Shyama Sastri

Carnatic composers (other than performing vidwans)
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RSR
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Re: Shyama Sastri

Post by RSR »

Going through all the posts in this thread, I found that there was no biographical sketch of ShyamaSastry.
http://carnatica.net/composer/syama1.htm
( by Dr.V.Ragavan)
Syama Sastri belonged to a Tamil speaking Smartha Vadama Brahmin associated with the worship of Goddess Kamakshi at Kanchi. Owing to the political disturbances in the northern parts, his family, like those of several others, moved to the Cauvery delta, where continuing the noble mission of the great Cholas, the Nayak and Maratha kings had reared a religious and cultural haven. With the idol Bangaru Kamakshi, the family stayed at Tiruvarur for about three decades before they moved with the deity to the west Main Street of Tanjavur, where a new permanent temple was built for the Goddess. It was when the family was staying at Tiruvarur that the composer was born in 1762 (Chaitra, Krittika). His house is now purchased and preserved by the promoters of the Music Trinity Commemoration Sabha of Tiruvarur. His ‘Sarman’ was Venkatasubrahmanya, popular name Syama Sastri, and the mudra he later adopted in his compositions, Syama Krishna.

As his compositions show, Syama Sastri studied Sanskrit and Telugu and started composing, first in Sanskrit - in which he has several pieces - and later changed over to Telugu. For the same dhatu in Kalyani, we have two matu-s of his in Sanskrit and Telugu, Himadrisute and Birana varalichi.

He composed also in Tamil, though of these only Tarunamidamma in Gowlipantu is now known. This writer has seen in manuscripts examined by him a piece, marked as set in Paraz, partly in Sanskrit and partly in Tamil; the former part begins Kamakshi lokasakshini Kowmari Manoharini and the latter, Santatam ennai rakshippaye, but the latter Tamil part alone seems to have been current separately.

Always worshipping Kamakshi at the temple and at home, Syama Sastri had little occasion to go out of Tanjavur, but from his pieces, it is seen that he went to the neighboring Tiruvayyaru and sang of Dharmasamvardhini; to Jambukesvaram and sang of Akilandeswari, and also to the more distant Madurai where he sang nine pieces on Meenakshi. While all his pieces are on Devi, chiefly Kamakshi, and also some of her other forms including Brihannayaki at the Big Temple at Tanjavur, there are also, among the published and the unpublished kritis, a few on Subramanya. We may not find among his compositions several types as in those of the other two masters, but besides Kritis, he composed also Tana Varnam and Swarajatis.

The Bhairavi, Todi and Yadukalakambhoji Swarajatis of Syama Sastri could be counted as the composer’s specialities by the side of the Pancharatnas of Tyagaraja and Ragamalikas of Dikshitar.
There is a limitation inherent in the subject of Syama Sastri that handicaps contributions on him, which in the manner of his own contributions, have necessarily to be brief. By this handicap, I should hasten to point out, I mean no limitation to the genius of the composer, I mean, literally are restricted scope is innate in the subject in two fold manner; firstly by quantity and secondly by quality. By the quantitative limitation, one may recollect at once, I am referring to the comparatively small number of compositions left by Sri Syama Sastrigal. Sometimes, critics are familiar, genius is measured also by quantity, which includes variety; but these are not so much a gross test by number as such, as a test of genius in so far as they are indexes of the fecundity and infiniteness of the creative capacity of the artist. Going by that underlying principle, we may not find difficulty in recognizing what is also not uncommon in the artistic field, namely an outstanding contribution, which is choice and not extensive. With one Bhairavi Varnam, one stands immortal. In fact the story is told that one Sangitaswami advised Syama Sastri to take Adippayya as his Guru. There are also immortal poets with only one poem or play. Few and fine are the productions of our great composer.
His Bhairavi Swarajati is one of the three epics of its class; his Manji will outlive all attempts on its life by vandalised renderings in Bhairavi; and his Anandabhairavi will continue to sway and rock us on the billows of ineffable bliss as that of few others can.

