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Muttuswāmi Dīkṣitar

1775 – 1835 · Carnatic Trinity (Tri-mūrti) — the foundational period

Sanskrit-language saint-composer; codified the Śrī Vidyā tantra in song through the Kamalāmbā Navāvaraṇa, Navagraha, and Pañcabhūta-liṅga sets.

Biography

Muttuswāmi Dīkṣitar was born in Tiruvārūr on 24 March 1775 to Rāmaswāmi Dīkṣitar — himself a composer credited with introducing the rāga Hamsadhwani and composing a 108-rāga, 108-tāḷa rāgatāḷamālikā — and Subbamma. His brothers Bāluswāmi Dīkṣitar (1786–1858, who systematically adapted the European violin to Carnatic accompaniment) and Cinnaswāmi Dīkṣitar were also musicians, making this one of the great vāggēyakāra families of the period.

As a young man, Dīkṣitar travelled to Kāśī with Cidambaranātha Yogi, where he immersed himself in Śrī Vidyā tantric practice. Returning south, he became a wandering composer-yatri, visiting most of the major Śaiva and Śākta temples of the Tamil country. The pilgrimage produced his characteristic kṣetra-kṛtis — site-specific compositions packed with iconographic detail.

His three landmark sets — the Kamalāmbā Navāvaraṇa (eleven kṛtis on the Śrī Cakra at Tiruvārūr), the Navagraha (nine kṛtis on the planetary deities, 1819), and the Pañcabhūta-liṅga set (five Śiva-liṅgas as the five elements) — are not just concert pieces but ritual sequences. Each Navāvaraṇa kṛti embeds the geometry and yoginī-iconography of its specific āvaraṇa of the Śrī Yantra. The text-language is Sanskrit, the kāla is invariably vilambita (slow), and the gītī is Bhinnā.

He passed away in Ettayapuram on 21 October 1835 — Dīpāvali eve (Nāraka Caturdaśī by the lunar reckoning). His descendant Subbarama Dīkṣitar (1839–1906) compiled the canonical reference work Saṅgīta Sampradāya Pradarśinī (1904), preserving the rāga-svarūpa and dhātu of around 500 surviving kṛtis with notation in his own staff system. That work remains the primary citation source for raga + tāla attributions in this catalog.

Textual source

SSP (1904)

Saṅgīta Sampradāya Pradarśinī (Subbarama Dīkṣitar, 1904, Ettayapuram)

Compiled by Muttuswāmi's direct descendant Subbarama Dīkṣitar (1839–1906) under the patronage of the Rajah of Ettayapuram — the same court where Muttuswāmi spent his final years. The SSP notates 229 of his compositions in Subbarama's own staff system, including full gamaka markings. No other Dīkṣitar source has comparable authority.

Citation: Sangita Sampradaya Pradarsini, Subbarama Dikshitar, Ettayapuram, 1904. PD scans of the post-1904 reprints (1961, 1963, 1977, 1983 editions) are available via Internet Archive. T.M. Krishna's SSP Archival Project (2014–) provides recorded reference readings of each composition.

Mudrā signature

Signs with the mudrā "Guruguha" (his own name, also a name of Subrahmaṇya) usually in the charaṇam.

Birthplace

Tiruvārūr (the same temple town as Tyāgarāja — both born in 1767-1775)

Final years

Ettayapuram (modern Thoothukudi district, Tamil Nadu) — 21 Oct 1835

Lyrical language

Sanskrit (with a handful of Maṇipravāḷam pieces)

Signature gītī

Bhinnā

Signature gamaka

Dhālu-kampana (rolling extended oscillation)

Favoured ragas

Associated kṣetras

  • Tiruvārūr (birthplace + Kamalāmbā Navāvaraṇa)
  • Tiruvānaikkāval / Jambukēśvaram
  • Kāñcīpuram · Cidambaram · Tiruvaṇṇāmalai · Kāḷahasti (Pañcabhūta)
  • Madurai · Kāśī · Tirupati (yātrā kṣetras)

Kṛti catalog· 40 entries· 5 with full sahitya

Cards marked ▸ Full text expand to show the pallavi · anupallavi · charaṇa text from SSP (1904).

Kamalāmbā Navāvaraṇa· 11

Eleven kritis on Kamalāmbā at Tiruvārūr, mapped to the nine āvaraṇas of the Śrī Cakra plus dhyāna and maṅgaḷa. Each kriti embeds the geometry and yoginī-iconography of its specific āvaraṇa.

  • Kamalāmbam Bhajarē

    Kamalambam Bhajare

    56 BPM

    KalyāṇiĀdi Tāla→ Kamalāmbā (2nd āvaraṇa)

    2nd āvaraṇa — sarva-āśā-paripūraka cakra (16-petalled lotus)

    Opening sahitya

    Kamalāmbām bhajarē rē mānasā

    Raga preview · Kalyāṇi · Ādi Tāla
    Deep dive into Kamalāmbam Bhajarē →
    Section summary (pallavi · anupallavi · charaṇam)
    Pallavi
    'O mind — worship the lotus-mother Kamalāmbā.'
    Anupallavi
    Describes the 16-petalled lotus enclosure and its kalā-śaktis.
    Charaṇam
    Names the gupta-yoginīs of this āvaraṇa; closes with Guruguha mudrā.

