We are in the midst of a festival that is a beautiful blend of art and culture. Devi, who takes centre stage for 10 days, is worshipped in several ways, music being 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 birth place, it is but natural that Dikshitar had a special attachment to Tiruvarur, specially 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 centre is the Bindu. Dikshitar has composed nine kirtanas, 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 make 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 sahityas 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.
