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Sri Shyama Shastry – Music-Continued

sarasvathi tanjore 01

The Kriti is a composite Art form. A good Kriti is the sublime blend of the Mathu (Sahitya) and Dhathu, the Music and its rhythm. All the constituent elements (Angas) – the sentiment, the diction, the music and the rhythm– that combine to form a Kriti, have to be in harmony, supporting each other; each helping the others to shine forth and to manifest in their best form. The Kriti is indeed a living, fluid, organic entity.

In the Karnataka Samgita, Mathu or Sahitya and the prosody (Kavya-lakshana) assume great importance. Raga, essentially, is a representation or an outpouring of the emotional content (Raga-bhava) of the Kriti, evoking a distinct feeling of happiness, sweetness (Madhurya) or poignancy (Karuna-rasa). But, Raga, by its very nature; is rather amorphous; and, truly having no physical or material existence. It does need a medium to articulate in a tangible form that draws the listener into the music; and to communicate with her/ him. It is only then there will be fulfillment (Dhanyata-bhava); and, music becomes a shared experience between the composer, performer and the listener.

And, even otherwise, the lyrics of a Kriti has its own importance. A composition is known and recognized by its Sahitya; particularly by it’s opening lines (Pallavi), than by the mere name of the Raga, which attires its lyrical appeal. There might be numerous Kritis in a particular Raga; but, it is its Sahitya that lends an identity to a given composition.

A well composed , expressive , lyrical beauty that blends amicably with melody and rhythm is a distinctly bright feature of the Karnataka Samgita. Perhaps no other system of music, anywhere in the world, can boast of such a wealth of exquisitely structured compositions set to music.

If an erudite composer also happens to be a gifted poet, endowed with innate poetic genius (Kavya-Prathibha), which is nurtured and developed through training Utpatti (detailed study of Grammar, the literary works and scriptures); and Abhyasa, Abhiyoga, Prayatna (constant practice) of composing poetry set to Music, then his Kriti will blossom into most delectable poetic presentation adorned with enjoyable music and pulsating rhythm.

It creates an idyllic ambiance that is shared by the creator, the performer and the Rasika (enjoyer). It, somehow, touches the very core of our being. And, as Abhinavagupta says, it is a Chamatkara, which bestows on all an Alaukika Ananda, an out-of-the-world wondrous aesthetic joy. Thus, at the end, very little would separate the composer, the singer and the Sahrudaya, the well informed connoisseur.

In the traditional kritis, composing a Sahitya that conforms to the laws of the prosody (Kavya Agama) is very vital. All the renowned composers of the Karnataka Samgita were well learned in Vyakarana, Chhandas and other Prayogas of Padya Sahithya. Their Kritis show the remarkable mastery they had gained over the Alamkaras – literary embellishments—such as: Prasa, Yati, Yamaka, Gamaka, Svarakshara patterns and others.

Prasa

Prasa is a type of Sabda-alamkara, a literary ornamentation. The term Prasa refers to the sound or the phonetic sequence. In a composition; similar sounds (Prasa) could be employed either at the commencement of each Paada (line) of the composition (Adi or Adyakshara-prasa); or as ‘Anu-prasa’ , where similar letters or sounds recur repeatedly in the same Paada; or in the second syllables of each Paada (Dvitiyakshara-prasa); or in the concluding line where the rhyming occurs towards the ending (Antyakshara-prasa).

And, Adi or Adyakshara-prasa, mainly, involves rhyming, where each Paada (line) starts with the same Akshara; or, where the first letter is repeated between the Avartas.

Anu prasa is where similar letters recur repeatedly in the same Paada.

Dvitiya-kshara-prasa is the repetition of the second letter (Jiva-akshara) of the first Avarta in the same position in the subsequent Avartas, as well. This is concerned only with consonants, not vowels. Such a Prasa can be for a single letter and also for a group of letters.

Antya-prasa is the repetition of a letter or group of letters at the end of the Avartas. It differs from Prasa; because, while the Prasa is confined to consonants, here the vowels are also included. For instance, a word like Netram can have Antyaprasa only with words like Gatram, Sutram, etc., and not with words like Satrum, Atrim etc.

The Muhana is the repetition of the first letter between the Avartas. The Antya-prasa is the repetition of a letter or group of letters at the end of the Avarta.

Muhana is a type of Sabdalankara, in which the same letter as in the beginning of an Avarta or any of its substitutes should occur in the beginning of the second Avarta. For example,‘ Dinakara Kula dipa / Dhrita divya sara chapa!’

The term Antar+ukti, literally means the ‘in-between utterance’. The method of Antarukti is by way of inserting one or more syllables between two words. It is done mostly for the sake of maintaining the flow of the Taala.

In the Kritis of Sri Shyama Shastry, many of which are technically classified as Telugu works, the essential and the prime body of the lyrics is in chaste, refined classical Sanskrit-based terms.

His Telugu words, though often are informal and colloquial expressions, are infused with emotion trying to express the natural feelings of tenderness, love and affection of a child reaching out to its Mother. Many of these songs are a sort of conversations, pleading with the Mother, questioning her why she is not paying attention to him, not responding to his desperate appeals and so on.

And, in such Kritis, though he has mostly employed the spoken form of Telugu language, either as verbs (Akhyata) – say like brovu, vinu, matladu etc. or for addressing (Sambhodana) the Mother Deity as Talli, Mayamma etc., the string of sweet-sounding names and eloquent, picturesque adjectives he uses for describing the beauty, splendour and the countless virtues of the Supreme Mother Goddess are all in delightful Sanskrit phrases.

Further, the nature of the Telugu- Sahitya of his Kritis markedly differs from the Sahitya of the Svarajatis.

The Telugu-Sahitya of his Svarajatis, in contrast, is more poetic; orderly and, is often interspersed with philosophical expressions.

Sri Shyama Shastry has adopted the time-honored (Sampradaya-baddha) poetic traditions (Kavya-agama) followed in the ancient Prabandhas as also in the Kirtanas and Kritis that came into being during the seventeenth and the eighteenth . Such essential poetic virtues (Kavya-guna) are found in the Kritis of the other Masters also.

Many of the Kritis of Sri Shyama Shastry are adorned with the metaphors of Kavya-Alamkara and Sabda-Alamkaras, such as Anuprasa and Antya-prasa. And, Muhana (the first letter repetition between the Avartas) and Prasa (the second letter repetition) are also used. But, more Kritis are found with the Prasa-Yati. Sri Shyama Shastri used the method of splitting up the words i.e. Antarukti for introducing Prasa- Yati

Smt. Sharadambal explains : with regard to the occurrence of the Prasa-aksharas in the compositions of Sri Shyama Shastry, they can be divided into four categories,.

Dhirgha (long) syllables preceding the Prasa-akshara in the Carana alone.
Dhirgha (long) syllable proceeds in the all the three Angas.
Hrasva (short) letter is found throughout the composition.
4. Dhirgha (long) syllable is found in Pallavi and Anupallavi; and, the Hrasva (short) syllable is used in the Carana.

This Kriti ‘Devi nee paada sarasamule’ (Khambhoji); and, Mayamma (Ahiri) are cited as instances, where both the long and the short syllable are used in the Kriti.

Sri Shyama Shastry used the Prasas like Adi-Prasa; Anu-prasa; Dvitiya-kshara-Prasa and Antya-Prasa.

For instance; the Sambhodana-vibhakthi, as an Adyakshara-prasa is used in Sri Shyama Shastry’s Kriti ‘Emani Migula’ (Todi).

Here, every Paada (line) of the second Carana commences with similar sounds, calling out to the Divine Mother: O Janani Karuni…. Om Anina Janma … O Moha- vratulai … O Rajadhi-rajendra.

Examples of alliteration of the first letter

Saroja-dala-netri (Shankarabharanam)

Saroja dala-netri Himagiri-putri nipada-mbujamule

Sada nammina-namma subhamimma Sri Minakshamma

Mariveregati (Anandabhairavi)

Madhura-puri nilaya vani rama sevita pada kamala

Madhu kaitabha bhanjani katyani marala-gamana

Sri Shyama Shastry has employed Anu-prasa (repetition of a vowel or consonant or both), in some of his Kritis. For instance; in the Kriti ‘Kanaka-shaila’ (Punnagavarali), the syllable ‘da’ is repeatedly used in the second Carana as follows:

Chanda-munda-kandana-panditesu;danda-kodanda-mandita-pani; pundarika -nayana-archita-paade

In the Kriti Parvati Ninnu (Kalkada) the Anuprasa is seen in many places such as:

Anupallavi: Sangita-lole, Suguna-jale, and Jala- mele

Carana-1:Banda-daitya-Khandana-Khandala-vinuta-Mârthand-Neeraja-kshi Nikhila-sakshi

Carana(2):Indu-vadana-Kunda-radana-Sindura-gamana-makaranda-vâni,Nila megha-veni Girvani.

In the First Carana of the Kriti O Jagadamba (Anandabhairavi), the Dvitiya-kshara Prasa for the sound ‘Inna’ occurs in all the four Avartas, till the last line:

Kanna-talli;- Kannada-salupaga ;- Ninnu-ne; – Anni-bhuvana ; – Prasanna-murti; -Vinna-pambu; Vipanna-bhaya

And , in the Kriti Meenalochana (Dhanyasi) the Dvitiya-kshara ’Na’ has been maintained in the Anupallavi and in the First Carana as ; Meena; Gana; Kanna; Panna etc.

In the Anupallavi of the Kriti Saroja-dala-netri (Shankarabharanam), the letter ‘ra’ occurs as the second (Dvitiya) letter (Akshara) of its lines.

Paraku seyaka varadayaki nivale daivamu-lokamulo-galada

Purani sukapani Madhukara veni Sadasivuniki rani

Sri Shyama Shastry used the device of Antarukti for splitting up the words, for introducing Prasa-yati, in some cases.

In the Kriti O Jagadamba (Anandabhairavi), the Antarukti is used to bring the Prasa Yati.

Pallavi: O Jagadamba nannu (Na…..- Antarukti Vujavamuna) brovumu …..
Anupallavi: Rajamukhi ……. (Suguna –Antarukti Rajarajita) Kamakshi

Antya-prasa is found in all the three Angas of Sri Shyama Shastry’s Kriti Shankari Shamkaru (Saveri), where the Pallavi reads: ‘Akhilandeshwari–Vandite Gauri’.

That is followed by Anupallavi: Kalyani–Jagatjanani; and, First Carana: Jagadavanollasini—Kapaladarini sulini

Another type of Antya-prasa used by him was to repeat the same word at the end of all the Caranas.

For instance; the word ‘birana’ is repeated at the end of the Pallavi and at the end of the last line of all the three Caranas of the Kriti Brovavamma (Manji).

Similar is the case with the word ‘Na-talli’ in ‘Devi brova samayamide’ (Chintamani) ; and , the word ‘Brochutaku’ in the Kriti ‘Ninnu-vinaga’ (Purvikalyani)

Yati

Yati is a generic term, having different connotations in Kavya, Taala (Mrdanga) and in Music. In regard to the Kritis in Karnataka samgita, Yati is a Dhatu-Mathu-Samyukta Alamkara. This Anga is meant to decorate the texture of the compositions. Yati could also control the arrangement of various tempos. It is, thus, an ornamentation that enhances the beauty of the Sahitya and the flow of the Musical presentation of the Kriti.

If the Yati is taken to mean the arrangement of Sahitya phrases along with its Dhatu, there would be different types of Yatis in music. Here the Sahitya phrases would be ingeniously arranged to form varied patterns, such as: Sama Yati, Gopuchcha Yati, Srotovaha Yati, Damaru Yati, Mridanga Yati and Vishama Yati.

Sri Mutthuswami Dikshitar, in particular was a Master in crafting such various patterns of Yatis. And, some Yati-prayogas are also seen in the Kritis of Sri Thyagaraja. But, Sri Shyama Shastry did not seem to have attempted Yati-prasa to that extent; except perhaps the Sama Yati, which is an even flow of the Sahitya phrases; and, follows a uniform length of lines (Sama). If two letters of Yati and Prasa are of one and the same character and magnitude, it is called as Sama-yati -Prasa.

According to Prof. Sambamurthy, alliterating the initial syllables or their sequence in Avartas could be taken as Yati. The purpose of the Yati is to create a pleasant musical resonance.

In Sri Shyama Shastri Kritis, the Dhatu as well as its rhythm are arranged; for example; in the Kriti Palainchu-Kamakshi (Madhyamavathi), the phrase ‘Paalinchu Kamakshi pavani …..Paapa-shamanee‘, the appearance of the second Pa is called Sama-yati-Prasa.

In the Kriti Mayamma (Ahiri), the Yatis that occur are of the same character and magnitude.

Sarasija

Yamaka

This is a literary beauty, where in the same word, will be repeated but with different meaning and sense. For instance; In the Anupallavi of the Kriti Mayamma (Natakuranji), the word ‘Ananda‘ is applied in many ways so as to give different layers of meaning (True bliss -Happy one – Eternally blissful -Blissful):

Saty(A)nandA – SAnandA – Nity(A)nandA ^–AnandA

Gamaka

The term Gamaka derived from the root ’gam’ suggests movement (Gamana, Gamya). Gamakas are graces or ornamented flourishes of the Svaras which characterize the gait of a Raga (Raga-sanchara); and, establish the melodic nature of the Dhathu of a musical composition (Raga-svarupa). They are the varied musical effects (Alamkaras) that can transform a plain note into something that is attractive, charming and pleasant on the ears (Gamakau–srotra-sukhadai-lalithair-asthu).

Parsvadeva, in his ‘Sangeetha Samaya Sara’ defines Gamaka in the following terms :- “When a note produces the color of srutis other than those which are its own, it is known as Gamaka.”

Gamakas are executed in varied forms, such as: graceful turn, curve or sliding touch given to a single note or a group of notes, which animates Svaras to bring out the melodic character and expression (bhava) of a Raga. Gamaka-rendering is a highly individualistic and a specialized skill. Gamakas are very vital factors of Karnataka Samgita. I am not sure if any other system of music has a worthy equivalent to Gamaka of Karnataka Samgita.

Gamaka (ornamented note) is thus any graceful turn, curve or cornering touch given to a single note or a group of notes, which adds emphasis to each Raga’s unique character. Gamaka, in short, is the movement of Svaras which bounce, slide, glide, shivers, rapidly oscillates or skips. It provides movement and animates Svaras to bring out the melodic character and expression (bhava) of a Raga. Each Raga has specific rules on the types of Gamakas that might be applied to specific notes, and the types that may not. Every Raga has, therefore, to be necessarily rendered with the appropriate Gamakas. They depend on the manner of quivering, oscillations or shaking that the Svaras can be endowed with.

Sarangadeva (11^th Century) in his Sangita-ratnakara , enumerates fifteen (pancha-dasha) varieties of Gamakas –

Tiripa, Sphurita, Kampita, Leena, Andolita, Vali, Tribhinna, Kurula, Ahata, Ullasita, Humpita, Plavita, Mudrita, Namita and Misrita

Although the Gamakas are formally listed as fifteen, Sarangadeva remarks, the Gamakas are indeed countless.

And, while describing the virtues and the desired qualities of a highly accomplished singer (Uttama Gayaka) who belongs to a good tradition (Su-sampradayo) , Sarangadeva says, such a one should have the intelligence to improvise the Gamakas in all their movements (Sarva-sthanao-ttha-Gamake-sarva-kaku-vishesha-vit,-aneka-sthai- sancharah); and, in all the three registers (Sthanas)

The Kritis of Sri Shyama Shastry are remarkable for their Gamaka Prayogas. His Kritis, set in leisurely Vilamba laya, excelling in Chowka kala, are ideal for illuminating and elaborately bringing out the varied nuances of a Raga through the application of many improvised Gamaka movements like Kampita, Jaru etc..

As a composer of great merit, Sri Shyama Shastry creatively transformed the traditional concept and application of the Gamakas. In his Prayogas, the Gamaka is not a mere ornamentation of a Svara; but, it is also a soulful means of expressing anguish, devotion, joy and such other emotions. It lends a new color and a new dimension to both the Dhatu (Music) and the Mathu (Sahitya) of his Kritis. Sri Shyama Shastry was indeed a pioneer in delineating the Raga-bhava through Gamaka Prayoga.

Any number of instances could be cited in this regard. But, just to mention a few:

His different compositions in Anandabhairavi bring out diverse shades and aspects of the Raga. It could be either a simple delineation of the Raga as in his Kriti ‘Himaachala-tanaya’; or the Jaru Gamakas (glides) in the Madhyama-kala tempo in Rupaka Taala as in the Kriti ‘Pahi Sri’; or it could also be the Jaru Gamakas in Vilamba-kala set to Misra –Chapu-Taala as in the Kriti ‘Marivere’; and, finally, it could be an elaborate Raga portrayal in the Adi Taala , Madhyama gati, in the Kriti ‘O Jagadamba’.

The two varieties of Kampita -Gamaka are applied to the same phrase ‘Amba ni’ in the Kriti ‘Sari-evvaramma’ (Bhairavi) to express two different emotions. Similar features can be seen in his other Kritis also.

In the Kriti ‘O Jagadamba’ (Anandabhairavi), the opening exclamation ‘Oh’ is repeated thrice, with three different Gamakas. Initially, it is in a lower Svara, as an Etra-jaru (a glide from a lower Svara-sthana to a higher one). The second ‘Oh‘ is expressed through oscillations (Kampita) in higher notes, in a circling movement. And, the third ‘Oh’ is an Erakka-jaru (a slide from a higher Svara-sthana to a lower one).

In the Svarasahitya of the Kriti Kamakshi Bangaru (36-Varali, Misra Chapu), where the word ‘Mayamma’ starts with a Jaru (glide) from the Daivata; and, reaches Tara-shadja in the passage ‘Mayamma Vegame Karuna-judavamma’

Many examples of Gamakas can also be found in Sri Shyama Shastry’s Svarajatis. His Todi-Svarajati ‘Raave’ begins with a Mandra-sthayi-Dheergha-Dhaivata, which is sung with Kampita Gamaka (oscillations).

His very famous Bhairavi Svarajati ‘Kamakshi’ has eight Caranas starting in the ascending order, the Arohana, as ‘Sa RI Ga Ma Pa Dha Ni Sa’. In the opening lines of the Pallavi, which are in Mandara Sthayi, in a contemplative mood, the Kampita (oscillation) and Jaru (glides) Gamakas follow in succession.

The Yadhukula-kambodhi Svarajati has many instances of Jaru Gamakas as well as the Pratyahata Gamaka (Sphurita in the descent, a Samabandha Gamaka produced from the higher note in a Janta svara prayoga), which is a characteristic of the Raga.

Even in his Varnas, there are many Gamaka-prayogas.

For instance; the Varna in Anandabhairavi, ‘Sami ninne’ not only begins with a characteristic Jaru Gamaka (s/s-d-p-m-g-m); but , it also appears at many other parts of the composition.

[For a detailed discussion on the Gamakas, please do read the Chapter 5 – Concept of Gamaka in the compositions of Syamasastri– of Dr.Manju Gopal’s research paper.]

[** Svarajati, as the name suggests, is a combination of Svaras (notes) and Jati (rhythmical sol-fa passages). Sri Shyama Shastry revised the form of the Svarajatis by eliminating the Jatis; and, letting the Svaras to arrange themselves into Jati-patterns. The Svarajati composition commences with a Pallavi; and, is followed by Carana/s. While rendering the Carana, the Svaras are sung first; and, then its corresponding Sahitya is presented.

The beauty of the Svarajatis composed by Sri Shyama Shastry is in its natural flow of the Taala, Laya and Svaras. ]

Taala

Taala and Laya

Taala and Laya, over which Sri Shyama Shastry had gained mastery, and their dexterous combination with the Sahitya are among the outstanding features of his compositions.

He had experimented with altering the sequence of Matras in the Misra Chapu, transforming it into its reverse, the Viloma Chapau.

He had employed various Grahas or Eduppus (starting Points) in his Misra Chapu Kritis.

Sri Subbarama Dikshitar (on page 15 of the segment Vaggeyakara Caritam included in his monumental work Sangita Sampradaya Pradarshini), while writing a biographical note about Sri Shyama Shastry says;

Since his compositions are like ‘narikela-paka’ ”(as tough as breaking a coconut), with rich poetry, containing Atita, Anagata Grahas , with beautiful words, some lazy musicians, who could neither comprehend nor had the mettle to sing them in the manner that pleased the audience, called them tough.

Sri Shyama Shastry’s expertise in Taala and Laya is very evident from his treatment of the Misra Chapu Taala.

[In regard to the Taala; Graha or Eduppu denotes the point within the Āvartanam of a Taala, when a composition or stanza in a composition begins. Graha (Eduppu) can be two ways. One is Sama; and, the other is Vishama.

When a song begins at the first beat of a Taala it is Sama. And, when song begins either before or after the stroke of Taala it is Vishama.

Vishama is classified into two, as: (a) Athitha Graha: When the song begins first; and, it is then followed by Taala beat; and, (b) Anagata Graha is when a Taala begins first; and, the song follows it later.]

The Kritis of Sri Shyama Shastry (like those of Sri Dikshitar) do not start on Athitha-Graha. But, this feature occurs within the body of the Kriti, perhaps to satisfy the requirements of prosody. Usually, the Pallavi and, at times, Anu Pallavi of his Kritis commence in Anagata-Graha; while the Anu-Pallavi and Carana begin with Sama-Graha.

For instance; the Kriti ‘Devi nee padasarasa ‘(Kambhoji) commences in Anagata Graha with ‘Pa’ as the Graha-Svara; while, its Carana begins in Sama Graha.

[ It is mentioned that in Patantara – the texts of the Kritis- that came into use after 1930, the construction of the musical elements; especially of the Eduppus changed much ; and the 4+3 format was not maintained throughout.

For instance; in the Kriti ‘Ninnu vina’, the Pallavi is framed as 2+2+3; the Anupallavi ‘Pannaga-bhushannudaina’ and the Carana ‘Parama-lobu-lanu’ are of the usual 2+7 Eduppu; not consistent with the 4+3 formation of the Pallavi.

For more on this issue, please see the extracts from the work of Smt. Sharadambal, given in later in this post]

An excellent feature of his Kritis is that the Sahitya is arranged in concordance (Samanvaya) with the Taala–jatis (beats of the rhythm cycles).

Sri Shyama Shastri has used the different combinations of Svara syllables as well as Sahitya syllables to weave new patterns, within the framework of the Taala.

In his compositions, we find many words constituting of five syllables corresponding to the tâd-in-gina-tom in a natural way.

In the compositions as well as in Svara-Sahithya we find words as ‘Anu-dina-mu, Tarunamidi, durusu-ganu, kamala.mukhi, samayamidi and so on.

His compositions have plenty of Sahitya syllables, which are in the same time-units as the Dirgha-svaras and Hrasva-Svarâs, forming different patterns within the Taala structure

Another versatile feature in the Kritis of Sri Shyama Shastri, with regard to Taala, is that he has composed Kritis in Taalas and Gatis (sub-divisions of a beat in a composition) that are interchangeable.

He has composed a few Kritis suggestive of two rhythms. Here, one is the inherent rhythm (Sthapita-Taala); and, the other is the suggested rhythm (Suchita-Taala).

For instance; in the Kriti Shankari-Shamkuru (Saveri), Rupaka (1+1) is the Sthapita Taala; and Adi Taala (Tisra-gati, 3) would be the Suchita-Taala. The Pallavi and Anu-Pallavi, at the outset, are in Rupaka Taala; and, the Carana follows the Adi Taala (Tisra-gati).

And, similar is the case with another Kriti, Birana-varalichi’ (Kalyani) , which can be rendered in both Rupaka Taala (Chatursra- gati, 2+4) and also in Adi Taala (Tisra gati-3).

sarasvathi tanjore

Laya, Taala, Sruti and Kala are intricate concepts in Karnataka Samgita. They are as nebulous as one often flows into another.

Laya is commonly translated as tempo; which is inseparable from rhythm. And, rhythm is the ordered movement in time and space

It is also said; Laya is the pulse of the rhythm, which has three major speeds: Vilamba (slow), Madhyama (medium or normal) and Dhruta (fast).

Thus, Laya is said to include both rhythm and tempo; which are measured by the uniform flow of the time-duration (Kala). With that, Laya is the ordered movement of rhythm in time.

Suffice it to say that Laya could be taken as rhythm.

And, rhythm in our music is two-dimensional; the one that is related to the pitch is termed Shruti-Laya; and, the other related to the time-units is called Taala-Laya.

[Dr S A K Durga explains ‘The Laya stands for the interval of time between the beats and movement in time. Thus the term “Laya” means both rhythm and tempo created by the even measured flow of the uniform duration of Kala (time).

Prof .P.S. Narayanaswami: Rhythm gives stability and form to music. It can be described as the tangible gait of any musical movement. In Carnatic music, this is referred to as Laya. The common fallacy is that rhythm or laya is confined to percussion instruments and the rhythmic patterns produced therein. But laya is not limited to just that. It is present not only in melodic compositions, which usually have a rhythmic metre in an apparent manner but also in the creative aspects, sometimes conspicuously (like in Neraval or Kalpana-svara) and subtly at others (Raga Alapana and Tanam)]

Laya, for all its beauty, is abstract. You need a device, which measures and monitors this abstract time-flow. And, that function is performed by Taala.

