Happy Navarathri and Dasara pandaga/habba (festival) to all! On Sudda Thadiya thidi, the Devi at Kanaka Durga temple, Vijayawada is dressed (alankarana) as Si Mahalakshmi. Maha Lakshmi is the atma of Sriman Narayana and a manifestation of the Maha Devi Shakti. Maha Laksmi stands for wealth, wisdom, prosperity, beauty, success and many such positive attributes. Let us pray to her that she grant all of us sadbuddhi, prosperity, wisdom and happiness in our lives.
Maha Lakshmi alankarana at Kanaka Durga Temple, Vijayawada
Sri Muthuswami Dikshitar is one of the Trinities of Carnatic music and a great Devi upasaka. He has composed krithis on many deities and has composed many krithis on Varalakshmi. Actually, some of the Varalakshmi krithis were composed by him to be sung during the popular Varalakshmi vratam performed by women in South India.These krithis are also popularly known as Sri Lakshmi krithis series of Muthuswami Dikshitar. These krithis are -
1. Hari Yuvatheem Haimavatheem in Raga Hemavathi
The first song is Hari Yuvathim Haimavatheem in the Ragam Haimavatheem/ Hemavathi which is the 58th ragam in the sampurna melakartha scheme. It is set in rupaka talam. It is in fact the prati-madhayama equivalent of the famous and ancient Kharaharapriya ragam. Hemavathi ragam is known as Deshi Simharavam in the Asampurna melakarta scheme which was followed by Sri Muthuswami Dikshitar. However, Dikshitar has incorporated Haimavatheem as the name of the raga into the krithi. The raga structure for Hemavathi is -
Aro: S, R2, G2, M2, P, D2, N2, S
Ava: S, N2, D2, P, M2, G2, R2, S
Note the large gap of a whole step between the sadharana gandharam and pratimadhyamam. The raga Deshi Simharavam too maintains the same arohana-avarohana scheme as Hemavathi.
Lyrics:
hariyuvatIm haimavatIm. rAgA: dEshIsimhAravam. rUpaka tALA.
P: hariyuvatIm haimavatIm ArAdhyAmi satatam akhila lOkajananIm
C: narahari hrdaya nivAsini nAma rUpa prakAshini guruguha mAnasa ranjani guNijananutE niranjani
Please listen to Daamal K Pattammal sing this song-
2. Hiranmayeem Lakshmim sada bhajaami in Raga Lalitha
Sri Dikshitar has composed two back-to-back songs on Maha Lakshmi and there is a legend regarding this. Once, his second wife was obsessed by gold and this seems to have depressed him. So he praised Sri Lakshmi as 'Hiranmayeem Lakshmim' or the Lashmi devi made of gold and promised not seek help (ashrayam) from the rich and corrupt/greedy (heena maanava) in the popular song song 'Hiranmayeem Lakshmim' set in Lalitha ragam. Lalitha ragam is a very pleasing ragam derived from the 15th melakarta Mayamalavagowla. It is a hexatonic scale (shadava-shadava) in both arohana and avarohana. It is obtained from Mayamalavagowla by dropping the Panchamam (Pa). The ragaswaroopa is:
Ar: S, R1, G3, M1, D1, N3, S
Av: S, N3, D1, M1, G3, R1, S
The large step between M1 and D1 gives Lalitha quite a floavor. It is a serene and devotional ragam. The Hindustani raag Lalith is not related to Laitha ragam although Lalith was also known previously as Lalitha raag. The Lalith raag too eschews the Panchama (Pa) but it features both the suddha and prati-madhayama like in Bihag although the usage of both Ma1 and Ma2 is different in Lalith.
Lyrics:
hiraNmayIm lakSmIm. rAgA: lalita rUpaka tALA.