    Source: Saṅgīta Sampradāya Pradarśinī (1904)

  • Kamalāmbike Avāva

    Kamalambike Avava

    50 BPM

    TōḍiRūpaka Tāla→ Kamalāmbā (dhyāna)

    Dhyāna kriti — meditation before the Navāvaraṇa āvaraṇas

    Opening sahitya

    Kamalāmbike avāva śrī kamalāmbike

    Raga preview · Tōḍi · Rūpaka Tāla
    Deep dive into Kamalāmbike Avāva →
    Section summary (pallavi · anupallavi · charaṇam)
    Pallavi
    'Mother Kamalāmbā — bestow grace, protect.'
    Anupallavi
    Visualises the goddess seated on the bindu of the Śrī Cakra.
    Charaṇam
    Sets the meditative ground for the nine āvaraṇa kritis to follow.

    Source: Saṅgīta Sampradāya Pradarśinī (1904)

  • Kamalāmbāyāḥ Paraṃ

    Kamalambayah Param

    48 BPM

    KāmbhōjiAṭa Tāla→ Kamalāmbā (4th āvaraṇa)

    Fourth āvaraṇa — sarvasaubhāgyadāyaka cakra

    Opening sahitya

    Kamalāmbāyāḥ paraṃ nahi rē

    Raga preview · Kāmbhōji · Aṭa Tāla
    Deep dive into Kamalāmbāyāḥ Paraṃ →
    Section summary (pallavi · anupallavi · charaṇam)
    Pallavi
    'There is nothing higher than Kamalāmbā.'
    Anupallavi
    Describes the fourth āvaraṇa, the bestower of all prosperity.
    Charaṇam
    Lists the fourteen yoginis of this cakra; closes with Guruguha mudrā.

    Source: Saṅgīta Sampradāya Pradarśinī (1904)

  • Śrī Kamalāmbikāyai Kanaka

    Sri Kamalambikayai Kanaka

    52 BPM

    PunnāgavarāḷiĀdi Tāla→ Kamalāmbā (6th āvaraṇa)

    Sixth āvaraṇa — sarva-rakṣākara cakra (all-protecting)

    Opening sahitya

    Śrī kamalāmbikāyai kanaka-mayā

    Raga preview · Punnāgavarāḷi · Ādi Tāla
    Deep dive into Śrī Kamalāmbikāyai Kanaka →
    Section summary (pallavi · anupallavi · charaṇam)
    Pallavi
    'Salutations to Kamalāmbā — radiant as gold.'
    Anupallavi
    Sixth āvaraṇa with the eight protective yoginis.
    Charaṇam
    Closes with Guruguha mudrā; affirms the goddess's protection.

    Source: Saṅgīta Sampradāya Pradarśinī (1904)

  • Kamalāmbā Saṃrakṣatu

    Kamalamba Samrakshatu

    50 BPM

    ĀnandabhairavīMiśra Chāpu→ Kamalāmbā (1st āvaraṇa)

    First āvaraṇa — trailokyamohana cakra (square enclosure)

    Opening sahitya

    Kamalāmbā saṃrakṣatu māṃ

    Raga preview · Ānandabhairavī · Miśra Chāpu
    Deep dive into Kamalāmbā Saṃrakṣatu →
    Section summary (pallavi · anupallavi · charaṇam)
    Pallavi
    'May Kamalāmbā protect me.'
    Anupallavi
    Describes the outermost square enclosure with its ten siddhis.
    Charaṇam
    Lists the eight mātṛkā guardians; closes with Guruguha mudrā.

    Source: Saṅgīta Sampradāya Pradarśinī (1904)

  • Śrī Kamalāmbikāyāḥ

    Sri Kamalambikayah

    52 BPM

    ŚaṅkarābharaṇamRūpaka Tāla→ Kamalāmbā (3rd āvaraṇa)

    Third āvaraṇa — sarvasaṅkṣobhaṇa cakra (eight-petalled lotus)

    Opening sahitya

    Śrī kamalāmbikāyāḥ kaṭākṣa-vīkṣaṇena

    Raga preview · Śaṅkarābharaṇam · Rūpaka Tāla
    Deep dive into Śrī Kamalāmbikāyāḥ →
    Section summary (pallavi · anupallavi · charaṇam)
    Pallavi
    'By a side-glance of Śrī Kamalāmbikā — all is accomplished.'
    Anupallavi
    The eight-petalled lotus carrying the gupta-yoginis.
    Charaṇam
    Salutes the goddess as Vāgdevī; closes with Guruguha mudrā.

    Source: Saṅgīta Sampradāya Pradarśinī (1904)

  • Śrī Kamalāmbikā

    Sri Kamalambika

    50 BPM

    BhairavīJhampa Tāla→ Kamalāmbā (5th āvaraṇa)

    Fifth āvaraṇa — sarvārthasādhaka cakra (outer triangle)

    Opening sahitya

    Śrī kamalāmbikā prakāśinī

    Raga preview · Bhairavī · Jhampa Tāla
    Deep dive into Śrī Kamalāmbikā →
    Section summary (pallavi · anupallavi · charaṇam)
    Pallavi
    'Śrī Kamalāmbikā — radiant illuminator.'
    Anupallavi
    Outer-triangle cakra bestowing every accomplishment.
    Charaṇam
    Praises the ten śakti-yoginīs of this enclosure; Guruguha mudrā.