If Laya is the rhythmical movement, Taala is that which measures the tempo of that movement. So, Laya implies movement; and, it can be perceived when there is a motion.

Taala (derived from the root tada or tadana) signifies a ‘beat’. The time-interval between the beats and its movement could also be taken as Laya, the rhythm.

Taala is the measurement of time-units in our music. And, the degree of speed with which the time-units, in each division of a Taala-cycle, follow each other is termed as Kala.

{But, Kala is also used to indicate Laya; say, as in: Madhyama Kala, Chowka Kala etc.]

The structural units of a Taala are called Angas. Such Angas are of different kinds.

Here, Anu-Dhruta (One Aksharakala) consists only the beat with palm. Dhruta (2 Aksharakala) is a beat followed a waving of hand. Laghu-Dhruta (4+2 Aksharakala) consists beat and finger counts (Laghu+Dhruta). And, Guru-Dhruta (8+2 Aksharakala) is rendered in Dhruva-kala and Patita-(Guru+Dhruta) wave to left and right or circle with thumb-up + beat with palm + turn (wave).

Anudruta Drutha Sankeerna Laghu

Taala, in turn, is reckoned by the finger counts, beats and wave of the hand. This manner of counting and keeping time is termed as Kriya. And, Kriya is the action of fingers, palms, hands, in order to keep track of the Taala-units.

And, when it is done without making audible sounds, it is called Ni-shabda-Kriya. And, when the beats are counted and played on cymbals etc., it is Sa-shabda-Kriya.

In the execution of a Taala, between two successive Kriyas, there is a period of rest or pause; and, that has to be maintained consistently.

The action of Kriya (manifesting as Taala sequence) and the interval between two elements of Kriya are interrelated. Further, each Kriya is an extension of its previous one. Here, the duration of such time-lag between two Kriyas assumes importance; and, with its increase or decrease, the Laya becomes faster or slower.

In Dhruta-Laya (fast), the Kriyas follow each other in quick succession, as the time-lag between them is very short. In Madhya- Laya or medium tempo, the Laya gets doubled; and, a further doubling of laya results in Vilambita laya.

This suggests; an increase in Laya results in decrease of the speed, i.e., the speed or tempo of a piece is inversely proportional to its laya.

The tempo of the musical composition in Indian Music is not marked by the composers as Indian music is learnt through oral tradition; and, the composers did not write their compositions with notation, unlike the composers of Western music. In Indian music , the compositions are performed in the tempo according to the Rasa and Bhava of the Raga and Sahitya, besides the performer’s own decision according to her/his concept of aesthetics, in the presentation

mrdanga

Kala-pramana

Smt. Sharadambal observes : regarding the tempo or Kala-pramana of the Compositions:

Though, most of the songs of Shyama Shastry are in slow medium tempo in Adi-Taala, there are some songs in fast and medium tempo.

The songs in Misra-Chapu and Triputa-Taalas also are mostly sung in slow medium tempo. The long drawn out rhythm with many pauses is seen in Chapu-Taala compositions with less number of words; and, with pauses here and there in these Kritis.

Some of his compositions in Adi-Taala have a tight knit relation between the Taala–Aksharas and the Sahitya letters. Almost all the Svara-letters have Sahitya-letters; and , Hrasva letters found in profusion.

For example; songs like’ Sarojadala-netri’ in Shankarabharana Raga; and in ‘Devi Brova’ in Chintamani Raga, though are set in Adi-Taala, the tempo seems to be increased and gives the impression that the song is set in Madhyama-kala. We do not find extensive pauses in these songs. The pauses are limited; and, words are many; and, this makes it appear as though the tempo is increased.

The songs set in Adi, Rupaka and other Taalas are in fast medium tempo. ‘Parvati-ninnu’ in Kalkada, ‘BiranaVaralicci’ in Kalyani can be cited as examples. Thus we find three different tempos such as slow, slow medium and fast medium tempos among the compositions of Shyama Shastri.

Pada-garbha / Arudi

Arudi or Pada-garbha is a pause that occurs in between the Taala- Avartas. Usually it occurs at the middle of the two Kalai Adi Taala or in the beginning of the next Avarta; or in the beginning of the third Avarta; or in Rupaka Taala or Chapu Taala.

The Kritis: ‘Kanaka-shaila’ (Punnagavarali); ‘Mayamma’ (Ahiri), ‘Emani-migula’ (Todi), ‘Palinchu Kamakshi ‘ (Madhyamavathi); ‘Devi-ni-padasarasa’ (Kambhoji); ‘Devi-mina-netri’ (Shankarabharana ); ‘Devi brova’ (Chintamani ), in Adi Taala two Kalai, all have the Pada-garbha exactly at the middle of the Avarta; that is, on the first Druta.

Here, the pause occurs dividing the Avarta into two; and, after a pause for two or four or three Aksharas, the song proceeds further.

In the songs having two Avartas in the Pallavi, the Arudi occurs in both the Avartas. For instance; we find Pada-garghas in the two Avartas in the kriti ‘Mayamma’ (Natakuranji); one in the first Avarta; and, the second in the second Avarta.

Mayam | ma nannu | Brova vam || ma+ ma ha ma | ya …u | ma … ||

Similarly in the song ‘Saroja-dala-netri’ in Shankarabharana Raga, we find two Pada-garbhas for the pallavi

Saroja dala netri Himagiripu | tri … ni | padam
Sada nammina namma subhamim | ma …O Sri

In Adi Taala, this pause occurs at the beginning of the next Avarta as in the song ‘Karuna judu’ in Sri Raga

Karuna judu ninnu | nammina | va-duga ||
da …in ta | parake | lanamma ||

The kriti ‘Karuna-judu’ as rendered in Misra Chapu Taala, in the 4 + 3 gait, has the Pada-garbham at the beginning of the fifth Avarta in the word ‘ga’

The Kritis in Rupaka Taala and Chapu Taala have the Pada-garbham at the commencement of the third Avarta.

‘Ninne’ in Todi Raga and Chapu Taala’ has two lines of Sahitya; and; had pause for the two lines at the beginning of the third Avarta

Ninnenam || mi na ……… || nu ……… sa || da ……… ne ||
Vin na pa || mu vi ni || nan …… nu || bro ……vumu ||

The other examples are : ‘Mina-locana’ in Dhanyasi Raga in Chapu-Taala and ‘Nannu-brovu’ in Lalita Raga are in Chapu Taala; ‘Pahi Sri’ in Ânandabhairavi Raga in Rupaka Taala; ‘Karuna juda’ in Varali Raga in Chapu Taala; ‘Birana vara’ in Kalyani Raga in Rupaka Taala; ‘Ninnuvina’ in Ritigaula Raga in Rupaka Taala

Pauses found in different places

There are some kritis, in which pauses occur in different places i.e. at the end of the pallavi; or at the end of the first Avarta and so on.

There are kritis which do not have pauses in between the Avartas; but, pause occurs only after finishing the Pallavi at the end of the second Avarta.

For example; in the kriti ‘Durusuga’ in Saveri Raga, we find pause only at the end of the Pallavi, whereas in the kriti ‘Marivere’ in Anandabhairavi Raga, we find a pause at the end of the first Avarta itself in both the lines as

Marive ……| ……………re | ga ti ye vva | ram … ma ||
Mahilo ……| …………….I. | mahilo ….. | brocu taku ||

Similarly in the kriti ‘Janani’ in Saveri Raga we find a pause in the beginning, but after that words follow without any pause up to the end and the pause occurs after the words as :

Janani ………… Nata | jana pari | pa lini …
pahivambhava | ni ……….| …………

In some kritis, pauses occur in the beginning; at the end of the Avartas in some; and, in many places in some kritis ; whereas there is no pause at all in some kritis.

The kritis in Chapu Taala are found with fewer words; with more pauses occurring in different places.

In the kriti ‘Talli-ninnu’ in Kalyani Raga in Chapu Taala, a pause occurs at the end of the second Avarta; and, it is continued in the beginning of the third Avarta.

Talli | Ninnu nera | …………… nammi | na nu vino | ve ..

In the kriti ‘Ninnu-vinaga’ in Purvikalyani Raga in Viloma Chapu Taala, we find karvai at the end of the first and third Avarta. The karvai is found in the second line also.

Ninnu vina …… | …… ga mari | dikk-evarun ……| na ……ru ||

In the kriti ‘Brôvavamma’ in Manji Raga ,in Chapu Taala, pauses occur in many ; and, not at specified places.

Brova vam ……|……ma …… ta … | masa me ……| le … ………………| ………….
bi ……..| ra …………na …… || ……
Devita ………|…… la le ………| ne …………bi | ra …… na ……

*
Similar type of kriti is ‘Nilayata-kshi’ in Pharaz Raga. We can find pause here and there controlling the flow of the rhythm.

Ni …… la …… ya || ta ………kshi || ni …… ve …||
jagatsa ……kshi ||

In order to control the less number of words employed in an Avarta in the above mentioned kritis in Chapu Taala; Shyama Shastri might have used these pauses wherever necessary.

Aspect of Laya

The advent of the Trinity with their compositions paved the way for a new era in the growth of Kriti. They gave importance not only to melody but also to the temporal aspect or laya.

Eduppu or Graha is the place where in the song starts in the Taala. This plays an important role in the construction of a composition.

There are songs which start on Sama Eduppu; that is, the Taala as well as music start at the same time from the beginning of the Taala count.

There are some songs which start after the Taala begins. This is called Anagata Eduppu.

Some songs start before the Taala Avarta, that is in the previous Avarta itself; and, that is called Atitha Eduppu.

Usually in songs, the Eduppu will uniformly be the same in all the three Angas, either Sama or Anagata

We also find different Eduppus among the different sections within a song of Shyama Shastri.

There are some songs in which two Angas start on the same Eduppu; and, the other Anga has a different Eduppu. They are as follows:

1.Birana – Kalyani – Rupaka
2. Shankari – Saveri – Rupaka
3. Himadrisute – Kalyani – Rupaka
4. Devi-mina-netri – Shankarabharana – Adi
5. Devi-neepada – Khambhoji – Adi
6. Enneramum – Punnagavarali – Adi
7. Mayamma – Natakuranji – Adi
8. Karuna-juda – Varali – Chapu
9. Shankari – Kalyani – Ata

The song ‘Birana Varâlicci’ in Kalyani Raga and the song `Himadrisute’ are with the same structure, but in Sanskrit, a special Eduppu is found in Rupaka Taala

The Pallavi and Anupallavi start after the first beat; that is, in the second beat or after four Akshra kaalas. The Carana of the song start after two Akshara Kaalas.

In this song, the Pada-garbham (Arudi) falls on the sixth beat; and, again the words start after a karvai of eight Aksharas. This gives a grip to the song over the Taala.

Another song in which the Carana alone starts after two Aksharas, while the Pallavi and Anupallavi start on some Eduppu is ‘Shankari’ in Saveri Raga. These two Kritis belong to the group of Kritis prevailing since early thirties.

There are some Kritis, which figure only after 1930.

Among them, the two Kritis each in the Ragas Shankarabharana and Kambhoji alone figure in the notation of Shyama Shastri II; and, the rest figure in the books of others of the same period.

In the four Kritis in Adi Taala, mentioned above, either Sama or Anagata Eduppu is kept for one Anga; and, the other two Angas have different ones.

For example, in the song ‘Devi ni pada’ in Kambhoji, the pallavi starts after two Aksharas; while Anupallavi and Carana have Sama Eduppu.

In the kriti ‘Mayamma’ in Natakuranji Raga, this is reversed. Pallavi has Sama Eduppu; and the Anupallavi and Carana start after two Aksharas.

In the Kritis ‘Devi-mina-netri’ in Shankarabharana Raga and ‘Ennçramum’ in Punnagavarali Raga, the Pallavi and Carana start after four Aksharas; while the Anupallavi start on Sama.

In the kriti ‘Karuna juda’ in Varali Raga, Chapu Taala, the Anupallavi alone starts after one Akshara; and, the other two Angas start on Sama

In the kriti ‘Shankari’ in Kalyani raga, Chatushra Atta Taala, the Carana alone start after one Akshara and the others on Sama.

There are some songs set in Misra Chapu Taala in the Krama order as 3+4; but, the Eduppu gives the impression as if the songs are sung in Viloma Chapu.

The songs start in the last beat of the Taala; and so the structure is formed as 2 + 3 + 2. The Kritis ‘Nannu-brovu’ in Lalita Raga and ‘Talli-ninnu’ in Kalyani Raga and ‘Mina-locana’ in Dhanyasi Raga can be cited as examples.

The song ‘Ninnu-vinaga’ in Purvikalyani Raga is the only song set in regular Viloma Chapu , which starts in the place Taka-dimi and then taki-ta follows as in HW of Shyama Shastri II, says S.Rajah.

In the HW of Shyama Shastri II , all the songs are written only in the form 4+3; but, the Eduppu alone is denoted either as 4+3 or 3+4 or 2+3+2 by an asterisk mark.

The Taalas handled by Sri Shyama Shastry

Sri Shyama Shastri has composed Kritis and other compositions in various types of Taalas; such as: Adi, Rupaka, Misra Chapu, Mathya, Triputa, Jhampa and Ata Taala. All the Taalas come under the Sapta- Taala group.

[In the Karnataka Samgita concerts, the four Taalas that are commonly used are – Adi, Rupaka, Misra-Chapu and Khanda-Chapu. And, most number of songs is in Adi Taala.

Popular Taalas

Adi Taala has several compositions, each in a different tempo and gait. These could be effectively used to bring out contrast within the concert. Variety can also be brought out by singing compositions with different starting points. For example, a composition can start at the very first beat of the Taala. Or it can start at the next beat or after a few counts within the beats. The starting point is known as Eduppu or Graha. – Dr. P S. Narayanaswamy]

As regards the number of compositions in each type of Taala:

each type

(Source: Dr. Manju Gopal)

Adi Taala

Of the thirty compositions set in Adi Taala, as many as twenty-seven are the Kritis. And the rest three are: a Gita (Santatam-Pharaju); a Varna (Dayanidhe –Begada); and, a Svarajati (Rave Himagiri –Todi).

All the Kritis are of the Eka Kala and Dvi Kala type. The Laya is Vilambita in most cases. Sometimes the Madhya Laya is also used.

Of the thirty compositions in Adi Taala, as many as twenty-three start on Sama Graha; and , seven on Anagata Graha (half Eduppu).

For the three Kritis: Karuna-nidhi-ilalo (Todi); Shankari Shamakuru (Saveri) and Parvathi ninnu ne (Kalgada), the Tisra Gati is employed. In Tisra -Gati, each unit of the Taala will be counted as ‘ta-ki-ta’ (a unit of three Aksharas)

The variation in the Akshara-kala of each count of a Taala (Gati-bedha) is another feature here.

It is said; the compositions in Tisra Gati –Adi- Taala (with a total Akshara kala duration of 24) could also be rendered in Rupaka Taala (12 Akshara kala duration).

Following that; the Tisra Gati Kritis in Todi and Saveri Ragas are sometimes sung to Rupaka Taala.

And in the other way; the Rupaka-Taala-Kritis – Ninnu-vina (Ritigaula) ; Birana Varalichi (Kalyani) ; and , Himadrisute (Kalyani) can also be sung to Tisra-Gati-Adi -Taala.

Chapu Taala

It is a very common saying that among the Ragas, the Anandabhairavi; and, among the Taala, the Misra Chapu Taala are the favorites of Sri Shyama Shastry. He did, indeed, pay special attention to these two; and, transformed their modes of presentation.

The Chapu Taala is believed to have originated from the folk tradition; and, it was much used in the Bhagavatamela plays, which Sri Shastry as a youngster loved to watch while his family was Thiruvarur.

The beat (ghata) is the only kind of Kriya used in the Chapu Taala; and, there are no other Angas here such as Dhruta or Laghu etc. And, its Kriyas are not of uniform duration.

The Chapu Taala (which is said to be an abbreviated form of Tisra-Jati-Triputa-Taala) has four variations: Tisra-Chapu (1+2=3) ; Khanda-Chapu (2+3=5); Misra Chapu (3+4=7) ; and, Sankirna-Chapu (4+5=9).

Of these variations, Sri Shyama Shastry adopted the Misra Chapu of seven Akshara kala duration for many of his compositions.

As said; Misra Chapu has two parts. The first part (3) is three-fourths the duration of the second (4). In sum, it would be reckoned as having two beats (3 and 4). But, in practice, it is played in two beats. And, sometimes, instead of the first beat, the Taala would commence with a wave-motion (Visarjita).

Sri Shyama Shastry revised the mode of rendering the Chapu Taala ( 3+4) by reversing the sequence of its beats and transforming it into Viloma Chapu Taala (4+3). And, this became a hallmark of his preferred Taala structures.

The following are the compositions of Sri Shyama Shastry set to Misra Chapu and to Viloma Chapu

Misra Chapu

Among the eleven compositions in Misra Chapu Taala, five compositions viz., the two Svarajatis; the two Kritis in Varali; and one Kriti in Anandabhairavi, all start with Sama Graha . And, the rest six, start in Anagata Graha.

Viloma Chapu

Of the seven Kritis in Viloma Chapu Taala, the two Kritis Trilokamata (Pharaju) and Ninnu-vinaga-mari (Purvikalyani) start on the Sama Graha. And, the other five Kritis start on Anagata Graha, on the second beat. [The Kriti Karuna-judu (Sri) is sung by some in Adi Taala.]

Triputa Taala

There are nine compositions set in Triputa Taala; and, these include three Gitas.

Of these nine compositions: three Gitas – Kamakshi (Pharaju); Kamakshi (Madhyamavathi); and Sarasakshi (Saveri); as also the three Kritis – Paramukha-melanamma (Kalyani); Palayasumam (Arabhi) and Nilayatakshi (Pharaju) – all start Sama Graha (Eduppu).

The other three Kritis in this group: Nannubrova (Janaranjani); Adinamu-ninchi (Ananadabhairavi) ; and, Ennerum (Punnagavarali) – start on Anagata Graha (half Eduppu).

Other Taalas

As regards the compositions in other Taalas

other Taalas

In the case of the Taalas of the twenty compositions, the Akshara value, in each case, amounts to 7 or to multiples of 7.

The Taalas that are involved here are: Tisra-Jati-Triputa (7 Aksharas); Misra Chapu (7 Aksharas); Khanda-Jati-Ata (14 Aksharas); and, Viloma Chapu (7 Aksharas).

Of such twenty compositions, 9 are in Tisra Triputa; 12 in Misra Chapu; 7 in Viloma Chapu; and 2 in Khanda Ata. (Source: Dr. Manju Gopal)

Of the 72 known compositions of Sri Shyama Shastri, 47 start with Sama Eduppu; and , 25 compositions with Anagata Eduppu.

Examples of Sama Eduppu are: Emani migula (Todi, Adi Taala); Palayasumam (Arabhi, Triputa Taala); Sari evvaramma (Bhairavi, Khanda Jhampa Taala); and Shankari-Shankari (Kalyani, Khanda Ata Taala).

Examples of Anagata Eduppu are: Palimpavamma (Mukhari , Adi Taala , half Eduppu); Birana Varalichi (Kalyani, Rupaka Taala, Eduppu in the second beat); Nannubrova (Janaranjani, Triputa Taala, half Eduppu); Talli-ninnu (Kalyani, Viloma Chapu- Eduppu on the second beat)

Though there are no compositions among Sri Shyama Shastry’s creations, that explicitly commence with Atitha Eduppu, shades of this feature can be noticed in some of his verses. For example, in Mayamma (Ahiri, Adi Taala), the Carana of which reads:

Sarasija-bhava Hari-Hara-nuta sulaita nee/ Pada-pankaja-mula-sthira-mani Nammiti -Nammiti -Nammiti ni

Here, the portion from ‘pada pankaja’ is said to start with the last count of the previous Avarta. This could be taken as Atitha Eduppu.

A unique feature of the compositions of Sri Shyama Shastry is the modulation of the rhythm (bigu-sugu), which emphasizes certain notes and stretches them.

Another noticeable feature is the rhythmical improvisations (Laya, Taala) do not in any manner hamper the melody (Dhathu) and the consistency of the Sahitya.

In the Kritis and Svarajatis of Sri Shyama Shastri, the Sahitya phrases and the sequence of rhythmic patterns (Taala Jati) blend harmoniously. The long Sahitya syllables are matched by long (Dheerga) Svaras; and the short ones are in tune with the short (Hrasva) Svaras.

For instance; the sequence of the units of Akshara kala (of three different kinds- 5, 7 and 9) combines well, in each case, with the corresponding flow of the Sahitya.

In each case, the Sahitya segment is broken up into the number of units of its Taala.

devi

We shall talk about the Languages of the Kritis of Sri Shyama Shastry

as also about his other types of Compositions

Continued

The Next Part

Sources and References

All images are taken from Internet

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Posted by sreenivasaraos on July 25, 2020 in Music, Sangita, Shyama Shastri

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Sri Shyama Shastry (1763-1827) – Part Five

12 Jul

Continued from Part Four

Sri Shyama Shastry – Music

shyama shastry

Introduction

The Music of Sri Shyama Shastry is universally acclaimed as a sublime and soulful melody. His Kritis, which exude pure Love for the Divine Mother, pleading with her, as a child does, through simple and pleasing words; and, in poignant Ragas rendered in Vilamba-kala have gained the admiration of all Music lovers and Devi-Upasakas. It is the serene delight, devotion, absolute faith and the yearning, the eagerness (Utsukatha) for the affection of Devi Kamakshi, which permeates his earnest compositions, that has captured the hearts of the listeners over the generations.

At the same time; the intricate rhythmic phrases combining Taala, Laya and also Gamaka, which is an essential aspect of Mano-dharma-Sangita; and, adorned with varieties of decorative Angas like, Chittasvara, Svara-sahitya, Madhyama-kala-sahitya and Sabda-alamkaras and such other rhythmic beauties (Dhatu-Mathu-Samyukta-Alamkara) like Svarakshara are structured into the Music of his Kritis. And, in some places, he has also used patterns like employing the Dhatu of the Anupallavi in the Carana.

Apart from his compositions in the familiar Ragas, his Kritis in Apurva-Ragas like Chintamani, Manji, Kalagada, and Karnataka-kapi; as also the transformations he be brought about to the Raga Anandabhairavi ; to the Svarajatis; and to the Chapu Taala are a testimony to his unique genius and creativity in discovering new modes of expression, which the others had not attempted.

Taala and Laya, over which Sri Shyama Shastry had gained mastery; and his way of dexterously combining them with the Sahitya are among the special features of his compositions. He has excelled in the handling of the different patterns of the Chapu Taala. He had experimented with altering the sequence of Matras in the Misra Chapu; and crafting the innovative Viloma Chapu.

And, he had also extensively employed various Grahas or Eduppus (the points within the Āvartanam or cycle of a Taala when a composition or stanza in a composition begins) in his Misra Chapu Kritis.

Another versatile feature of the Kritis of Sri Shyama Shastry, with regard to Taala, is that he has composed Kritis in Taalas and Gatis (sub-divisions of a beat in a composition) that are interchangeable. For instance; his Kriti ‘Shankari Shamkuru’ (Saveri) and ‘Birana varalichi’ (Kalyani) can be rendered in both Rupaka Taala (Chatursra- gati) and also in Adi Taala (Tisra gati).

Gamaka, as its very name indicates, provides movement (gamana, gati) to the sequence of Svaras along their progression. The Gamakas–the graces which adorn and transform the Svaras through oscillations, glides, and curves etc,; and, the other devices that artistically combine together the literary (Mathu) and Musical (Dhatu) features are among the many virtues that distinguish the excellence of Sri Shyama Shastry’s art.

And, therefore, only the musicians who have attained a high degree of proficiency in their art can do justice to the compositions of Sri Shyama Shastry, where devotion, verse and Musical elements amicably come together to provide an elevating experience.

Having said that let me add that though the musical structure of his Kritis might look intricate, it is neither laboured nor artificial. There is a natural flow to his Kritis. There is Laya-soukhya, the ease and comfort in its rhythmic movement. It takes some discipline and certain understanding to follow the Mano-dharma of their Samgita.

It is always considered a rare accomplishment for a performer to render the compositions of Sri Shyama Shastry in the spirit they were envisioned and composed by him during the moments of ecstasy while in presence of Bangaru Kamakshi.

Quite often, one comes across remarks about his comparatively lower output in terms of the numbers. As Dr. N Ramanathan observed; it would be rather unjust to merely go by the number than by the merit of his compositions.

And, Dr. V Raghavan mentions: It is because of his qualitative excellence that Sri Syama Sastri has gained a secure and luminous place among the makers of modern Carnatic music, though his contribution has not been much quantitatively. His compositions are unique in style. And, the composer himself, in his Anandabhairavi Kriti – Pahi Sri Girirajasute, prays to the Mother that she may endow his genius with a unique style – Dehi maahte anupama geetham.

And, it would, therefore, be more prudent to view and appreciate Sri Shyama Shastry’s well-crafted musical compositions from the point of view of what he has achieved, rather than from what he did not attempt.