P: hiraNmayIm lakSmIm sadA bhajAmi hIna mAnavAshrayam tyajAmi
A: ciratara sampatpradAm kSIrAmbudhi tanayAm hari vakSasthalAlayAm harinIm caraNa kisalayAm kara kamaladhrta kuvalayAm marakata maNi valayAm
C: shvEta dvIpa vAsinIm shrI kamalAmbikAm parAm bhUta bhavya vilAsinIm bhUsura pUjitAm varAm
mAtaram abja mAlinIm mANikyAbharaNa dharAm gIta vAdya vinOdinIm girijAm tAmindirAm sIta
kiraNani bhavadanAm shrita cintAmaNi sadanAm pItavasanAm guruguha mAtula kAntAm lalitAm
Listen to MS Amma sing this song:
3. Mangala Devataya tvyaa in Raga Dhanyaasi
After Sri Dikshitar composed and sang Hiranmayeem Lakshmim, it seems to have satisfied Sri Maha Laksmi and she lifted the veil of illusion from his wife's eyes. Happy about this, the second day he composed the song Mangala Devataya tvaya in the Ragam Dhanyaasi and rupaka talam.Dikshitar seems to have chosen the best ragam for this song given the situation. Dhanyaasi or Dhanashri is a very mangala (auspicious) ragam which conveys bhakti rasa among others. Dhanyaasi is thought to be derived from the 8th melakarta ragam Hanumatodi although the Sangitha Sampradaya Pradarshini (SSP) of Subbaraya Shastri puts it under the 20th mela Natabhairavi/Nariritigowla. However, in modern times, it is comnsidered to be under the 8th mela Hanumatodi. It is an asymmetric raga with a pentatonic (Audava) arohana and heptatonic (sampoorna) descent. The raga structure is like:
Ar: S, G2, M1, P, N2, S
Av: S, N2, D1, P, M1, G2, R1, S
Since SSP puts Dhanyaasi under 20th Mela instead of 8th mela, the D1 (suddha daivatham) has to be changed to D2 (chatusruthi daivatham) to fit into the 20th mela.
Lyrics:
mangaLa dEvatayA tvayA. rAgA: dhanyAsi. rUpaka tALA.
P: mangaLa dEvatayA tvayA bahu mAnitOham shrI
A: pungava kamalAlayayA bhOga bhOgyAlayayA jangama sthAvara lOkajanana sthitilayayA jayA
C: haridrA kumkuma vastrAlankrta vigrahayA daridra duhkhAdi mUrddhanyAshiva
nigrahayA varada rAjagOpAla hrdaya sarasija grhayA varalakSmyA harihara guruguha
bhaktAnugrahayA surArcita padAmbujayA sudhA sAgarAtmajayA sura vinuta shivAnujayA
mAyAbIjayA vijaya
Listen to Mangala Devataya:
4. Varalakshmim bhajare re manasa in Raga Saurashtram
This krithi is set in the Raga Saurasthram and Adi talam. In this krithi Diskhitar says to worship Sri Varalakshmi as she bestows us what we pray for (vanchita phala pradam). the lyrics are -
varalakSmIm bhajarE. rAgA: saurASTra Adi tALA.
P: varalakSmIm bhajarE rE mAnasa vAnchitArtha phalapradAm varadAm vanaja padAm
C: carAcarAtmaka prapanca jananIm saurASTra dEsha patinuta dhaninIm nirAmaya
mahAviSNu mAninIm niranjanIm nikhilAgha bhanjanIm surArcita padAmbuja vikAsinIm
nirAlamba mAnasOllAsinIm murAri vakSasthala nivAsinIm purAri guruguha cidvilAsinIm
Saurashtram is among the carnatic (and even hindustani) ragas which have been named after regions of our country. It might be that the folk tunes or classical tunes of those regions might have been incorporated into our classical music traditions and hence their names have been associated with those regions.In fact, in this krithi Dikshitar says that Sri Lakshmi is worshiped by the King of Saurashtram thereby inserting the raga mudra into the krithi. Thyagaraja has used this ragam twice in his famous opera Prahalada Bhakti Vijayam. He used it in the beginning in the opening song "Sri Ganapathi ni" and finally in the mangalam "Pavamana sutudu". In doing so, Thyagaraja has given this raga a special status as this raga would get song in almost every concert as the mangalam in Saurashtram is sung in almost every concert. The raga Suarashtram is derived from the 17th melakartha ragam Suryakantham. The raga swaroopam is -
Ar: S, R1, G3, M1, P, M1, D2, N3, S
Av: S, N3, D2, N2, D2, P, M1, G3, R1, S
The raga is varka in both arohana and avarohana with the usage of both N3 and N2 in the avarohana. This vakra sancharas makes the raga very pleasant to listen to and the raga has plenty of scope for gamakas. It is a very mangala (auspicious) ragam.
