Important points to be noted in connection with various kritis composed by Pujya Guruji Brahmasri Kollegal R. Subramanyam from time to time during his life time (September 11, 1929 to 6th August 2016)
(Written by Guruji in his Diary of Year 2006 in Telugu. He was showing me this diary while writing and said sahityam of all the kritis composed will be in this diary all in one place. He has given “Mukhya Gamanika” after sets of kritis in most places in this diary which I am trying to translate here)
Title: Sadguru Panchakam (set of 5 kritis on Sri Thyagaraja, Sri Purandaradasa, Sri Syama Sastri, Sri Muthuswami Dikshitar and Sri Pudukottai Gopalakrishna Bhagavathar)
I landed in Hyderabad (Bhagyanagaram) on 8th May 1953 , set up my family here, taught music classes and chose sangeetha sadhana as my one and only goal of life. In the year 1963 I had the good fortune of meeting Pujya Bhagavatha Shiromani Gopalakrishna Bhagavatha Swamy and on March 30, 1970 I also had the good fortune of receiving the Unchavrutti (also called Madhukaravrutti) Deeksha from him. Due to his ill-health during the months of February-March 1970 he had to stay back in Hyderabad. I feel blessed that due to my Poorva Punya I got spiritually connected with him and he explained to me in detail about the importance (Vaisishtyam) of Sri Thyagaraja Kritis. Due to Sadguru’s blessings (Anugraha), suddenly at 11.30 A.M. on 1.3.1972 the first kriti on Bhagavatha Swamy Gopalakrishna Bhagavathar occurred to me and immediately wrote it down in raga Kamach and the joy and bliss I experienced at the moment is indescribable.
Afterwards, at 5.30 AM on 16.3.1972 “Kaakarla Vamsodhbhavaaya” occurred to me in raga Kambhoji and my eyes were filled with tears. At 6.25 AM on 3.1.1973 “Purandaram Gurum vande” occurred to me in Raga Kalyani and later in course of time I had the good fortune of composing kritis of Syama Sastri (in raga Charukesi), Dikshitar (in Raga Bhairavi) and Sri Thyagaraja Swamy (in raga Ananda Bhairavi). I strongly believe that all this was possible due to the Poorva Punya and Anugraha of my ancestors.
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Title: Sri Sri Nadabrahmananada Sri Thyagaraja Swamy Stuthi Panchakam
On 16.3.1972 , suddenly, “Kaakarla Vamsodhbhavaaya” occurred without any thought, in raga Kambhoji, Chouka Kaalam, mentioning the Gotra, father and grandfather’s names , place of residence, and the God of his worship, Rama etc. and the joy and bliss of the moment is indescribable. In the same tone, I got to compose another krithi “Vedalenu Guruvarudu” in raga Bilahari describing his daily chore of performing the Madhukaravrutti and its vaibhavam and submitted at the lotus feet of Sadguru. In the years 1982-1983 I got to compose “Panchanada Kshetra Vaasam” in Raga Poorvi kalyani and “Thyagaraja guruvaram” in raga Natakuranji. During the Anjaneya Utsavam of the Thyagaraja Aaradhana celebrations in the year 1983, the kriti “Naadabrahmaananda Sadguruna Paripaalithosmi” in raga Begada, Chouka Kalam, was born. This is all Sadguru’s Poorna Anugraha I think. I submitted these five kritis at the lotus feet of Sadguru. In the year 1989 immediately after Sri Nadabrahmananda Sri Thyagaraja Aaradhana was over, all the musicians, rasikas and all of us assembled near the Sannidhi and while looking at Sadguru, a sudden divine fragrance of Mogali flowers enveloped the area giving a very pleasant feeling to all those present and at that time, with the divine blessings of Sadguru, I had the great fortune of composing “Thyagaraja sadguruna” in Ananda Bhairavi and “Rama Bhakti Samrajyaadheesha” in Sri Ragam.
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Title: Birth of Upaghana Raga Sri Thyagaraja Sthuthi Pancharatnam
On 7.9.2003, Sunday, Evening Smt. Radha Padmanabhan visited our home, discussed about music and after lot of exchange of views and feedbacks, while leaving my room at 5.30 PM she suddenly came back and said “Mama, please compose swara-sahitya pancharatnam on the same lines as the Thyagaraja Pancharatnam. This is possible for you. And it will be special. You must write. You will write definitely” in a commanding voice and took leave of me and left our home. I was aghast at her words. I could not understand and smiled to myself. But I could not sleep that night and was sure that this is the order of Devi and with these thoughts I went into deep sleep.
On 9.9.2003, Monday, while perusing a book containing only Varnams, I chanced upon Veena Kuppaiyer’s navaraagamalika varnam “Inta Kopamela” in which 4 upaghana ragas Narayanagowla-reetigowla-Bowli and Kedaram were there. Madhyamavati would fit into the fifth raga in this group I thought and selected these five ragas for the Upaghana ragas. But the subject for the pancharatna kritis was evading me and the entire day was spent thinking about it without any result.