    Source: Saṅgīta Sampradāya Pradarśinī (1904)

  • Śrī Kamalāmbikāyāṃ

    Sri Kamalambikayam

    56 BPM

    SahānāTriputa Tāla→ Kamalāmbā (7th āvaraṇa)

    Seventh āvaraṇa — sarvarogahara cakra (eight-triangle locus, healing)

    Opening sahitya

    Śrī kamalāmbikāyāṃ bhaktiṃ karomi

    Raga preview · Sahānā · Triputa Tāla
    Deep dive into Śrī Kamalāmbikāyāṃ →
    Section summary (pallavi · anupallavi · charaṇam)
    Pallavi
    'I make my devotion in Śrī Kamalāmbikā.'
    Anupallavi
    Eight-triangle yantra removing all disease.
    Charaṇam
    Lists the eight āyudha-śaktis; closes with Guruguha mudrā.

    Source: Saṅgīta Sampradāya Pradarśinī (1904)

  • Śrī Kamalāmbāyāṃ

    Sri Kamalambayam

    52 BPM

    GhaṇṭāAṭa Tāla→ Kamalāmbā (8th āvaraṇa)

    Eighth āvaraṇa — sarvasiddhipradā cakra (inner triangle, siddhi-bestower)

    Opening sahitya

    Śrī kamalāmbāyāṃ bhaktiṃ karomi

    Raga preview · Ghaṇṭā · Aṭa Tāla
    Deep dive into Śrī Kamalāmbāyāṃ →
    Section summary (pallavi · anupallavi · charaṇam)
    Pallavi
    'My devotion rests in Śrī Kamalāmbā.'
    Anupallavi
    Inner triangle bestowing every siddhi to the adept.
    Charaṇam
    Names the three yoginīs of this triangle; Guruguha mudrā.

    Source: Saṅgīta Sampradāya Pradarśinī (1904)

  • Śrī Kamalāmbike

    Sri Kamalambike

    48 BPM

    ĀhirīRūpaka Tāla→ Kamalāmbā (9th āvaraṇa — bindu)

    Ninth and innermost āvaraṇa — sarvānandamayī cakra (bindu, supreme bliss)

    Opening sahitya

    Śrī kamalāmbike avāva śaṅkari

    Raga preview · Āhirī · Rūpaka Tāla
    Deep dive into Śrī Kamalāmbike →
    Section summary (pallavi · anupallavi · charaṇam)
    Pallavi
    'Śrī Kamalāmbikā, mother Śaṅkari — protect me.'
    Anupallavi
    The bindu, supreme abode of all-bliss.
    Charaṇam
    Affirms the goddess as the singular reality; Guruguha mudrā.

    Source: Saṅgīta Sampradāya Pradarśinī (1904)

  • Śrī Kamalāmbā Jayati

    Sri Kamalamba Jayati

    56 BPM

    ĀhirīRūpaka Tāla→ Kamalāmbā (maṅgaḷa)

    Maṅgaḷa concluding the Navāvaraṇa — auspicious closing summary

    Opening sahitya

    Śrī kamalāmbā jayati ambā jayati

    Raga preview · Āhirī · Rūpaka Tāla
    Deep dive into Śrī Kamalāmbā Jayati →
    Section summary (pallavi · anupallavi · charaṇam)
    Pallavi
    'Victory to Śrī Kamalāmbā — victory to the Mother.'
    Anupallavi
    Recapitulates the nine āvaraṇas as a single integrated yantra.
    Charaṇam
    Closes the Navāvaraṇa cycle with the Guruguha mudrā signature.

    Source: Saṅgīta Sampradāya Pradarśinī (1904)

Navagraha· 9

Nine kritis on the planetary deities (1819, Tiruvārūr). Each closes with the Guruguha mudrā. Performed as a sequence to invoke graha-śānti.

  • Sūryamūrte Namostute

    Suryamurte Namostute

    58 BPM

    SauraṣṭraRūpaka Tāla→ Sūrya (Sun)

    Salutation to the Sun — health, lustre and clarity

    Opening sahitya

    Sūryamūrte namostute sundara chāyādhipate

    Raga preview · Sauraṣṭra · Rūpaka Tāla
    Deep dive into Sūryamūrte Namostute →
    Section summary (pallavi · anupallavi · charaṇam)
    Pallavi
    'Salutations to the Sun-form — lord of brilliant shadow.'
    Anupallavi
    Describes the Sun as the eye of the world, mounted on the seven-horse chariot.
    Charaṇam
    Invokes Sūrya as remover of disease; closes with Guruguha mudrā.

    Source: Saṅgīta Sampradāya Pradarśinī (1904)

  • Candraṃ Bhaja Mānasa

    Chandram Bhaja Manasa

    56 BPM

    AsāveriRūpaka Tāla→ Candra (Moon)

    Worship the Moon — coolness, mind, soma-essence

    Opening sahitya

    Candraṃ bhaja mānasa sādaram

    Raga preview · Asāveri · Rūpaka Tāla
    Deep dive into Candraṃ Bhaja Mānasa →
    Section summary (pallavi · anupallavi · charaṇam)
    Pallavi
    'O mind, worship the Moon with reverence.'
    Anupallavi
    Praises Soma as lord of the constellations, the cool nectar.
    Charaṇam
    Invokes the moon's grace on the mind; closes with Guruguha mudrā.

