Sujana Ranjani shifted its focus to going in for un-published and un-composed Annamacharya kirtanas and made it its mission to bring them out more in number to the audience. As a first step it has gone for 108 untouched songs of Annamayya they picked up from the volumes of Annamacharya compositions published by TTD. To give a taste of them a function was held at Ravindra Bharati. A book containing 108 rare songs and an MP3 CD of these recorded compositions were released by K.I. Varaprasada Reddy and lyric writer ‘Sirivennela' Sitarama Sastry. And the occasion was 602nd Jayanthi of Annamacharya.
Sattiraju Venumadhav is in the forefront on the practical side of this project in composing and rendering these songs into CD. The book and CD publication was undertaken by the organisers of Sujanaranjani. About fifteen hundred songs are already in circulation, tuned and composed by various musicians with Rallapalli Ananthakrishna Sarma and Nedunuri Krishnamurthy staying in the forefront. The best possible way of popularising them is to add a couple of kirtanas in classical carnatic concerts or by holding an exclusive Annamacharya kirtana rendition sessions like they are doing now. These kirtanas are also fit to go into dance recitals. As such Venumadhav is quite popular in dance circles too. His good diction goes well for these Annamayya songs. Now that he is also an established Carnatic vocalist, he set all these new kirtanas in classical ragas. He rendered a dozen songs on the occasion in the company of Kolanka Saikumar on violin, T. P. Balasubramanyam on mridangam and Sridharacharya on tabla.
‘Kaalamulaarunu' in raga Vasanta explains how Lord Venkateswara divined what season it was just by seeing changes in the behaviour of his consort Alamelumanga. ‘Upacharichagaraada' in Darbar lists many aspects of the dance. ‘Kongu Pattakantha Neevu' in rare Desakshi with folk touch describes the Dasavataras. Annamayya says in his ‘Mari Thanu Bhogamulu' in Shanmukhapriya that everything is ‘maya', except praying to the Lord. ‘Tanedo Manasedo' in Rageswari describes the way the Goddess gets confused the moment she sees her Lord about which ornaments to wear. The Pallavi is set in Roopaka talam and the charanas in other beats. ‘Kanakuntimindaka' in Sama explains how Rama, in search of Sita, finds her everywhere but Lakshmana tries to get his brother back from that kind of trance. ‘Ata Varigooditoura' in Kedaragowla describes the craft of ‘Tolubommalaata' in saying that they (people) were all nothing but his tolu bommalu (puppets). ‘Komma Nee Palukulaku' in Ananda Bhairavi is a series of blessings to His Nayaki. It ended with a rare ‘Sringaraseelunaku Mangalam'. The last two pieces are not found in TTD's publications but were taken from the works of Seshacharylu of Tallapaka families.