Listen to Vijay Siva sing Varalaksmim Bhajare -
5. Sri Varalakshmi Namastubhyam in Sri ragam
Shree or Sri ragam is a very ancient ragam with a lot of compositions set to it. It is a highly pleasing and mangala (auspicious) ragam. The modern day Shree ragam is considered to be a janya of the 22nd melakarta Kharaharapriya as per the sampurna mela formulation. In the asampurna mela series, the 22nd mela itself was called as Shree ragam and it is this origin that Dikshitar used.The raga swaroopa is-
Ar: S, R2, M1, P, N2, S
Av: S, N2, P, D2, N2, P, M1, R2, G2, R2, S
It has a prominent vakra sanchara in its avarohana and is pentatonic (audava) in its arohana. More on Shree ragam in a later blog. The lyrics of the krithi -
shrI varalakSmI. rAgA: shrI. rUpaka tALA.
P: shrI varalakSmI namastubhyam vasupradE shrI sArasapadE rasapadE sapadE padE padE
A bhAvaja janaka prANa vallabhE suvarNAbhE bhAnu kOTi samAna prabhE bhakta sulabhE
sEvaka janapAlinyai shrta pankaja mAlinyai kEvala guNa shAlinyai kEshava hrt-khElinyai
C: shrAvaNa paurNamI pUrvastha shukravArE cArumatI prabhrtibhih-pUjitAkArE
dEvAdi guruguha samarpita maNimaya hArE dInajana samrakSaNa nipuNa kanakadhArE
bhAvanA bhEda caturE bhAratI sannutavarE kaivalya vitaraNaparE kAnkSita phalapradakarE
Please listen to MS Amma sing this song:
6. Mahalakshmi Karuna rasa lahari in Raga MadhavaManohari
This meaning of this raga itself is: One who makes Madhava happy/pleased and that is Mahalakshmi. This ragam is the janya of the 22nd melakarta Kharaharapriya. This ragam can also be called a janyam of other melakarthas but I will not get into that.As per Sangitha Sampradaya Pradarshini, this ragam is the janya of the 22nd melakarta of the Asampurna scheme - Sri ragam and the raga lakshana is-
Ar: S, R2, G2, M1, P, N2, D2, N2, S
Av: S, N2, D2, M1, G2, R2, S
This ragam features a vakra sancharam in the arohana. In the avarohana the Panchama (pa) is missing.
The lyrics of this song:
mahAlakSmi. rAgA: mAdhavamanOharI. Adi tALA.
P: mahAlakSmi karuNArasa lahari mAmava mAdhavamanOhari shrI
A: mahAviSNu vakSasthala vAsini mahAdEva guruguha vishvAsini
(madhyamakAla)
mahA pApa prashamani manOnmaNi mArajanani mangaLa pradAyini
C: kSIra sAgara sutE vEdanutE kSitIshAdi mahitE shiva sahitE
bhAratIc ratI shaci pUjitE bhakti yukta mAnasa virAjitE
(madhyamakAla)
vArijAsanAdyamara vanditE nAradAdi muni brnda nanditE
nIrajAsanasthE sumanasthE sArasa hastE sadA namastE
Please listen to D K Pattammal sing this song:
7. Sri Bhargavi bhadram in Raga MangalaKaishiki
This song is part of the Srirangam pancharatna krithi of Muthuswami Dikshitar and is set in the rare and ancient raga Mangala Kaishiki and Triputa talam. The ragam Mangala Kaishiki is a janyam of the 15th melakarta Mayamalavagowla in both the sampurna and asampurna formulations. The raga swaroopa is -
Ar: S, R1, M1, G3, D1, P, S
Av: S, N3, D1, P, M1, G3, R1, S
This ragam has multiple vakra sancharas in the arohanam. However, M1 and G3 are close to each other as does D1 and P. So the arohana has a two peak (as in mountain peak) type vakra sanchara. This type of movements are very common in western classical music where in typically we are relatively free to choose the notes (Except in some cases, we can make vakra sancharas pretty much when ever we want). The lyrics of the song -
P: shrI bhArgavI bhadram mE dishatu shrIrangadAmEshvari
A: saubhAgya lakSmI satatam mAmavatu sakala lOkajananI viSNu mOhinI
C: madana guru mAninI mama manasi tiSThatu madhukara vijaya mangaLa kaishikA nivasatu sadana
madhyE mahAlakSmI sadA viharatu sAmaja hEma kumbha snApitA vijayatu pada nayanAnana karanaLinI
parama puruSa hari praNayinI vadana kamala guruguha dharaNIvaranuta ranganAtha ramaNI
These songs are considered part of the Muthuswami Dikshitar Varalakshmi series. But he has also composed Kamakshi Sri Varalakshmim but it is considered as part of his Kamakshi series. All the songs uploaded and linked on this blog are for educational and devotional purposes only and not intended to break any copyright. Meet you soon with more music!