One has to recognize that Sri Shyama Shastry was an erudite composer, in every sense of the term. He was an inspired artist who had a distinct style of his own.

It could be said that it was Sri Shyama Shastry who revolutionized some aspects of the music of his times by introducing certain innovations that stemmed from inside of the musical tradition, rather than being imposed on it from outside.

Vajra

Just to summarize after discussing with my friend; and, again:

The Music of Sri Shyama Shastry is indeed a Tri-veni-sangama; an icon of the sublime confluence of mutually responsive Mano-bhava, Raga-bhava and Artha-bhava. And, it is graceful and leisurely, like a gentle flowing river. It spreads a sense of calm disposition; Visranthi or peace. In his Music, his emotional state, the longing for the Love of the Mother Goddess Kamakshi, appealing to her childlike, in simple words set in blissful Ragas, spread over in Vilamba-kala; all gracefully combine to provide a rare kind of aesthetic pleasurable experience.

Apart from creating Kritis of sheer delight and soothing-flow in their progression, Sri Shyama Shastry enriched the Karnataka Samgita by introducing several innovative features, extending the variety and depth of its Music and Sahitya (Mathu –Dhathu).

The Raga Chintamani was the innovation of Sri Shyama Shastry. The rare Ragas like Kalgada and Manji that had almost faded out of memory were revived by him. The old-folk melody Anandabhairavi was creatively transformed and reinvented through his Kritis, endowing it with flexibility to express varied shades of its Raga-bhava. And, the repertoire of the Ragas like Gaulipanthu and Pharaju was enlarged through his Kritis.

Sri Shyama Shastry was the first composer to use Svarasahitya, the Dhathu-Mathu-Alamkara, gracefully and elegantly bridging the Sahitya and the Samgita.

He was also the first to introduce rhetorical beauties like Prasa and Svaraksharas into the Gitas that were till then treated as simple melodic songs.

His three Svarajatis have numerous examples of both Shuddha and Suchita- Svaraksharas in the Svarasahitya; as do the Varnams he composed.

Sri Shyama Shastry’s contribution in reforming the Svarajatis is indeed unique. He was probably the first to compose Svarajatis in a new form of musical genre, where the compositions can be rendered in vocal or in instrumental form, with all the embellishments. Prior to this, the Svarajati was primarily a dance-song, resembling the Pada-varṇaṃ, in its structure.

Here, in the Svarajatis of Sri Shyama Shastry, the elegant Svara passages blend naturally with the emotionally rich Sahitya. What you experience here is the harmony that binds the soulful Ragas; the lyrical elegant Sahitya; and, the innovative Taala patterns.

The Varnas composed by Sri Shyama Shastry, adorned with Chittasvara passages, are also of a high order, lending scope for varied musical expressions.

Sri Shyama Shastry was an adept in the aspects of Taala, Laya and Gamakas.

He had worked out, in detail, and wrote down the charts of the Svara-Prastara – the elaboration of rhythmic patterns for a given Taala.

The Prastara of Taala-Anga (the structural units of a Taala) denotes splitting up the Anga into its possible components or subsidiary units, from out the six Angas (Shad-anga) such as: Anudruta; Druta, Laghu, Guru; Pluta; and, Kakapada. And, the resultant possible varieties are presented in the performances; and , are also and preserved in tabular forms or charts, for the benefit of the posterity .

Such charts prepared by Sri Shyama Shastry are said to be now in possession of his descendants.

Among the Trinity, Sri Shyama Shastry was the only one to have used the Tisra Ata and Tisra Matya Taalas. He was also the only one to have rendered a Pallavi set to the complicated Sharabha-nandana Taala of 79 Aksharas.

Gifted with an extraordinary sense of timing, Sri Shyama Shastry had gained mastery over the complex rhythms and tempos of Musical rendering. He lent a creative dimension to his favorite Misra-Chapu-Taala, by reversing the sequence of its Matras. His compositions are ever distinguished by their rhythmic brilliance.

The Gamakas he built into Vilamba-kala and Madhyama-kala phrases set to different Taalas bring out the varied shades and hues of the Raga. Many Gamakas can also be found in his Svarajatis. It is these Gamakas that transform an otherwise an ordinary Svara into one of great charm; and, elevates the Musical experience.

Apart from selfless Love and devotion to the Goddess Kamakshi and to his Music, which, in fact, was the medium through which he conversed with the Mother, nothing else in life seemed to truly matter to him.

That is perhaps is the reason Dr. Raghavan calls Sri Shyama Shastry as an absolute Musician; and, his Music sparkling with spontaneity and effortless ease as the absolute Music.

Thus, it is the excellence of the Music and the richness of its expressive outpouring emotions, in a highly creative manner, that lend a distinct character to the compositions of Sri Shyama Shastry. They radiate a sense of devotion (Bhakthi), submission (Prapatthi) and tranquil joy (Ananda) of being in the presence of the Mother.

When you look at the Mano-bhava, Sahitya and Samgita of his Kritis, what you witness here is Atma-nivedana (absolute surrender to the will of Ista-devatha) with unwavering faith in his Deity; Karuna-rasa poignant appeals to the Goddess; and Vatsalya-bhava pure love and affection of a child towards its Dear Mother.

***

In his most pleasing and lovely Mangala-Kriti (Shankari-Shankari, Kalyani, Adi), a benediction (मङ्गलेच्छा or Svasthi-vachana)-a prayer entreating for divine blessings, the good-hearted Vidwan, the child (Shishu) of Shankari, humbly appeals to his Mother, the Supreme Goddess Raja-Rajeshvari , who is the very embodiment of all the spiritual knowledge (Tattva-jnana-rupini) and one who enlightens all (Sarva-chitta-bohini) to bless and grant (Disa) all of this existence (Sarva-Lokaya) health, happiness , prosperity (Jaya) and well-being in all its forms (Shubha)

– Mangalam– Jaya Mangalam – Shubha Mangalam

How I wish all the performers of Karnataka Samgita bring into practice the rendering this auspicious Kriti before the final Mangalam.

Genius and goodness of the heart are not measured by mere numbers.

deepavali lamps

Outline

Just to take an overview of the compositions of Sri Shyama Shastry, before we get to analyze their specific aspects:

Depending upon the source, the number of compositions credited to Sri Shyama Shastry range between 65 and 75. However, the number of the compositions of Sri Shyama Shastry that are presently available could perhaps be taken to be about Seventy-two (72) , for the limited purpose of this article.

These include: 60 Kritis; 5 Gitas; 4 Varnas; and, 3 Svarajatis.

Most of the compositions are in the Telugu language.

Of the total 72 compositions, as many as 52 are in Telugu; 15 are in Sanskrit (4 Gitas + 1 Varna+10 Kritis); and the rest 5 are in Tamil (1 Gita + 4 Kritis). The Telugu here is simple and direct; but, the Sanskrit is delightfully rhythmic, elegant and very pleasing.

- [Among the 60 Kritis: 10 are in Sanskrit; 4 are in Tamil; and the rest 56 are in Telugu.
- Among the 5 Gitas: 4 are in Sanskrit; and 1 is in Tamil
- Among the 4 Varnas: 1 is in Sanskrit; and 3 in Telugu
- Svarajatis: All the 4 Svarajatis are in Telugu]

As regards the Ragas, Sri Shyama Shastry, in all, employed about 33 Ragas. And these include Five Mela-ragas (Todi, Shankarabharanam, Nata, Varali and Kalyani); and 28 Janya-ragas.

Altogether, his compositions cover the Ragas that fall under 13 Melas (Mela Numbers: 8, 13, 15, 17, 20, 22, 28, 29, 36, 39, 53, 56 and 65).

And, although he seemed to have avoided Vivadi-Melas, he did compose Kritis in the Janya-ragas of the Vivadi-Melas, such as Kalkada; Nata and Varali. The Raga Kalkada is a Janya of the 13^thMela Gāyakapriya; Raga Nata is the Janya of the 36^th Mela Chalanata; and, Varali is the Janya of the 39^th Mela Jhālavarāli. Of these three Vivadi-Ragas, Nata and Varali are classed under Ghana-Ragas.

[Dattilam says Svaras are seven, starting with Shadja ( Svarah shadjadyah sapta gramo shadja madhyamo – Dattilam .11) ; and they are of four types: Vadi (sonant); Samvadi (consonant); Anuvadi (assonant) and Vivadi (dissonant). Vadin is the note that produces the melody. As Vadin is repeated often, the other notes are used in relation to it. For instance; the two Svaras with an interval of eight or twelve Sruti-s between them are called Samvadi of each other. Ni and Ga are Vivadi (discordant) to other Svaras. The Svara following a Vadi Svara is called Anuvadi.

The Vadi and Samvadi are Mitra Svaras; and, have a harmonious relationship with each other like the Shadja and Panchama; or Shadja and Shuddha-madhyama. In contrast, Vivadi is defined as one which is unmelodic in nature; and, is differentiated by an interval of two Srutis; for example, Shuddha-Rshabha and Shuddha-Gandhara or Chatshruthi-Dhaivata and Kakali-Nishada.]

Sri Shyama Shastry composed four Kritis in three Vivadi Ragas: Kalkada, Nata and Varali; all of which are Janya-Ragas; and, two of which are Ghana-Ragas (Nata and Varali).

Vivadi Ragars of Sri Shyama Shastry

‘Parvathi Ninnu’ is a very melodious Composition, in which the Raga-Bhava of Kalkada, a rare Vivadi-Raga is delicately portrayed. The Vivadi-Sancharas such as, Pa-Dha-Ni-Dha–Pa and Sa-Sa-Sa-Pa-Dha-Ni—Dha-Pa etc., both in the Pallavi and in the Caranas; as also the Jaru -Gamakas from Sa to Pa in the Pallavi are enchanting.

‘Pahimam Sri Rajarajeshvari’ in the Nata Raga , has an unique structure with multiple (Bahu-dhatu) Caranas in Madhyama-kala , with vibrant Raga-Sancharas. In the Anupallavi, the lyric ‘Simhasana-rudhe’, starts with the Vivadi-Svara ‘Chatshruti Rshabha’; that is, ||Ri-Ri-Sa|Ni-Sa-Ri-Sa-Ri||; and, brings out the Sahithya-bhava very well.

Both the compositions in Nata and Kalkada begin from Svarakshara; that is, ‘Pahimam ‘and ‘Parvathi ninnu’ on the note Panchama (Pa).

Both ‘Karuna judavamma’ and ‘Kamakshi Bangaru’ in Raga Varali, commence with the Vivadi-Svara-Sancharas such as ||…Sa-Ni|Ga-Ri-Sa|| and ||Ga-Ma|Ga-Ga-Ri|| ||Sa..|…|| with Shuddha-Gandhara. They vividly express his devotion (Bhakthi-bhava) to the Goddess Sri Kamakshi.

For his Kritis, Sri Shyama Shastry used only four of the Pratimadhyama–Ragas (Varali, Purvikalyani, Chintamani and Kalyani). There is predominance of Janya-ragas and Shuddha-madhyama Ragas.

Although Sri Shyama Shastry mostly used the familiar Ragas, some of his Kritis are composed in rare Ragas, like: Chintamani, Kalagada, Manji and Karnataka-kapi. The other two of the Trinity have not composed in Chintamani or in Kalagada.

The Raga Anandabhairavi, said to be a favourite of Sri Shyama Shastry, has Seven compositions (Six Kritis and One Varna); and, Saveri has five compositions (4 Kritis and One Gita).

But, there are Eight Kritis and a Varna composed in the 65^th Melakarta, Kalyani, which employs Parti-Madhyama.

In regard to the structure of the compositions of Sri Shyama Shastry, as many as 36 of them have Pallavi, Anupallavi followed by three Caranas; 8 have Pallavi, Anupallavi and two Caranas; 6 have Pallavi, Anupallavi and three Caranas followed by Svara-sahitya; and, 4 have Pallavi, Anupallavi and a single Carana.

As many as four Kritis have only Pallavi and Caranas (no Anupallavi).The number of Caranas, in these four cases is: 3, 6, 8 and 11.

While one Kriti is structured in Pallavi, Anu-Pallavi, Muktayi Carana, and Svara-sahitya; another one has the sequence of Pallavi, Anu-Pallavi, Svara-sahitya followed by Carana.

As regards the five Gitas, one has five segments; two have four segments; and, the other two have three segments.

The three Svarajatis created by Sri Shyama Shastry are much admired, comparing them to Gems (Rathna).

The Gita Santatam (in Raga Pharaju) is a rather rare instance of a Gita composed in Tamil

One of the special features of the compositions of Sri Shyama Shastry is the artistic use of Taala, the tempo and the rhythm. The Misra-Chapu was the often used Taala in his compositions.

As regards the application of Taalas in the 72 compositions, the break up is: Adi (30); Misra-Chapu (18); Triputa (10); Ata (3); Rupaka (5); Jhanmpa (3); and, Mathya (3).

Sri Shyama Shastry was the earliest to introduce the Viloma-Chapu-Taala (4+3), which is the reversed sequence of the Krama-Chapu or normal Chapu (3+4).

Gamakas are the ornamental flourishes that help to bring out unique nature of the Raga (Raga-svarupa) in diverse modes of Raga-sanchara by altering the plain character of the Svaras into delightful sound patterns.

Gamaka (ornamented note) is any graceful turn, curve or cornering touch given to a single note or a group of notes, which adds emphasis to each Raga’s unique character. Gamaka, in short, is the movement of Svaras which bounce, slide, glide, shivers, rapidly oscillates or skips. It provides movement and animates Svaras to bring out the melodic character and expression (bhava) of a Raga. Each Raga has specific rules on the types of Gamakas that might be applied to specific notes, and the types that may not. Every Raga has, therefore, to be necessarily rendered with the appropriate Gamakas. They depend on the manner of quivering, oscillations or shaking that the Svaras can be endowed with.

Gamaka-rendering is a highly individualistic and a specialized skill. Not merely that the Gamakas are designed specifically for vocal music and for instrumental music, but also that each performer would, in due course, develop her/his own Gamaka-improvisations. And therefore, two Ragas with identical ascending (Aroha) and descending (Avaroha) Svaras and born out of the same parent (Janaka) Raga might sound totally different in character and expression, mainly because of the Gamakas that are employed. [In Hindustani Music , Meend and Andolan are similar to Gamakas.]

The Gamaka-prayogas or the decoration of the Raga-phrases, which are aesthetically pleasing in slow tempo; and Laya (rhythm) are said to be the special features of the Kritis of Sri Shyama Shastry. His compositions set in Vilamba-kala are apt for use of Gamakas, excelling in the long-drawn Chowka-kala like Kampita (oscillations) and Jaru (glides) which animate and provide a lively movement to the Svaras.

All his compositions are addressed to the Mother Goddess in her various forms; excepting the two , of which one is in praise of Kanchi Varadaraja-swami , and the other in praise of Mutthukumara-swami.

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The numbers

Considering the rather limited number of compositions that are available and are credited to Sri Shyama Shastry, their listing has been highly inconsistent. It ranges between 65 and 75.

Sri T K Govinda Rao mentions 71 as the total number of compositions of Sri Shyama Shastry. Smt. Vidya Shankar takes it as 70 by excluding the Kriti Parakelanamma in Natakuranji.

Dr. Y Saradhambal adds back to the list of Sri T K Govinda Rao, the Kriti Nannu-karuninci (29-Shankarabharana-Rupaka). Thus, Sri T K Govinda Rao’s list, effectively, comes back to 72. However, Dr. Y Saradhambal added a word of caution saying, the authenticity of the Seven compositions that are ascribed by some to Sri Shyama Shastry needs to be verified. The Six Kritis and one Varna mentioned by her in that regard are:

(1) Rave-Mayamma-Bangaru (15-Saveri-Adi);
(2) Nannu Brova (15-Lalita /Vasantha-m/Eka);
(3)Sarasaksi-Ee-vela (20-Anandabhairavi-Ata);
(4) Brovumu-Maanini (Kiravani-Jampha);
(5) Bangaru-Kamakshi (20 Anandabhairavi -Adi);
(6) Ninnu Vina (Bilahari-Jampha); and,
(7) Ninnu -namminanu (Pada Varna- 20 – Anandabhairavi-Adi)

A Doctoral thesis submitted to the University of Kerala by Dr. Manju Gopal adopts 72 as the total number of the known compositions of Sri Shyama Shastry.

The Website of the Rasikas.org lists 74 compositions under the category Sri Shyama Sastry

Another site dedicated to the Music of Sri Shyama Shastry lists as many as 75 compositions of the Master.

Here, I have , for the limited purpose, taken the total number of works of Sri Shyama Shastry as 72 (60 Kritis+5 Gitas+4 Varnams+ 3 Svarajatis).

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Melas and Ragas

The total number of Melas employed Sri Shyama Shastry for all his compositions are 13 (namely: 8, 13, 15, 17, 20, 22, 28, 29, 36, 39, 53, 56 and 65). These are:

- (1) 8 – Todi (Hanuma-todi);
- (2) 13 – Gayakapriya;
- (3) 15– Mayamalavagaula;
- (4) 17 – Suryakantam;
- (5)20 – Natabhairavi;
- (6)22 – Kharaharapriya;
- (7)28 – Harikhambhoji;
- (8)29 -Dhira-Shankarabharanam;
- (9) 36 – Chala-Nata ;
- (10)39 – Jhalavarali ;
- (11) 53 – Gamanashrama ;
- (12) 56 – Shanmukhapriya ; and,
- (13) 65- Mechakalyani.

The number of Ragas employed by Sri Shyama Shastry is comparatively fewer in number. He made use of just 33 Ragas in all, comprising 5 Melakartas and 28 Janya Ragas.

The Five Mela-Ragas used by Sri Shyama Shastry for all his compositions are: Todi (4); Shankarabharanam (2); Nata (1); Varali (2) and, Kalyani (9)

– a total of 18 compositions; including 1 Svarajati in Todi and 1 Varna in Kalyani.

For his five Gitas, he used four Ragas that fall under three Melakartas:

Pharaju and Saveri (15-Māyamālava Gaula); Bhairavi (20-Natabhairavi); Madhyamavathi (22-Kharaharapriya).

The Four Varnas are in:

Saurastra (17); Anandabhairavi (20/22); Begada (22); and, Kalyani (65).

The Three Svarajatis are in:

Todi (8); Bhairavi (20) and, in Yadukulakanbhoji (28)

Mela Ragas

[ Please do go through a methodical analysis of the Ragas employed by Sri Shyama Shastri in “Shyama Sastri : A breakdown of compositions by raga” by Vishnu Vasudev]

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Janya Ragas

As regards the rest 44 compositions (34 Kritis +5 Gitas +3 Varnas+2 Svarajatis), they are set in 28 Janya Ragas of the other 8 Mela Ragas.

Sri Shyama Shastry mainly used Rakthi Ragas (meaning pleasing, lovely or charming Ragas) and familiar Ragas. Such Rakthi Ragas, which evoke a particular Rasa, are Gamaka-Pradhana-Ragas; and, are mainly dependent on their Raga-svarupa. Each Raga elicits certain Rasa, which shines forth upon the application of right Gamaka. The Rakthi Ragas can either be Mela or Janya Ragas. The ragas like Sāvēri, Kāmbōji, Śaṅkarābharana, Bēgada, Tōdi, and Ānandabhairavi etc. come under this category.

Sri Shyama Shastry used Rakthi-Ragas like Anandabhairavi, Saveri, Madhyamavathi , Purvikalyani, Bhairavi and Kedaragaula etc., (apart from Todi, Shankara-bharanam and Kalyani, the Mela Ragas) for his Kritis, Gitas, Varnas and Svarajatis.

There is a predominance of Shudda-Madhyama Ragas and Janya Ragas; and, the Prathi-Madhyama Ragas are only four in number (Varali, Purvikalyani, Chintamani and Kalyani).

And, Chintamani (56) among the Prathi Madhyama Ragas has the distinction of creating an Eka-Raga-Kriti (Devi brova samayamide-Adi Taala); meaning a sole or the prominent representative of that Raga.

Anandabhairavi is said to be a favorite of Sri Shyama Shastry; but, in terms of numbers there are more number of songs in Raga Kalyani (8 Kritis and 1 Varna) than in Anandabhairavi (6 Kritis and 1 Varna).

It is said; Sri Shyama Shastry lent a distinct character to Raga Kalyani by using Tissruti-Rshabha (a minor tone from Shadja) at the start of the four Kritis: Birana-varalichi; Himadri-sute; Talli-ninnu-nera-nammiti; and Shankari-Shankari. The resulting Raga-bhava creates a sense of calm and serenity.

Kalyani

Raga Anandabhairavi

And again, it is not the mere numbers that truly matter; but, what is of interest here is the intense involvement of the composer; and, the aesthetic joy that his creations radiate, naturally.

Sri Shyama Shastry must have found the poignant and malleable flow of the soulful and emotionally charged Ragas – Anandabhairavi and Saveri more suitable for submitting his fervent appeals to the Mother Goddess. It is in these two Ragas, particularly, the radiance of his Bhakthi and the sense of absolute surrender (Prapatthi) to the will of Devi Kamakshi shine forth.

Anandabhairavi, a Bhashanga Raga of the 20^th Mela Natabhairavi , is structured with Antara-Gandhara (G3), Chatusruthi-Daivatha (D2) ; and, Kakili-Nishada (N3) being the Anya Svara. This is an ancient Rakthi Raga that evokes Karuna, Srngara and Bhakti Rasas. The Gamakas ‘jāru’, ‘tiripa’, ‘rava’, ‘Kaṇdippu’ blend well with this Raga. The Raga-Bhava is fully brought out when it is sung in Viḷamba Kala.

Further, Anandabhairavi has a special association with Sri Shyama Shastry. The old Raga Anandabhairavi is said to have originated from the folk-tradition. Sri Shyama Shastry provided it with a new rendition (Raga-svarupa), bringing out the varied shades and colors of Anandabhairavi.

[Dr. V V Srivatsa, in his Note on the Raga Ananadabhairavi , included in the Raganubhava session on Raga Ananadabhairavi held on 15 November 1999, says :

Raga Anandabhairavi is of indeterminate origin and has existed from medieval periods in the folk-tradition. This Raga is not referred to in texts like Sangeeta Makaranda, Sangeeta Ratnakara, Swaramela Kalanidhi or Raga Vibhoda. There is no reference in the main text of Chaturdandi Prakasika but a reference is found in the supplementary passage, the anubandha. In “Raga Lakshana”, Shahji states that Bhairavi is the Mela for Anandabhairavi ; and not that Anandabhairavi is a derivative of Bhairavi. This, perhaps, is indicative of the fact that Anandabhairavi was very much in vogue in folklore and that the observation by Shahji was an offshoot of an attempt to classify this raga in the classical system.

Though structural variances can be discerned in the views expressed by musicologists, it is obvious that this Raga underwent manifold changes in course of time. There was no uniformity, in conceptual terms, even among the members of the Carnatic music Trinity. Originally, the Tyagaraja tradition avoided the Antara-Gandhara Svara, though nowadays this Svara is used in his kritis. The Dikshitar school strictly avoids the swara.

The presence of Antara Gandhara in Syama Sastri’s compositions is profound in most schools.

Anandabhairavi is well known and accepted to such an extent that some call this raga as “Kuttagai” or exclusive to Syama Sastri. “Marivere”, “O Jagadamba” and “Himachala-Tanaya” are very popular and frequently rendered; “Pahi-Srigiriraja-sute” is occasionally rendered. The Varnam in Ata tala “Saminni-rammanave”, the kritis “Mahilo-Amba” and “Aa-dinamuni” are unheard of.

Marivere Gati” by Syama Sastri is a masterpiece . in the hands of Syama Sastri, the Raga which is obviously very dear to him, shines in all its luster due to the introduction of the two Anya Svaras – Antara Ga and Kakali Ni.

In his five songs inclusive of the Varnam ‘Samini rammanave’, the several idiomatic expressions and the characteristic phrases that the Raga admits of, are profusely used. No doubt to him the Raga became the most suitable medium for expressing the surging emotions of the devout heart to the divine Mother.]

Smt. Vidya Shankar writes:

The fact that Anandabhairavi has accommodated special Prayogas with Antara-Gandhara and Kakili-Nishada indicates that it was mainly used for devotional purposes in the first instance; and, thereafter included in systematic classification of the Ragas.

In all his compositions, Sri Shyama Shastry has revealed calmness of mind, expanse of knowledge and keenness of his intellect.

Anandabhairavi was indeed his favorite Raga. He has composed Ata-Taala-Varna in praise of Kanchi Varadaraja Swami and many other Kritis.

Further, Ānandabhairavi and Saveri, owe their characteristic form to his master-pieces in the concert repertoire

Some of his splendid Kritis like O Jagadamba; Pahi-Sri-Giri-Raja-Sute; Mariveregati; Himachala -tanaya-Brochuta; and, the Varna Samini-rammanave, Sarasakshi ye vela (Ata Taala) are in the Raga Anandabhairavi.

The Kṛiti ‘Marivēre-gati’, set to Chapu-Taaḷa with a Viḷamba-Laya, is another splendid example for Sri Shyama Shastry’s genius. It explores the Raga Anandabhairavi in depth.