What is the limitation by quality which makes it difficult to dwell at length on Syama Sastri? Here it is that he stands apart from his two great composers compared to whose output on epic scale, we may characterize our composers as lyric. Indeed there are some prominent differences between Iyerval and Dikshitar on the one hand and Sastrigal on the other. It is not without ulterior significance, that unlike Tyagaraja and Muthuswami Dikshitar, Syama Sastri did not give rise to any set of adherents or schoolmen, whose worship becomes warm, partial and eloquent. To draw an analogy from mythology, Syama Sastri may be compared to Brahma in the Trinity; he may not have sects like Siva and Vishnu. But is Brahma not the real creator, though none has raised a temple for him or is ringing bells before him?

One may also be prompted to make another technical distinction now quite often heard, among these three; namely that while Tyagaraja may be said to have emphasized Bhava, and Dikshitar, Raga, Sastrigal may legitimately be considered to have been attracted to the charm of rhythm, Tala. This may not be taken in an absolute manner; but it does contain an idea which may be pursued with advantage; for herein lies the clue to the discovery of the correct attitude of Syama Sastri as a composer and essential nature of his compositions. The burden of conveying elaborate lessons of spiritual experience and moral endeavour which Tyagaraja included in his life's mission, never weighed with Sastrigal; similarly the technical anxiety with which Dikshitar went about labeling carefully the ragas in his compositions or his zest for summarizing in his song-texts Sri Vidya, Vedanta and the Sthala - Mahatmyas of the numberless shrines that he went to on pilgrimage - such pre-occupations too did not overweigh Sastrigal's mind. In short, Sastrigal was an absolute musician, his song absolute music. In fact, the very absence of over-anxiety to go on composing and composing, reveals him as a choice artist. His kritis show an obvious spontaneity and effortless ease. In fact, as the late K V Ramachandran said, he attained maximum effect with minimum effort. Even swarakshara beauties of his Sahityas are the by-products of the same felicity.

That Sastrigal did not charge his deep thoughts like Tyagaraja should not blind us to the fact that Sastrigal was as great a Bhakta and his Vairagya was firm as that of Iyerval or Dikshitar. In piece after piece, Sastrigal affirms faith in the Goddess and her compassion, and his aversion to wait upon the so-called rich people stuck up in their importance. One may recall the final passage in the Anandabhairavi song O Jagadamba - Mariyadalerugani dushprabhula kori Vinutinmpaga varambosogi, or that in Ninnuvina in Poorvikalyani,

Parama-lobhulanu pogadi pogadi ati
Paramarudai tirigi vesari
Sthiramuleka ati-chapaludaitini
Nachinta deerchave vegame brocutaku
In a Todi piece Vegamevacchi, he echoes Tyagaraja's Dhyaname Varamaina and says that beyond the Mother's Dhyanam, he knows no mantra or tantra. But one supreme quality that 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.
-----------------------------------------------
ore at
http://carnatica.net/composer/syama2.htm

RSR
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Re: Shyama Sastri

Post by RSR »

http://www.medieval.org/music/world/car ... hyama.html
gives a list of compositions
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Compositions of Shyama Shastri (1762-1827)

The following list has been built mainly from the source Compositions of Shyama Shastri by Sangeetha Kalanidhi T. K. Govinda Rao, published in Chennai 1997. Small adjustments to the list were made from that source, based on previous versions. This stage was completed in 1999.
(read more at the above link)

RSR
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Re: Shyama Sastri

Post by RSR »

Sri,V.Govindan has place 71 kritis in his blog at
http://syamakrishnavaibhavam.blogspot.c ... -raga.html
Lyrics in Telugu, tamizh,kannada, malayalam, devanagari script, word-by-word meaning, and tamilzh translation, which I found very useful.
My attempt to classify
https://sites.google.com/site/4carnatic ... tis-ragams

RSR
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Re: Shyama Sastri

Post by RSR »

Second and concluding part of Sri.V.Ragavan's article on Shyama sastry
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SYAMA SASTRI (1762 - 1827) - PART 2

- Dr. V Raghavan

The ragas in which he composed again show his essential pre-occupation with music, for almost all of them are rakti ragas. As the very symbol of the great Bhairavi in Her eternal ananda, it may be that the raga Anandabhairavi appears to be his favorite but in no raga does he fail to make his unique effect, coupled with inseparable ateeta and anagata graha-s.