On 10.09.2003, Tuesday, I got up at dawn, completed all my ablutions, went to the pooja room and lighted the lamp. After Sandhyavandanam, while chanting the Gayatri Mantra around 5.30 AM, Devi (Amma) ordered me to write “Panchanada Kshetra Vaasam Sadguruvaram” while singing in melodious voice in Narayanagowla Ragam. Without wasting a moment of time, I immediately wrote the 7 charanams with swara-sahityam in about 30 minutes time. Wednesday-Thursday I got same order from Devi and by Friday-Saturday-Sunday I could get the draft copy ready and by 16-17 Monday-Tuesday the remaining two krithis occurred to me in kedaram and madhyamavati with the blessings of Devi and Sadguru. I submitted the kritis in Narayanagowla-reetigowla-bowli-kedaram and madhyamavati at the lotus feet of Guruswaroopini Lalitha Parameswari and felt so fulfilling at heart.
While singing these sweet honey-filled kritis the feeling of raga-sahitya waves generated by Devi is impossible to be described. Honey-filled notes along with naada sudhaarasa laden Raagini’s beauty can only be experienced to be understood. Sweetest of sweet are the moments spent with Devi. Devi has herself offered this divine history in her own honey-filled words and speech to the world of musicians. This is not at all an exaggeration.
Guru Charanaaravindaabhyaam Namaha. Om Swasthi.
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Title: Mantralaya Kshetra Sri Raghavendra Swamy kriti kusumaani Pancha sankhyaayaam
Sri Raghavendra Mahima
Sadguru Raghavendra Swamy is Chintamani who showers his grace just by calling “Bho Raghavendra”. In 1977 July (Thursday), at dawn I got darshan of Sri Raghavendra Swamy and was filled with delight and watched him with focussed attention. He blessed with a pleasing smile and disappeared. With this unpredictable incident “Raghavendra Guru Maanathosmi” kriti occurred and I wrote it down and submitted to his lotus feet.
In the year 1980 during Sri Raghavendra Swamy Aaradhana at the residence of Brahmasri H.S. Guru Rajaachaar, the kriti “Mantraalaya vaasam” (ragam Bahudaari) occurred to me during noon harathi time. I sang the same at the Sangeetha Seva the same day evening and submitted at the lotus feet of Guru.
In the year 1981, at the Raghavendra Swamy Aaradhana organized by Brahmasri H.S. Guru Rajaachaar during harathi time He gave darshan as Veenapaani for one second only and with indescribable Anubhooti the kriti “Parimalaacharyam” (ragam Gowri Manohari) occurred to me. I wrote it down and sang the same at the Sangeetha Seva the same day evening with ecstasy.
On 7.9.1994, while performing Japam at Brahmi Muhoortham in the Puja Room, I had darshan of Guru Raghavendra Swamy as a very aged person in the Meru Yantram. He talked to me. Even though I could not understand his language, experienced very sweet anubhooti and had the good fortune of singing the kriti “Raghavendrayani” describing the secret of his avatar in raga Kuntalavaraali.
On 12.08.1995, Sri Guru Rajaachaar mentioned “Today nobody sang kriti on Sri Raghavendra Swamy”, I sang “Bhaja Bhaja Maanasa” extempore in raga Madhyamavati. But the following day when I tried to sing the same in Madhyamavati I did not succeed. While discussing Chandrakouns raga with sishyas, I was able to sing the same “Bhaja Bhaja Maanasa” in raga chandrakouns effortlessly and submitted it at the lotus feet of Guru Raghavendra Swamy. This is definitely his greatness and glory.
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Title: Sri Ranganaatha Panchakam
Tiruchirappalli: 08.06.1995: Chi. Saravanan is a Flute Vidwan. On the occasion of “Mummoorthigal Urchavam” at Tiruchirappalli I had started on Tuesday, 6.6.1995 and reached Tiruchi on 7.6.1995, Wednesday to attend the lecture demonstration being organized with the theme “Gaayatrini Sangeethamulo Joochina Thyagaraju”. Although my kacheri at Pudukkottai was arranged for 8.6.1995, Thursday, due to unavoidable circumstances it was postponed to Friday, 9.6.1995. 8.6.1995 was a hot day and in spite of the heat, I was very much keen to have darshan of Sri Ranganatha Swamy and set out in the two-wheeler of Chi. Saravanan and reached Srirangam at 5.15 pm. Chi. Saravanan introduced me to some of the artists residing in Srirangam and later we reached the temple complex at 6.00 pm. While watching the Swamy’s Procession being taken inside the temple complex, krithis like “chutamuraare”, “raajuvedale” etc. which Sri Thyagaraja sang, enjoyed and experienced ran through my mind and I paid mental obeisance to the Sadguru and took the 6.15 pm special darshan ticket and reached the sanctum sanctorum. While watching Sri RanganathaSwamy to my heart’s content for about 1-2 minutes, I heard Chi. Saravanan singing the Sri RangaPancharatnakritis in very low tone, felt some special “anubhooti” and while doing pradakshina in the prakaram of the temple, ecstatically started singing “UbhayaKaaveri Madhya vaasa – VasanthaPanchamam”; Ranganaayakam Bhaavaye – Kumudakriya”; Kaliyuga Varadaa – Pashupathipriya”; “KarunaanthaRanga – Janaranjani” ragas extempore. At that time, Jeeyar swamy stood in front of me and while paying my obeisance we both silently looked at each other and proceeded to have darshan of Devi. Saravanan, who accompanied me silently till then, started asking me “Mama, how did you compose these kritis without even uttering a word or letter?”. I told him that I do not know but it is all due to an invisible divine power only. After having darshan of Devi and while squatting in the KambarMandapam opposite the temple, the krithi “Thiruvarangamadil” occurred to me extempore in Ragam Nayaki, wrote it down and immediately offered all these five krithis to Sri Ranganatha Swamy and the ecstasy which I felt can only be understood by those who experience it themselves. Chi. Saravanan felt very elated with this new experience. Importantly, it was because of Chi. Saravanan’s invitation that I got the good fortune of visiting Tiruchi, having darshan and composing krithis of Sri RanganathaSwamy!!!