The Kriti is adorned with many Jaru-Gamakas, like ‘Sa-Sa/Sa’ and ‘Sa/Ma’ for the Sahitya- phrase ‘Saranagatha’ and ‘Rakshaki’. The Svarakshara pattern ‘Pa-Dha-Pa-Ma’ for the word ‘Padayuga’ in the Chittasvara-Sahitya in Vilamba-kala provides much depth to the emotional content of the Kriti.

The phrase ‘Nammiti’ occurring twice over in succession shows the depth of trust he has in the Mother Goddess.

The repetition of certain words in different musical phrases is said to be one of the unique features of his Kritis.

And, a slow ‘Janta’ phrase ‘Ni-Ni—Sa-Sa—Ga -Ga—Ma-Ma’ for the Sahitya ‘Niratamu ninnu’ in the Chittasvara is another feature highlighting the Mano-Dharma of the Anandabhairavi Raga.

In the phrase ‘Pa-Ma-Ga3-Ga3-Ma’, the Anya-Svara Ga3 is well demonstrated.

The Gamaka for the phrase ‘Ma—Ma-Ga-Pa-Ma—Ga-Ri’ blending very well with the words Shyamala’ is another instance of a good coordination between Svara and Sahitya.

The phrase ‘ R—Sa-Ni-Dha-Pa—Dha-Pa-Ma-Ga-Ri—Ga—Ma’ in the Chittasvara is graced by the flavour of the Raga Anandabhairavi.

The Kriti ‘O Jagadamba’ (Anandabhairavi -Adi Taala) is another of Sri Shyama Shastry’s great creations. Here, he calls out to the Mother of all this existence ‘Jagadamba’ to come to his rescue and protect him. His intense feeling is expressed through the elongated phrase ‘O—‘ . The Jaru -Gamaka in the Anupallavi and the Chittasvara again intensify the depth of his emotions. The Svaras ‘Pa-Dha-Dha-Pa—Ma-Pa—Pa-Ma-Ga’ for the Sahitya ‘Rajamukhi’ brings out the majesty of the Goddess. The Carana phrase ‘Ga-Ma-Pa—Pa-Dha-Pa —Ma-Pa-ma—Ga-Ri-Sa..’ for the word ‘Brochutaka’ with the Gamakas ‘Vali’ and ‘Rava’ highlight the essence of the raga Anandabhairavi.

The Kiṛtis ‘Mahilo-amba’; ‘Pahi-Sri-Girirājasute’; and, ‘Aa dinamuṇiṇchi’ show different types of Alamkaras provided by the Raga Anandabhairavi. The Kṛiti ‘Himāchala-tanaya’ is a reflection of his genius. The Svara patterns set to the descriptive Prasa -phrases like ‘Uma-hamsa-gāmana-taamasama’ blend with the flow of the Raga.

Anandabhairavi

Raga Saveri

As regards Raga Saveri (15^thMelakarta Mayamalavagaula Janya); it is a Rakthi Raga;and, was once a Bhashanga-Raga, having Anya Svaras like Triśruthi -Gaṇdhāra and Niṣhāda; but, presently it is classified as a Upanga Raga.

[ Dr V V Srivatsa in his note on the Raganubhava session on Raga Saveri , held on 20 October 1999 says:

Saveri is an ancient raga with many textual references. This raga is classified as a Bhashanga raga in Sangeeta Ratnakara, albeit with the name Savari. This raga has a place of pride in Carnatic music, as can be also seen in the proverb, “Kaveri snaanam, Saveri Gaanam”

Each Svara has a significant role. Gandhara and Nishada, at Trisruti levels, render this raga as Bhashanga. Rishabha, Madhyama and Nishada are Raga-chhayya Svaras, which bring out the nuances of this raga. Madhyama is unique, often called Saveri-Madhyama.

It is one of the select Ragas with compositions by all members of the Carnatic Trinity. There is a marked conceptual similarity between Dikshitar and Syama Sastri. Some rare sancharas can be found in “Karmame Balavanta”, a Tyagaraja kriti. There is considerable esoteric significance in some passages of the kriti “Sri Rajagopala” by Dikshitar. Syama Sastri’s first composition was in this Raga. Many post-Trinity composers have used this raga, unto recent times. A great legacy.

“Durusuga” by Syama Sastri has structural and rendition elegance, “Sankari Sankuru” is also a popular composition]

This Raga evokes Karuna, Shaṇtha and Bhakti Rasas. As its name suggests, the Ri almost lies in the Sa ; in other words it is the lowest frequency of Ri that we can have. The ‘jāru’ from a higher note on Ri and Da ; ‘līna’ on Ri; ‘Vali’ on the note Ma and Kuruḷa are the Gamakas that are suitable to this Raga.

Sri Shyama Shastry’s first composition (Janani-natajana-paripalini-pahi-mam-Bhavani) was in this Raga Saveri . There are, in all, four Kritis and one Gita composed by Sri Shyama Shastry in the Raga Saveri.

Saveri

The Kriti ‘Durusuga krpa juci santatam’ has a Pallavi; Anu-Pallavi; Three Caranas; followed by a Svarashitya passage (a combination of sol-fa passage with appropriate Sahitya passages for the Svaras).

In this Kriti, Sri Shyama Shastry prays to the Mother to quickly (Durusuga) grant him good health (Arogya) ; and, make him strong (Druda).O Devi Dharmasamvardhini, O Queen of Pranatharthihara, O Tripurasundari , please pay more (bahu) attention (paraku) to me.

Please listen, I do not know what my fate is (Niyati). O Kamakshi, I am mentally (manasuna) agitated (kalata jendi). I have heard much about your greatness. I am convinced that you alone are the great (baha) expert (nipuna); and, there is none else (verevaru-kadu) in this Universe (jagambulanu). Please listen (vinu) to my (na) appeal (manavini).Do not remain unconcerned.

Again, in the Svarasahitya that follows the Third Carana, Sri Shyama Shastry appeals to the kindness of the lotus-eyed (Saroja-nayana) Mother saying that even the Vedas proclaim that you indeed are the only one who protects (palini) those who submit to you and seek protection. Please show mercy (Krupa) quickly and make me always healthy and strong.

During the course of his submission, Sri Shyama Shastry, tries to please his Mother praising by a string of names, describing her beauty, virtues and power.

ParamaPavani;Krupa-vani; Amala-guna-Tripurasundari; Sakala-papa-shamani; Omkari; Kamakshi; Dhara-dharavi-Neela-kesha-lasita; Saras-Kavita-nichita; Sara –ghana; Sara-sita; Dhara-hasita; Vari-ruha-vari vadana-ruchita; Narayani; Saroja-nayana; and, Nata-jana-palini.

The Kriti ‘Durusuga’ in Adi-Taala is regarded as a classic composition. Its Pallavi starts with a Svarakshara pattern of ‘Dha, Ri, Sa’. In one of the Sangathis, while returning to the Pallavi, there is a Svara phrase ‘’Dha-Dha-Pa-Ma’ in a higher Gati (tempo), indicating his restlessness and urge (Durusu). There is a repetition of the word ‘salupu nanu’ indicating the intensity of his emotions. And, the Dhatu for this features the classic Saveri Svara patterns like ‘Sa-Ri-Ga-Sa-Ri,’. A Similar repetition occurs in the Carana for the describing word ’dhara-hasitha’ (smiling on the lips), which is characterized by beautiful Gamakas. Also with the usage of certain inherent phrases of Saveri like, ‘Ṡa-Ṙi-Ṗa-Ṁa-Ġa’; ‘’Ma-Pa-Dha-Dha-Pa-Ma-Ga ’ etc. this Kriti brings out the essence of the Raga Saveri.

The Svarasahitya, which follows the Third Carana, is in the same tempo as the Pallavi, Anupallavi and the Caranas that precede it.

Saroja-nayana; Nata-jana palini-Vani / Vedamulu -moralida / itarulevaru –manavi -vinu -krpa salupa- paraku salupa-radika; nIvipudu (duru)

It continues to be in the Vilamba-kala, without increase in the number of syllables per beat; and, Sri Shyama Shastry has not introduced Madhyama kala through this element (Anga).

This Kriti (Durusuga) is much discussed citing its treatment of the Laya , Svarasahitya and for maintaining the same tempo in the Svarashitya without much increasing the number of syllables (Akshara) per beat (Matra): Pallavi – Durusugakrpajuci santatam -(15 letters in the Laghu); Svarasahitya – Saroja nayana nata Jana paliniva | ni . (16 letters in the Laghu)

Smt. Sharadambal explains :

In the Svarasahityas of the two Kritis ‘Durusuga’ and ‘Marivere’ of Sri Shyama Shastri, we also find patterns in the organisation of the Svaras.

In the Svarasahitya of Saveri Raga Durusuga , the Svaras are formed in Tisra (npd- srs) and Khaòda patterns (mpmdp- sndrs).

In the Ânandabhairavi Kriti ‘Marivere’, the Janta-svaras and the Dhatu-svaras figure (nnssggmm – janta) (psnd, pndp, dpd – datu).

In both these Svarasahityas, we find a pattern of Svaras at the end.

Durusuga – g R s n d – r S n d P – g r n; para kusalu – parâdiyani – vipudu

Marivere – n s n r S – n d p P – m g r G m; dharalonata – vanakutu – htaïa…..ni vega

The Sangathi, the melodic variations that are improvised while rendering the Pallavi or Anupallavi (rarely in Carana), without, however, altering the Sahitya is a much used Anga in the Kritis of Sri Thyagaraja. But, Sangathi is not a major issue in the Kritis of Sri Shyama Shastry.

But, now while singing the Kriti Durusuga (Saveri) the Sangathis are developed by the performers to fill in the gaps that are without Sahitya, at the end of first Avarta of the Anupallavi. Here, the Sangathis are executed with a series of ’Aaa-karas’ (or non-verbal sounds); and, no words are added even after the ‘Aaa-karas’.

The second and Third Sangathis are developed to fill in the gaps, by breaking up the Sahitya phrase and elaborating its component-words in a variety of ways. And, by the gradual increase of the Svaras in two speeds (Druta), the Sangathis are progressed.

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And, the Kriti dedicated to Devi Akhilandeshvari– ‘Shankari Shamkuru-Chandra mukhi- Akhilandeshvar-Shambhavi- Sarasijabhava vandite- Gauri-Amba’(Adi-Tisra-gati)- is indeed a masterpiece, a magnificent work of Art. The Kriti composed in highly lyrical Sanskrit is adorned most delightful phrases for describing the beauty, virtues and splendor of the Devi; and, for addressing her with a range of suggestive names.

Sri Shyama Shastry ‘s classic Kriti ‘Shankari Shamkuru’ is an example of his proficiency in Raga and Laya. This Kṛiti can be sung both in Rupaka and Ādi (Trishra -Gati) Taaḷas. The well-known phrase of Saveri ‘Dha-Ma-Ga-Ri-Sa’ featuring the ‘Jāru’ is , here brings out the grace. Also the Prasa ‘sāmagānalōlepāle-sadārthibhaṇjana shīle’ adds to the lyrical beauty.

It is a simple prayer followed by many phrases, invoking the blessings of the Goddess. There is joy, compassion and a sense of fulfillment (Dhanyata-bhava) in the Sahitya and in the Music as well. Unlike in some other Kritis, there is here neither sadness; nor pleading to the Mother to protect and rescue him from the miseries of life. He is requesting the Devi to grant happiness and well-being to all (Shamkuru). The sentiments of Utsukata (eagerness) and Vatsalya (filial affection towards ones mother) are main here.

It is no surprise; this Kriti is very often sung in the Musical concerts.

Anupallavi
Sankata-harini; Ripu-vidarini; kalyani / Sada-nata-phala-dayike; Hara-nayike; Jagaj-janani
Carana (1, 2 and 3)
Jambu-pati-vilasini; Jagad-avanollasini; Kambu kandhare; Bhavani; Kapala-dharini; Shulini
Angaja-ripu-toshini; Akhila-bhuvana-poshini; Mangala prade; Mardani; Marala-sannibha gamani
Syamakrshra sodari; Syamale; Satodari; Sama-gana-lole; Bale; Sadarti- bhanjana-shile
- (Please check here for a rendering of the Kriti)

The Kriti ‘Janani natajana-paripalini’ (Saveri , Adi-Taala) is graced with many upward Gamaka-slides (Jaru) like ‘Dha-Pa-Dha / Ga-Ri-Sa’ ; ‘Sa-Sa-Sa/Ni-Dha-Pa’ ; and, the signature phrase ‘Dha-Ma-Ga-Ri-Sa’. The smooth flowing phrase ‘Dha-Dha-Dha-Dha—Ri-Ri-Ri-Ri’ adds to the beauty of the Kriti. The term ‘Bhavani’ is repeated twice in the Pallavi, as in many of his Kritis.

The Kṛiti ‘Sripathi mukha…’ begins on the elongated Tara-Sthayi note ‘Ri’ for ‘Śri’

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Familiar Ragas

Sri Shyama Shastry has created compositions in the familiar and popular Ragas (apart from Kalyani, Anandabhairavi and Saveri); and, in the rare and rather unfamiliar Ragas as well.

Some of the popular Ragas he employed are Punnagavarali (3 Kritis); Gaulipantu (3 Kritis); Pharaju (2 Kritis and 2 Gitas); Madhyamavathi (2 Kritis and 1 Gita); Kedaragaula (2 Kritis); Shankarabharanam (2 Kritis); Begada (2 Kritis and 1 Varna); and, Purvikalyani (2 Kritis).

In each of these familiar Janya Ragas there is more than one composition; and, together they almost amount to 22 (18Kritis +3 Gitas+ 1Varnam).

Punnagavarali ** Gaulipanthu Pharaju ** Madhyamavathi

Kedaragaula ** Shankarabharana

Begada ** Purvikalyani

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Ragas – each having a single composition

In addition to the familiar Janya Ragas, as mentioned above, Sri Shyama Shastry used 18 other such Ragas. But, he composed only one Kriti in each of these 18 Ragas.

Ragas each having a single Kriti

Note: (1) Figures in brackets indicate Mela number; (2) * indicates the composition is in Sanskrit; the rest of the compositions’ are in Telugu; (3) As regards Bhairavi, there is a Varnam besides the single Kriti

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Rare Ragas

Apart from the Mela-ragas and the familiar Janya Ragas, Sri Shyama Shastry has attempted a few rare Ragas, such as: Kalgada; Manji; and, Chintamani.

The notable feature of these Ragas is that they are eminently suitable for elaborations in the Chowka-kala rendering of the Kriti. And, Sri Shyama Shastry, of course, loved Vilamba-laya – the spacious, leisurely and gracious movements.

The Kritis composed by Sri Shyama Shastry in the Ragas Kalgada, Manji and in Karnataka-kapi are regarded as Eka-Raga-Kritis. That is so say, these are either the sole or the only noticeable Kritis in that particular Raga.

The Raga Kalgada has a long, but an obscure history. During the time of Sri Vidyaranya (14th century- Sangita-Sudha) Hejjuji was considered a Mela. In the A-sampuna Mela-paddathi, the 13^th Mela was named as Gaya-Hejjali. And, later during the 17^th century, when the Mela-kartha system came into being, the Sampurna-Hejjuji was transformed into the 13 Mela -Gayakapriya, which has all the Shuddha-svaras, except Antara-Gandhara (Ga). Sri Subbarama Dikshitar mentions this Hejjuji-raga, as a Janya of the Gayakapriya.

In most of the references, the Raga Kalgada (or Kalkada) is classified as a Janya of the 13^th Mela Gayakapriya, with the Arohana (ascending scale) S -R1-G3-P-D1-N1-S; and with the Avarohana (descending scale) S-N1-D1-P-G3 –R1-S. But, some prefer to treat Kalgada as a derivative of the 16^th Mela– Chakravaka.

In Western mode, the Raga Kalagada is described as a Hexatone; please click here for a demonstration.

The Kriti ‘Parvathi ninnu’ in the Raga Kalgada is very rarely heard in the concerts. Here, in this Kriti, the Svarakshara Pa-Da-Sa is emphasized in the Aroha (ascent of the note). And, the Shuddha –Nishada is also extended.

And, even while it is rendered, some sing the Kriti in a very slow tempo, by treating Kalgada as a Vivadi-raga. But, some others render the Non-Vivadi version, in a lively tempo, by treating Kalgada as a Janya of 16^th Mela – Chakravaka.

The Kriti ‘Brovavamma’ set to Misra-Chapu-Taala is often cited to illustrate the Lakshanas (characteristics) of the Raga Manji.

[Sri Thyagaraja is said to have composed a Kriti ‘Samayamu-emarake-manasa’ in Raga Kalagada; and, Sri Dikshitar a Kriti ‘Ramachandram-pahimam’ in Raga Manji.]

As regards the Raga Chintamani, which is deemed as a Janya of the 56^th Mela Shanmukhapriya, it is an original contribution of Sri Shyama Shastry. The context in which he created this Raga is, of course, legendary; and is much cited in all his biographies.

Raga Chintamani evokes Karuna-Rasa, pleading with the Mother Goddess to come to his rescue at a testing and difficult juncture in his life. Perhaps the only well known Kriti in the Raga Chintamani’ Devi brova samayamide’, is usually rendered in slow well measured phrases with clear diction.

But, I am given to understand, presently this Kriti is sung in different styles, with different Svara-sanchara (notations) by various Vidwans.

In any case, the Raga and its Kriti need to be handled deftly; because, Dhatu-svara-prayogas and Vakra-svara-prayogas (zigzag movements) are built into its structure.

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One of the reasons adduced to explain the relatively lesser number of the Kritis of Sri Shyama Shastry that are rendered during the popular music concerts is that the performer should truly be an adept in the presentation of the Sahitya with appropriate Mano-dharma and in Vilamba-kala, structured around intricate patterns of Gamakas, Laya and Taala, as also adorned with varied Angas (elements) such as Svara-sahitya, Chittasvaras and Madhyama-kala-sahitya.

Some his Ragas like Kalkada and Manji, which are very close to other Ragas, need to be handled carefully if their true personality (Raga-svarupa) is to be preserved and brought out aptly. In all these cases, the authentic shade of a Raga (Raga-chaya) can be presented only if its Svaras are sung with appropriate Gamakas.

And, the listeners in the auditorium (Sahrudaya) also need to have adequate knowledge, to be able to appreciate the Music that is being presented.

shyama shastry first day cover

In the Next Part we shall talk about the Kshetra Kritis and Nava-ratna-malika Kritis of Sri Shyama Shastry

Continued

In the

Next Part

Sources and References

All images are taken from Internet

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Posted by sreenivasaraos on July 12, 2020 in Music, Sangita, Shyama Shastri

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Sri Shyama Shastry (1763-1827) – Part Four

27 Jun

Continued from Part Three

Continued in Part Five

Sri Shyama Shastry – Life

Bangaru Kamkshi

Name

The person who is celebrated as Sri Shyama Shastry was named, on his birth, as Venkatasubrahmanya; and, was fondly called Shyama Krishna by his parents Visvanatha Iyer (Visvanathayya, Viswanatha Sastry) and Venkalekshmi (Vengu-Lakshmi). The ‘Venkata’ in his name referred to his grandfather Venkatadri Iyer; and, ‘Subrahmanya’ was because he was born under Krittika Nakshatra, presided over by Lord Kartikeya (Subrahmanya). Since the baby was dark in complexion; but, lovely to look at , like Krishna, he was affectionately called Shyama Krishna.

And, later in his life, after he gained fame as an Uttama Vaggeyakara, composer par excellence, he came to be recognized and addressed as Sri Shyama Shastry. And, Shyama Krishna was his Ankita-Mudra (signature) built into the concluding lines (Birudu) of the Charana of his Kritis and other compositions, either by himself or by his disciples, at a later stage, perhaps to conform to the practice that had then into vogue, as Sri S Raja, his descendant remarked.

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Birth

In most of the books and the other forms of writing, the date of birth of Sri Shyama Shastry is mentioned as 26 April 1762 C E. In terms of the Panchanga for that date, it works out to Salivahana-Shaka-Chitrabhanu-Samvathsara-1684, Vaishakha-masa, Shukla-paksha, Dwitiya/Akshaya-Tritiya, Indu-vara (Monday), with Krittika Nakshatra up to 11.06 A.M.

However, Sri Subbarama Dikshitar, in his monumental work Sangita Sampradaya Pradarshini, under the segment Vaggeyakara Caritam (pages 14/15) mentions that Sri Shyama Shastry was born in the year 1763 C E, in the Saka-Savathsara Chitrabanu, under Krittika Nakshatra, Mesha Rasi on Ravi-vara (Sunday). This almost corresponds to 20 February 1763 – Saka-Savathsara-1684-Chitrabanu; Phalguna-masa, Shukla-paksha-Sapthami- Krittika Nakshatra up to 5.30 A.M. next day-Mesha Rasi – Sunday.

Prof. Sambamoorthy has also accepted and adopted 1763 as the year of birth of Sri Shyama Shastry.

shyama sastry old house 2

Shyama shastri birth place

Sri Shyama Shastry’s birth took place at the sacred town of Tiruvarur, also known as Sripuram and Kamalaalaya-khsetra (the abode of the Goddess kamalamba), in the Kaveri delta through which the Odambokki River flows.

Tiruvarur has the unique distinction and honor of being the birthplace of Sri Thyagaraja, Sri Mutthuswami Dikshitar and of Sri Shyama Shastry – the Grand Trinity – the Samgita Trimurthi of Karnataka music tradition.

Tiruvavuru 2

The forefathers

The forefathers of Sri Shyama Shastry were described as Auttara-Vada –Deshastha-Vadamal (Northern) Smartha Brahmins. They belonged to Gautama Gotra; Bodhayana-Sutra.

It is said; they originally belonged to a place called Cumbam (Kambham) in the Karnool District of Andhra Pradesh; and, were hence called Cumbattar, the priests (Bhattar) from Cumbam. Later, they migrated to Kâñchipuram, located on the Vegavathy River, in Chingleput District. Here, they were appointed as the priests (Archakas) at the Sri Kamakshi temple; wherein was placed the most precious idol, Bangaru Kamakshi (Svarna Kamakshi), made largely out of gold.

Bangaru Kamakshi

This most pleasing and lovely looking Bangaru Kamakshi , the golden Utsava–Vigraha of Kanchi Kamakshi, very dear to the devotees, was praised with many epithets, such as: Svarnangi, swarnambika Shukahastha, Suthlinga-vallabha and Dharma-Devi, etc.

The Devi is depicted as holding a parrot in her right hand (Shukahastha), while her left hand is slightly over her hip, is standing (Sthanaka) gracefully assuming a Tri-bhanga posture with her right leg turned slightly inward.

Bangaru Kamakshi 2

But, with the fall of the Vijayanagar Empire in 1565, Kanchipuram suffered severe unrest, political turmoil and anarchy for a period of over two decades. By about 1640, the town fell to the Muslim sultanate of Golconda; but, three years later, they lost it to the Shaws of Bijapur. The Golconda Sultanate regained Kanchipuram in 1676, mainly due to the intervention of Shivaji Maharaj. And again, with the conquest of the Mughals led by Aurangzeb in October 1687, the Golconda rulers were driven out. And, anarchy prevailed , pestering the region for a long time; causing considerable damage to the city of Kanchipuram.

Fearing rampage , damage and destruction to the temple and to the idols by the Muslim hordes, the Archakas buried the temple-treasures, concealed in the temple Drums (Udal) ; and, left Kanchipuram, in the year 1566, along with their families , in groups, carrying with them the most valuable and sacred image of Bangaru Kamakshi and the Chaturbhuja Utsava-vigraha..

It seems the idol of Bangaru Kamakshi was virtually smuggled out of the Kanchi-temple by a set of priests. The image was wrapped in layers of cloth; and the shiny surface of the image was smeared with Punugu (Civet-oil-cream), an aromatic substance, which is black in colour. And, the image, rendered dark; made to look like a sick child affected with small pox, was placed in a covered palanquin; and, was taken out , as if for medical treatment.

[Even to this day, the idol is regularly smeared with Punugu paste; and made to appear dark.]

After the Bangaru Kamakshi was shifted out, a replica of her feet (Paduka) was symbolically installed at the temple.

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Migration and wandering

Over the next several decades spread over a couple of centuries, the generations after generations of the Kanchi–Archaka-families wandered, almost like nomads, fleeing from forest to forest, from town to town protecting, safeguarding and worshiping Bangaru Kamakshi, with great devotion and care.

Gingee Kalyana Mahal at Gingee sepia

After leaving Kanchipuram, the Archaka-families for some time stayed hidden in the forests , out of sheer fear; and, wandered through several forests thereafter, over a period of twenty-eight years, before they reached and settled down at the Gingee Fort (Chenge-Kota), in 1594, at the invitation of its ruler Santana Maharajah.

After a stay of fifteen years at the Gingee fortress, the Archaka-families moved southwards (1609); and, stayed in the nearby forests for another fifteen years (1624).

Thereafter, in 1624, the Archaka-families settled in Wodeyara-palya, situated in the heart of the forest adjoining Gingee. The area was then under the rule of Thanjavur Maharaja Sri Pratapah Simha.

Here, at Wodeyara-palya (Udiyar-Pallayam), the community of the Archakas stayed for as long a period as seventy years, till 1694.