Regarding the paucity of Sastri's compositions: He is said to have composed about 300 pieces; he might not have done so many but certainly they were far more than what are now in vogue. I have examined song-manuscripts with Nagaswarakaras at Tiruvarur, the native place of the composer to which I have the honor to belong. I have myself in my collection some manuscripts collected from different sources. I have also examined the only one palm leaf manuscript of Syama Sastri's songs in the custody of the composer's descendants. I find from all these sources a few additional compositions not yet bought to light; a Sanskrit piece in Gowlipantu, Puraharajaye palayamam, a Telugu piece, Nannubrova rada vegame neevu vinavamma Devi, noted as Gowlipantu in one manuscript and as in Kanakangi in another, a Kapi piece, Akhilandeswari (Adi tala), one on Brihadamba in Jaganmohini (Dayajooda, Adi tala), Kanakagirisadana in Kedaragowla, and possibly a few more. There is also confusion about the exact raga of a few pieces; for example; Devibrova samayamide is in Chintamani in the manuscript with the composer's descendants at Tanjavur, in Shanmukhapriya in a manuscript with a Nagaswara family at Tiruvarur, and in Padmaraga in another manuscript examined and copied by the writer. Ninnu Vinamarigalada (Ritigowla) is noted as in Abheri.

It is because of his qualitative excellence that Syama Sastri has gained a secure and luminous place among the makers of modern Carnatic music, though his contribution has not been much quantitatively. We are now in the 150th year after the passing away of this musician, it may be hoped that before it is too late we may recover more of his masterpieces and bring into vogue a type of compositions which are, let me repeat, unique in the style forged by themselves. In fact the composer himself, in his song in Anandabhairavi Pahi Sri Girirajasute prays to Mother that she may endow his genius with a unique style - Dehi mate anupama geetam".

Pratyaksham Bala
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Re: Shyama Sastri

Post by Pratyaksham Bala »

The link is already given in Post #201.
Why then copy and paste the whole article ?

RSR
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Re: Shyama Sastri

Post by RSR »

@205
Mod is requested to retain the link only and remove except the first ten lines or so. (( if found necessary).
Generally, merely giving a link does not ensure that the matter there is read.
The right method is to give a link, give a summary or a part .
But this article by a very famous scholar , I felt, should not be missed.
Hence the full text. The second part of the article has been slightly condensed.

RSR
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Re: Shyama Sastri

Post by RSR »

The post has been shifted by me to its right thread on Thyagaraja Kritis.
It was placed originally in Shyama Sasthry thread here by oversight. No intentional dis-orientation.
Right now, the shifted post has some additional points too.
Last edited by RSR on 18 Dec 2019, 11:00, edited 2 times in total.

SrinathK
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Re: Shyama Sastri

Post by SrinathK »

Open mind... What an irony. Please don't push an agenda as truth. Or push this in the Syama Sastri thread after having debated it endlessly in the Thaygaraja thread. Your aversion to sringAra biases your efforts greatly. Shall we stop pushing the boat on land?

But at the same time, thanks for #204. That was very informative. The current understanding is that there are indeed more Syama Sastri compositions, and I have heard of Subbarama Dikshitar having given a manuscript of around 120 compositions to Bhatkhande.

Hopefully if Shyama Sastri's grace in on us, like the lost tunes of Thyagaraja and the forgotten ones or Dikshitar, we may find more.

RSR
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Re: Shyama Sastri

Post by RSR »