Kalakanteswara Panchakam (Tiruchirappalli)
I read an essay about “Kaalakanteswarar” in the spiritual magazine “Gnana Bhoomi” which mentions that after abhishekam to the Paashanam Swami, the same paashanam is being offered as prasadam to the bhaktas. Realizing that this prasadam is sarvarogaharam, I desired to have darshan of this swamy atleast once in my lifetime. Chi. Saravanan said that I have to sing at Pudukkottai on 9.6.1995; at the Mummoorthigal Vizha on 10.6.1995 and another Divya Kshetram on 11.6.1995. Where on 11.6.1995? I explained to Chi. Saravanan about Kalakanteswara Temple and expressed my desire to see the temple. A few moments after he mentioned that some elder persons are going to visit them, a saffron clad householder came and I invited him with folded hands. Chi.Saravanan introduced us to each other and when I came to know that I will be singing in Kalakantaeswara temple on 11.5.1995 I felt very elated. Although the temple is small, its glory is well-known. Following Hindu tradition, men are not supposed to wear shirts and only angavastram is allowed. In the same way my kacheri started with the traditional dress dhothi and angavastram. It was peak of summer and was very hot. No fans were around. I started the kacheri with Malayamarutham ragaalaaapana. The highlight was that light cool breeze (mandamaarutam) started blowing at the start of the kacheri and continued till the end of the kacheri at the prakaram sannidhi of the temple which was amazing and miraculous. Sri Jagannatha Swamy, Founder and Manager of the temple expressed that pranavanaadam had enveloped the entire area during the two and a half hour kacheri and introduced me to the audience who were full of ecstasy. He also appreciated Chi. Saravanan who had made this possible.
The fact that cool breeze was blowing at the sannidhi of Kalakanteswara Swamyand made the entire area cool during the kacheri had brought fulfillment to my heart and had been an unforgettable, memorable and very sweet experience.
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Sri Nataraja _Panchakam
NatarajaTatvam – AanandaTaandavaKritis
On 24.05.1995, AbhinayaShiromani – Naatyavishaarada Sri Raja & Srimathi Radha Reddy visited our home at 1-1-193/6, Chikkadpalli and I had agreed to write the Nataraja Tatvam for their TV episodes numbering 13. As I had got the script related to this from Venkateswara Rao of Ayodhya Hotel earlier, I sang the kriti “Aadenu Sivudaadanu Aananda Taadavamu” composed by me and they felt happy and appreciated it. On 23.06.1995, when I had attended the Dance Programme of Raja-Radha Reddy which was arranged at Ravindra Bharati, I was invited by them to New Delhi. They informed me about arranging my kacheri at Delhi. They also informed that their entire TV episode details are available with Venkateswara Rao. I reached home after the program. I felt very much fulfilled at heart on writing “Sri Nataraja Tatvam-Ananda Taandava kritis” for their Dance programme. Every person experiences brahmatatva every moment of his life but does not realize it and always gets swayed and feels sad about something or the other in this ephemeral life. Among these tatvaas, kunchitapaada tatva kriti gave me immense happiness. From the time a person is born Brahma Tatva keeps following him like a shadow. If he stops for atleast one moment and make an effort to realize this and know his own self, the outstanding brahma tatva will reveal itself. This Brahma Tatva can be realized only through continuous practice and experience. This brahmananda sukham can be experienced only by a staunch sadhaka through swaatmanandam. This kind of an exceptional and sublime Dance floor was thwarted by a handful of jealous and envious persons through some unsavoury events and did not appear on the small screen (TV). I felt that the mother of art was imprisoned in a dark room. One gets whatever he is destined to get!!!