    Source: Saṅgīta Sampradāya Pradarśinī (1904)

  • Aṅgārakam Āśrayāmyaham

    Angarakam Ashrayamyaham

    62 BPM

    SuraṭiRūpaka Tāla→ Aṅgāraka / Maṅgaḷa (Mars)

    Taking refuge in Mars — energy, victory in war

    Opening sahitya

    Aṅgārakam āśrayāmyaham mārtikam

    Raga preview · Suraṭi · Rūpaka Tāla
    Deep dive into Aṅgārakam Āśrayāmyaham →
    Section summary (pallavi · anupallavi · charaṇam)
    Pallavi
    'I take refuge in Aṅgāraka — the son of earth.'
    Anupallavi
    Mars on the ram vāhana, śakti weapon in red garb.
    Charaṇam
    Invokes courage and victory; closes with Guruguha mudrā.

    Source: Saṅgīta Sampradāya Pradarśinī (1904)

  • Budhamāśrayāmi

    Budhamashrayami

    60 BPM

    NāṭakurañjīRūpaka Tāla→ Budha (Mercury)

    Refuge in Mercury — intellect, learning, eloquence

    Opening sahitya

    Budhamāśrayāmi satatam

    Raga preview · Nāṭakurañjī · Rūpaka Tāla
    Deep dive into Budhamāśrayāmi →
    Section summary (pallavi · anupallavi · charaṇam)
    Pallavi
    'I take constant refuge in Mercury.'
    Anupallavi
    Budha on the lion vāhana — bestower of wisdom and speech.
    Charaṇam
    Praises Budha as son of Soma; closes with Guruguha mudrā.

    Source: Saṅgīta Sampradāya Pradarśinī (1904)

  • Bṛhaspatē Tāraputē

    Brihaspate Tarapute

    60 BPM

    AṭāṇaTriputa Tāla→ Bṛhaspati / Guru (Jupiter)

    Salutation to the preceptor of the gods — wisdom, prosperity

    Opening sahitya

    Bṛhaspatē tāraputē

    Raga preview · Aṭāṇa · Triputa Tāla
    Deep dive into Bṛhaspatē Tāraputē →
    Section summary (pallavi · anupallavi · charaṇam)
    Pallavi
    'O Bṛhaspati — son of Tāra, preceptor of the gods.'
    Anupallavi
    Jupiter on the lion-throne, holder of staff and rosary.
    Charaṇam
    Bestower of dharma and prosperity; closes with Guruguha mudrā.

    Source: Saṅgīta Sampradāya Pradarśinī (1904)

  • Śrī Śukra Bhagavantam

    Sri Shukra Bhagavantam

    58 BPM

    PharajuRūpaka Tāla→ Śukra (Venus)

    The Venus-deity — preceptor of the asuras, granter of beauty

    Opening sahitya

    Śrī śukra bhagavantam citrabhānu sutam

    Raga preview · Pharaju · Rūpaka Tāla
    Deep dive into Śrī Śukra Bhagavantam →
    Section summary (pallavi · anupallavi · charaṇam)
    Pallavi
    'Glory to Lord Śukra — son of the bright-rayed sage.'
    Anupallavi
    Venus on white vāhana, preceptor of the asuras.
    Charaṇam
    Grants kāvya and the arts; closes with Guruguha mudrā.

    Source: Saṅgīta Sampradāya Pradarśinī (1904)

  • Divākara Tanujaṃ

    Divakara Tanujam

    50 BPM

    YadukulakāmbhōjiRūpaka Tāla→ Śani (Saturn)

    Son of the Sun — the slow-mover, lord of karmic dispensation

    Opening sahitya

    Divākara tanujaṃ śanaiścaram

    Raga preview · Yadukulakāmbhōji · Rūpaka Tāla
    Deep dive into Divākara Tanujaṃ →
    Section summary (pallavi · anupallavi · charaṇam)
    Pallavi
    'I bow to Śanaiścara — son of the Sun, the slow-mover.'
    Anupallavi
    Saturn on the crow vāhana, lord of karmic justice.
    Charaṇam
    Pacifies hardship through devotion; closes with Guruguha mudrā.

    Source: Saṅgīta Sampradāya Pradarśinī (1904)

  • Smarāmyaham Sadā Rāhum

    Smaramyaham Sada Rahum

    56 BPM

    RāmamanōhariRūpaka Tāla→ Rāhu (north lunar node)

    Constant remembrance of Rāhu — release from eclipses of fate

    Opening sahitya

    Smarāmyaham sadā rāhum

    Raga preview · Rāmamanōhari · Rūpaka Tāla
    Deep dive into Smarāmyaham Sadā Rāhum →
    Section summary (pallavi · anupallavi · charaṇam)
    Pallavi
    'I always remember Rāhu — chāyā-graha of the north node.'
    Anupallavi
    Rāhu seated on the lion-headed seat, dark of complexion.
    Charaṇam
    Releases the bhakta from karmic eclipses; closes with Guruguha mudrā.

    Source: Saṅgīta Sampradāya Pradarśinī (1904)

  • Mahāsuraṃ Kētumahaṃ

    Mahasuram Ketumaham

    54 BPM

    SāramatiRūpaka Tāla→ Kētu (south lunar node)

    Mahā-Kētu — completion of the planetary cycle, mokṣa-graha

    Opening sahitya

    Mahāsuraṃ kētumahaṃ āśraye

    Raga preview · Sāramati · Rūpaka Tāla
    Deep dive into Mahāsuraṃ Kētumahaṃ →
    Section summary (pallavi · anupallavi · charaṇam)
    Pallavi
    'I take refuge in mahā-Kētu, lord of the south node.'
    Anupallavi
    Kētu seated on a vulture, dragon-form, vibhūti-marked.
    Charaṇam
    Bestows liberation from karmic knots; closes with Guruguha mudrā.