@208
@SrinathK
Open mind... What an irony. Please don't push an agenda as truth. Or push this in the Syama Sastri thread after having debated it endlessly in the Thaygaraja thread. Your aversion to sringAra biases your efforts greatly. Shall we stop pushing the boat on land?
The first para is in bad taste. Celibacy is a much respected virtue throughout the world in the Hindu, Jaina, Buddhist and Catholic faiths.
In our own times, we had Ramakrishna Paramahamsa, Vivekananda, Shirdi Saibaba, RamaNa Maharishi, Vinoba Bhave, Mother Theresa, and Dr.APJ Abdul Kalaam. and many more unsung social workers and revolutionaries. Till today, most of our religious Mutt heads be it Saiva or Vaishnava , are all celibates. Likewise, most of all the CM composers upto the Trinity were sanyasins. The spiritual yearning of ANdAL and Meera Bai had absolutely no carnal element.
For Saktha worshippers, like Shyama Sastry and MD, nothing can be farther from their mind as any erotic associations.
That is why they did not compose any Javalis and Thillanas and the like. The pada-varnam in Todi ( telugu) attributed to MD is actually the work of his father. ( as discussed in this forum earlier).
Shyama Sastry swara jathis are unique in that they are meant to be sung without dance.
Is not Lord Siva renowned and worshipped as the God who destroyed Manmatha by the fire from his third eye?
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Matrimony and Motherhood and the 'farce' of so-called Feminism of western -modern promiscuity need not be the only life for women.
There are thousands of Nuns all over the world renouncing for ever the stereotyped family life and serving humanity as nurses, teachers and workers and even as soldiers and revolutionaries! Among the Syrian Catholics of Central Kerala, almost every family dedicates a daughter to service through the Church. Saradha Mani was as much a saint as Ramakrishna.
Almost every year, a jain lady from fabulously rich family voluntarily embraces the celibate life by a very painful ceremony in far south of Tamilnadu, Madurai city. . The tradition lives in India and will live for ever.
I suggest that you read Prof.Raghavan's lectures on The Spiritual Heritage of Thyagaraja. I re-read it last night and could find just a very reluctant and brief reference as the last chapter. to nayaka-nayaki bhavam that too only in the context of the divine consort.
Venerate Women as scholars, intellectuals, scientists, social workers, philanthropists administrators, technologists, ...we then speak for their true Liberation.
Praise them for their so-called looks, 'artful ' skills, mere musical skills, and worse, dancing skills, we are struck in the old groove of male-chauvinism for which women are mere entertaining dolls. !
I am in very good company and don't degrade yourself by 'art-for-art' sake theory. and condemning me for views ill-understood by you. If you read Bagavatham , focus more on the other episodes of great charm instead of harping on RasaLeela. It is a blot.

SrinathK
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Re: Shyama Sastri

Post by SrinathK »

It is not a blot when the divine is the object of affection. When the Divine calls you to surrender, you drop everything. That is why this devotion is revered even by all those great personalities. Even those highly renounced mahapurushas have revered the bhakti of the gopis and many like the Six Goswamis have expanded further on that.

To be a bramhachari or a brahmana means to reside in brahman which is beyond the duality of either physical entanglement or aversion. That may be impersonal as one, but it can also be deeply personal as two. Spirit is beyond the body, but the body is also it's creation. Divine presence makes everything sacred. Without knowing the divine, even celibacy is just dualistic aversion, an ego position of being proud over moral superiority and such egotism is to be condemned. That isn't realization.

One dimension of life isn't intrinsically holy and another isn't intrinsically sacred. The ego may find fertile ground anywhere to bring in illusion, but the divine too find fertile ground anywhere to bring in sacredness. I do not subscribe to this compartmentalization of life. If so, the creator must admit he made a major design error or somehow there is some aspect of creation that is not actually his. Then who made it?

Bramhacharya as a sadhana is a specific path that is incomplete without the yogic dimension. Celibacy alone is just repression. And honestly I do not know if you've experienced inner explosions of ecstasy that can surpass outer ones in yoga. That too is a stage of a bigger journey. Simply as a practice of restraint or aversion, brahmacharya is woefully incomplete. This was known to all the great saintly persons. That which is swadishtana not only helps create at the physical level, it is also responsible for giving life to a deity. Anyway you just dismissed this whole dimension of yoga, so why elaborate?

Most ordinary people just do everything compulsively. Great saints stay celibate simply and naturally because the happiness and fulfilment they feel is far greater than what ordinary people experience and there is no need for a relationship. If they have done it, there is authentic spiritual experience behind it. If there is a need or an inspiration to enter into relationships, they have also not hesitated to walk that path either. That which comes from divine inspiration is very different from the mind and the usual compulsions even if outwardly they are similar. That is a natural state of being.