Maha Lakshmi alankarana at Kanaka Durga Temple, Vijayawada
Sri Muthuswami Dikshitar is one of the Trinities of Carnatic music and a great Devi upasaka. He has composed krithis on many deities and has composed many krithis on Varalakshmi. Actually, some of the Varalakshmi krithis were composed by him to be sung during the popular Varalakshmi vratam performed by women in South India.These krithis are also popularly known as Sri Lakshmi krithis series of Muthuswami Dikshitar. These krithis are -
1. Hari Yuvatheem Haimavatheem in Raga Hemavathi
The first song is Hari Yuvathim Haimavatheem in the Ragam Haimavatheem/ Hemavathi which is the 58th ragam in the sampurna melakartha scheme. It is set in rupaka talam. It is in fact the prati-madhayama equivalent of the famous and ancient Kharaharapriya ragam. Hemavathi ragam is known as Deshi Simharavam in the Asampurna melakarta scheme which was followed by Sri Muthuswami Dikshitar. However, Dikshitar has incorporated Haimavatheem as the name of the raga into the krithi. The raga structure for Hemavathi is -
Aro: S, R2, G2, M2, P, D2, N2, S
Ava: S, N2, D2, P, M2, G2, R2, S
Note the large gap of a whole step between the sadharana gandharam and pratimadhyamam. The raga Deshi Simharavam too maintains the same arohana-avarohana scheme as Hemavathi.
Lyrics:
hariyuvatIm haimavatIm. rAgA: dEshIsimhAravam. rUpaka tALA.
P: hariyuvatIm haimavatIm ArAdhyAmi satatam akhila lOkajananIm
C: narahari hrdaya nivAsini nAma rUpa prakAshini guruguha mAnasa ranjani guNijananutE niranjani
Please listen to Daamal K Pattammal sing this song-
2. Hiranmayeem Lakshmim sada bhajaami in Raga Lalitha
Sri Dikshitar has composed two back-to-back songs on Maha Lakshmi and there is a legend regarding this. Once, his second wife was obsessed by gold and this seems to have depressed him. So he praised Sri Lakshmi as 'Hiranmayeem Lakshmim' or the Lashmi devi made of gold and promised not seek help (ashrayam) from the rich and corrupt/greedy (heena maanava) in the popular song song 'Hiranmayeem Lakshmim' set in Lalitha ragam. Lalitha ragam is a very pleasing ragam derived from the 15th melakarta Mayamalavagowla. It is a hexatonic scale (shadava-shadava) in both arohana and avarohana. It is obtained from Mayamalavagowla by dropping the Panchamam (Pa). The ragaswaroopa is:
Ar: S, R1, G3, M1, D1, N3, S
Av: S, N3, D1, M1, G3, R1, S
The large step between M1 and D1 gives Lalitha quite a floavor. It is a serene and devotional ragam. The Hindustani raag Lalith is not related to Laitha ragam although Lalith was also known previously as Lalitha raag. The Lalith raag too eschews the Panchama (Pa) but it features both the suddha and prati-madhayama like in Bihag although the usage of both Ma1 and Ma2 is different in Lalith.
Lyrics:
hiraNmayIm lakSmIm. rAgA: lalita rUpaka tALA.