And, after staying in Anakkudy (near Kumbakonam) for a period of 15 years (1709), they moved along with Bangaru Kamakshi to the town of Vijayapuram, where they spent another fifteen years (1724). From Vijayapuram they passed through Nagore, Madapuram and Sikkil, staying in each place for a period of five years (till about 1739).

Their primary objective was to safeguard Bangaru Kamakshi; and, ultimately, somehow, to take her back to her original abode in Kanchipuram, safely; and establish her there.

Tiruvarur

At Tiruvarur

Thereafter, the then generation of Kanchi-Archakas moved in to Tiruvarur, where they stayed for a long period of forty-five years (till about 1784). And, at Tiruvarur, the idol of Bangaru Kamakshi was kept in a specially arranged Mantapa, within the complex of Sri Thyagaraja-swami temple.

Tiruvarur Thyagaraja temple

It was here while in Tiruvarur, Sri Visvanatha Shastry, the then head of the Archaka-family, and his wife Venkalekshmi (Vengu-Lakshmi), were blessed with a son in about the year 1763. They were at that time, 25 years and 20 years of age. And, the boy born at Tiruvavur later gained great fame as Sri Shyama Shastry. Sri Visvanatha Shastri couple later got a daughter; and, named her as Meenakshi.

By about the year 1781, the Kaveri delta again came under the threat of impending invasion; and, this time by Hyder Ali and his allies. Sensing danger that might harm Bangaru Kamakshi, Sri Visvanatha Shastry approached Tulaja Raja II Saheb Bhosle (1765-1787) the then ruler of Thanjavur, with a request to provide safety and protection to Bangaru Kamakshi within the walls of his fortress. Sri Chandrasekharendra Saraswati Swamigal – V (1746-1783 AD) also approved the request.

[Those were stressful times. Because of the uncertain political conditions and the impending threat of invasion by the Muslims, Kanchipuram was not deemed safe. Hence, the Kanchi Kamakoti Peetham had moved out of Kancipuram. And, after prolonged camps at several places, by about 1760, it moved to Thanjavur at the invitation of its ruler Raja Pratapa Simha. But, shortly thereafter, the Acharya Sri Chandrasekharendra Saraswati-V decided to relocate the Peetham at Kumbhakonam , far down South, on the banks of the Kaveri.

By about 1781, Kanchipuram was again under the threat of invasion. During that time, Thanjavur under the Maratha rule was relatively a safer place. Hence, many scholars, musicians, artists and others who felt threatened by persecution migrated to Thanjavur from Mysore, Andhra, Maharashtra and other regions of South India.]

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At Thanjavur

After the King acceded to Sri Visvanatha Shastry’s request, the family shifted from Tiruvarur to Thanjavur in about the year 1783/84. By then, Shyama Shastry (born 1763) had grown into a bright young man of about twenty years; and, was on the threshold of his life. And, his Upanayanam had earlier been conducted in Tiruvarur while he was a boy of seven years of age.

At Thanjavur, the idol of Bangaru Kamakshi was initially housed in the Nataraja Mantapa of Konkanisvara-Svami Temple. And, later for about three years it was kept in the Pratapa-Veera-Hanumar temple (Moolai Hanumar Kovil).

During the time of Raja Tulaja II a new temple for Bangaru Kamakshi was built in about 1786/7. Later, a Raja-gopura was caused to be constructed by his successor Serfoji II in 1788.

Bangaru Kamakshi temple

On the occasion of the Kumbha-abhishekam of the newly built temple, the Raja honoured Sri Visvanatha Shastry; and gifted him with a Jahgir (free leasehold over a large extent of land) including an Agraharam and cultivable lands He also granted the temple an endowment of thirty-two Velis (acres) of land as Sarvamanyam.

Thus, Bangaru Kamakshi, the Uthsava-Vigraha of Kanchi Kamakshi, after having moved out of Kanchipuram in the year 1566, wandered over hills, dales, forests, towns and villages for nearly over two hundred and twenty years , before she could have a permanent temple of her own at Thanjavur in 1786 . But, even after a very long and hazardous journey, she could not get back to her original home in Kanchipuram.

Nevertheless, the devotion, dedication and the sacrifices made by several generations of Kanchi Archakas in safeguarding their Dearest Goddess is truly admirable and astounding. I doubt if there is a parallel anywhere and at any time in this world.

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Early Years

Sri Shyama Shastry had his initial training in Telugu and Sanskrit from his father. His Upanayana was performed at the age of seven. He got his preliminary lessons in music from his maternal uncle; and, starting from Sarali-svaras he gained familiarity with Svaras (Svara-jnana). He was a bright young lad; quick to grasp; and good at retaining what he had learnt. He was also gifted with a sonorous voice. Though he did not come a family of musicians; his parents did not discourage his study and practice of music.

Sri Shyama Shastry, even in his boyhood, was of pious nature. At home, he and his sister Meenakshi together decorated and rendered Puja to a Pancha-loha image of Krishna. It appears the siblings, who grew up together, were very close and affectionate to each other. The sister died rather early in her life. Sri Shyama Shastry often recalls her lovingly, tagging her along with his Ankita–Mudra Shyama-Krishna, with expressions such as ‘Shyama-Krishna-sodari’ and ‘Shyama-Krishna-sahodari’.

Sri Shyama Shastry, later in his life, gained fame as an eminent musician, scholar and Sri Vidya Upasaka; but, his formal training in these fields began rather late.

It was only after his family moved to Thanjavur (in about 1783-84) that the life and career of Sri Shyama Shastry began to blossom and flower. It all started after he was about twenty years of age.

As his father was the Archaka at the Bangaru Kamakshi temple, he began to associate himself with the Devi Puja and other temple-rituals. And, he also did develop a sort of a bond with the Goddess, regarding her as his Ista-devatha and his Mother. Sometimes he used to sing to her in sheer joy with his impromptu songs of playfulness and attractive Laya patterns.

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Sangita Swamin

The momentous turning point in Sri Shyama Shastry’s life came about with the very fortunate and blessed entry of Sangita Swamin .This Swamin was an adept in Samgita-shastra and Bharatha-shastra. He was also an ardent Sri Vidya Upasaka.

Sangita Swamin, who came from the Northern regions, was said to be a Telugu speaking Brahmin itinerant (Parivrajaka) Sanyasin. During the year 1784, for the purpose of his annual Chaturmasya-Deeksha period of retreat, he had camped in Thanjavur. And, it was here that he came upon the bright looking youth – Shyama Shastry; and, was instantly impressed with his demeanour, his pious nature, guileless devotion to the Mother Goddess, and his innate musical talent of a very rare kind. He took upon himself the task of training and guiding the young Shyama Shastry.

[Sri Subbarama Dikshitar mentions that the training period lasted for three years. However, according to Prof. Sambamoorthy, Sangita Swamin was with his pupil only for four months of Chaturmasya period.]

According to Sri Subbarama Dikshitar, Sri Shyama Shastry was under the tutelage of Sangita Swamin for a period of about three years. During this intense, invigorating and highly charged phase of his life, Sri Shyama Shastry was initiated by Sangita Swamin into the mysteries of Sri Vidya and the worship of Sri Chakra.

Sangita Swamin also taught his disciple all the intricacies of the Lakshana (theoretical principles) and in-depth understanding of the elements of the Lakshya (practice) of the Samgita-shastra, such as the prastara-krama, the appropriate manners of rendering of Sahitya, Raga and Taala.

At the conclusion of the teaching-period; and, before departing for Varanasi, Sangita Swamin, highly pleased with his disciple, while gifting him some very valuable Lakshana-granthas – the texts concerning music (Gandharva-vidya) – blessed him; and, predicted that he was destined to become a very illustrious noble person, blessed by Sri Kamakshi Devi.

Pachchi-mirium Adi-Appaiah

Further, Sangita Swamin also advised his pupil saying: that you have learnt enough of the Lakshanas as per the Samgita-shastra (theoretical aspects of Music); and, it is now the right time to listen to as many of the fine musicians of the area as possible. And, the Swamin suggested that he might cultivate the friendship of the musician (Asthana-Vidwan) of the Thanjavur Royal Court (Samsthanam), Sri Pachchi-mirium Adi-Appaiah; and, carefully listen to his scholarly music as often as possible.

[Sri Pachchi Mirium Adi Appaiah (1740-1833), a Kannada Madhwa Brahmin, was a scholar and composer of great repute. He was consulted on various aspects of musicology by none other than Sri Thyagaraja himself. Sri Adi Appaiah followed the great musician Melathur Veerabhadriah; and composed several Kritis in many Rakthi-ragas. His Aknita-Mudra was ‘Sri Venkataramana’.

It is said; the Raga-alapana and Madhyama-kala-Pallavi rendering (paddhati) were standardized and gained greater importance mainly because of him. He was also well versed in Taala-prakaranam and in analyzing complicated Gamaka patterns. His Bhairavi Ata-taala Varnam Viriboni is, of course, a classic.

Though Sri Shyama Shastry did not directly study under Sri Adi Appaiah, some point out that he analysed the compositions of Adi Appaiah; and this greatly influenced his style, as could be seen in his famous Svarajati in the Raga Bhairavi, ‘Kamakshi-amba’.]

[It is said; Sri Shyama Shastry learnt playing on the Veena and the elements of Bharata-shastra from Mahadeva Annavi, a reputed Natyacharya in the Royal Court of King Tulaja II of Thanjavur. This Mahadeva Annavi was, in fact, none other than Subbarayan, the father of the famed Tanjore-Quartet – Chinnaya; Ponnayya; Sivanandam; and, Vadivelu. The four brothers, later, became the ardent disciples of Sri Mutthuswami Dikshitar. ]

As instructed by his Guru, Sri Shyama Shastry did meet Sri Adi Appaiah. And the two became great friends, despite the difference in their age, their standing in the society; and, in the field of Music.

In the year 1784, Sri Adi Appaiah was about 45 years of age; and, Sri Shastry was a young man of about 20 years. And, at that stage, Sri Adi Appaiah was a highly acclaimed scholar and an authority on Lakshana aspects of Music; and, was also a well-known composer. While, at that time, Sri Shastry was a young person with hardly any background of music; and, who was just then gingerly stepping into the main arena of Music. And yet, there was a great mutual respect and admiration between the two.

Sri Shyama Shastry also made friendship with Vina Krishnayya, the son of Sri Adi Appaiah. And, the two used to spend a lot of time together singing and analyzing music. Vina Krishnayya was also a famous composer and an accomplished Veena player. Sri Shyama Shastry appreciated a composition of Krishnayya, which was set in 30 Avartas of Dhruva-taala, but could be rendered in six other Taalas.

In that regard Sri Subbarama Dikshitar mentions that Vina Krishnayya had composed three Prabandhas of the type Saptalesvarm. The unique feature of this composition was that though it was set in Dhruva-taala, it was in conformity with the six other Taalas. And, when the commencing part of the Prabandha is sung, the fist beat (Matra) of all the Taalas coincide.

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As Archaka and musician

In due course, Sri Shyama Shastry succeeded his father as the principal (Pradhana) Archaka of the Bangaru Kamakshi temple; and, was quite successful in managing the temple affairs.

By then, he was fairly well settled in life; and, had a steady income from the large tracts of lands endowed to his family by the Kings of Thanjavur. He seems to have enjoyed a contented peaceful life with his family. Sri Shyama Shastry’s wife was a very caring and a devoted person. She was also a Devi-Upasaki; and observed the same discipline and principles that her husband followed.

Shyama shastry house 1 Shyama Shastri house 2

He had a house of his own. And also had enough income to take care of his family and other needs; and, was not caught up in the mesh of financial and such other problems. That might perhaps be one of the reasons why he did not go after seeking patronage, honors and gifts etc. He was also not in need of using his expertise in Music as a means for earning a living. He was also rather reluctant to accept many disciples, for other reasons.

Over the years, Sri Shyama Shastry became a well-known and a highly appreciated musician, scholar and a composer. He was admired and respected by the King as also by his worthy contemporaries like Sri Thyagaraja and Sri Dikshitar. He did maintain contacts with the other two of the Trinity; and often discussed about their latest compositions.

Bangaru Kamakshi 9

Intense devotion

At the same time, with the growing association with the deity, Sri Shyama Shastry developed a uniquely profound mystical bond with his Ista-devata, the Bangaru Kamakshi, treating her like a person, a living goddess (Pratyaksha-devata) in whom he could confide as a child does with its loving Mother. He was charged with intense devotion and a poignant longing for the Mother

It is said; he would spend much time with the deity, talking to her; pouring his heart out in guileless love through songs, spontaneously; imploring (karuna-bhava) her repeatedly to protect him – Kamakshi Bangaru Kamakshi nannu brovave, O Kamakshi Bangaru Kamakshi.

At times he would, oblivious to the outside world, converse with his Divine Mother, pleading with her, and cajoling her with sweet-sounding songs.

He called out to Her in ecstasy through countless other epithets, as :

Amba; Jagadamba; Talli, Katyayani; Kaumari; Kalyani; Himadrisute; Akilandeswari ; Lokasakshini ; Brihannayaki; Indumukhi; Kunda-mukundaradana; Bangaru-bomma; Bimbadhara; Niradaveni; Saroja-dala-netri; Meenanetri;Meena-lochana; Sarasija-bhava-hari-hara-nuta; Mavani-sevita; Dharma-samvardhini; and, Ahi-bhushana-pannaga-bhushana ; and so on.

Dr. V. Raghavan writes:

Sastrigal was as great a Bhakta ; and, his Vairagya was firm as that of Sri Dikshitar. In piece after piece, Sastrigal affirms faith in the Goddess and her compassion.

In a Todi piece Vegamevacchi, he echoes Sri Tyagaraja’s Dhyaname Varamaina ; and, says that beyond the Mother’s Dhyanam, he knows no mantra or tantra.

But one supreme quality that Sri Syama Sastri achieved by the simplicity of his Sahitya is the directness of appeal. You see in his songs one directly speaking to Mother.

In songs like Brovavamma (Manji) or Marivere (Anandabhairavi), one cannot help being placed in the very presence of the Goddess. The simple repetitive addresses Janani, Talli, Amma, Ninnuvina Gati, Namminanu ; and, sometimes repetitions of words like Nammiti Nammiti twice and even thrice, and the not infrequent use, in effective places, of the address – syllable “O” singly or in repetition, will not fail to transport one to the very ineffable presence of the Mother.

Such poignant expression of simple feeling more readily opens that inner well of the tears of bliss than the thought-laden composition, which takes you through long cerebral prakara-s.

On Fridays and on other occasions specially associated with the Mother Goddess, he would sit in front on the Deity, immersed in Sri Vidya Upasana, meditating on her sublime and supreme Divine form, with tears rolling down his cheeks. During those intense moments of transcendental experience, he sang many melodious songs in sheer ecstasy. Thus, over a period, Sri Shyama Shastry was transformed almost into a spiritual personage.

Kanchi Kamakshi 3

Person

Sri Shyama Shastry was a dark, tall, well-built, handsome, serious looking person, rather absorbed in himself. And, he had a slight rotund around his waist. He was indeed a very impressive personality. His very presence commanded respect.

Sri Shyama Shastry was a Devi Upasaka; and was a deeply religious person who adhered to the prescriptions of the scriptures. He always had a dash of vermilion (Devi-prasada) right between his eye brows and stripes of Vibhuthi across his broad forehead. He sported a tuft (Kudumi); and, appeared with stubble on his chin, because he shaved only once in a fortnight, just as an orthodox Brahmin would do.

He was always dressed in a gold-laced (zari) white dhoti; and, a bright red shawl as the upper garment (uttariya). He habitually wore sparkling diamond karna-kundalas on his ear lobes; gold studded Rudraksha-mala around his neck; and, wore rings on his fingers. He carried a cane with a silver handle.

He was fond of chewing betel leaf (paan); and, his lips were dark red. He, therefore, is usually shown in his portraits along with a paan petti, a small box to hold leaves and nuts, by his side

Sri Shyama Shastry’s Tambura had a yali-mukham; not usually found in other Tambura depictions.

shyama shastry 23kf4v8

The portraits of the Karnataka Samgita Trinity created by Shri S Rajam, a celebrated Musicologist and painter, are universally acclaimed archetype iconic figures; and, are even worshiped. He studied and researched into his subjects thoroughly; and, grasped the essence of their character and achievements. His portraits therefore bring out not mere the physical resemblance of the subjects, but more importantly the essence of their very inner being.

His portrait of Sri Shyama Shastry was based upon an old sketch that had almost worn-out. Shri Rajam’s portrayal is the best among its genre. It brings out the colorful personality of Sri Shastry brilliantly. His portrait of Sri Shyama Shastry eventually turned into an Indian postal stamp.

shyamashastri

Sri S Raja, a descendent of Sri Shyama Shastry, narrates, about the old and original portrait of Sri Shyama Shastry that was in his family.

There is the story of the portrait of Shyama Sastri. Its original portrait is in my possession; and, it is the only original from which all published portraits have been derived.

On the 7th February, 1827, seven days after his wife had dies, he knew through his knowledge of Astrology that he had reached the last day of his life. This prompted him earlier that day to send for a friend of his who was a good painter, and asked him to draw a portrait of himself.

His friend agreed and commenced the portrait. But after drawing Shyama Shastri’s face, his friend decided to complete the portrait another day.

Little did he realize that this was not to be, as Shyama Shastry would pass away later that day, and the picture would have to be completed from memory later.

The original portrait so completed is reproduced here, and has suffered fading and erasure in parts in the centuries that have since gone by.

syama-sastri-original-portrait

But what is of interest here is that the small original drawing of the face has been stuck on a larger sheet on which the rest of the detail has been added. The original drawing can be seen clearly demarcated as a rectangle on the portrait so completed.

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Association with his contemporaries

Sri Shyama Shastry maintained close contact with Sri Thyagaraja as also with Sri Mutthuswami Dikshitar.

He often used to call on Sri Thyagaraja at his home in Tiruvaruru; and, spend much time with him, discussing about Music and related issues.

Sri Thyagaraja was also familiar with the Kritis of Sri Shyama Shastry. It is said; some disciples of Sri Shyama Shastry while on a visit to Tiruvarur rendered the compositions of their teacher before Sri Thyagaraja.

Sri Subbaraya Shastry, the second son of Sri Shyama Shastry also used to meet Sri Thygaraja; and sang before him one of his newly composed kritis – Ninnu-vinagatigana (Kalyani). Sri Thyagaraja appreciated the young man’s talent.

Then, for some time, Sri Subbaraya Shastry was a student of Sri Thyagaraja; before he associated with Sri Mutthuswami Dikshitar.

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Sri Shyama Shastry and Sri Mutthuswami Dikshitar had much in common. They were both Sri-Vidya-Upaskas; and, by nature, both were rather recluse and reserved. Most of their compositions were in praise of the Devi, the Mother Goddess.

Sri Shyama Shastry was familiar with the compositions of Sri Dikshitar; and, admired them for their structural elegance, beauty of the Sahitya and their intensely close association with Sri Vidya.

And, Sri Shyama Shastry liked the compositions of Sri Dikshitar so much, as he put his son Subbaraya Shastry under him for training in Music.

Thus, Subbaraya Shastry gained fame as a composer of superb Kritis that reflect the rhythmic beauties of Sri Shyama Shastry as also the Raga richness of Sri Dikshitar.

***

Justice T L Venkatarama Aiyar mentions that Chinnaswami and Baluswami often used to visit their elder brother Sri Mutthuswami Dikshitar at Thanjavur. And, and on such occasions all of them and Sri Shyama Shastry used to associate themselves in Music recitals.

He mentions that on one such occasion, all of them combined to restructure and complete a Chowka-varnam – Sami Ninne Kori – in Raga Sriranjani, that was earlier composed by Sri Ramaswami Dikshitar.

[The Chowka-varnams are usually set in slower tempo (Chowka-kalam); and, have longer lines and pauses, enabling apt portrayal of the Bhava of the Varnam . All its Svaras are accompanied by Sahitya (lyrics) and Sollukattus which are made up of rhythmic syllables.]

The Carana of that Chowka-varnam had only one Svara passage as composed by Sri Ramaswami Dikshitar; while its others Caranas seemed to have been lost. Sri Shyama Shastry felt that as good piece as that should not be allowed to die merely because it is incomplete. And, therefore, he himself composed the second passage of Svaras; and, then called upon Sri Mutthuswami Dikshitar and his brother Chinnaswami to duly complete the Varna. Thereafter, Chinnaswami composed the third passage; while Sri Mutthuswami Dikshitar composed the fourth and the last passage; and, perfected the composition that was initially created by his father.

This association of Sri Shyama Shastry and Sri Mutthuswami Dikshitar in Thanjavur is one of the most fascinating episodes in the history of South Indian Music.

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Anecdotes

There are numerous anecdotes associated with Sri Shyama Shastry. And, just to recount a few, in brief:

Once, Kesavayya, a famous musician from Bobbili (who had arrogated to himself the pompous title – Bhoolaka-chapa-chutti – the one who rolled the world into a common mat) challenged the Thanjavur Court musicians in the handling intricate Taalas. He was known to be an expert in that field.

Sri Shyama Shastry was requested by the King to face Kesavayya and to defeat him; saving the prestige and honour of the Thanjavur Court.

Before facing him, on the night previous to the contest, Sri Shyama Shastry shut himself in the temple, meditated, prayed devotedly to Bangaru Kamakshi pleading with the Mother come to his rescue; and, sang the now-famous “Devi-brova-samayamide’ (Chintamani Raga, Adi Taala), “Devi ! Now it is the time for you to protect me”.

The contest ended with Sri Shyama Shastry winning it handsomely, when he outclassed the challenger by displaying his virtuosity and creativity in rendering varied types of rare Tanas with great ease and delight.

And again at Nagapattinam, Sri Shyama Shastry is said to have defeated the challenger Appukutti Nattuvanar who was proficient in Music and Dance.

While on a Visit to Pudukottai, an unknown person suggested to Sri Shyama Shastry to have a Darshan of Devi Meenakshi of Madurai; compose and sing songs celebrating her glory and splendour.

Accordingly, Sri Shastry went to Madurai, sat in front of Meenakshi Amman and composed a garland of gem-like nine splendid Kritis – the Nava-ratna-malika, exuding Bhakthi-rasa, composed mostly in Rakthi-ragas , set to alluring rhythmic structures and adorned with ornamental Angas like Gamaka, Chittasvara, Svara-sahitya and rhetorical beauties like Yati, Prasa etc.

These include most delightful Kritis dedicated to Devi Meenakshi, such as:

- Saroja-dala-netri (Shankarabharanam),
- Mariveregati (Anandabhairavi),
- Devi-Meenanetri (Shankarabharanam),
- Nannu-brovu-Lalita (Lalita),
- Devi-ni-pada-sarasa (Kambhoji),
- Mayamma (Natakuranji),
- Mayamma (Ahiri) ,
- Meena lochana-brova (Dhanyasi) , and
- Karuna-chupavamma (Sri).

Descendents

Sri Shyama Shastri had two sons: Panju Shastri and Subbaraya Shastri. Each, in a way, continued the legacy of Sri Shyama Shastri.

After the demise his father, Panju Shastri was appointed as the Archaka of the Bangaru Kamakshi Temple; while Subbaraya Shastri pursued Musical career on the lines of his father.

***

Panju Shastri had two wives and six sons. By the first wife, he had three sons: Ramakrishana Shastri, Sambasiva Shastri and Annaswami Shastri.

Ramakrishna Shastri’s son Natesha Shastri succeeded his father as the Archaka of the Bangaru Kamakshi temple. Natesha Shastri is said to have safeguarded several valuable and rare manuscripts prepared by Sri Shyama Shastri on the theory and practice of Karnataka Samgita. These related particularly to Taala-prastara, illustrated with the help of diagrams, the sixteen elements (Shodasanga) of the Prastara Krama.

The second son Sambasiva Shastri was a reputed scholar, well versed in Vedanta.

The third son, Annaswami Shastri., was given in adoption to Subbaraya Shastri, since he was childless.

As regards the sons from the second wife of Panju Shastri, they also were three in number. The eldest Annaswami Shastry and the youngest Arunachala Shastri died rather young and childless. And, the middle-son, Subrahmanya Shastri and his son Ganapathi Shastri lived in Thanjavur.

Subbaraya shastri

Subbaraya Shastri

Subbaraya Shastri (1803-1862), the second son of Sri Shyama Shastri, followed the footsteps of his father; and, developed into a renowned composer and scholar.

He indeed had the great fortunate and unique distinction of having been trained in Samgita-Shastra by all three Grand Masters of the Karnataka Samgita: his father Sri Shyama Shastri, Sri Thyagaraja and Sri Mutthuswami Dikshitar. His compositions are often described as the Tri-veni-sangama, the confluence of the unique features of the Kritis his three Gurus, the Trinity. ‘Kumara’ was his Ankita-Mudra.

Subbaraya Shastri has composed more than 40 Krtis. But only a few Krtis are available now. And, most of those Krtis are in praise of the Mother Goddess.

His krtis are also adorned with decorative Angas like Svara-sahitya, Madhyamakala Sahitya etc,; and with literary devices like Dvitlyakshara and Antyakshara Prasa.