Whatever mahapurushas do, even what they choose to do is always aligned to and supported by Divine will. Others can only speculate and judge according to their ideas and miss the actual point. Many of them were so peculiar they were considered crazy, but now we worship them.

This has to be a natural process of evolution. Simply hating on the physical is not what it is - that is just aversion. It is dogma without direct experience. It means body identification is still strong.

When the divine is the only true companion life after life, all other relationships of the ego are the real promiscuity!! The ego experiences being cut off from the whole and tries to recreate it in every manner, but fails, because it itself is the problem.

Mere restraint isn't a guarantee of divinity. So long as the ego survives, the Supreme remains unknown. Dropping all that is considered as 'me' is real surrender and it can be done impersonally through jnana yoga and personally through bhakti yoga. Sannyasis and monks get respect and adulation, but even this has been given up by the gopis. Surrendering the self in this moment to the Supreme Self and dropping all ideas of truth is the only condition for liberation and the end of all paths. After that is only Divine Being and Divine Unfolding of the Supreme Artist (this isn't my writing btw, it's a great soul's words)

Even food can kill you in excess, but food is also Annabrahman. Your argument sounds like you just hate food because it causes disease. The prasadam of Jagannath is considered as brahman!

Women and men are all these things you said. But they also have the dimension of love. You are only denying a basic truth there. You are just prejudiced against shringAra and rationalizing it. Amavasai(raw) is a reality as paurnami(delicate) is.

Otherwise it is the ultimate irony that our gods celebrate all the very things they condemn us for. On earth it is filthy, but in heaven it is somehow holy? Somehow the father of the Vedas is not a monk, but a grhasta and his avadhuta son gives us Bhagavatam?

It is fruitless to speculate on the behavior of great personalities because they are outlaws who have found ultimate freedom. They cannot really be imitated. Others may only follow their instructions, but they write and rewrite the rulebooks. You have mistaken a symptom for the root.

I also had all these ideas and doubts before, but for me these doubts and misconceptions have been dispelled a long time ago. I owe that to the grace of many great souls, and some of my doubts were clarified directly. Mysteriously I found other doubts vanishing and clarity arising over time. As a result of one blessing, an ability to write also emerged (and there's my secret).

I am not claiming for one second I am any jnani, and no one who hasn't been me will know all that happened to me, but I definitely do not suffer cognitive dissonance over the flavours of bhakti anymore. Thank goodness.

On relationships in the West, if they get any more unstable, the family unit will be destroyed, trust eroded, children scarred, population and the economy will decline, mental health therapy will be big business and their civilization will implode. How can that Ludicruous imitation of the divine by the ego be even compared to this? The truth is known by its results. A monkey society can never evolve beyond the jungle! So much for the ego's attempts to recreate God! You sir do not see the main difference. All spiritual authorities have revered the gopis while deriding uncontrolled lust and being strictly principled themselves. There is no contradiction in that. This is why shringAra was channeled into artistic expression and to God. Life itself shows why.

This is not even the point of the discussion. Thing is, please do not claim something is spurious only because you do not agree with it and then find some half logic that can be refuted with examples. What is genuine or not is determined by objective research based on a detailed study of music. If truth says otherwise to what we expect we must accept it. To deny that with speculation, prejudice ,opinion and spurious claims is sheer dishonesty. More than once I and others have pointed out that you have claimed some things without even looking into them, like the case of Jayadeva's Bhagavatam(???) or the Pothana Bhagavatam. Those are uninformed statements, not real conclusions. Just confirmation bias. You are not willing to listen to any expert on the subject either but simply push your own opinions always.

Beyond this I am not interested in spending my time airing deep personal convictions and experiences beyond music and arguing with you on these subjects. I have clarified my side more than I should have. I have no issues with you not liking shringAra, but you cannot come to conclusions like NC or sAdinchanE is suspect based on that.

I will no longer discuss these topics further with you. At the end of the day, it won't change anything and I am wasting my time. With regards to music, A genuine conclusion that you present which can backed up by the research will of course be accepted. I very much appreciate your efforts to bring out rare recordings via your website too. But if you make a false claim on musical matters, not knowing the nitty gritty, it will not be accepted.

