This next one is from Chenna Kesava Satakam:Ĭhinna chembutho neellu seekaaya udakambuĮach poem in Chenna Kesava Satakam ends with acchanna varadaalu bucchi kesavulu. Unfortunately out of 100 of these poems only 6 are available. Little did I know, for a very long time, that it was penned by Annamacharya! As each poem in Chinni Krishna Satakam ends with chinni krishnaa ninnu cheri koluthu, Annamacharya draws us to the fact that this beautiful kid is a God who should be praised for all that He is. His description of Lord Krishna as a toddler in the above satakam is forever etched on my mind as I grew up learning it when I was a toddler myself, as did many others in our family. This first one is from Chinni Krishna Satakam: Many school children in Andhra Pradesh are familiar with two poems that came directly from these satakams. These four are Narasimha Satakam, Sudarsana Krishna Satakam, Chenna Kesava Satakam and Chinni Krishna Satakam. He wrote twelve satakams, each a collection of 100( sata in Sanskrit) poems, out of which only four are partially available. Of these, Dwipada Ramayanam and Venkatachala Mahatyam are not available. Not only did he compose sankeertanams, he also wrote several other devotional works that include Venkateswara Satakam, Sringara Manjari, Dwipada Ramayanam and Venkatachala Mahatyam. For Annamacharya, each of these deities represented none other than Lord Venkateswara. He has compositions on several deities including Rama, Krishna, Hanuman, Narasimha, Chenna Kesava, Varadarajulu, Vittala and Sriranganatha.
If the above control does not work, click here You may listen to this composition using the following control: Dolayam chala dolayam chala dolayam is a unique one that describes the ten incarnations as he sings lullaby for each of them with the word dolayam that represents a swing. Siruta navvulla vaadu sinneka is in folklore style while brahma kadigina padamu, indhariki abhayambul ichchu cheyi and ithanikante vere dhaivamu kaanamu are in the traditional style. He has numerous compositions on Dasavataras – the ten incarnations of Lord Vishnu. The second most number of compositions for a deity, after Venkateswara and His consort Alimelumanga, is reserved for Lord Krishna. In spite of being single mindedly dedicated to Lord Venkateswara, Annamacharya composed songs on several other deities. The vast repository of compositions and the embedded love for God in those compositions stands as a testimony to his inexhaustible devotion. He led his entire life singing the glory of Lord Venkateswara and in deep meditation on the Lord and His various forms. He had his mind set on the Lord of the temple hills and for him nothing else mattered. We are indeed very fortunate to inherit over 14000 of the 32000 compositions attributed to him. It is not inaccurate to state that Annamacharya’s compositions are perhaps the largest number ever attributed to one composer.
Understanding his compositions is the previous article in the series.
#Annamayya vinnapalu vinavale series
This is the fifteenth article in my series of articles on Annamacharya. This is evident not only from his vast number of compositions, but also in his literary works, his daily routine, his philosophy, his social outlook, and how he surrendered his entire life to Him. In order to make this possible he must have carried a deep devotion that never bottomed out and faith and conviction that knew no boundaries. In fact, a simple math shows that he made up considerable amount of time that was lost prior to taking the vow. From the 14000 available compositions there is not an iota of evidence that the composer was ever tired of writing a new verse every day. In that timeframe he composed 32000 songs. Annamacharya was only 16 when he made that promise. It is one thing to promise one composition a day for the rest of the life and a totally different thing to implement it in such a versatile manner.