[For a short life-sketch of Subbaraya Shastri, please click here. And, for a detailed analysis of his Kritis , please click here.]

It is said; in his two Kritis – Venkata-saila-vihara (Hamirkalyani) and Ninnu-sevinchina (Yadukulakambhoji) – in the long drawn out Vilamba-kala – Sri Subbaraya Shastry combined the styles of his father (Svara-sahitya and Svarakshara) and of his Guru Sri Thyagaraja (Sangathis).

And his Janani Ninnuvina (Reethigowla) and Sankari-Neeve (Begada) are highly acclaimed for the delightful harmony of Raga-bhava and Sahitya.

He was versatile in other forms of Music as well. He learnt to play violin from a musician at the East India Company; and, is said to have become quite proficient in it.

He also gained familiarity with the Hindustani Music from the Maratha musicians Kokilakanta Meruswami and Ramadasa Swami, who were then the Vidvans at the Thanjavur Samsthanam. The traces of its influence can be seen in his Kritis Venkata-Shaila-Vihara (Hamir Kalyani) and Kamalamba (Desiya-Todi).

Since Subbaraya Shastri-couple had no children, they adopted Annaswami Shastri, the third son of Panju Shastri, as their own son.

After the demise of his father, by about 1834, Subbaraya Shastri along with his wife and son moved to Kanchipuram, where he stayed for about ten years or more. And, thereafter, they shifted to Triplicane in Madras; and, stayed there for only one year. It was while he was in Triplicane; Subbaraya Shastri composed the Kriti Ninnu-sevinchina (Yadukula-kambhoji), in praise of Sri Parthasarathy, the presiding Deity of the temple there.

He visited Madurai several times; and performed in the Meenakshi Amman temple.

Subbaraya Shastry taught violin to his son Annaswami Shastri; the two often used to gave duet performances.

It appears, Subbaraya Shastri also taught vocal music to Thanjavur Kamakshi Amma (c. 1810–90), the grandmother of Veena Dhanammal; and, Kanchi Kachiappa Sastri, the guru of Dhanakoti Ammal.

Among his other disciples were : Chandragiri Rangacharulu, also known as fiddle Rangacharulu; and,Tachur Singarcharulu – the cousin of Fiddle Rangacharulu

Then, Subbaraya Shastry was appointed as the Samasthana Vidwan in the Udayar-palayam Zamin; where he was till his death in 1862.

Just as Shyama Shastri did, Subbaraya Shastri could foresee his end. After performing the morning Sandhya-vandanam, he poured water on the floor saying ‘Dattam’; and, said that he would live only for two more hours. The Zamin and other pleaded with him; but, failed to persuade him to change his decision.

When asked about his last wish, Sri Subbaraya Shastri said:’ I have nothing to ask. The Ambal-anugraham has always been there on me; what more can I ask? ‘

A few minutes after that, he breathed his last at 8.00 AM on Dashami of Krishna-paksha of Chapa (Magha) masa of the Durmathi-nama-samvathsara 1783 (which nearly works out to 23 February 1862).

[ For a detailed study of Sri Subbaraya Shastri’s compositions, please do read ‘An analytical study of the Kritis of Sri Subbaraya Sastri, a Doctoral thesis by Dr. Smt. V. Veena Lakshmi]

[ Please also see ” The gem of the Trinity” about Sri Subbaraya Shastri by Vishnu Vasudev ]

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Sri Annaswami Shastri (1827-1900)

Annaswami Shastri, the son of Panju Shastri was born just a couple of months after the demise of his grandfather Sri Shyama Shastry. He was initially named as Shyama Krishna, in memory of his grandfather. But, later he came to be known as Annaswami Shastri.

He was given in adoption to his uncle Subbaraya Shastri, who educated him in Kavya, Vyakarana, Alamkara and in Samgita (Music). He was also taught to sing and also to play on violin. At times, he and Subbaraya Shastri used to perform violin duets.

Annaswami Shastri began to compose Tana-varnas right from his youth. Among his compositions, the Daru Varna ‘Kaminchi-yunnadira’ (Kedaragaula, Rupaka-taala); and the Kriti ‘Inkevaru’ (Sahana) are well known.

He is said to have composed 10 Kritis and 2 Varnams. He structured his songs following the lines of Sri Shyama Sastry.

The Svara-sahitya for the Kriti ‘Palinchu-Kamakshi Pavani’ (Madhyamavathi); and, ‘Pahi Girija-sute’ (Anandabhairavi) are said to be his contributions.

Annaswami Shastri used to sing the Svara-Sahitya of the Kriti in the manner of a duo, where one sings the Svaras and the other the Sahitya, in succession.

After the demise of his father, Annaswami Shastri was appointed as the Asthana Vidwan of the Udayar-layam Zamin.

As a teacher; he taught violin and vocal to his son Shyama Shastri II, Sundârambâl, mother of Veena Dhanammâl; and Tacchur Chinna Singaracharulu.

Annaswami Shastri passed away in 1900, leaving his son Venkatasubramanya Sastri, known generally as Shyama Shastri II . Dr. V Raghavan mentions that he was a school teacher; and , was good in drawing. After retirement, he stayed in Madras; and, was a member of the Experts Committee of the Music Academy .

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Disciples

Sri Shyama Shastry, comparatively, had a lesser number of disciples.

His principal disciple was his son – Subbaraya Shastri . Besides, he had three other disciples: Alasur Krishnayya; Sangita Swamy; Dasari, Tarangampadi Panchanada Iyer; and, Porambur Krishnayya.

Alasur Krishna Iyer:

Alasur Krishna Iyer was for some time the Samasthana Vidvan of Royal Court of Mysore. He was an expert in presenting intricate Pallavis. He had the privilege of being with Sri Shyama Shastry while he was at Madurai. He named his son as Subbaraya Shastri, in honour of his Guru. This boy, in turn, also grew up to become an accomplished musician.

Sangita Swamy

Sangita Swamy was a Sanyasin and a brilliant musician.

It is said; one day while Sri Shyama Shastry was walking along the street, he came upon a Sanyasin; and, as per the custom, greeted him with respect. But, to his surprise, the Sanyasin fell at the feet of Sri Shyama Shastry ; and, burst into a song ‘ O Jagadamba’.

Then, Sri Shyama Shastry could recognize him as his earliest student (Prathama-sishya), who had vanished mysteriously. It was only to this student that Sri Shyama Shastry had taught his Kriti ‘O Jagadamba’ in Anandabhairavi. With the sudden disappearance of his first student, Sri Shyama Shastry had grown rather cautious or even reluctant to accept any student.

On accidentally meeting his long-lost student, Sri Shyama Shastry burst into tears. The Sanyasin, in turn, contributed a Svara-sahitya to that Kriti, as his Guru-dakshina.

A little later, Sri Shyama Shastry sat before Bangaru Kamakshi and sang the Kriti ‘Adinamunci pogadi -pogadi’ in Anandabhairavi (Triputa-Taala); meaning: since that day, I have been praying to you praising you repeatedly in myriad ways; O my Mother do assure me and protect me.

Dasari

He was an expert Nagasvaram player. It is said; on a festival occasion in the Tiruvaruru temple, Dasari rendered on his instrument a delightful Alapana of the Shudda-Saveri-Raga; and followed it up by the Pallavi, improvised with several attractive Sangathis. Sri Thyagaraja, who was raptly listening to the music from his house, which was close by, was greatly pleased with Dasri’s elaboration of the Raga and the artistic rendering of his Kriti ’Daarini telusukonti’ rushed up to the temple and heartily congratulated Dasari on his splendid performance.

Porambur Krishnayya was another disciple of Shri Shyama Shastri; but, not much is known about him.

Tharangampadi Panchanada Iyer, a composer of high merit, was also said to be a student of Sri Shyama Shastri. His Kriti ‘Birana brova idi manchi samayamu’ (Kalyani) was quite popular. His Raga-malika, composed in 16 Ragas; and, beginning with the words ‘Arabhimanam‘ is a beautiful composition, which is widely sung in concerts. (? – I need to verify again whether he was he disciple of Shyama Shastri )

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The Last week

Sri Shyama Shastri, just as Sri Thyagaraja and Sri Mutthuswami Dikshitar, could foresee the day and time of his death. When his wife, a very pious lady, came to know of this prediction, she was thoroughly shaken; and, she prayed to Devi Kamakshi to take her away before that very sad day would come to pass. The merciful Mother Goddess granted her request; and, she peacefully passed away on February 1^st 1827.

On the passing away of his wife, Sri Shyama Shastry is said to have remarked: “sAga anjunAL, seththu ArunAL”, which perhaps was meant to say: “five days to go (for me) to die; six days would have passed (since her death)’.

Just six days after his wife’s death, on February 7^th, 1827, Sri Shyama Shastri decided to give up his earthly coils. He was at that time about sixty-four years of age. It was at Thanjavur, the Dashami, Tuesday (Cevvai), Shukla-paksha Makara (Magha) Masa, Shishira Ritu, Uttarayana, Vyaya-Samvatsara 1748. Kaliyugam 4927.

On that auspicious morning, Sri Shyama Shastri meditated upon his Ista-devata, the Mother Goddess Kamakshi for one last time. He laid his head on the laps of his son Subbaraya Shastri; and, asked him to softly recite the Karna-mantra into his ears. He was fully conscious till the very last moment. He peacefully, serenely journeyed to Sripuram, the heavenly abode, to join his Mother Devi Kamakshi.

Thus, passed away an immortal composer of the Karnataka Samgita.

Kamakshiamman

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In the Next part we shall take a brief at the structure and other details of the compositions of Sri Shyama Shastry.

Continued in Part Five

Sources and References

All images are taken from Internet

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Posted by sreenivasaraos on June 27, 2020 in Music, Sangita, Shyama Shastri

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Sri Shyama Shastry (1763-1827) – Part Three

26 Jun

Continued from Part Two

THE GOLDEN AGE – CONTINUED

Trinity

The Trinity – Samgita Trimurthi

It is remarkable that all the three Grand Masters of Karnataka Samgita – Sri Shyama Shastry (1762-1827), Sri Thyagaraja (1767-1847) and Sri Mutthuswami Dikshitar (1776-1835) – were born within a short span of about fourteen years, in the Smartha Bramhin community, in the temple town of Tiruvavur in the Kaveri delta, which had emerged as a religious and cultural haven.

All the three composers lived and flourished at a time when the South Indian classical music, prospered under royal patronage of the Maratha Kings in the Thanjavur.

All the three were initiated into Sang1ta Shastra by an extra ordinary Guru, a spiritual Master.

They all were proficient in more than one language; and, had their initial training in Telugu and Sanskrit.

Each one was a highly devoted and inspired spiritual seeker; and, regarded Music as a means (Upaya) to worship the divinity (Nadopasana) and to attain liberation (Moksha-sadhana). While Sri Thyagaraja was immersed in Rama-bhakthi; Sri Dikshitar was an adept in Sri Vidya; and, Sri Shyama Shastry was a Devi-Upasaka.

All the three shunned Nara-sthuti, praising the mortals; and, refused to be bound or supported by royal patronage; as also by the honours and favours offered by others.

Sri Thyagaraja, Sri Dikshitar and Sri Shyama Shastry were not performing musicians. There is no record that they performed publicly. They sang, practiced and taught music in their home. They perhaps sang while on a visit to a temple or a Kshetra, in honour of the presiding deity, in accordance with the then prevailing practice.

They were men of great learning, intense devotion and prodigious skill; and, each of them developed a particular technique and style in the structure and presentation of his creations.

Even though each had a distinct style of his own, the Musical Trinity accepted and adopted the kriti, the most important musical form in Karnataka music, as his principal medium for conveying the musical ideas and his varied emotions.

Though they were essentially rooted in the tradition; they did improvise, innovate and introduce fresh and sparkling ideas and modes of expression in their musical compositions, to heighten their aesthetic beauty.

Amazingly, all the three could intuitionally foresee the time of their death; and accepted it willingly, calmly, fully conscious as if they were merging into their chosen deity (Ista Devatha).

They were also different in many other ways

And, each was a virtuoso, having a unique virtue of his own. If Sri Thyagaraja might be said to have emphasized on the happy blending of Raga (melody) and Bhava (emotional content); and Sri Dikshitar on portrayal of Raga; Sri Shastry displayed a fascination for the charm of intricate rhythmic phases combining Taala, Laya and Gamaka.

thyagaraja

Sri Thyagaraja

Sri Thyagaraja was a prolific composer ; believed to have created a thousand or more compositions (of which about 700 have survived) of varied structures and formats such as Kritis; Utsava-sampradaya-kirtanas and Divya-nama-samkirtanas meant for Bhajans and Utsavas; Namavaliis; Stotras; musical-plays and so on . His contribution to the repertoire of Karnataka Samgita is indeed immense. Most of his songs, permeated with spiritual awareness, are devotedly submitted in praise of his chosen deity Lord Sri Rama. He was revered as a saint (Santa).

Sri Thyagaraja adopted the Sampurna-Mela-Paddathi of Govindacharya-(Kanakangi-Rantnangi).

Sri Thyagaraja’s compositions were often the spontaneous outpouring of his emotions and spiritual ecstasy. He would burst into a song to express his joy, devotion or sorrow; and, even his frustrations in his daily life.

The compositions of Sri Thyagaraja reveal, as in a mirror, his personality; his family circumstances; his problems in life; his varying moods; his pains and pleasures; his spiritual yearning; and, his intimate mystic experiences.

Many of his compositions set in commonly spoken Telugu, are virtual conversations with his Lord Rama. And, often he would take Rama to task (Ninda-sthuti); for not taking adequate care to protect and guard him against the jibes from his fellow beings.

Mutthuswamy Dishitar

Sri Mutthuswami Dikshitar

Sri Mutthuswami Dikshitar was also prolific; about 479 of his compositions have now been identified, spread over 193 ragas. These include four Raga-malikas; and about forty Nottuswara sahithya verses, based on Western tunes.

Sri Mutthuswamy Dikshitar followed Venkatamahin’s scheme – A-sampurna Mela Paddathi- (Kanakambari-Phenadyuti)

He achieved what Venkatamakhin, at one time, thought was not possible; he gave form and substance to all the 72 Melakarta-ragas.

As many as 157 of his creations are Samasti-charanams; carrying no Anupallavi or the Anupallavi itself acting as Charanam.

Except for one Kriti in Telugu and three Mani-pravala-kritis (Sanskrit + Telugu + Tamil), all his other compositions are in delightfully captivating Sanskrit. The technical sophistication, intellectual brilliance is the hallmark of his music.

Sri Dikshitar, all his life, was virtually a pilgrim, visiting a number of temples; and composing kritis in honour of the deities he visited.

Although he was essentially a Sri Vidya Upasaka, Sri Dikshitar composed songs praising numerous gods and goddesses.

Each of his compositions is unique, brilliantly crafted and well chiselled work of intricate art. He builds into his tight-knit kritis a wealth of information about the temple he visited (Sthala-Mahatmya), its deity, its architecture and its rituals; and about Jyothisha, Tantra, Mantra, Sri Vidya, Vedanta etc. He also skilfully builds into the lyrics, the name of the Raga (Raga-mudra) and his own Mudra, signature.

Unlike in the Kritis of Sri Thyagaraja, Sri Dikshitar’s compositions are remarkably free from personal elements. We may admire the beauty and excellence of his superbly artistic creations; but, we do not get to peep into his family circumstances, his personal likes, dislikes, pains and pleasures in his life. He hardly brings into his works, the personal elements or factors; or, his reactions or views on the life around him. There is a sense of detachment; a tranquil joy; and, Yogic poise that permeates his compositions.

Sri Dikshitar’s Kritis generally commence in Vilamba Kaala, as in the Vainika-paddathi. giving enough scope for the expression of Gamakas in their pristine purity and clarity; but, brisk and enlivening passages are built into the Kriti towards the end.

The influence of the Dhrupad form of Music can be seen in his portrayal of the Ragas in general; and, in transforming the Hindustani Ragas into their Carnatic form, in particular.

sastry

Sri Shyama Shastry

Sri Shyama Shastry, the eldest of the three, is renowned for the peaceful delight, devotion and the yearning for Love of the Divine Mother that permeate his compositions set in Vilamba Kala.

[It is not as if all his Kritis are in Vilamba-kala. He has used Madhyama-kala Sahitya in some of his Kritis; for instance, the entire Anu-pallavi and Carana of the Kriti ‘O Jagadamba’ (Anandabhairavi) is in Madhyama-kala

In some of his Kritis the repetition of Anu-pallavi’s musical structure in the second half of the Charana can be seen. Graded Sangatis have also been introduced to some Kritis.]

The structure as also the Sahitya of his compositions is simpler, direct and filled with intense emotional appeal to the Goddess Kamakshi of Kanchi, to whom most of his compositions are addressed. He repeatedly calls out, as a child, to his Mother Goddess, in whom he has absolute faith, as Janani, Talli, Amma, and Jagadamba; and, pleads with her to come to his rescue and protect him – Shyama Krishna -paripalini , Ninnuvina Gati evaru, Namminanu and so on.

Though Sri Shyama Shastry was a devoted Sri-Vidya-Upasaka , he did not bring in to his compositions the elements and other details of Sri Vidya or Sri Chakra (as Sri Dikshitar did). What characterize the compositions of Sri Shyama Shastry are the virtues of their ‘absolute-music’, the spontaneity, effortless-ease and the intensity of the yearning for the Love of his Mother.

kamatchi3

Except for two compositions: A Varna (Samini rammanave – Anandabhairavi – Ata Taala) in praise of Lord Varadaraja of Kanchipuram; and a Kriti (Sami nine nammitira-Begada-Adi-Taala) in praise of Lord Mutthu-kumara-swami of Vaitheeswaran Koil, all the other compositions are addressed to the Mother Goddesses in her various forms enshrined in various Kshetras (temple-towns) with varied epithets as:

Kanchi-Kamakshi;
Bangaru-Kamakshi;
Kamakshi-Karunakatakshi
Brihan-nayaki;
Rajarjeshvari;
Akhilandeshwari;
Amba;
Jagadamba;
Trilokamata;
Brihadamba;
Dharmasamvardhini;
Nilayatakshi; and,
Meenakshi
And, also as
Himadrisute;
Himagirikumari;
Himacalatanaya;
Girirajasute;
Parvata-raja-kumari;
Parvathi;
Mınanetrı;
Saroja-dalanetri;
Sarasakshi; and
Natajanapalini,

Kamakshi was his Ista-Devatha. And, Kanchipuram, of course, was of special significance to Sri Shyama Shastry. It was the holy town of the Mother Goddess; and, it was also the original abode of Bangaru Kamakshi (Bangaru Lakshmi).

Most of his Kritis are addressed to Kamakshi – either as Kanchi-Kamakshi (16 Kritis); Kamakshi (8 Kritis); Kamakoti (6 Kritis); or as Bangaru Kamakshi (5 Kritis).

There are also Kritis addressed to the other forms of the Mother Goddess as : Madura-Meenakshi (8 Kritis); Akhilandeshvari (5 Kritis); Dharma-samvardhini (3 Kritis); and, Nilayathakshi ( 2 Kritis).

His Nava-ratna-malika (garland of nine gems), a group of nine Kritis, singing the glory and splendor of Devi Meenakshi of Madurai is indeed a marvel. It includes some sublime Kritis, such as: Saroja-dala-netri (Shankarabharanam); Mayamma (Ahiri); Meena-lochana-brovava (Dhanyasi); Nannu-brova-lalita (Lalita) and others.

There are about Seven Kritis in praise of Devi (in general) ; and there is a Mangala Kriti on Devi – Shankari-Shankari ( 65 -Kalyani – Ata).

Most of his Kritis came out spontaneously during the course of his daily Puja and prayers. As Sri S Raja observed, perhaps he did not intended it to be a composition. And, at a later time, his disciples perhaps to conform to the convention of affixing the mudra at the end of most of the composition inserted his ‘Syama-Krishna’ Mudra into some of his works. Except for about four compositions, all remaining 67 songs feature his Vaggeyakara-mudra , with the term Shyamakrishna followed by various suffixes , such as : Sahodari; Paripalini; Pujite; Janani; Pari-palita-Janani; Vinuta; Hrudaya-nilaya and so on.

[The four compositions that do not carry the Vaggeyakara-Mudra are: (1) Janani-natajana-palini (Saveri); (2) Samini-rammanave (Anandabhairavi); (3) Palimpa-vamma (Mukhari); and, (4) Ninne-nammiti (Kedaragaula).]

With regard to the ease or comfort of rendering, Sri Shyama Shastry’s diction is classed as Kadali-paka; in between the Draksha-paka of Sri Thyagaraja; and, Narikela-paka of Sri Dikshitar; illustrating the felicity, comfort or otherwise involved in tasting a grape, a plantain and a coconut.

Even though the Sahitya of his Kritis is apparently simple, outpouring his childlike love and fervent appeals to the Mother Goddess, what makes it truly interesting is the hidden complexities of rhythm and tempo that are built into it, without in any way interfering with the melody .

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Output

In terms of the output, he was not as prolific as the other two members of The Trinity; perhaps only about 72 compositions including about 60 Kritis (including the 9 Kritis under the Nava-ratna-malika) ; 4 Tāna-varnams; 3 Svarajatis (hailed as Ratna-traya – three diamonds or gems) ; and , 5 Samanya Gitas are available to us.

[Depending upon the source, the total number of compositions that are available; and, are ascribed to Sri Shyama Shastry , could be said to vary between 65 and 75.]

He has contributed equally well to Abhyasa-gana and to Sabha-gana through his Gitas, Varnas and Svarajatis along with the Kritis of great merit.

Of the 60 Kritis, ten are in Sanskrit; four in Tamil; and, the rest in Telugu. They are veritable musical gems full of Bhakthi-rasa; adorned with decorative Angas like Gamaka, Chitta-svara, Svara-sahitya and rhetorical beauties like Yati, Prasa etc.

Sri Shyama Shastry is hailed as the composer of Kritis, Svarajatis and Tana –varnams, imbued with magical lyrical beauty, poetic felicity and Gamaka, Taala intricacy. Here again, the Artha-bhava of the Sahitya pleasantly goes hand-in-hand with the Raga-bhava.

[The Kriti, in Sanskrit, ‘Janani-natajana-paripalini-pahi-mam-Bhavani’ (Saveri) is believed to be the first Kriti composed by Sri Shyama Shastry. He is said to have written down the words of the song, in his own hand**, on a palm-leaf. It was an impulsive creation; perhaps not intended to be a Kriti per se. It does not carry his usual Ankita-mudra ‘Shyama Krishna’.

Shyama sastry first Kriti -Janani

A descendant of Sri Shyama Shastry, Sri S Raja, fortunately, has preserved that palm-leaf-manuscript; and, has published it. The above is its scanned copy of the MSS.

Please click here for a rendering of the Kriti.]

[** There is also a view that Sri Shyama Shastry might not have himself written down those songs. And it is likely that he might have dictated the lyrics for someone else to script them on palm-leaves.]

Commenting on the relatively lesser number of Sri Shyama Shastry’s Kritis, Dr. Raghavan remarks : Sri Shastry was not weighed down by the concerns that Sri Thyagaraja had for elaborating on spiritual experiences or moral endeavors ; and nor was he anxious to summarize the principles of Sri Vidya or to depict the nature and attributes of several deities as did Sri Dikshitar. Sri Shyama Shastry, on the other hand, was an absolute musician; and his songs absolute music.

His Kritis exemplify spontaneity, effortless ease and poignant expressions of guileless love and faith. He did not seem to have been weighed down by the concern to produce a large number of compositions. That is reason why Dr. V. Raghavan calls him ‘an absolute musician’; and, his songs as ‘absolute music’.

Therefore, even though the numbers might appear rather small; his creations, nonetheless, endowed with serene Raga-bhava and blissful Sahitya-bhava are among the best-known and most widely featured songs in the Karnataka Samgita concert repertoire.

In South India today, no musical performance is complete without a rendering of one of his compositions, where devotion, melody and verse combine to provide an elevating experience.

It is said; only the adept and well disciplined performers can do justice in rendering of Sri Shyama Shastry’s expressive and moving Kritis.

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Mela and Raga

Just as Sri Thyagaraja, Sri Shyama Shastry followed the Kanakangi-Ratnangi scheme of Melakartas.

The number of Ragas employed by Sri Shyama Shastry is comparatively fewer in number. He made use of just 33 Ragas in all, comprising 5 Melakartas and 28 Janya Ragas.

Though he handled lesser number of Ragas, about 33, (mostly Rakti-ragas), the portrayal of Raga-bhava to embody his· emotional upsurge; and, his soulful melodic rendering are indeed unique. He chose common as well as rare Rāgas for his compositions, most of which portray their essence in a rather slow tempo.

He used only five Melakarts for his Kritis. The Mela-Ragas used by Sri Shyama Shastry are : Todi (4), Shankarabharanam (2), Nata (1), Varali (2) and Kalyani (8) – a total of 17 compositions ; including 1 Srarajati in Todi and 1 Varna in Kalyani.