    Source: Saṅgīta Sampradāya Pradarśinī (1904)

Pañcabhūta-liṅga· 5

Five kritis on the five elemental Śiva-liṅga temples: pṛthvī (earth, Kāñcī), āpaḥ (water, Jambukēśvaram), tejas (fire, Tiruvaṇṇāmalai), vāyu (air, Kāḷahasti), ākāśa (space, Cidambaram).

  • Śrī Kālahastīśa

    Sri Kalahastisha

    50 BPM

    HuseniJhampa Tāla→ Vāyu-liṅga (Kāḷahasti — air element)

    Śrī Kālahastīśvara — the air-liṅga at Kāḷahasti

    Opening sahitya

    Śrī kālahastīśa śiva

    Raga preview · Huseni · Jhampa Tāla
    Deep dive into Śrī Kālahastīśa →
    Section summary (pallavi · anupallavi · charaṇam)
    Pallavi
    'Salutations to Śrī Kālahastīśa — Śiva as air-liṅga.'
    Anupallavi
    Describes the flickering oil-lamp that never extinguishes — proof of vāyu-tattva.
    Charaṇam
    Praises the kṣetra and its mythic devotees; Guruguha mudrā.

    Source: Saṅgīta Sampradāya Pradarśinī (1904)

  • Jambūpatē

    Jambupate

    56 BPM

    YamunākalyāṇiRūpaka Tāla→ Āpaḥ-liṅga (Jambukēśvaram — water element)

    Jambūpati — the water-liṅga at Tiruvānaikkāval

    Opening sahitya

    Jambūpatē māṃ pāhi

    Raga preview · Yamunākalyāṇi · Rūpaka Tāla
    Deep dive into Jambūpatē →
    Section summary (pallavi · anupallavi · charaṇam)
    Pallavi
    'O Jambūpati — protect me.'
    Anupallavi
    The under-water spring at the sanctum proving āpaḥ-tattva.
    Charaṇam
    Salutes Akhilāṇḍeśvarī as consort; closes with Guruguha mudrā.

    Source: Saṅgīta Sampradāya Pradarśinī (1904)

  • Cidambarēśam

    Chidambaresham

    54 BPM

    BilahariRūpaka Tāla→ Ākāśa-liṅga (Cidambaram — space element)

    Cidambarēśa Naṭarāja — the space-liṅga (no visible form, only ākāśa)

    Opening sahitya

    Cidambarēśam āśraye

    Raga preview · Bilahari · Rūpaka Tāla
    Deep dive into Cidambarēśam →
    Section summary (pallavi · anupallavi · charaṇam)
    Pallavi
    'I take refuge in Cidambarēśa — Śiva as space-liṅga.'
    Anupallavi
    The invisible ākāśa-liṅga in the cit-sabhā at Cidambaram.
    Charaṇam
    Recalls the dance of Naṭarāja; closes with Guruguha mudrā.

    Source: Saṅgīta Sampradāya Pradarśinī (1904)

  • Aruṇācala Nāthaṃ

    Arunachala Natham

    52 BPM

    SāramatiRūpaka Tāla→ Tejas-liṅga (Tiruvaṇṇāmalai — fire element)

    Aruṇācalanātha — the fire-liṅga at Tiruvaṇṇāmalai

    Opening sahitya

    Aruṇācala nāthaṃ smarāmi

    Raga preview · Sāramati · Rūpaka Tāla
    Deep dive into Aruṇācala Nāthaṃ →
    Section summary (pallavi · anupallavi · charaṇam)
    Pallavi
    'I remember Aruṇācalanātha — Śiva as fire-liṅga.'
    Anupallavi
    The luminous mountain that is the tejas-tattva itself.
    Charaṇam
    Recalls the kārtikai-dīpa festival; closes with Guruguha mudrā.

    Source: Saṅgīta Sampradāya Pradarśinī (1904)

  • Ekāmranāthēśvaraṃ

    Ekamranatheshwaram

    50 BPM

    CāmaramRūpaka Tāla→ Pṛthvī-liṅga (Kāñcīpuram — earth element)

    Ekāmranātha — the earth-liṅga at Kāñcīpuram (made of clay)

    Opening sahitya

    Ekāmranāthēśvaraṃ bhajēham

    Raga preview · Cāmaram · Rūpaka Tāla
    Deep dive into Ekāmranāthēśvaraṃ →
    Section summary (pallavi · anupallavi · charaṇam)
    Pallavi
    'I worship Ekāmranāthēśvara — Śiva as the earth-liṅga.'
    Anupallavi
    The mango-tree liṅga of Kāñcī, eternally moist with Kāmākṣī's embrace.
    Charaṇam
    Praises Kāñcī kṣetra; closes with Guruguha mudrā.

    Source: Saṅgīta Sampradāya Pradarśinī (1904)

Kṣetra· 6

Site-specific compositions tied to particular temples and consecrated icons.

