talam: Rupakam
Version: Bombay Sisters & Sita Rajan/MSS (Semmangudi version)
Composer: Muthuswami Dikshitar
Sahitya & Meanings courtesy: www.sangeetham.com
Pallavi
Kamaaneeya-Arunaam-Shuke Kara-Vidhruta-Shuke Maamava
Kamalaambike Ashrita Kalpalatike Chandike
Anupallavi:
Kamala-Aasana-Adi Poojita Kamalapade Bahu Varade
Sakala Loka Naayike Sangeeta Rasike Suka Vitva Pradaayike Sundari Gatamaayike
Kamala-Aalaya Teerttha Vaibhave Shive Karuna-Aarnave
Charanam
Vikalebara Muktidaana Nipune Agha-harane Viyadaadi Bhoota Kirane Vinoda Charane Arune
Kamalambika, You are the wish-fulfilling ("Ashita-Kalpa") creeper ("lathike") who protects those who surrender ("ashrita") unto You. You are of the form of Chandika, one of the ten aspects of Shakti known as Dasa Maha Vidya. You wear the beautiful ("kamaneeya") red ("Aruna") garment ("shuke"), representing rajo guna, necessary for the activities of the world (The Goddess it is, who conducts all the activities of the universe). You hold ("vidruta") the parrot ("shuka") in Your hand ("kara") thereby assuring devotees that you will destroy their ignorance. Pray, protect me ("maam-ava").
Sakale Guru Guhakarane Sadaa Shivaanta: Karane Akachata-tapaadi Varne Akhandaika-Rasa Purne
Meanings: (from www.sangeetham.com)
Brahma ("Kamala-asana") and other ("aadi") Gods worship ("poojita") Your Lotus ("Kamala") Feet ("pade"). You grant a variety ("bahu") of boons ("varade"). You are enshrined ("aalaya") in all your grandeur ("vaibhava") on the Kamalaya Tirtha and have bestowed incomparable glory on it (and the town of Tiruvarur). You are always auspicious ("shive") (alternatively-You are the consort of Lord Siva) and the ocean ("aarnave") of compassion ("karuna").
You are the Ruler ("naayike") of the universe ("Sakala Loka"). You are of the form of the melody ("rasike") in music ("san-Geeta") (You appreciate the aspirant who has reached a stage where the melody of the Heart comes out in the form known as Anahata shabdA, the perennial sound). You bestow ("pra-daayike") poetic ("suka") ability ("vitva") (Here, it may be noted that most of the ancient scriptures and sastras are in poetic form). You are the beautiful One ("Sundari") who causes ("gata") delusion ("maayike") but who are Yourself not deluded. You remove ("mukti-daana nipune") the worst sin ("vikalebara") of man, that of identifying himself with his body ("agha-harane"), thereby granting ("mukti-daana") vidEha mukti. You are the One from whom the Panchabhutas ("bhoota") beginning ("aadi") with Akasa ("viya"), emanate ("kirane"). The glory ("vinoda") of Your Holy Feet ("charane") that grants the Highest Bliss is marvelous and indescribable. You shine brilliantly in red ("arune"). You are the One who is the All ("sakale"), the One who manifests in all degrees of power from the lowest to the highest. You were instrumental in giving birth ("karane") to Lord Subrahmanya ("guruguha"). You are ("karane") the Heart ("antah") of Lord Siva ("sadaashiva"), therefore, verily, the Supreme Truth itself (You are the Fundamental Cause, the Supreme Truth that shines in the Heart Cave). You are the very embodiment ("varne") of the 50 letters ("a-ka-cha-ta-tapa-aadi") that form the root for all mantras. You are the One who is ever full ("purne") of that Boundless, Indivisible, Perennial ("akhanda-eka") Bliss ("rasa"). Oh, Mother of the universe, pray, protect me!
kamanIyAruNAm shukE: The Goddess dons the beautiful red garment. Red represents rajO guNA which is necessary for conducting the activities of the world.
karavidhruta shukE: One who holds the parrot in her hand. The parrot represents the jIvA that is enmeshed in ignorance. The esoteric meaning is that, the Goddess creates the ignorance as well as frees the jIvA, the individual from ignorance. Hence, She symbolically holds the parrot in her hand.
karunArNavE: Ocean of Compassion
gata mAyikE: The Goddess causes the delusion and ignorance through Her Maya, yet, She Herself does not suffer from delusion, for She is the Supreme Self.
vikaLEbara mukti: There are two kinds of mukti, jIvan mukti and vidEha mukti. A person who has realised the Self while in the body is a jIvan muktA. vidEha mukti is the transcendental state of Perfection obtained after a jIvan muktA leaves his body. But, for a jnAni, there is no difference between the two. Here, the esoteric meaning is that, the Goddess removes the ignorance of man who identifies himself with his body and thus suffers. She grants the boon of jnAnA and mOkshA that results in the destruction of the ego and the non-identification of the Self with the body.
agha haraNE: The One who
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