OM Swasthi
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The experience of singing for Triambakeswara swamy
(Triambakeswara Panchakam)
Saturday, 20.11.1999 had been an unforgettable D-day for this sishya of Late Brahmasri Belakavadi Varadaraja Iyengar when the “Mahamahopadhyaya” Title was conferred by Akhil Bharatiya Sangeetha Vidyalaya and honoured at Nasik.It has been my good fortune that this title of “Mahamahopadhyaya” was conferred on me at their Triennial Utsava Sabha Program in the august presence of about 500 Sangeetha vidwans & Rasikas. The main point to be noted here was the absence of any of the government officials/ministers. The program started around 5.15 pm and went on upto 7.00 pm in a very simple, loving, divine atmosphere which is to be noted. The moment I accepted this title (puraskaaram) my mind was yearning to have darshan of one of the jyotirlingas, i.e. Triambakeswar and I set out immediately along with my son Chi. Kannan. With the grace of God a taxi took about 10 of us to Triambakeswar temple by charging only Rs. 15 per head. By 8.40 pm we reached Triambakeswar, bought puja items and reached the sanctum sanctorum in about 15 minutes time. We had divya darshan of the Lord who was placed in a 10 feet sanctum sanctorum and was very well decorated with bilvapatrams and flowers in a circular shape. The darshan was very pleasing and charming to the eye and was fulfilling. The moment we finished our darshan the doors were closed.The three-faced form of lord Siva in the sanctum is in the Linga form which is to be noted. While paying obeisance to my Sadguru and Devi, the kriti “triambakeswaram vadanatrayam kambukandharam nayana manoharam” came to me extempore in ragam Valaji. I immediately wrote it down, sang and submitted at the sannidhi of Lord Triambakeswar and this ecstatic experience cannot be explained in words. I consider this as Guru’s blessings, Devi’s blessings and the good deeds (purvapunya puja phalam) of my ancestors. After that Devi blessed me to finish the remaining 4 kritis of Lord Triambakeswar.
Om Swasti
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Mumba Mahalakshmi kruti kusuma panchakam
On 26.11.1999 I had darshan of Mumba Kshetra vaasini Mahalakshmi in my mind’s vision. Later, on 29.11.1999 I had the good fortune of having an actual darshan of Ratnaakara Thata Nivaasini Durga-Lakshmi-Saraswathi trimoorthy swaroopini, with all the four devis placed on the same peetham and blessing the bhaktas as a boon-tree at Mumbai. I had darshan of the Devi to my heart’s content and recollected the earlier darshan I had in my mind’s vision which matched exactly with the actual form and felt great happiness and thanked Chi. Balaji (Venkatesh) for this opportunity and for making this possible for me and blessed him. Late evening (night) on 29.11.1999 I had the good fortune of writing the “Amba Mahalakshmi” krithi in raga Aarabhi. On 30.11.1999 I returned back to Hyderabad and pondered over the Mahalakshmi Darshan at Mumbai and studied the Mahalakshmi Sahasranaamam and Astoththaram. On the Annual death ceremony day of my Janmadaata (father) on 03.12.1999 morning Mother Lalithambika made me write 4 kritis at 8.30 AM, 9.00 AM, 9.30 AM and 11.15 AM. I submitted these kriti gems at Her Lotus Feet and bowed to her. Devi Lalithambika’s grace in making me sing the five kritis praising Mumba Mahalakshmi,who is an abhinnaroopi of the Devi herself, through naadopaasana cannot be expressed in words!!!
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Navagraha Krithis
The first and foremost duty of Ravi etc. i.e.the Navagrahas is to look after the well-being of the country and the lives of people living in there. The navagrahas play a very important role in a human being’s life. I experienced some kind of a special anubhooti while reading details about navagrahas and the connection they had with music published in “Gnanavazhi”, a monthly Tamil magazine of July 1989. Since I knew and practiced Navagraha Stotrams-Gayatri Mantram-Ashotottara Shata Namas earlier, the special anubhooti brought the navagraha krithis into existence.
My elder daughter, who was living in Hastinapuram in New Delhi, suddenly took ill and was admitted in a nursing home in Karol Bagh. At that time we reached Delhi to help them. While sitting near my daughter in the nursing home, I was studying matters relating to the navagrahas and thinking about the Ashtagraha kootami which happened in 1962 and felt some unutterable anubhooti at the hospital from Sunday 16.07.1989 afternoon 3 pm onwards upto 17.07.1989 Monday 3 pm. During this period with the blessings of Devi Lalitha Maha Tripura Sundari and my revered Guru I had the good fortune of composing navagraha krithis “Bhupala Ragam-Chatusra Dhruva talam-Ravi”; “Kalyani ragam-Chatusra Mathya talam-Chandra”; “Bhairavi-Chatusra Roopakam-Kuja”; Kharaharapriya ragam-Mishra Jhampe-Budha”; Vachaspati ragam-Tisra Triputa talam-Guru”; “Ananda Bhairavi-Khanda Jathi Ata talam-Shukra”; Nilambari-Khanda Eka talam-Shani”; Nilambari-Rupaka talam-Rahu”; Hamsadhvani-Rupaka talam-Kethu” grahas.