P: hiraNmayIm lakSmIm sadA bhajAmi hIna mAnavAshrayam tyajAmi
A: ciratara sampatpradAm kSIrAmbudhi tanayAm hari vakSasthalAlayAm harinIm caraNa kisalayAm kara kamaladhrta kuvalayAm marakata maNi valayAm
C: shvEta dvIpa vAsinIm shrI kamalAmbikAm parAm bhUta bhavya vilAsinIm bhUsura pUjitAm varAm
mAtaram abja mAlinIm mANikyAbharaNa dharAm gIta vAdya vinOdinIm girijAm tAmindirAm sIta
kiraNani bhavadanAm shrita cintAmaNi sadanAm pItavasanAm guruguha mAtula kAntAm lalitAm
Listen to MS Amma sing this song:
3. Mangala Devataya tvyaa in Raga Dhanyaasi
After Sri Dikshitar composed and sang Hiranmayeem Lakshmim, it seems to have satisfied Sri Maha Laksmi and she lifted the veil of illusion from his wife's eyes. Happy about this, the second day he composed the song Mangala Devataya tvaya in the Ragam Dhanyaasi and rupaka talam.Dikshitar seems to have chosen the best ragam for this song given the situation. Dhanyaasi or Dhanashri is a very mangala (auspicious) ragam which conveys bhakti rasa among others. Dhanyaasi is thought to be derived from the 8th melakarta ragam Hanumatodi although the Sangitha Sampradaya Pradarshini (SSP) of Subbaraya Shastri puts it under the 20th mela Natabhairavi/Nariritigowla. However, in modern times, it is comnsidered to be under the 8th mela Hanumatodi. It is an asymmetric raga with a pentatonic (Audava) arohana and heptatonic (sampoorna) descent. The raga structure is like:
Ar: S, G2, M1, P, N2, S
Av: S, N2, D1, P, M1, G2, R1, S
Since SSP puts Dhanyaasi under 20th Mela instead of 8th mela, the D1 (suddha daivatham) has to be changed to D2 (chatusruthi daivatham) to fit into the 20th mela.
Lyrics:
mangaLa dEvatayA tvayA. rAgA: dhanyAsi. rUpaka tALA.
P: mangaLa dEvatayA tvayA bahu mAnitOham shrI
A: pungava kamalAlayayA bhOga bhOgyAlayayA jangama sthAvara lOkajanana sthitilayayA jayA
C: haridrA kumkuma vastrAlankrta vigrahayA daridra duhkhAdi mUrddhanyAshiva
nigrahayA varada rAjagOpAla hrdaya sarasija grhayA varalakSmyA harihara guruguha
bhaktAnugrahayA surArcita padAmbujayA sudhA sAgarAtmajayA sura vinuta shivAnujayA
mAyAbIjayA vijaya
Listen to Mangala Devataya:
4. Varalakshmim bhajare re manasa in Raga Saurashtram
This krithi is set in the Raga Saurasthram and Adi talam. In this krithi Diskhitar says to worship Sri Varalakshmi as she bestows us what we pray for (vanchita phala pradam). the lyrics are -
varalakSmIm bhajarE. rAgA: saurASTra Adi tALA.
P: varalakSmIm bhajarE rE mAnasa vAnchitArtha phalapradAm varadAm vanaja padAm
C: carAcarAtmaka prapanca jananIm saurASTra dEsha patinuta dhaninIm nirAmaya
mahAviSNu mAninIm niranjanIm nikhilAgha bhanjanIm surArcita padAmbuja vikAsinIm
nirAlamba mAnasOllAsinIm murAri vakSasthala nivAsinIm purAri guruguha cidvilAsinIm
Saurashtram is among the carnatic (and even hindustani) ragas which have been named after regions of our country. It might be that the folk tunes or classical tunes of those regions might have been incorporated into our classical music traditions and hence their names have been associated with those regions.In fact, in this krithi Dikshitar says that Sri Lakshmi is worshiped by the King of Saurashtram thereby inserting the raga mudra into the krithi. Thyagaraja has used this ragam twice in his famous opera Prahalada Bhakti Vijayam. He used it in the beginning in the opening song "Sri Ganapathi ni" and finally in the mangalam "Pavamana sutudu". In doing so, Thyagaraja has given this raga a special status as this raga would get song in almost every concert as the mangalam in Saurashtram is sung in almost every concert. The raga Suarashtram is derived from the 17th melakartha ragam Suryakantham. The raga swaroopam is -
Ar: S, R1, G3, M1, P, M1, D2, N3, S
Av: S, N3, D2, N2, D2, P, M1, G3, R1, S
The raga is varka in both arohana and avarohana with the usage of both N3 and N2 in the avarohana. This vakra sancharas makes the raga very pleasant to listen to and the raga has plenty of scope for gamakas. It is a very mangala (auspicious) ragam.
Listen to Vijay Siva sing Varalaksmim Bhajare -
5. Sri Varalakshmi Namastubhyam in Sri ragam
Shree or Sri ragam is a very ancient ragam with a lot of compositions set to it. It is a highly pleasing and mangala (auspicious) ragam. The modern day Shree ragam is considered to be a janya of the 22nd melakarta Kharaharapriya as per the sampurna mela formulation. In the asampurna mela series, the 22nd mela itself was called as Shree ragam and it is this origin that Dikshitar used.The raga swaroopa is-
Ar: S, R2, M1, P, N2, S
Av: S, N2, P, D2, N2, P, M1, R2, G2, R2, S
It has a prominent vakra sanchara in its avarohana and is pentatonic (audava) in its arohana. More on Shree ragam in a later blog. The lyrics of the krithi -
shrI varalakSmI. rAgA: shrI. rUpaka tALA.