The total number of Melas employed Sri Shyama Shastri for all his compositions are 13 (namely, Mela Numbers : 8, 13, 15, 17, 20, 22, 28, 29, 36, 39, 53, 56 and 65). These cover 5 Mela-Ragas and 28 Janya-Ragas

And, although he seemed to have avoided Vivadi-Melas, he did compose Kritis in the Janya-ragas of the Vivadi-Melas, such as Kalkada and Varali. The Raga Kalkada is a Janya of the 13^th Mela Gāyakapriya; and, Varali is the Janya of the 39^th Mela Jhālavarāli. Both these Ragas have Svaras in Vakra-gati (zigzag use of notes in the phrases of the scale) – vivadi svara .

For his five Gitas he used four Ragas that fall under three Melakartas: Pharaju and Saveri (15-Māyamālava Gowla); Bhairavi (20-Natabhairavi); Madhyamavathi (22-Kharaharapriya).

The Four Varnas are in : Saurastra (17); Anandabhairavi (20/22); Begada (22); and, Kalyani (65).

The three Svarajatis are in : Todi (8); Bhairavi (20) and, in Yadukulakanbhoji (28)

The familiar type of Ragas that Sri Shyama Shastry used were Todi, Dhanyasi, Kambhoji, Yadukulakambhoji, Shankarabharanam and Kalyani.

Sri Shyama Shastry also tried many rare (Apurva) Ragas, like Manji, Ahiri, Kalgada Chintamani and Karnataka-Kapi. Of these, the Raga Chintamani, said to have been innovated by him, is classed with the other Rare Ragas introduced by his contemporaries.

Ānandabhairavi and Saveri, two of the soulful and emotionally charged Rāgas, owe their characteristic form to his masterpieces in the concert repertoire. The old Raga Anandabhairavi is said to have originated from the folk-tradition. Sri Shyama Shastry provided it with a new rendition (Raga-svarupa), bringing out the varied shades and colors of Anandabhairavi.

[He has composed Seven Kritis in Ananadabhairavi , said to be his favorite. But, Eight Kritis are in Kalyani.]

Some of his splendid Kritis like O Jagadamba; Pahi-Sri-Giri-Raja-Sute; Mariveregati; Himachala-tanaya-Brochuta; and, the Varna Samini-rammanave, Sarasakshi ye vela (Ata taala) are in Anandabhairavi.

[Similarly, he had a special attraction for the Chapu-taala, which also was rooted in the folk-tradition. It is said; Sri Shyama Shastry in his childhood was fond of watching ‘Bhagavatha-mela’ performances conducted in the temple premises at Tiruvarur. The songs in these Melas were set mostly in Chapu-taala. Some say it is because of those happy memories Sri Shastry developed a fascination for Chapu-taala; and, lent varied forms.]

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Gita

The Gitas are essentially a part of the curriculum (Abhyasanga) of Music. Therefore, they need to be composed in a simpler form. The Mathu (Sahitya , words) of the Gitas are usually in Sanskrit or in Kannada; and, are sung in Madhyama-kala (medium-tempo), without elaboration, repetition or improvisation . The segments like Pallavi, Anu-pallavi and Carana are not usually found in the Gitas; but, some are divided into two or three sections.

Sri Shyama Shastry has composed five Lakshya Gitas of the Samanya class. They are: Kamakshi (Pharaju or Paras, Triputa); Parvathi-janani (Bhairavi, Khanda-matya); Kamakshi (Madhyamavathi, Triputa), Santatam (Paraju, Adi); and, Sarasakshi (Saveri, Triputa)

Of these, four Gitas are in Sanskrit; while the Gita Santatam (Pharaju) is a rare example of a Gita in Tamil. It is divided into five sections of varying lengths and varying Ragas.

All the five Gitas are addressed to Goddess Kamakshi of Kanchi, the Sama-gana vinodini.

The four Ragas he used for his five Gitas are the Janya or derivatives of the three Melakartas: Pharaju and Saveri (15-Māyamālava Gowla); Bhairavi (20 Natabhairavi) ; Madhyamavathi (22-Kharaharapriya)

Although his Gitas are classed under Abhyasa-gana they are indeed far above the other Gitas, which are primarily meant to teach music in the initial stages. Each of the Gitas of Sri Shyama Shastry is rich in Raga-bhava, adorned with aesthetically pleasant Sabda-alankaras like Prasa, Svaraksharas and so on.

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Varna

Varnam is a short, crisp and tightly knit music-piece that aims to encapsulate the main features and requirements of a Raga. These are finely crafted exquisite works of art. The creation of a Varna calls for delicate craftsmanship, thorough knowledge of the Raga, its sanchara (movements) in various Kaala (tempos) , grasp over Taala and an overall sense of beauty and balance.

A Varnam is structured in two Angas (sections) : The Purvanga (first section) comprises Pallavi, Anu-pallavi, Muktayi-svara; and The Uttaranga (the latter section) comprises a Carana that acts as a refrain for the latter part of the Varnam and Carana-svaras (Chittasvara) that are alternated with the Carana. Each section of a Varnam elaborates an aspect of the Raga (raga-svarupa).

The rendering of a Varna employs all the three tempos. The first Carana-Svara is rendered in Vilamba kaala (slow tempo) and each Jiva-Svara must be highlighted. After which, the rest is sung in Madhyama kaala (half-time). Some musicians insert their own kalpana-svara passages. In the third Carana-svara, the Svaras are short and made into groups (avartanam) of four. Thus, in Carana, there are two or three Svaras of one avartanam, one Svara of two avartanams and finally one Svara of four avartanams

Practicing Varna is much required for the student as also for the experienced performer. For students, the Varnams that are taught at the intermediary level are useful for learning the Svaras of various Ragas, singing in multiple speeds rapidly; as well as learning the appropriate Gamakas.

Advanced students are taught Varnas in multiple Ragas or Taalas. They introduce the student to the proper combinations of Svaras for each Raga and inculcate discipline that is needed for singing

Varna- rendering also helps to develop voice culture; and, in learning to maintain proper pitch and control over rhythm. The instrumentalists too can gain control over playing -techniques.

Sri Shyama Sastri is said to have composed four Varnas: one each in Anandabhairavi (Saminiremmanave-Ata taala); Begada (Dayanidhe-Adi taala); Saurashtram (Namanavini-Chatursra-ata); and Kalyani (Nivegatiyani-Tisra Matyam).

The Begada Varna Daya-nidhe (Adi-taala) is in Sanskrit; while the rest are in Telugu.

The Varnas in Begada, Saurashtram and Kalyani are recommended for practice even for the experienced singers.

These Varnas are set in varied and difficult Taalas, like Tisra-matya and Chatushra-ata are said to be ideal for improving ones Laya-jnana. There are also certain unusual features to these Varnas; such as, the introduction of Savara-sahitya into the Mukthayi-svara (in Namanavini and in Dayanidhe) ; and extending the length of the Carana-sahitya (four Avartas in Nevegatiyeni –Kalyani)

The Kalyani Varna (Nivegatiyani), in addition to the usual Pallavi, Anu-pallavi and Carana, carries the fourth and a concluding line (Anubandham) – ‘Kama-koti peeta vasini’.

The Varna Namanavini (Saurashtram), is a Chowka-kala-Varna set in Chaturasra -ata–taala. It has two Avartas each in Pallavi and Anu-pallavi. Here also, a Svara-sahitya passage is appended to the Mukthayi-svara.

Samini-rammanave in Anandabhairavi is a Tana-varnam (Ata-taala), in which the heroine sends a message through her maid to her hero Kanchi Varada Raja Swami. It commences with the laghu, after a pause of eight Akshara-kala durations. The Svara-sahitya acts as a suffix to the Mukthayi-svara. There are eight ettugada Svaras in all.

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Svarajati

He also developed the Svarajati, an instructive musical form for which he provided three most impressive examples in the Rāgas Bhairavi, Tōdi, and Yadukula-kāmbhōji.

In regard to Svarajatis, Sri Shyama Shastry was the architect who converted a Dance form into an attractive musical delight by eliminating passages of Jatis (or Bols). It is said; the Svarajati was, earlier, primarily in a format suitable for dance; resembling in its structure to the Pada-varnam.

His three Svarajatis (a) Rave-Himagiri-kumari (Todi-Adi-taala); (b) Kamakshi-Anudinamu (Bhairavi-Chapu-taala; and (c) Kamakshini-Padayugame (Yadukula-kambhoji – Chapu-taala), are indeed matchless; both for the delineation of the Raga-bhava as also for the richness of the musical content.

All the three, are dedicated to Goddess Kamakshi; and, resemble the Kriti in their form. However, they differ from the Kriti in that they have a number of Svara-sahitya passages with an entirely different Dhatu. All the three Svarajatis are structured with a gradual sequence of music that ends in a climax.

The Todi Svarajati ‘Rave-himagiri-kumari-kanchi-Kamakshi‘ in Adi-taala is the smallest, with six Svara-sahitya; each of which begins with the Raga-Chaya-Svaras: Dha, Ga and Ma. The Svara-kashara syllables are dexterously woven into the texture of the Sahitya.

The Bhairavi Svarajati ‘Kamakshi-amba-anudinamu-maravakane’ is set to Chapu Taala; and, has the unique structure with eight Caranas each beginning with a successively a higher note in the scale of the eight Svaras ‘Sa Ri Ga Ma Pa Dha Ni Sa’ in that order (krama). And, the last Carana begins with tara-sthayi shadja. And, the Pallavi starts in the Mandra-sthayi; and , has a rare Prayoga of Shudha-Dhaivata, sung as a prolonged note. This is perhaps is the most popular Svarajati of Sri Shyama Shastri.

The Yadukula-Kambodhi Svarajati ‘Kamakshi-ni-padayugame’ is set to Misra-Chapu. And, here again, the different sections commence on the Raga-Chaya- Svaras of the Raga – Sa, Ri, Pa, Dha. This Svarajati is mostly in Mandra and Madhya Sthayi; but, some lines ascend (Makuta) to the Tara-Sthayi.

[I have tried to summarize here the observations made by Dr. N. Ramanathan in his article: Shyama Shastry and Svarajati .

Shyāma Śhāstry lived at a time in history when public recital of art music meant the performance of Pallavi that included the forms, Alāpana, Tānam; and, the rendering of Neraval and Kalpana-svaram to a Pallavi theme. He is associated with the school of Paccimiriyam Ādiappayya, which specialised in Pallavi.

And, Śhyāma Śhāstry too was a Pallavi-Vidvān.

In this respect he differed from his contemporaries Tyāgarāja, Muttusvāmi Dīkṣitar and Gōpālakṛṣṇa Bhāratī, who are not known to have cultivated the Pallavi style.

Śhyāma Śhāstry also took to composing songs in various musical forms; and developed a style of his own, which was later adopted by his descendants and disciples

It would be more prudent to view and appreciate Shyama Shastry’s musical compositions from the point of view of what he has achieved, rather than from what he did not attempt.

For instance; the Svarajati was a form, which many of his contemporaries did not handle. And, in a similar manner, Shyama Shastry did not court Mela-based Ragas; Aroha-Avaroha based Ragas, or the contemporary Hindustani Ragas. And, he did not also try Suladi-Taalas, in which the other composers revelled. Each Master excelled in his preferred areas of interest. And, that is what makes Karnataka samgita fabulously rich with its varied delightful forms.

The transformation that Shyama Shastry provided to the Svarajati format was remarkable. And, the three Svarajatis he created were the first of their kind in the Karnataka samgita.

The earlier Svarajati had a form – not dissimilar to that of the Pada-varṇam -having a Pallavi-Anupallavi-Pallavi-Caraṇa-Pallavi structure. And the Anupallavi had appended to it a Svara-jati-sāhitya passage; and, it was because of which, it was given the name ‘Svarajati’.

Further, in the earlier Svarajati, the Carana had a number of lines (kaṇḍikā), again with a number of Svara-sāhitya passages, occurring in the beginning of Caraṇa, with the first kaṇḍikā serving as the refrain.

Shyama Shastry found the Svara-sahitya as the most fascinating and challenging feature of the Svarajatis. Here, the Svara-sahitya phrases present an engaging melodic-line projected by the Sargam-syllables, to which meaningful text (Sahitya) is appended. Now, the syllables of the Sahitya need to exactly match the duration of Sargam-syllables.

It is this feature that characterizes the Svara-sāhitya passages interspersed in the Kīrtanas of Śhyāma Śhāstry, like ‘Durusuga’ (Sāvērī).

It could be said that it was Śhyāma Shastry who revolutionized the music of his times introducing the innovations that stemmed from inside of the musical tradition, rather than being imposed on it from outside.]

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The techniques

As regards to the techniques, Sri Shyama Shastri’s compositions are known for their rhythmic excellence and the poetic beauty; and, for dexterous display of the twin aspects of Laya and Gamaka. He delighted in introducing into his creations the Atita-anagata complexities, intricate Taala-pramana (units of time-measure) and rhythmic beauties (Taala-prasthara)

Talaprastara 1 Talaprastara 2

He is also said to have recorded, with great care, in his own hand, in the Grantha script, on a palm leaf manuscript, his workings of the different Prastaras in the Taala-system (Paddhathi).

Another unique feature of Sri Shyama Shastri’s composition is the deft weaving in of the Svara-aksharas (Sā, Ri, Gā, Mā, Pā, Dhā, or Ni) with the Chitta-svara passages of the Sahitya (lyrics). Often, the lyrics containing five syllables (e.g., Anudinamu) articulated through rhythmic syllables (Jati), reproduce a pattern commonly employed by the Mrdangam players (Ta dhim gi na Tom), a phrase of the magnitude of five Akshara-kala.

At times, his compositions allow scope for applying two different Taalas. For instance; his Kriti Sankari-samkuru (Saveri) has the natural rhythm (Stapitha taala) of Rupaka-taala and the suggestive rhythm (Suchita-taala) of Adi-taala. The Pallavi and Anupallavi, prima facie, conform to the Rupaka-taala; while the Charana suggests the Adi-taala (Tisra Gati).

He was also the first to employ the Viloma-chapu-Taala (4+3), which is the reversed sequence of the Krama-Chapu or normal Chapu (3+4) – (for instance in Ninnuvinaga-mari in Purvikalyani).

We have earlier, dealt with the life and works of Sri Thyagaraja and Sri Mutthuswamy Dikshitar, in fair detail.

In the installments to follow this post, let’s take a look at the life, events and the compositions of Sri Shyama Shastry.

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Continued in Part Four

Sources and References

All images are taken from Internet

Sri Shyama Shastry (1763-1827) – Part Two

25 Jun

Continued from Part One

OVERVIEW – CONTINUED

Samgita Devi

Intro

Before we get to the specifics of the ‘Golden Age’, let us digress for a while; and, talk about Karnataka Samgita, in general, till date.

Karnataka-Samgita, One of the world’s greatest musical traditions, enjoys a long and a hoary textual tradition going back to Matanga (Brhaddeshi, Ca.5^th century), Sarangadeva (Sangita-ratnakara , 13^th century) and Rama-amatya (Svara-mela-kalanidhi, 16^th century) followed by Govinda Dikshitar (Sangita-sudha, mid 16^th century).

Govinda Dikshtar’s son Venkatamakhin’s work Chatur-Dandi-Prakashika (Ca.1660) is relevant today mainly because of its Anubandha (Appendix), which suggested a system for classifying the then known Ragas. However, the descriptions of the features (Lakshana) of those Ragas are not of much importance today; because, much of it has undergone revisions.

Venkatamakhin also experienced a similar difficulty with regard to the Lakshanas of the Ragas mentioned in Sarangadeva’s text, written about three hundred years prior to his time.

Venkatamakhin remarks: Sarangadeva claims to have described the Lakshanas of about two hundred and sixty-four Ragas. But, all those Ragas have disappeared today. My venerable Guru could lay down the Lakshanas for only fifty Ragas.

Strangely, many of the Ragas described by Venkatamakin also suffered a similar fate. Therefore, what has tangibly come down to us from the Chatur-Dandi-Prakashika is only the initial scheme of 72 Melakartas.

It is here, the Golden age of Karnataka-Samgita of the early and the middle of the Eighteenth Century enters as a life-saver. The traditions of Karnataka Samgita found a new lease of life during this period, when the Lakshana and Lakshya of the Ragas were clearly defined, preserved and passed on to the succeeding generations.

The Karnataka-Samgita of today, I reckon, can be said to be primarily rooted in the practices that were prevalent and developed during the Golden Age of the early and mid Eighteenth Century.

The scholars opine that the main reason for such a successful phenomenon is the unbroken lines of Guru-Shishya-Paramapara that has come down to us till this day, preserving and bringing along the Ragas, the compositions and the distinct practices of each School or tradition of Music.

Here, one has to necessarily appreciate the value of the Oral Traditions, which has enabled and ensured to pass on the Lakshana and Lakshya of the Karnataka-Samgita from generation to generation over the past two and a half centuries, without incurring much damage.

It was perhaps the lack or the absence of such a chain of Guru-Shishya oral tradition that led to the loss of Music compositions and the Raga-Lakshanas during the long and hazy period of three centuries that separated Sarangadeva and Venkatamakhin.

As compared to that, the Music traditions-of Sri Thyagaraja, Sri Mutthuswami Dikshitar and Sri Shyama Shastry – in the following three centuries have survived and propagated remarkably well, principally due to the continuing Oral Tradition through the unbroken lines of the Gurus and the Shihyas.

Another factor that truly has served to proliferate the Karnataka Samgita, over the couple of centuries, among the various sectors of the community is its ’openness’.

Unlike in the medieval times or in the earlier phase of the Hindustani Samgita, the Karnataka-Samgita was never treated as a family-heirloom or as a well guarded preserve of a particular School (Gharana). It was open to the community as a whole. Here, the Bhajana-Sampradaya, Divyanama and Utsava -Sampradaya -Kirtanas played a very significant part. The Bhaktas at the Bhajana Mandalis sang the devotional Kirtanas, which, in fact, were not mere simple songs.

Take for instance; the Divya-nama-Kirtanas of Sri Thyagaraja such as Hariyanuvaari (Todi); Sri Rama-dasa (Dhanyasi); Nammakane (Asaveri); Naatha-Brovavve (Bhairavi) ; Rama –Rama (Huseni) and Sita-Nayaka (Ritigaula) and so on, do have a certain degree of sophistication in their structure, in the spread of their Ragas and in the choice of their Taalas. Such Kirtanas of great merit were practiced and sung in a group even by the ‘un-initiated’ lay singers. These did help in spreading a ‘Music-culture’ among the members of the community.

Even prior to the Golden Age, the Padas of Sri Purandara Dasa who had adopted Unch-vrtti (walking along the village streets, going from house to house singing and collecting grains etc., needed for the day) meant that the community in which he lived was exposed to and gained familiarity with chaste Music, almost every day of their lives. Sri Thyagaraja also followed such Uncha-Vrtti. And, when he went around the village, from house to house singing his Divyanama and Utsava-Sampradaya-Kirtanas, perhaps many would have joined him and sung along with him.

These practices, to a large extent, helped to build up and maintain a widespread, healthy music fraternity. It also ensured that the Karnataka-Samgita is not restricted to being a mere ‘chamber-music’ confined within a limited space for the pleasure of a few. Thus, Karnataka-Samgita is more than a mere performing Art. It is indeed a cognitive Art that is appreciated and enjoyed by the varied sections of the Society. That has also helped in bringing about a greater degree of interaction between the performers and listeners; and, perhaps, between the performers too, particularly of those living within a small distance of one another.

Apart from such interaction between the performer and the listener, another significant feature of the Golden Age was the remarkable variety in the musical content of the vast output.

Till about the mid-eighteenth century, the Sahitya was the dominant factor. Generally, a renowned great poetry, the Namavalis or the Stotras etc., extolling the virtues and powers of the gods and goddesses were set to music, largely as an offering to the deities, as also to benefit the devotees. Music here was a vehicle to convey pious ideas and sentiments.

With advent of the Golden Age and of the Celebrated Trinity, the Music did gain some ascendancy, although the Sahitya continued to be very important. The body of the Musical compositions of this period is distinguished by the sheer variety, modes of structure, the prolific and large output of classic Kritis, Varnas, Svarajatis and the Gitas etc. Here the Music came into its own exuberant form, in its multiplicity and glory. And, the Dhathu took over the Mathu. The range of musical rhythmic phrases was improvised in varied patterns with great ingenuity, and creative imagination.

The salient features of the Kritis of the Golden Age could said to be : the well structured Kritis , having a judicious balance of Raga and Sahitya; of Kalpita and Manodharma Samgita ; of carrying forward the Music tradition in its essential purity.

The rendering of the Kritis and other types of compositions gained boundless array and depth with the introduction of the Manodharma Samgita, the rhythmic variations in the Kalpana-Svaras, Neravals and Sangathis. The other Mathu-Dhatu-Samkykta- Alamkaras like Svarashitya, verities of Gamakas, Prasas and Yatis came in to adore the Kritis.

These decorative features also facilitated greater freedom to a gifted performer to display her/his musical genius, virtuosity and originality in giving musical expressions to a wide range of ideas and emotions. Thus, Karnataka-Samgita, emerging from the shadows, was no longer confined to or bound to a fixed uninspired regimen. It gained more range, depth and immense reach.

And, for an ardent student of Music, the best way to learn the idioms and phrases that define Grammar (Lakshana) of a Raga is through diligent repetitive practice of the Varnas and Kritis composed in that Raga.

In the early stages of her/his learning, the student tries to faithfully reproduce what she/ he is taught.

And, once she/he attains a certain level of proficiency, an amazing thing happens. She/ he will try to improvise upon her/his earlier experience; the initially internalized compositions that she/he was taught to sing are now turned into well formed segments of varying Gatis and Layas. She/he will strive to gain freedom to communicate her/ his musical ideas, through the set composition. One will try to innovate, search for more enterprising, venturous, expressions; and, assert ones individuality.

The student progresses from simple regimented replications to complex creative musical forms within the ambit of the finite fundamental rules of Karnataka-Samgita. That facility is aided by the fact Karnataka-Samgita is an open ended system; it provides scope for creating new Ragas by permutations of the Svaras. And, a Raga could be rendered in more than one ways.

Creativity is at the core of any Art-form. And, there are several layers of creativity.

Karnataka-Samgita is such a Symbolic System as it ties together the Classic and the free flowing music with natural grace and felicity; and, at the same time recognizing each one’s potential, its ability as also its context-sensitive limitations.

This is similar to learning a language. Once the student grasps the vocabulary of Raga, she/he will try to extract the finer and the more appealing aspects of the Raga; and, present it as a fluent, delightfully enterprising rendering. It is the aesthetic beauty of such creative Music that truly matters. It is perhaps such creativity and diversity that has kept the Karnataka Samgita alive and thriving.

A kriti-rendering, indeed, is quite flexible. It can be elaborated, expanded, and stretched out exploring its full potential through innovative strings of Sangathis, Neravals and Kalpana-Svaras. On the other hand, it can also be rendered without much elaboration. But, what is of essence is that the rendering should be pure and aesthetically pleasing.

Apart from the performer, the followers and admirers of Music also have enjoyed greater freedom. Once a Kriti was composed and was sung, it no longer remained the sole property of the composer. There are numerous instances where Svarashitya and Svarakshara were inserted in to the compositions at a later time either by the disciples or the admirers of the Composer. The performers also gained the liberty to offer varied interpretations to the musical phrases of the Kriti; sometimes slightly altering the lines of the Kriti (Patantara); adding adornments such as Sangathis and Chitta-Svaras and so on.

[ The Kritis of Sri Thyagaraja have come down to us through the lines of his major disciples: Tillaisthanam Rama Iyengar, Walajapet Venkataramana Iyer and Umayalpuram brothers. Each of those traditions has its own version (Patantara) of the Kritis composed by Sri Thyagaraja.

Each performer, in turn, opts for the version, which according to her/him, is aesthetically pleasing . And, there is no ostensible finality in these matters.]

There are also instances where the Raga of a Kriti , as set by the composer, was at a later time altered by knowledgeable musicologists for certain valid reasons. For instance; Kumbakonam Sri Rajamanickam Pillai re-set Sri Thyagaraja’s Kriti Jnana-mosaga-raada in Raga Purvi Kalyani, since the Raga originally suggested in the text – Shadvidha Margini– was virtually unknown to most performers.

Sri Semmangudi Sreenivasa Ayyangar re-tuned the popular Kriti Bhavayami Raghuramam of Maharaja Swati Tirunal set originally in Raga Saveri. He converted the Kriti into a Ragamalika , a delightful garland of Ragas ; setting its various sections in Natakuranji, Dhanyasi , Mahanam, Mukhari, Purvi Kalyani, and Madhyamavathi. This Ragamalika is now hugely popular.

One might perhaps say the noticeable factors that differentiate the Music of the Golden Age from that that of the present-day are mainly:

(1) The contribution of Vac-geya-karas; the output of new Kritis; and the creation of new Ragas;

(2) the quality of interaction between the composer-performer and the listener; and

(3) the application of Music for varieties of purposes.

As regards the composers; the Kritis of the Uttama-Vac-geya-karas of great merit, such as Sri Pallavi Gopala Ayyar; Sri Thyagaraja; Sri Mutthuswami Dikshitar; or Sri Shyama Shastry are endowed with rich, distinct characteristics and unique individuality. They differ not only in their approach to Music in general; but also in regard to the phasing of their structure, application of Alamkaras and in the Mathu and Dhatu phrases. They created new Ragas; brought to life rare and forgotten Ragas; composed a great number of compositions of varied structures; experimented with different Sancharas, Gamakas and Taala patterns. Their Music was marked by freshness and a remarkable sense of enterprise.