  • Akhilāṇḍeśvari

    Akhilandeshwari

    60 BPM

    DvijāvantiRūpaka Tāla▸ Full text→ Akhilāṇḍeśvarī (Jambukēśvaram)

    Goddess of the whole universe — Jambukēśvaram śrī

    Opening sahitya

    Akhilāṇḍeśvari rakṣa mām

    Raga preview · Dvijāvanti · Rūpaka Tāla
    Deep dive into Akhilāṇḍeśvari →
    Full sahitya · Saṅgīta Sampradāya Pradarśinī (1904)

    Pallavi

    Akhilāṇḍeśvari rakṣa mām, āgama-sampradāya-nipuṇē

    Goddess of the entire universe — protect me, O mistress versed in the āgama tradition.

    Anupallavi theme

    Description of Akhilāṇḍeśvarī at Jambukēśvaram

    The anupallavi describes the goddess as she resides at Jambukēśvaram (Tiruvānaikkāval), consort of Jambukēśvara, the water-liṅga of the Pañcabhūta set.

    Section summary (pallavi · anupallavi · charaṇam)
    Pallavi
    'Goddess of the entire universe — protect me.'
    Anupallavi
    Describes the Jambukēśvaram kṣetra and the goddess's form.
    Charaṇam
    Invokes Devī as the source of all śakti.

    Source: Saṅgīta Sampradāya Pradarśinī (1904)

  • Ānanda Naṭana Prakāśam

    Ananda Natana Prakasham

    56 BPM

    KēdāramMiśra Chāpu▸ Full text→ Naṭarāja (Cidambaram)

    The radiance of joyful dance — Cidambaram-Naṭarāja

    Opening sahitya

    Ānanda naṭana prakāśam citsabhēśam

    Raga preview · Kēdāram · Miśra Chāpu
    Deep dive into Ānanda Naṭana Prakāśam →
    Full sahitya · Saṅgīta Sampradāya Pradarśinī (1904)

    Pallavi

    Ānanda naṭana prakāśam, citsabhēśam āśraye, śiva-kāmavalli-mānasa-vāsam

    I take refuge in the lord of the hall of consciousness (Cit-sabhā), illumined by joyful dance — who dwells in the heart of Śiva-Kāmavalli (Pārvatī).

    Charaṇam theme

    Five-fold dance of Naṭarāja at Cidambaram — creation, sustenance, dissolution, concealment, grace

    The body of the kṛti enumerates the pañca-kṛtya (five cosmic acts) embodied in Śiva's dance: sṛṣṭi, sthiti, saṃhāra, tirobhāva, anugraha. Closes with the Guruguha mudrā.

    Section summary (pallavi · anupallavi · charaṇam)
    Pallavi
    'Lord of the hall of consciousness — illumined by joyful dance.'
    Anupallavi
    Recalls the five-fold action of the dancing Śiva.
    Charaṇam
    Closes with Guruguha mudrā signature.

    Source: Saṅgīta Sampradāya Pradarśinī (1904)

  • Mīnākṣi Mē Mudam

    Minakshi Me Mudam

    64 BPM

    Pūrvī KalyāṇiĀdi Tāla▸ Full text→ Mīnākṣi (Madurai)

    Mīnākṣi — fish-eyed goddess of Madurai grants delight

    Opening sahitya

    Mīnākṣi mē mudam dehi

    Raga preview · Pūrvī Kalyāṇi · Ādi Tāla
    Deep dive into Mīnākṣi Mē Mudam →
    Full sahitya · Saṅgīta Sampradāya Pradarśinī (1904)

    Pallavi

    Mīnākṣi mē mudam dehi, mēcakāṅgi rāja-mātaṅgi

    Mīnākṣi (the fish-eyed goddess), bestow delight upon me — dark-bodied one, royal Mātaṅgī.

    Anupallavi theme

    Praise of Mīnākṣi at Madurai, her marriage to Sundareśvara

    Describes her form, her wedding to Sundareśvara, and the splendour of Madurai. The kṛti is in Pūrvī Kalyāṇi (a janya of mela 53 Gamanaśrama).

    Section summary (pallavi · anupallavi · charaṇam)
    Pallavi
    'Mīnākṣi — bestow delight upon me.'
    Anupallavi
    Praises her beauty, her wedding to Sundareśvara.
    Charaṇam
    Lists her qualities and the splendour of Madurai.

    Source: Saṅgīta Sampradāya Pradarśinī (1904)

  • Annapūrṇē Viśālākṣi

    Annapurne Vishalakshi

    60 BPM

    SāmaRūpaka Tāla→ Annapūrṇā (Kāśī)

    Annapūrṇā of Kāśī — feeder of all beings

    Opening sahitya

    Annapūrṇē viśālākṣi

    Raga preview · Sāma · Rūpaka Tāla
    Deep dive into Annapūrṇē Viśālākṣi →
    Section summary (pallavi · anupallavi · charaṇam)
    Pallavi
    'O Annapūrṇā with wide eyes — Lady of Kāśī.'
    Anupallavi
    Visualises her in Kāśī with the golden ladle.
    Charaṇam
    Praises her power to feed the cosmos.