I pray that peace and prosperity be bestowed on mankind through singing of these navagraha krithis. Everyone is aware of navagraha krithis composed by revered Sri Muthuswami Dikshitar the singing of which had cured the illness of his shishya. It is not an exaggeration to say here that Sadguru Dikshitar’s blessings were instrumental in composing and writing of the navagraha krithis by me.
Let the blessings of Sri Lalitha Maha Tripura Sundari be bestowed upon one and all and all good may happen.
27.07.1989 Guru Charanaaraadhaka
Shukla Karkaataka Aashaada Krishna Dashami Kollegal Subramanyam
Guruvaasaram
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Sri Shirdi Sai Baba Kriti Kusumamulu
On 16.04.1995, Sunday, I got up at Brahmi Muhurtham, completed my morning ablutions, applied Bhasmam (Vibuti) and Kumkum on the forehead and completed my usual Sandhyavandanam and Gayatri Japam. After this I started my japam and while I was completely immersed in it, I heard someone laughing and wondering who it was, I opened my eyes. I saw his photograph beside Lalitha Parameswari and he started talking to me. I was totally shocked. I saw Him straight into his eyes and asked “Baba, what do you want? Everyday I am remembering you and paying obeisance to you”. His laughing became more louder and he was still talking. In the beginning I could not understand what he was talking and was in a totally confused state of mind and 10 minutes passed like this. Later on I regained my composure and started understanding what He was talking. He addressed me as “Naayanaa” and said “You must write kritis on me. Until now you have not sung anything in praise of me. You must write without fail” and ordered me to do so. I said “OK. But, Baba there is no difference between you and Lalitha Parameswari”. He grinned again and said “Naayana, you see here and now” and when I looked at the Maha Meru which I worship everyday I had darshan of the full form of Baba there and he was blessing me. This form was imprinted in my heart forever and immediately the kriti “Shirdi Kshetramu Swarga Dhaamamu” in raga Hamsaanandi came to my mind and sang it then and there. Due to unavoidable circumstances I could not write it down immediately at that time. The same day late evening, 11.00 PM I could write the Hamsaanandi kriti and at 11.15 pm the Sindhubhairavi kriti “Dwarakamayi Paavana nilayamu” was written. I feel Shirdi Sai baba who is the abhinnaroopam of LalithaParameswari had blessed me to write kritis in Telugu-Hindi-Sanskrit languages out of which the unknown language was Hindi. He made me write 10 kritis within a span of 4 days and later on made me write the “Sharanam Sharanam” kriti, sing it and also invited to His sannidhi at Shirdi. At the sannidhi He made me sit in meditation for about 2 hours and then have darshan. This is an unforgettable experience for me and truth of how powerful guru’s grace can be was proved beyond doubt.
Chi. Venkateswara Rao (Hotel Ayodhya Proprietor) was the main backbone and brainchild for this Shirdi Dham Yatra. His Guru bhakti is so deep that he feels it is his exceptional bronze castle. But everyone has to go through his praarabdha karma. He was cheated by his own people. But every human being should go through the infernal suffering of hell and heavenly enjoyment in conjunction with the karma i.e. sins and virtues. This cannot be avoided.
Guru bhakti is the spiritual or Godly strength for mankind.
Guru Bhakti is the easiest way to salvation for mankind.
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Sri Dharma Shasta (Ayyappa) Kruti Kusumamulu
Sri Muthuswamy Dikshitar’s kriti on Dharma Shasta in raga Vasantha “Hariharaputram shastaaram” is a very famous one. Late Sri T.G. Padmanabham was a very good friend of mine and I used to participate fully in the Sai Baba utsavams performed by him. Usually in the South Indian Bhajana Sabha, we both used to sing together during their bhajan programmes. During the Bhajan and Shasta puja conducted by Subramania Samajam we used to sing the Vasantha raga kriti of Dikshitar always. Even in Sringeri Sankara Matham we used to sing together during Devi Navaratri festival. He used to be with me always like a shadow. Due to Prarabdha Karma, Shri T.G. Padmanabham started chit funds business and asked to deposit Re. 1 and register. After 7 days they were given one steel glass. The amount of chit differed depending upon the different items being given. I was asked to join this chit fund. I expressed that this is not dharma and will lead to misunderstanding, extreme happenings and said I cannot join in the scheme. I was given more time to think and join but I refused. This led to misunderstanding between us and he got very angry and hurled abuses at me. Our friendship came to an end in 1968 and I got frustrated on Sai Baba. But I still had only bhakti for Sai Baba and stopped going for the Sai Baba Utsavams from then on.