P: shrI varalakSmI namastubhyam vasupradE shrI sArasapadE rasapadE sapadE padE padE
A bhAvaja janaka prANa vallabhE suvarNAbhE bhAnu kOTi samAna prabhE bhakta sulabhE
sEvaka janapAlinyai shrta pankaja mAlinyai kEvala guNa shAlinyai kEshava hrt-khElinyai
C: shrAvaNa paurNamI pUrvastha shukravArE cArumatI prabhrtibhih-pUjitAkArE
dEvAdi guruguha samarpita maNimaya hArE dInajana samrakSaNa nipuNa kanakadhArE
bhAvanA bhEda caturE bhAratI sannutavarE kaivalya vitaraNaparE kAnkSita phalapradakarE
Please listen to MS Amma sing this song:
6. Mahalakshmi Karuna rasa lahari in Raga MadhavaManohari
This meaning of this raga itself is: One who makes Madhava happy/pleased and that is Mahalakshmi. This ragam is the janya of the 22nd melakarta Kharaharapriya. This ragam can also be called a janyam of other melakarthas but I will not get into that.As per Sangitha Sampradaya Pradarshini, this ragam is the janya of the 22nd melakarta of the Asampurna scheme - Sri ragam and the raga lakshana is-
Ar: S, R2, G2, M1, P, N2, D2, N2, S
Av: S, N2, D2, M1, G2, R2, S
This ragam features a vakra sancharam in the arohana. In the avarohana the Panchama (pa) is missing.
The lyrics of this song:
mahAlakSmi. rAgA: mAdhavamanOharI. Adi tALA.
P: mahAlakSmi karuNArasa lahari mAmava mAdhavamanOhari shrI
A: mahAviSNu vakSasthala vAsini mahAdEva guruguha vishvAsini
(madhyamakAla)
mahA pApa prashamani manOnmaNi mArajanani mangaLa pradAyini
C: kSIra sAgara sutE vEdanutE kSitIshAdi mahitE shiva sahitE
bhAratIc ratI shaci pUjitE bhakti yukta mAnasa virAjitE
(madhyamakAla)
vArijAsanAdyamara vanditE nAradAdi muni brnda nanditE
nIrajAsanasthE sumanasthE sArasa hastE sadA namastE
Please listen to D K Pattammal sing this song:
7. Sri Bhargavi bhadram in Raga MangalaKaishiki
This song is part of the Srirangam pancharatna krithi of Muthuswami Dikshitar and is set in the rare and ancient raga Mangala Kaishiki and Triputa talam. The ragam Mangala Kaishiki is a janyam of the 15th melakarta Mayamalavagowla in both the sampurna and asampurna formulations. The raga swaroopa is -
Ar: S, R1, M1, G3, D1, P, S
Av: S, N3, D1, P, M1, G3, R1, S
This ragam has multiple vakra sancharas in the arohanam. However, M1 and G3 are close to each other as does D1 and P. So the arohana has a two peak (as in mountain peak) type vakra sanchara. This type of movements are very common in western classical music where in typically we are relatively free to choose the notes (Except in some cases, we can make vakra sancharas pretty much when ever we want). The lyrics of the song -
P: shrI bhArgavI bhadram mE dishatu shrIrangadAmEshvari
A: saubhAgya lakSmI satatam mAmavatu sakala lOkajananI viSNu mOhinI
C: madana guru mAninI mama manasi tiSThatu madhukara vijaya mangaLa kaishikA nivasatu sadana
madhyE mahAlakSmI sadA viharatu sAmaja hEma kumbha snApitA vijayatu pada nayanAnana karanaLinI
parama puruSa hari praNayinI vadana kamala guruguha dharaNIvaranuta ranganAtha ramaNI
These songs are considered part of the Muthuswami Dikshitar Varalakshmi series. But he has also composed Kamakshi Sri Varalakshmim but it is considered as part of his Kamakshi series. All the songs uploaded and linked on this blog are for educational and devotional purposes only and not intended to break any copyright. Meet you soon with more music!
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