Such a tremendous musical activity both in terms of quality and quantity perhaps became possible mainly because of their inspired and intimate involvement, the relations that existed among the music community as also between the composers and the listeners of those days. And, their Music took on its own enchanted life.

Perhaps it is difficult in any field of activity to sustain such a high degree of intensity for over a long period. Following the ebb and flow phenomenon of fluctuations, a lean period was bound to occur.

It appears that the Karnataka Samgita is presently passing through such a lean phase.

In regard to the Vac-geya-karas, Sri Mutthayya Bhagavatar and Sri Mysore Vasudevacharya were perhaps the last in the line of Classic Master Composers of Karnataka-Samgita. Since nearly about the last one hundred years no other composer of equaling merit has appeared on our Music scene; although there have been great many fabulous stage-performers. That is to say; we are thriving on the past glory.

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In regard to the interaction between the performer and the listener, owing to numerous reasons and limiting factors, the type and its quality have undergone a sea change, a profound or notable transformation. Such proximity as that existed between the two is no longer possible.

What we now have, mostly, is the faceless-interaction. Even the attendance at the Music-Sabhas, I understand, is either stagnated or is dwindling. The TV Channel too hardly set apart a slot for Classical Music. Although a plethora of music-pieces are posted over the net, there is no meaningful dialogue between the listeners and the performers. The appreciation or otherwise is restricted to posting minions, thumbs-up or down. Many a times, the present-day singers of the Karnataka-Samgita feel they exist in a vacuum or as if they are walking through an uninhabited tunnel.

Now, it has gone from bad to worse..

And, the most unfortunate occurrence – the Covid 19 – has virtually dealt a death blow to the Music assemblies or the Sabhas. Each one is encapsulated in a vacuum ; and, is segregated from the rest. Each is a solitary world by her/himself. How sad..!

The rare and rather difficult Varnams, Svarajatis of Sri Shyama Shastry or the Kritis of Sri Dikshitar are neither much attempted on the stage nor are they sought for. The preference seems to be for the Ragas and Kritis that are light, easy and pleasant on the ears.

The teaching methods and practices also seem to tread along similar path. It is a fait accompli. The learners seem to have no option.

But, the simplified Karnataka-Samgita, in its wake, has in a way has helped it reach a wider audience; say, by way of film-music or light-songs based on classical Ragas. These at times re-define the Grammar of the Karnataka Samgita.

These developments underline the fact that each variety or style of Karnataka-Samgita, in its own context, undergoes changes, giving rise to revaluation of the earlier styles of rendering. It is this inventive diversity, I believe, that has ensured Karnataka Samgita is not stagnant; bringing in fresh ideas and reshaping its Grammar; and, enlarging its Music-community.

These factors might not exactly be peripheral.

Having said that, let me also mention that what truly is the need of the day is the applications of the cognitive general principles of Karnataka -Samgita as are relevant in the present context; preserving its purity; and, carrying it forward for greater acceptance , beauty and splendor .

[One could gainfully employ ones time and learn a lot reading the highly articulate and analytical study in tandem of Language and Karnataka-samgita: The Grammar of Carnatic Music by K G Vijayakrishnan (phonology and Phonetics, 2007)]

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The Golden Age

The decades spread over the Seventeenth and the Eighteenth centuries are aptly lauded as the Golden Age, the brightest epoch, of Karnataka Samgita. That period of great and innovative activity not merely gave birth to significant texts that re-defined Music theories (Lakshana); but it also witnessed the flowering of various Music forms in abundance; as also, the creation of new formats of compositions of sparkling beauty and charm, such as : Kirtana, Kriti, Daru, Varna, Padam , Javali, Thillana, Naamavali and so on.

And, as regards the performance and practice of Music (Lakshya), it was indeed the most sublime period when the Grand Masters, the highly inspired meritorious composers (Uttama-vac-geyakaras) flourished.

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Lakshana-grantha

Venkatamakhin (son of Govindacharya, a Kannada speaking scholar and musicologist who migrated from Mysore to Thanjavur), in his landmark work Chaturdandi-Prakasika (ca. 1650) gathered various music-forms under a four-fold system (Chatur-dandi); comprising Gita, Prabandha, Thaya and Alapa.

Here, the term Prabandha denotes a composition having specific characteristics; and, that which is well composed – ‘prabandhayeti Prabandha’. However, the definition was narrowed down to include only those compositions which were made up of Six Angas (Birudu, Pada, Tenaka, Pāta and Taala); and, Four Dhatus (Udgrāha, Melāpaka, Dhruva and Abhoga).

It appears that by about the time that the Chatur-dandi came to be composed, Prabandha as a class of Music was almost on its way out. And, in its later stages, the term Prabandha came to be understood as the final component of a four-fold system (Chatur-dandi) devised by Venkatamakhin: Raga; Thaya; Gita; and Prabandha.

Although, Prabandha, as a genre, has now disappeared, it needs to be said that the Prabandha did serve, for a long time, as a very versatile, resourceful musical format allowing scope for many of the regional variations to model their structure as per their special needs in the context of their culture. Prabandha was the dominant form of Music, Dance and other poetical works for more than a thousand years ending by 1700 AD or a little later.

The influence of the Prabandha has been long-lasting, pervading most parts, elements and idioms of Indian Music – both of the North and of the South. The structures, internal divisions, the elements of Meter (Chhandas), Raga, Taala and Rasa, as also the musical terms that are prevalent in the Music of today are all derived from Prabandha and its traditions. Many well-known musical forms that are in practice today have all emerged from Prabandha.

Apart from the Kritis, the other diverse musical forms, such as: Svarajati, Varna, Pada, Tillana, Jawali, Raga-malika etc., derived their fundamentals from the ancient Prabandhas. Only their musical-content and lyrics were attuned to suit the context of the occasions and times.

It could be said; the Prabandha helped the Karnataka Samgita, enormously, in defining its concepts and terms, specifying the structures of its songs, refining its Grammar; and, in ensuring continuity of our ancient tradition.

Thus, Prabandha is, truly, the ancestor of the entire gamut of varieties of patterns of sacred-songs, art-songs, Dance-songs and other musical forms created since 17-18^th century till this day.

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The more significant contribution of Venkatamakhin’s work is the Appendix (Anubandha) attached to the main body of the text.

The Chatur-dandi-prakashika is known and recognized today mainly because of the 72 Mela-Scheme it introduced; and, the great influence it exercised over the attempts to reorganize the Ragas and the Music structure in Karnataka Samgita.

The Appendix (Anubandha) to his Chatur-dandi-prakashika suggested the possibility of classifying Ragas, built on 12 Svara-Sthanas , under a 72 Mela scheme, made into two groups of 36 each (Shuddha-Madhyama and Prathi Madhyama) . It was, at that time, only a theoretical possibility, since most of those 72 Melas were yet unknown.

Out of such 72 Melas, Venkatamakhin was able to identify the Ragas of only 19 Melas. The rest (53) he considered as mere theoretical possibilities; and, non-functional, since no known Ragas could fit in to his scheme of these Melas. Therefore, he could name only 19 Melas; the rest (53) were not assigned any names.

Venkatamakhin went by recognizing a Mela-Raga if all the seven Svaras occurred in it, either in the Aroha or in the Avaroha. He did not insist that a Mela Raga should be a Sampurna Raga, with all the seven Svaras in both the Aroha and Avaroha

In Venkatamakhin’s grandson Muddu Venkatamakhin’s Ragalakshana a drastic shift takes place in the Mela-concept. He synthetically creates Janya Ragas for the remaining 53 Melas that were earlier considered non-functional.

Here, for the first time, the Raga-description is based purely on its Svara-sthanas. It is also at this stage that the Raga Grammar or its characteristic is described in terms of its Aroha and Avaroha Svaras.

He uses the terms Raganga-Raga (equivalent term to Mela-kartha) and Janya Raga; and, adopts the norm that the Raganga-Raga needs to be Sampurna in Arohana or Avaroha; not necessarily in both the orders. It is a non-linear (A-sampurna) system.

It is believed that it was Muddu Venkatamakhin, who gave the nomenclature for the Mela Ragas, (Kanakambari and Phenadhyuti etc) in his Gitam called Raganga-Raga-Anukramanika-Gitam; and, wrote Lakshanas for the Raganga (Mela) ragas and their Janyas.

Again, it was during late 17^th– early 18th century, a person called Govindacharya the author of the Samgraha-chudamani , changed the names of some Melas of Venkatamakhin, by assigning the nomenclature Kanakangi, Ratnangi etc. to the 72 Mela kartha Ragas.

The long-drawn process spread over the centuries to identify the number of Melas ended during the Golden Age ; and, it settled down at 72 .

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Govindacharya expanded on Venkatamakhin’s Mela concept by introducing the Sampoorna-Meladhikara (a term equivalent to Melakarta) scheme, which has a complete (Sampoorna)-Saptaka: both in its ascent (Arohana) and descent (Avarohana) structure; and, importantly it has the Svaras in the linear order (Krama). In this scheme, the Mela-kartas arise out of systematic permutation of the seven Svaras into the twelve Svara-sthanas.

This scheme is not merely of academic interest; but, is also of immense practical value to all musicians, musicologists and students.

Govindacharya is also said to written Lakshana-gitas and Lakshana-slokas (numbering in all 366) covering 294 Janya Ragas. And, it is believed, he refined the Katyapadi prefixes by linking the Mela Ragas to their first two syllables of their names. Govindacharya’s Sampurna Arohana–Avarohana profile lent the Mela-kartha a sort of elegance. This system of 72 Mela is the Karnataka Mela system of the present day.

Sri Mutthuswamy Dikshitar followed Venkatamahin’s scheme – A-sampurna Mela Paddathi- (Kanakambari-Phenadyuti); while, Sri Thyagaraja and Sri Shyama Shastry gave forms to most of the Ragas in the other scheme – Sampurna Mela Paddathi of Govindacharya-(Kanakangi-Rantnangi). The subtle but main difference between the two schemes appears to be the importance given to the linearity and non-linearity of the Svaras in Arohana and Avarohana.

[But, in the later period, the distinction between the Mela and the Raganga-Raga gradually faded away; and, the two concepts merged into one system of Janaka-raga and Janya-raga.]

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Uttama Vac-geyakaras

The Uttama Vac-geyakara, the best among the highest class of composers is described as the Dhatu-Mathu-Kriyakari – as the one who writes the lyrics (Mathu), sets them to music (Dhatu) and ably presents (Kriyakari) his compositions.

The peak of the Golden Age was the phase that was adorned by extraordinarily brilliant music composers, musicologists and singers – the Uttama Vac-geyakaras. These Masters were endowed with proficiency and scholarship in Vyakarana (Grammar), Kavya-shastra (prosody), Alamkara-shastra (rhetoric), thorough knowledge of the languages and their dexterous use, and a refined aesthetic sense (Rasa-bhava), Suti-laya-jnana, besides an depth knowledge of Raga , Taala and Gamakas.

The wealth of the musical genius of Karnataka music flowered and bloomed during this period, when every branch of music and music related art-forms got enriched.

The most fortuitous occurrence or the heavenly blessing of this period was the sublime Music created by the Trinity of Karnataka Samgita (Samgita-Trimurthi), who flourished around the same time.

It was an invigorating phase that ushered in innovation and elaboration of fresh Ragas, just as the 72 Melakarta scheme was beginning to take root.

It was also during this period, the Kriti format of Nibaddha-Samgita musical compositions, developed over a long period of time; and, was evolving out of the shadows of the older Prabandha and its immediate predecessor Kirtana or Pada, reached its definitive form. Though several composers of repute prior to 17^th century, such as Muthu Tandavar and Margadarsi Sesha Ayyangar, had experimented with the Kriti format, it was the celebrated Trinity of Karnataka Samgita that perfected it during the 18^th century.

music

During this period , the importance of the aspects of harmony (Laya) in Music was brought to fore. It was said; Laya, the rhythmical movement in time and space, governs every process in the universe; every aspect of life; and, even the functioning of body and mind. And, Laya is vital to the Music as well.

Here, in Music, the Laya is said to have two aspects or dimensions: one is the Sruti-laya, which determines the pitch of the Svara; and, the other is the Taala-laya, which relates to the measurement of time-units and its divisions. In a musical phrase, Laya signifies rhythm or rhythmical movement; and, Taala is that which measures the tempo of this movement. Though technically, the terms Laya and Taala are defined differently; Taala cannot exist without Laya.

However, both Sruti and Taala are essentially abstract in their nature.

Sruti is understood as the distinct interval between two Svaras; But, it is not a precise mathematical or physical measure. The listening acumen of the musician is the sole guide to measure the rise or fall in Sruti. And, this is achieved only by diligent practice (Sad-abhyasa), as Abhinavagupta says: Sruteh Sabdasya Srotragr-Abhyasya utka.

Similarly, Taala the time involved in a musical context is also abstract; and, it cannot be physically measured. One has to maintain Taala instinctively. One tries to keep track of it through Kriya, the action of hand, palm or cymbal for reckoning the Taala units (Matras).

The innate Laya-jnana (awareness) is as essential as the Sruti-jnana for a performing artist, whether she/he be a singer or a player on an instrument.

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It was during this period that besides the essential Angas (Pallavi, Anu-pallavi and Charana) many ornamental features were introduced into the Kriti format, by the musical Trinity.

Sri Thyagaraja is credited with introducing the practice of singing Sangathi (lit. putting together) – a set of melodic variations to expand on the various shades of a theme in all its angles, gradually unfolding the melodic (Raga-bhava) potential of a phrase (Sahitya) in combination with Svaras. Some say that Sri Thyagaraja adopted Sangathi-rendering from dance-music, where variations are done for display of Abhinaya and for articulating the different shades and interpretations of the basic emotion (Bhava).

The other decorative Angas integrated into the Kriti as embellishment in order to heighten its aesthetic beauty were:

(a) Chitta-svara or a set of Svara passages sung at the end of the Anu-pallavi and Charana; and, compared to a bunch of flowers of a beautiful creeper. Usually the Chitta-svaras are in the same Laya (rhythm) as of the Kriti. But, one may try to improvise in Druta, increasing the Laya or speed by two degrees. In some Kritis which may carry Viloma-Chitta-svaras, the same set of Svara-passages can be in the reverse order as well, but sounding the same.

(b) Svara-sahitya – where the Svaras (Notes) flow briskly, as if riding a wave, at even pace, in Madhyama-Kala, weaving melody (Raga), rhythm (Taala) and words (Mathu) into grand patterns of beauty and delight (e.g. Sri Thyagaraja’s Ghanaraga-Pancharatna-kriti Jagadananda-karaka in Nata Raga, Adi Taala, contains some of the most beautiful Svara-sahitya-Chittasvaras in the Charanas.)

The Svara-sahitya can be in the Kritis as also in the Pada-varanas and Svarajatis.

In the Kritis having Svara-sahitya, the Svara-passage is sung at the end of Anu-pallavi; and, the related Sahitya-passage will be sung at the end of the Carana.

In the Pada-varna, the Svara-sahitya is applied for the Muktayi-svara and ettugada-svaras. Here, the Sahitya is sung just after the Svara-passage.

And in Svarajati, the Svara-sahitya is appended to the Caranas.

(c) Madhyama-kala-sahitya – a decorative Anga is an integral part of the Kriti; and has two or three Avartas, occurring towards the end of Anupallavi, Charana or Samasti-charana. In some of the Kritis of Sri Thyagaraja, the Madhyama-kala-sahitya comes after the Anu-pallavi (as in Manasu-Svadheena in Sankarabharana); and, in some others, they occur after the Charana (as in Sadhimchane in Arabhi, and Entaro-mahanu-bhavulu in Sri-raga)

(d) Solkattu are regular Chitta-svaras, where in some portions, instead of Svaras, appropriate Jatis or bunch of syllables or spoken rhythms and patterns are added. Jatis are sung to the music of the displaced Svaras after the Charana; often Solkattu Svaras are sung after Anu-pallavi in Vilamba-kala and after Charana in Druta-kala,

(e) Gamakas (the ornamented flourishes of the Note) are the graces or embellishments added for enhancing the melodic beauty of the Kritis. Gamakas are the very vital factors of Karnataka Samgita. They bring out the unique nature of the Raga (Raga-svarupa) in diverse modes of Raga-sanchara, by altering the plain character of the Svaras into delightful sound patterns. The Gamakas help to draw out the beauty that is inherent in Svaras. It also seamlessly and aesthetically bridges two adjacent Svaras in a Raga-phrase.

These are executed in varied forms, such as: graceful turn, curve or sliding touch given to a single note or a group of notes, which animates Svaras to bring out the melodic character and expression (bhava) of a Raga. Gamaka-rendering is a highly individualistic and a specialized skill. The Kritis of Sri Shyama Shastry are remarkable for their Gamka-prayoga.

The Gamakas are said to be one of the special features of the Kritis of Sri Shyama Shastry. His compositions set in Vilamba-kala are apt for use of Gamakas excelling in Chowka-kala like Kampita (oscillations) and Jaru (glides)

(f) Svarakshara-Dhatu-Mathu-Samyukta-Alamkara is a variety of Sabda-lankara, a structural as well as a musical beauty, created by the confluence of the Svara syllable and the identical or like-sounding syllable in the Sahitya of a Kritis, Varanas, Raga-malikas, Padas, and Javalis etc. This is to say; a Svara-akshara and Svara-sthana-varna is one wherein Solfa letters figuring in the Sahitya of a passage are sung to the music signified by those letters.

Many of the compositions of Thyagaraja start with a Svarakshara. For instance; Marubalka in Sriranjani begins on the Svara ‘Ma’; and ‘Nee bhakti bhagyasudha‘ in Jayamanohari begins on the Svara ‘Ni’. In the Kriti ‘Sri Rama Padama’ in Amritavahini, the word ‘pa-da -ma ‘ is a Svarakshara phrase.

Sri Dikshitar, at times, used Svaraksharas i.e., the words matching with the syllables of the notes. For instance; Sadasrita (in Akshayalinga-Vibho) could be tuned as Sa-Da-Pa-Ma; and, Pashankushsa-Dharam (in Siddhi Vinayakam) could be tuned as Pa- SA- Ga- RI- Ni- SA.

Sri Shyama Shastry was indeed an adept in building Svarakshara-sahitya passages in to the Chitta-svaras of a Kriti; for instance, the identical sounding syllables such as ‘Padasarara‘ correspond to the Svaras: Pa-Dha-Sa in the Kriti, Devi-ni (Kambodhi).

Sri Shyama Shastry is remarkable for the rhythmic beauties that adorn his kritis. For instance; we find in his compositions many words constituted of the five syllables, like Anudinamu, Durusuganu, Gatiyanuchu, Mahimalanu, Sarasamukhi, Vara-mosagu, Padayugamu, Kamalayuga and Kamalamukhi etc. corresponding to the spoken rhythmic pattern “ta dhim gi na thom”.

(g) Mani-pravala (Mani=gem; Pravala=coral) is a type of beauty, where words of two or more languages figure in the Sahitya of a Kriti.

Sri Mutthuswami Dikshitar brings in the Telugu and Tamil words amidst Sanskrit terms in three of his Kritis: Shri-Abhayamba-ninnu – chinthinchina-variki (Raga Sri); Venkatacalapate (Karnataka Kapi); and, Sri-maharajni (Karnataka Kapi).

The Travancore Maharaja Sri Swati Tirunal had composed 15 Mani-pravala kritis using Malayalam and Sanskrit as Mani and Pravala

sarasvathi

The Sangita-Kavitvam (creative music) reached its peak during this epoch. In addition to the musical embellishments, the composers of this period brought in verities of Sabda-alamkaras (figures of speech) as in the Sanskrit prosody (Kavya-shastra) such as: Prasa, Anuprasa, Yati and Yamaka etc., in order to enhance the charm and poetic beauty of the Sahitya (lyrics) of the Kriti, in enterprising manners.

Prasa, generally, stands for rhyme, the repetition of the second letter (Dvitiya-akshara-prasa) in the first Avarta and in the same position in the subsequent Avartas. It may also occur in the first letter (Adi-prasa) and also in the end syllable (Antya-prasa).

The Prasa can be for a single letter or for groups of two or more letters. The length of the syllable preceding the Prasa letter should be the same throughout. Different types of Prasas were employed. Such Sabda-alamkaras of like-sounding pleasant words or phrases are meant to heighten the poetic elegance.

Anu-prasa is the repetition of similar letters, syllables or words.

Yatis are the Dhatu-Mathu-Samyukta-Alamkara, where the rhyming words are musically set in different patterns; The structures and the lengths of certain lines in the compositions of a Kriti, as also in the playing of the Mrdanga, are said to follow certain rhythmic patterns (Yati-s).

Different varieties of Yatis used by the composers are Sama-yati or Pipilika yati; Gopuccha-yati; Srotovaha-yati; Mrudanga, and Damaru etc.

In Sama-yati, where the lines are of uniform length (Sama), the same letter or sound is repeated at the beginning of adjacent or closely connected words.

In regard to the length of the lines in other Yatis: (1) Srotovaha-yati is broadening or increasing like the flow of a river; (2) Gopuccha-yati is tapering or decreasing like a cow s tail; (3) Mrdanga-yati is broadening towards the middle like the contours of a drum; and, (4) Damaru-yati is where the length of the lines first decrease and then increase; narrowing towards the middle, as the contours of an hourglass-shaped drum.

composition-patterns

Sri Mutthuswami Dikshitar was a skillful expert in the application of the Yati-Prasa-sabda-alamkara.

In his Sri Varalakshmi (Sri) and in Maye–Twam-Yahi (Sudha-Tarangini), he used the tapering pattern of Gopuccha.

***

Sarasa Pade,

Rasapade,

Sapade,

Pade.

Sarasa Kaye

Rasakaye

Sakaye

Aye

***

And, in his kriti Tyagarajayoga Vaibhavam (Anandabhairav) , Sri Dikshitar uses both the Yatis : Gopuccha Yati and Srotovaha.

The phrases are: Gopuccha Yati (like a cow’s tail):

Tyagaraja Yoga Vaibhavam

Agaraja Yoga Vaibhavam

Rajayoga Vaibhavam

Yoga Vaibhavam

Vaibhavam

Bhavam

Vam

And Srotovaha Yeti (flowing or expanding like a river )

Sam

Prakasham

Svarupa Prakasham

Tatva svarupa Prakasham

Sakala Tatva svarupa Prakasham

Shivashaktyadi Sakala Tatva svarupa Prakasham

design rangoli

Another literary decorative Anga, an exercise of words, often used in the Kritis is the Yamaka, a Sabda-alamkara, is a well-known device, where the same word or a repetition of vowels and consonants in the same order, give forth different meanings. That is; repeating words similar in sound; but, in different sense.

For instance; Sri Thyagaraja has used Yamaka-alamkara in the Kriti ‘Telisi-Rama-chintanato‘ (Purnachandrika), the words Rama, Arka and Aja are good examples of Suddha-Yamaka. Here, the word ‘Rama‘ is used in the sense of lady and in the sense of Brahman or the Absolute Being. The word ‘Aja‘ is used in the ·sense of goat and in the sense of Brahma or the creator; and the word ‘Arka‘ in the sense of sun and the plant caltrop

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Amazingly, Sri Thyagaraja as also Sri Dikshitar and Sri Shyama Shastry, perhaps independent of each other, all contributed to the development of Kriti form, although they did not seem to have particularly corresponded or coordinated their efforts in this regard.

And, that was the turning point (Parva-kala) that gave a new sense of direction, vigour and identity to the music of South India. Their Kritis glowing like pure gems adorned with captivating fragrance (Sauganghika-svarna-pushpa) of sublime Ragas set in most fascinatingly elegant Sahitya are indeed matchless.

It is, fundamentally, the contribution of these brilliant and prolific composers that has enriched the art; given a definite form, substance and identity to the Karnataka Samgita and all the other related art-forms as are being practiced today. We all owe those Great Masters a deep debt of gratitude.

Lotouses three

Continued in Part Three

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Posted by sreenivasaraos on June 25, 2020 in Music, Sangita, Shyama Shastri

Tags: Anuprasa, Bhava, Chitta-svara, Contribution of Haridasas, Dathu, Desi, Gamaka, Gana, Karnataka samgita, Kirtana, Kriti, Lakshana grantha, Marga, Margi, Mathu, Mela, Melakarta, music, Mutthuswamy Dikshitar, Pada, Prabandha, Prasa, Prastara, Purandaradasa, Raga, Sahitya, Samgita, Shyama Shastry, Solkattu, Svara- sahitya, Svarajati, Svarakshara, Taala, Thyagaraja, Yamaka, Yati

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Sri Shyama Shastry (1763-1827) – Part Eight

Sri Shyama Shastry (1763-1827) – Part Five

Sri Shyama Shastry (1763-1827) – Part Four

Sri Shyama Shastry (1763-1827) – Part Three

Sri Shyama Shastry (1763-1827) – Part Two

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