During Unchvrutti, Vijay Kumar Warrier used to sing Ayyappa kritis very well. Among them, he used to sing the bhakti song “Harivaraasanam” in very mild and sweet tone. At that moment, I had the good fortune of writing the Kambhoji kriti “Hari Hara Sudane”. In course of time I found myself attending the Shasta Preeti (Ayyappa) puja and without my knowledge Ayyappa darshan also happened. Later, on 09.06.1996 -“Pandalaraja Kumara”(Kannada); 10.02.1996 – “Manikantha Manimakutadharaa” (Tamil); 11-02-1996 “KoriVachchithinayya” (Telugu); 07-07-1998 – “Ayyappa Swamini”(Telugu); 18.12.1998 – “Swamiye Sharanam”(Tamil); 19-12-1998 – “Hrudaya Ambalapuzhayil”(Malayalam); Before all these Kambhoji Kriti- “Hari Hara Sudane” (Malayalam); 25.05.1999 – “Manave Mareyade”(Kannada); 06.07.1999 – “Murahara Purahara” (Sanskrit); 08.07.1999 – “Hrutkamala Swarna Peetham”(Sanskrit) krithis occurred and made me write by the grace of Adi Paraashakti and this experience is unforgettable. The Power (Shakti) is only one. “Eka-Aneka-Aneka-Eka” – to praise the many forms of this Shakti is only because of purvapunya phalam (good deeds of previous births). I bow my head in obeisance to Adi Paraashakti a million times for giving me this opportunity.
I do not understand how I can praise my adorable Devi Lalitha Parameswari for allowing me to compose in Sanskrit-Telugu-Kannada-Tamil-Malayalam languages. I am longing for it and the Devi has to show me the way. “Koniyaada Naa Tharamaa Devi Lalitha”.
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Pravaalashodhi Ragam
During the Sri Sri Naadabrahmaananda Sri Thyagaraja Aaradhana in the year 1998 Sri Chaganti Kapaleswar Garu told me that there is a Kriti “Parabrahmamane” in the raga Pravaalashodhi and asked me to find it out and release it to the music world. All my sincere efforts to do so did not bear fruit. In September 1998 Smt. Radha Padmanabhan visited our home and while I referred to pravaalashodhi ragam, she expressed that she does not even know the name of this ragam. Mainly she never heard about it she said. But she said that Shri Subba Rao’s book about the methods and formation of Carnatic-Hindustani Ragas which is like an Encyclopedia would be of great help and my ambition may be fulfilled. Within a week’s time she turned up at my home again with some books. As I was referring to one of the books, the details about the raga “pravaalashodhi” caught my eye and immediately read all the details. A Vidwan Sri Seetharamaiah Garu had written the “Parabrahmamane” kriti in pravaalashodhi raga, studied the moorchana (aarohana and avarohana) of ragas and I was thrilled to read that since earlier times many great persons worshipped sangeeta saraswati and made tireless efforts for the cause of music. I guessed that this person should have been the famous Vidwan Thodi Seetharamaiah. In my childhood days about 100 vidwans’ photos had been published in the Tamil Magazine special Diwali issue of either the “Ananda Vikatan” or “Kalki” I do not exactly remember. In that group of photos I remember to have seen the photo of Thodi Seetharamaiah. But I was just 14 years old at that time and I could not get more details about him. If anyone gets to know about the life history of this person, they may kindly publish details through magazines and introduce to the music world. This is my appeal and would be grateful for this act of kindness.
23.02.1999
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HamirKalyani ragam
On Sunday, January 6,1996 the SataRaaga Ratna Maalika Gaana Sabha programme went off very well and in connection with the Thyagaraja Aaradhana on 7.1.1996, Unchavrutti (Madhukara Vrutti) programme started at 8.00 AM and reached Sri Ramachandra Murthy Garu’s home at 10.00 AM. where Srimadramayana Paarayanam-Japam-Homam was gloriously performed. During madhukaravrutti, he handed over Sri Sita-Lakshmana-Hanumat sametha Sri Rama’s divine photograph kept in Puja at their home, which was brought in procession back to Sannidhi and Shodashopachaara pooja was performed. After having lunch on 8.1.1996, while squatting at the Swamy’s Sannidhi and looking at Sadguru, the scene of Valajapeta Venkataramana Bhagavathar giving Lord Sri Ramachandra Moorthy’s Photograph to Sadguru Thyagaraja who immediately sang the kriti “Nanu Paalimpa Nadachi Vachchithivo” in Raga Mohanam and feeling fulfilling, ran through my mind and connected to receiving the Sri Rama’s photograph during unchavrutti, bringing it in procession to the temple, performing shodashopachaara pooja to it and keeping it in the sannidhi. Immediately, I had the good fortune of writing the kriti “Mahimanu varnimpa tarama” in ragam Hamir Kalyani and on the same day evening I sang the krithi at the sannidhi, offered it at the lotus feet of Sadguru Thyagaraja and the happiness I felt was infinite.