    Source: Saṅgīta Sampradāya Pradarśinī (1904)

  • Tyāgarāja Yōga Vaibhavam

    Tyagaraja Yoga Vaibhavam

    60 BPM

    ĀnandabhairavīRūpaka Tāla→ Tyāgarāja-Śiva (Tiruvārūr temple — not the saint-composer)

    The yogic splendour of Tyāgarāja-Śiva at Tiruvārūr (a Śaiva mūrti, not the saint)

    Opening sahitya

    Tyāgarāja yōga vaibhavam

    Raga preview · Ānandabhairavī · Rūpaka Tāla
    Deep dive into Tyāgarāja Yōga Vaibhavam →
    Section summary (pallavi · anupallavi · charaṇam)
    Pallavi
    'The yogic splendour of Tyāgarāja' — here addressing Śiva of Tiruvārūr, not Saint Tyāgarāja of the previous page.
    Anupallavi
    Describes the unique somāskanda iconography of Śiva at this shrine.
    Charaṇam
    Lists tantric attributes of the deity; closes with Guruguha mudrā.

    Source: Saṅgīta Sampradāya Pradarśinī (1904)

  • Brahmā Bhajarē Mānasa

    Brahma Bhajare Manasa

    56 BPM

    VasantaRūpaka Tāla→ Brahmā (Kumbhakōṇam)

    Praise of Brahmā at Kumbhakōṇam — creator-deity

    Opening sahitya

    Brahmā bhajarē mānasa caturānanam

    Raga preview · Vasanta · Rūpaka Tāla
    Deep dive into Brahmā Bhajarē Mānasa →
    Section summary (pallavi · anupallavi · charaṇam)
    Pallavi
    'O mind, worship Brahmā the four-faced creator.'
    Anupallavi
    Describes Brahmā at Kumbhakōṇam, the four Vedas in his hands.
    Charaṇam
    Praises him as bestower of speech and knowledge; closes with mudrā.

    Source: Saṅgīta Sampradāya Pradarśinī (1904)

Bhakti· 7

General devotional kritis to a wide range of deities.

  • Śrī Subrahmaṇyāya

    Sri Subrahmanyaya

    60 BPM

    KhambojiRūpaka Tāla→ Subrahmaṇya (Murugan)

    Praise of Subrahmaṇya — protection of the bhakta

    Opening sahitya

    Śrī subrahmaṇyāya namaste

    Raga preview · Khamboji · Rūpaka Tāla
    Deep dive into Śrī Subrahmaṇyāya →
    Section summary (pallavi · anupallavi · charaṇam)
    Pallavi
    'Salutations to Śrī Subrahmaṇya — six-faced lord.'
    Anupallavi
    Describes the six faces, the peacock vāhana, the śakti spear.
    Charaṇam
    Closes with Guruguha mudrā.

    Source: Saṅgīta Sampradāya Pradarśinī (1904)

  • Hiraṇmayīm

    Hiranmayim

    56 BPM

    LalitāRūpaka Tāla→ Lakṣmī

    The golden goddess — Lakṣmī

    Opening sahitya

    Hiraṇmayīm lakṣmīm sadā bhajāmi

    Raga preview · Lalitā · Rūpaka Tāla
    Deep dive into Hiraṇmayīm →
    Section summary (pallavi · anupallavi · charaṇam)
    Pallavi
    'I always worship the golden Lakṣmī.'
    Anupallavi
    Praises Lakṣmī's emergence from the milky ocean.
    Charaṇam
    Lists her qualities and gifts to the devotee.

    Source: Saṅgīta Sampradāya Pradarśinī (1904)

  • Śrī Varalakṣmi

    Sri Varalakshmi

    60 BPM

    ŚrīRūpaka Tāla→ Varalakṣmī

    The boon-granting Lakṣmī — Varalakṣmī vrata

    Opening sahitya

    Śrī varalakṣmi namastubhyam

    Raga preview · Śrī · Rūpaka Tāla
    Deep dive into Śrī Varalakṣmi →
    Section summary (pallavi · anupallavi · charaṇam)
    Pallavi
    'Salutations to Śrī Varalakṣmī — granter of boons.'
    Anupallavi
    Recounts the worship offered on Varalakṣmī vrata day.
    Charaṇam
    Lists the eightfold prosperity she grants.

    Source: Saṅgīta Sampradāya Pradarśinī (1904)

  • Bālasubrahmaṇyam

    Balasubrahmanyam

    76 BPM

    SuruttiĀdi Tāla→ Bāla Subrahmaṇya

    The child Subrahmaṇya — pure, swift, grace-bearing

    Opening sahitya

    Bālasubrahmaṇyam bhajēham

    Raga preview · Surutti · Ādi Tāla
    Deep dive into Bālasubrahmaṇyam →
    Section summary (pallavi · anupallavi · charaṇam)
    Pallavi
    'I worship the child Subrahmaṇya.'
    Anupallavi
    Describes his peacock vāhana, his spear-śakti.
    Charaṇam
    Closes with Guruguha mudrā signature.

    Source: Saṅgīta Sampradāya Pradarśinī (1904)

  • Cintāmaṇi Cintayāmyaham

    Chintamani Chintayamyaham

    56 BPM

    BhairavīRūpaka Tāla→ Cintāmaṇi Gaṇapati

    Meditation on Cintāmaṇi-Gaṇeśa, wish-fulfilling jewel

    Opening sahitya

    Cintāmaṇi cintayāmyaham

    Raga preview · Bhairavī · Rūpaka Tāla
    Deep dive into Cintāmaṇi Cintayāmyaham →
    Section summary (pallavi · anupallavi · charaṇam)
    Pallavi
    'I meditate on Cintāmaṇi — the wish-fulfilling jewel-form of Gaṇeśa.'
    Anupallavi
    Praises Gaṇeśa bearing the wish-jewel and modaka.
    Charaṇam
    Removes obstacles and fulfils every desire; closes with Guruguha mudrā.

