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Other themes and personalities
Venkata kavi's knowledge and affinity to various deities extend beyond the deities covered in the above menus. Some of the other themes and personalities have been mentioned below.
Vishnu: Even though, we can group all the songs composed on Lord Krshna and Rama under Lord Vishnu, since they are his incarnations, there are a few compositions that this master composer has directly addressed to Lord Vishnu. One of them is the second saptaratna – Aganita mahimaadbhuta leela (Gowla). Madhava panchakam, a set of verses (shloka) on Vishnu is equally noteworthy.
Ranganatha: Ranganaatham anisham (Gambheeranattai) is a magnificent masterpiece that is composed with multiple charanams with svara-sahityam sections, similar to the saptaratnas or Tyagaraja's pancharatnams. He has composed a set of verses dedicated to Lord Ranganatha which are set in a meter of five units (khanda gati), known as the Ranganaatha panchakam.
Parthasarathy: Parthasarathy (Arjuna's charioteer) was worshipped by Venkata kavi through his songs composed at the temple in Triplicane, Chennai. Some of them include Paarthasaarathy parama dayaanidhi (Surati), Tedi arula vandaan (Arabhi), Gatiyaaha vendum (Surati).
Nrsimha: This avatara of Vishnu, is always associated with a lot of ferocity and Venkata kavi brings out this aspect in his verses (shloka) dedicated to Lord Nrsimha known as the Nrsimha panchakam beginning with the words, Tapta kaanchana.
Parashurama: Perhaps, Venkata kavi is the only composer to have composed about Parashurama, another fiery incarnation of Vishnu. This composition (kodaariyai pidittaar) has not been published yet but finds a mention in the manuscript of Shri Needamangalam Krishnamurthy Bhagavatar.
Uddhava: Venkata kavi has paid tribute to this faithful devotee of Lord Krshna through his composition, Sholla valleno (Shuddhasaveri). This again could perhaps be the only piece on Uddhava in Carnatic literature.
Yamuna: The sacred Yamuna is often closely associated with Lord Krshna's pranks and this composer has dedicated some compositions to this sacred river too. Amudanukku amudoottum (Yamunakalyani) and Ramaneeya yamuna tataakam (Neelambari) are examples of this.
Venkata Kavi has also composed pieces on Vithala, the Sun god (Soorya) and one-off compositions on great personalities such as Vyasa, Shuka mani, Jayadeva, Valmiki and other themes such as the value and importance of music and nature, the greatness of Daskha yagam, the incomparable devotion to Hari, about the signifiance of Bhagavatam etc.
| agaṇita mahimādbhuta |
| ||||||||
| allikkēṇikkarai tēḍi | |||||||||
| amudanukku amudooṭṭum | |||||||||
| bhajanāmrta paramānanda |
|  | |||||||
| bhakti paṇṇādirukkalāmō | |||||||||
| bhakti yōga sangeeta | |||||||||
| bheema nadikkaraiyil | |||||||||
| engum iyarkai maṇam | |||||||||
| gatiyāha vēṇḍum* | |||||||||
| gōvindan avatāram | |||||||||
| iduvē phalan āmōḍi | |||||||||
| kai varishaikkāṭṭādeer | |||||||||
| kaṇḍum kāṇādadu pōl | |||||||||
| koḷḷāda āshai | |||||||||
| mā bhāratam** | |||||||||
| nāma sukha sutā | |||||||||
| nee sheida upakāram | |||||||||
| padmāvati ramaṇam |
| | |||||||
| padmini vallabha | |||||||||
| pāṇḍuranga viṭhala | |||||||||
| pārthasārathi | |||||||||
| patita pāvanam | |||||||||
| pazhamō pazhamō |
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| prasanna gōpāla | | ||||||||
| ramaṇeeya yamunā | |||||||||
| ranganātham anisham | | ||||||||
| shollavallēnō | |||||||||
| shreenivāsa chintayēham | |||||||||
| svāmi showrirāja | |||||||||
| tāḷē sharaṇam** | |||||||||
| tēḍi aruḷa vandān | |||||||||
| Tiruvarangam enṛu** | |||||||||
| vandē kavilōka | |||||||||
| vandē vālmiki | |||||||||
| vaṇṇam tihazh | |||||||||
| yārum iyalāda |
| 1 | agaṇita mahimādbhuta | Gowḷa | Ādi |
| ||||||||
| 2 | allikkēṇikkarai tēḍi | Kharaharapriya | Ādi | |||||||||
| 3 | amudanukku amudooṭṭum | Hameerkalyāṇi | Ādi | |||||||||
| 4 | bhajanāmrta paramānanda | Nāṭṭai | Ādi |
| | |||||||
| 5 | bhakti paṇṇādirukkalāmō | Keeravāṇi | Ādi | |||||||||
| 6 | bhakti yōga sangeeta | Kharaharapriya | Ādi | |||||||||
| 7 | bheema nadikkaraiyil | Gowrimanōhari | Ādi | |||||||||
| 8 | engum iyarkai maṇam | Saptarāgamālika | Ēkam | |||||||||
| 9 | gatiyāha vēṇḍum* | Suraṭi | ||||||||||
| 10 | gōvindan avatāram | Ārabhi | Ādi | |||||||||
| 11 | iduvē phalan āmōḍi | Dhanyāshi | Ādi | |||||||||
| 12 | kai varishaikkāṭṭādeer | Husēni | Ādi | |||||||||
| 13 | kaṇḍum kāṇādadu pōl | Rāgamālika | Ādi | |||||||||
| 14 | koḷḷāda āshai | Bilahari | Mishra Chāpu | |||||||||
| 15 | mā bhāratam** | Khamāch | ||||||||||
| 16 | nāma sukha sutā | Siddhasēna | Ēkam | |||||||||
| 17 | nee sheida upakāram | Umābharaṇam | Ādi | |||||||||
| 18 | padmāvati ramaṇam | Poorvikalyāṇi | Mishra Chāpu |
| | |||||||
| 19 | padmini vallabha | Dhanyāshi | Ādi | |||||||||
| 20 | pāṇḍuranga viṭhala | Chāyātarangiṇi | Roopakam | |||||||||
| 21 | pārthasārathi | Suraṭi | Roopakam | |||||||||
| 22 | patita pāvanam | Shuddhasāvēri | Ādi | |||||||||
| 23 | pazhamō pazhamō | Gowrimanōhari | Ādi |
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| 24 | prasanna gōpāla | Dvijayavanti | Mishra Aṭa | | ||||||||
| 25 | ramaṇeeya yamunā | Neelāmbari | Mishra Chāpu | |||||||||
| 26 | ranganātham anisham | Gambheeranāṭṭai | Ādi | | ||||||||
| 27 | shollavallēnō | Shuddhasāvēri | Ādi | |||||||||
| 28 | shreenivāsa chintayēham | Gowḷa | Ādi | |||||||||
| 29 | svāmi showrirāja | Simhēndramadhyamam | Ādi | |||||||||
| 30 | tāḷē sharaṇam** | Tōḍi | ||||||||||
| 31 | tēḍi aruḷa vandān | Ārabhi | Ādi | |||||||||
| 32 | Tiruvarangam enṛu** | |||||||||||
| 33 | vandē kavilōka | Reetigowḷa | Mishra Chāpu | |||||||||
| 34 | vandē vālmiki | Aṭhāṇa | Ādi | |||||||||
| 35 | vaṇṇam tihazh | Husēni | Roopakam | |||||||||
| 36 | yārum iyalāda | Gowrimanōhari | Khaṇḍa chāpu |