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In the early hours On November 16, 1973, around 4.30 – 4.45 AM I had a dream where I was strolling on the terrace of our home and looked down suddenly and found 5-6 monkeys shouting and making lot of noise. Then there came a big monkey around 3-4 feet height with front legs on its hips, laughing ostentatiously, which made me very angry. I glanced around me and found some bricks, took them and was about to throw it on the big monkey. He laughed still louder, looked at me and was saying “Emi Raa!! You have become so big that you are trying to hit me, OK come on hit me, hit me”. I got very scared seeing the big figure and was saying “Naayanaa, Anjani Putra, I could not recognize you. I pray to you to please forgive me for my mistakes and save me”. The moment I woke up from my slumber, I was sweating profusely and was in a scary condition. Immediately, I prayed that I will perform Abhishekam and Vadamaala Seva for Anjaneya Swamy on 17th November 1973 Saturday and then I regained my normal self. As decided, on the next day i.e. 17th November we had arranged for the sevas and I had the good fortune of composing and singing the kriti “Thappumanninchibrovaraa” for the Swamy. Afterward with the full grace and blessings of Anjaneya Swamy I could sing His praise through another 7 kritis and I consider this my good fortune.
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Recently, in the months of March-April of the year 2002, I happened to accidentally watch a programme of some vocalists singing the life history of Sri Adi Shankaracharya in the Podigai Channel of TV. These songs were composed to music in Deva Bhasha Sanskrit. Whether it was due to my lack of vision (deficiency) or lack of hearing (impairment), I found the programme totally charmless and unappealing with no bhaava or rasa and felt very sad. I then felt that Sri Sri Adi Shankaracharya’s divine history should be sung and worshipped through naadopaasana in the form of kritis laden with sangeetha, sahitya, raga and laya bhaavam, immediately I entered the pooja room and praised and prostrated before the Devi and prayed that She, who had given me this thought, should show me the way and started writing whatever came to my mind. But for the story to be simple and compatible to sing, a crown would be of great help I thought and the words “Guru Shankara Desikaaya Namaste, Subramanyaadi Bhaktajana Vanditaaya” came to my mind and I sung and felt very ecstatic. By Mesha-Rishabha month I made a draft of these kritis and showed to my friends, well-wishers and music lovers. They studied the kritis and were of the opinion that my sankalpam is good and this effort should not go waste and this should turn out to be the best classic for which I have to get deeply involved and write. I valued their opinion and shameful of my haste and desperation, prayed and prostrated to Devi in Her sannidhi to forgive me and asked Her to show me the rightful path and started to read once again in detail the divine life history of Sri Adi Shankaracharya who lived only for 32 years and lighted the vedic path of sanatana dharma. I started studying “Maadhaveeyam”, Sankara Vijayam in ancient Kannada language. After completing the study, according to the orders of Devi, sat in her Sannidhi and completed the draft during June-July months of 2003 in 32 melakarta ragas (16 shuddha madhyamam and 16 prati madhyamam) and wrote a fair copy, got Xerox copies made and sent only the saahityam part to classical scholars for their opinion and comments. My friend and pundit Brahmasri D.V.N. Gopalakrishna, Teacher in Vidya Bhavan School Jubilee Hills, Hyderabad visited our home. We discussed in detail about this work for nearly 3 hours. His invaluable comments/suggestions turned out to be very useful/helpful to me. He mentioned that although it was a small book, it is quite elaborate covering very important events/incidents of Sri Adi Sankara’s 32-year life history in just 32 kritis. I express my profound and heartfelt thanks to him for his constructive suggestions/comments.
In the year 2004, on the occasion of my visit to Kalladaikurichi in connection with 100th birthday celebrations (centenary celebrations) of Kalladaikurichi Hari Hara Sastry, our stay was arranged at the home of great personality Brahmasri Gurunadha Sastry. At the age of 89 he was very agile, active and healthy person. He was a Devi Upasaka and also possessed specialized knowledge of Sanskrit and Vedas. Three days which I spent with him was invaluable for me. I sang the Sankara Vijayam, which Devi has made me write, to him and he expressed profound happiness and said this is awesome poetry and to write the essence of Sankara Vijayam in 32 kritis is only because of the grace of Devi. I feel very fortunate to have got the precious time spent only in gaining spiritual knowledge through fruitful discussions. I got this opportunity through Sri Somanathan-Smt.Vijayalakshmi.
Brahmasri Gurunadha Sastry is a great personality who has memorized the Sankara Vijayam. During my three day sojourn he asked for discussions on the topic and gave his invaluable suggestions/comments which are deeply laudable. He said although I may be young in age but to bring this great 32 year-history of Sankara Vijayam in 32 kritis through Nadopasana is the incomparable and ultimate poorna kataksha or blessing of the Devi to have motivated me to write.
I offer my special thanks to Sri D.V.N. Gopalakrishna and the knowledgeable and elderly Brahmasri Gurunadha Sastry garu for their invaluable and constructive suggestions. I am ever grateful to them and pray from my inner heart to the Almighty Mother to shower them with Her choicest blessings.
I also offer my obeisance at the feet of Dakshinamnaya Sringeri Pethaadhipati Maha Sannidhanam Sri Sri Sri Bharati Theertha Maha Swami, who read the Sankara Vijayam and gave his sampoorna blessings and “Sri Mukham”.