    Source: Saṅgīta Sampradāya Pradarśinī (1904)

  • Ardhanārīśvaraṃ Ārādhayāmi

    Ardhanarishwaram Aradhayami

    54 BPM

    KumudakriyāRūpaka Tāla→ Ardhanārīśvara

    Adoration of the half-male, half-female form of Śiva-Pārvatī

    Opening sahitya

    Ardhanārīśvaraṃ ārādhayāmi

    Raga preview · Kumudakriyā · Rūpaka Tāla
    Deep dive into Ardhanārīśvaraṃ Ārādhayāmi →
    Section summary (pallavi · anupallavi · charaṇam)
    Pallavi
    'I adore Ardhanārīśvara — the half-female lord.'
    Anupallavi
    Describes the dual form — Śiva on the right, Pārvatī on the left.
    Charaṇam
    Lists the iconography of each half; closes with Guruguha mudrā.

    Source: Saṅgīta Sampradāya Pradarśinī (1904)

  • Nīlakaṇṭhaṃ Bhajeham

    Nilakantham Bhajeham

    58 BPM

    KēdāragauḷaMiśra Chāpu→ Nīlakaṇṭha Śiva

    Praise of the blue-throated Śiva who drank the world-poison

    Opening sahitya

    Nīlakaṇṭhaṃ bhajeham nityam

    Raga preview · Kēdāragauḷa · Miśra Chāpu
    Deep dive into Nīlakaṇṭhaṃ Bhajeham →
    Section summary (pallavi · anupallavi · charaṇam)
    Pallavi
    'I daily worship Nīlakaṇṭha — the blue-throated.'
    Anupallavi
    Recalls the churning of the milk-ocean and Śiva drinking the halāhala.
    Charaṇam
    Salutes Śiva as cosmic protector; closes with Guruguha mudrā.

    Source: Saṅgīta Sampradāya Pradarśinī (1904)

Prayer· 2

Concert openings and salutations.

  • Vātāpi Gaṇapatim

    Vatapi Ganapatim

    70 BPM

    HaṃsadhvaniĀdi Tāla▸ Full text→ Vātāpi Gaṇapati

    Invocation of Gaṇeśa — opening of every concert

    Opening sahitya

    Vātāpi gaṇapatim bhajēham

    Pallavi · Haṃsadhvani · Ādi Tāla
    Deep dive into Vātāpi Gaṇapatim →
    Full sahitya · Saṅgīta Sampradāya Pradarśinī (1904)

    Pallavi

    Vātāpi gaṇapatim bhajeham, vāraṇāsyam vara-pradam, śrī

    I worship Vātāpi-Gaṇapati, the elephant-faced granter of boons.

    Anupallavi

    Bhūtādi-saṃsevita-caraṇam, bhūta-bhautika-prapañca-bharaṇam, vīta-rāgiṇaṃ vinata-yōginam, viśva-kāraṇaṃ vighna-vāraṇam

    Whose feet are served by the bhūtas (primordial powers); who bears up the entire bhautika (material) universe; free of passion; revered by the yogis; cause of the universe; remover of obstacles.

    Charaṇam

    Purā-kumbha-sambhava-munivarya-prapūjitam, trikōṇa-madhya-gatam, mūla-vighna-vināśakaram

    Worshipped by the great sage Agastya (born from a pot in ancient times); seated at the centre of the primal triangle; destroyer of the root-obstacles. Closes with the Guruguha mudrā.

    Section summary (pallavi · anupallavi · charaṇam)
    Pallavi
    'I worship Vātāpi-Gaṇapati' — bow at the start of every endeavour.
    Anupallavi
    Describes Gaṇeśa's brilliant pearl-jewelled form.
    Charaṇam
    Lists his attributes — pure consciousness, remover of obstacles.

    Source: Saṅgīta Sampradāya Pradarśinī (1904)

  • Mahā Gaṇapatim

    Maha Ganapatim

    72 BPM

    NaṭanārāyaṇīĀdi Tāla▸ Full text→ Mahā Gaṇapati

    The Great Gaṇapati — primal invocation

    Opening sahitya

    Mahā gaṇapatim manasā smarāmi

    Raga preview · Naṭanārāyaṇī · Ādi Tāla
    Deep dive into Mahā Gaṇapatim →
    Full sahitya · Saṅgīta Sampradāya Pradarśinī (1904)

    Pallavi

    Mahā gaṇapatim manasā smarāmi, vāgīśādi sura-pūjitam

    I contemplate the great Gaṇapati in my mind — worshipped by Vāgīśa (Brahmā) and the other gods.

    Anupallavi theme

    Praise of Gaṇapati as the firstborn of Śiva-Pārvatī

    The anupallavi praises Gaṇapati as the elder son of Śiva and Pārvatī, leader of the gaṇas. The kṛti is in Naṭanārāyaṇī, a rare janya raga of mela 28 Hariḳāmbhōji.

    Section summary (pallavi · anupallavi · charaṇam)
    Pallavi
    'I contemplate the Great Gaṇapati in my mind.'
    Anupallavi
    Praises Gaṇapati as the firstborn of Śiva.
    Charaṇam
    Lists Gaṇeśa's powers and attributes.

    Source: Saṅgīta Sampradāya Pradarśinī (1904)

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