Dakshayani Abhayambike || Muthuswami Dikshitar || Dr. Prema Rangarajan

Prema Ranagarajan's " Dakshayani Abhayambike " Krithi, Composition of Muthuswami Dikshitar , Thodi Ragam , Rupaka Talam.

Vocal support: Kalpalathika Ravishankar
Mrudangam : Guru Raghavendra

"dAkshAyaNi abhayAmbikE", a majestic krithi in tODi composed exclusively in the sambOdhana vibhakthi where dIkshithar directly addresses the Goddess as "hE abhayAmbikE". The highlight of this krithi is the soul-stirring mandira sthAyi deivatham start for the pallavi, thereby making "dA"kshAyaNi a swarAkshara beginning. dIkshithar presents an absolutely different shade of tODi in this krithi. By comparing with the nishAda start of kamalAmbikE, this mandira sthAyi deivatham beginning shows the versatility of this genius. The krithi on the whole is an extremely simple set up but it still oozes with rAga bhAva and amrita rasa.
er, the mandira sthAyi deivatham with which the krithi begins is mesmerizing to say the least. The rishabam at dAkshAya"Ni" followed by "GDP" phrase at "abha"yAmbikE completely makes the rasika to surrender. dIkshithar employs a madhyamakAlam in the pallavi itself at "namastE" which descends as "DNS,SNDPMGRS" thereby looping back to first line with the beautiful "S D" prayOgam. This is one of those krithis in which dIkshithar clearly portrays the meditative essence of this entire set of abhayAmbA vibhakthi krithis. Because of the grandeur of this tODi, many musicologists still argue that this krithi should be the dhyAna krithi of this series (similar to the tODi dhyAna krithi of the kamalAmbA navAvarNams).dIkshithar clearly shows that he is a shrI vidyA upAsakA by bringing in the topic of initiation ("dIkSa") and in the words "kAmatantravidAyini". In shrI vidyA, kAmatantra or kAmakalA represents the inner heart of the bindu (the third eye") and symbolizes that for creation, the sperm and the egg must unite. Musically, the "SNDp; GM PGRS" phrase at "samastajagadhvilAsini" is absolutely divine and it once again loops back with the "S D" prayOgam while merging with the pallavi.
One more thing to note in this krithi is that the tAra sthAyi prayOgams are very sparingly used. dIkshithar seems to emphasize that the beauty of the rAgam and the meditative phase he is trying to portray is based out of the madhya and the mandira sthAyis
- Excerpts fromNadha sudha Rasa.

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