The feelings/experiences while writing the Sankara Vijayam book through Nadopasana in 32-melakarta ragas are indescribable. Devi Lalitha Parabhattarika has motivated, blessed and gave strength to this boy to wite the book. I also prostrate with my head on the holy feet of my Guru Nadopasaka, Gandharva Vidya Prabodhaka and Nadayogi Brahmasri Belakavadi Varadaraja Iyengar for his large-hearted blessings to this shishya to earn name and fame and shine in his endeavours. I also offer my Namaskarams at the holy feet of my mother Sow. Venkatalakshmi and father Sri Ramachandra Sastry who lighted the lamp of knowledge of my life, made it glow and guided me through the right cultural path of life.
I also pray Jaganmatha Lalitha Parameswari to shower Her choicest blessings on Chi. Srikanth who helped me with the Telugu DTP and Chi. Kollegal S. Kannan, Head of Cheturbhuj Creations, who brought out the publication in beautiful format, for a healthy, prosperous and best life ahead.
Bhagyanagaram(Hyderabad) Guru Charanaaraadhaka
29.09.2009 Kollegal R. Subramanyam
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Sri Sringeri Sarada Kritimanimala
Dakshinaamnaaya Peetham was established by Sri Adi Sankaracharya. This holy kshetra is where a serpent opened its hood and provided shelter to a frog, its sworn enemy, which was in an advanced stage of pregnancy thus helping it to deliver on a hot afternoon. Sri Sankaracharya watched this episode and established the Aadi Peetham with Sharada Devi’s prathishtha in this punya bhoomi, where the son of Vibhandaka Rishi, Rishyasringa had practised penance, appointing Sri Sri Sri Sureswaracharyulu as the Peethadhipathi. With the purva punya of my ancestors
Out of the 72,000 nerve centres in our body, only 72 nerves are responsible for the movements and actual working of the human body. In conjunction with this tatvam, the 72 melakarta ragas are responsible for driving away the weaknesses and contain medicinal value (Aushadhatatvam). The sweet musical notes (sangeethadhwani) have the central role of entering the body and preventing bodily disorders.
In the afternoon on 24.09.1981, Tuesday, severe stomach ache started around 2.45 pm and in spite of using medicines the pain became unbearable and I experienced unbearablesuffering for about 3 hours. Doctors came and suggested that I may be moved to the nursing home for treatment but I did not agree to this and vehemently opposed visiting nursing home and told them that I may be treated with medicines here at home. The doctors thought for a while and asked Chi. Kannan to bring an injection which could give immediate relief and was given the injection. In the next 30 minutes my pain subsided and I went into deep sleep. Next day the doctors checked me and said that I should be taking 15 days complete rest and prescribed some medicines.
On 24.09.1981 Tuesday, during 11.00 – 11.20 pm I had the good fortune of composing kritis in Vanaspati and Maanavathi and submitted to the Devi.
During the period from 24.09.1981 upto 07.10.1981 the remaining kritis of the 72 melakarta occurred to me with the blessings of Devi in Sanskrit-Telugu-Kannada languages and made me write them. Her grace cannot be expressed in words!!!
By giving good health to the body, peace and strength to the mind to praise Her, the Devi has made me write the kritis which prevent bodily disorders/ailments and it is all due to the grace and goodwill of the Devi.
The 72-melakarta kritis cover the subjects such as Importance of LalithaSahasranama, Lakshmi-saraswati, Kashikshetram, Haatakeswaram, Kanyakumari etc. kshetravarnanam, Natakapriya raga kriti comparing the human body with the drama stage tatvavimarsanam, Yagapriya raga depicting the everyday yagakriyavisesham being experienced in our body, Importance of paadadarshana of Devi (Soundaryalahari) by the Devas, DandanathaVaarahi, Raja Syamala (Senapati-Leader) Mahima, Nature, Sri Chakra Varananam and many more subjects. All these were written with the blessings of my Mother Devi!!!
“AaeNaatiNomuPhalamo”, the words of Sri Thyagaraja Swami is 100% true. Due to my ancestors, PurvaPunya of my parents, ParamaPujyaNadopaasanaSangeetha Guru BrahmasriBelakavadiVaradarajaIyengar, “MadhukaraVrutti” and Aadhyatmikabodhana guru BrahmasriPudukkottaiGopalakrishnaBhagavatha Swami, Sri VidyaPoornaDeeksha guru Brahmasri A. Rajamani, who taught the Secrets of Srividya and had put me on “Para” path, all these who blessed me with naadopaasana, spiritual srividyaopaasana through which I had the good fortune to serve, sing, worship and submit to Sri LalithaParaaBhattarika who is the abhinnaroopi of Sri Rama.
Sangeethavidwan Sri KomanduriSeshadri Garu wrote his priceless suggestions and importance of the kritis for which I pray to the Devi to bless him with good health, prosperity and long life.
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