RSR
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Re: Shyama Sastri

Post by RSR »

@210
Nor am I interested in discussing Boat stuff in Shyama Sastry thread.
I am posting some points soon in T.Kritis section.
By the way, the Boat stuff does not appear in Bagavatha Puranam at all.( Chapter 9 of Dr.Raghavan's book). Nor is it likely to be found in Telugu Bagavatham.
Over to Thyagaraja Kritis.

ajaysimha
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Re: Shyama Sastri

Post by ajaysimha »

hi rasikas,

in most of the paintings of sri shyama shastrigal, I see there is a vetrilai petti (pan box).
is there any interesting anecdote associated with this ?

ajay simha

Lakshman
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Re: Shyama Sastri

Post by Lakshman »

I came across a new song by Shyama Shastri here:
https://www.youtube.com/watch?v=54yexVFkozs
I could not find this song in any of my books. Does anyone have more information on this bhairavi piece? Thanks.

Pratyaksham Bala
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Re: Shyama Sastri

Post by Pratyaksham Bala »

Lakshman wrote: 16 Apr 2020, 01:40 I came across a new song by Shyama Shastri here:
https://www.youtube.com/watch?v=54yexVFkozs
I could not find this song in any of my books. Does anyone have more information on this bhairavi piece? Thanks.
There was a discussion on this earlier at -
viewtopic.php?t=943

Lakshman
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Re: Shyama Sastri

Post by Lakshman »

Thanks Pratyaksham Bala.

venusishya
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Re: Shyama Sastri

Post by venusishya »

@ajaysimha

It seems according to some research on the web that Shyama Shastri was said to have been a tall and rather stout man who was very fond of betel leaf, or வெற்றிலை. It is possible that renderings are based on this anecdote.

Pratyaksham Bala
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Re: Shyama Sastri

Post by Pratyaksham Bala »

ajaysimha wrote: 03 Feb 2020, 13:51 ... the painting of sri shyama shastrigal, I see there is a vetrilai petti (pan box).
is there any interesting anecdote associated with this ? ...

Incidentally, it is pertinent to note that in the kriti 'dEvI nI pada sArasamulE' Syama Sastry describes Devi as 'kannAku latA lavitrI'
i.e. 'O Relisher of fresh betel leaves !'

ajaysimha
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Re: Shyama Sastri

Post by ajaysimha »

Pratyaksham Bala wrote: 22 Apr 2020, 13:14
ajaysimha wrote: 03 Feb 2020, 13:51 ... the painting of sri shyama shastrigal, I see there is a vetrilai petti (pan box).
is there any interesting anecdote associated with this ? ...

Incidentally, it is pertinent to note that in the kriti 'dEvI nI pada sArasamulE' Syama Sastry describes Devi as 'kannAku latA lavitrI'
i.e. 'O Relisher of fresh betel leaves !'
interesting! Thanks for info. Bala.

vgovindan
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Re: Shyama Sastri

Post by vgovindan »

Is this a SS kRti? - someone has raised a query in my blogpost. Anyone knows?

kAmAkshi kalyANi kamalAmbA kApADi rakshippai amma in rAga mAlika.

RSR
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Re: Shyama Sastri

Post by RSR »

Life
https://sreenivasaraos.com/2020/06/27/s ... part-four/
--------------------
https://sreenivasaraos.com/2020/06/26/s ... art-three/
--------------------
https://sreenivasaraos.com/2020/06/25/s ... -part-two/
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https://sreenivasaraos.com/2020/06/24/s ... -part-one/
======================================
The blog series covers many aspects of carnatic music and the musicology and the Trinity.
-----------------------
( though , much of these may be well known to those who have read V.Raghavan's article)

RSR
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Re: Shyama Sastri

Post by RSR »

I have already given the links to a very educative blog series on Shyama Sastry ( @220), by stinivasaraos
Yesterday, he has added part-V . It is really wonderful. https://sreenivasaraos.com/2020/07/12/s ... part-five/
----------------------
In this special blog post , he has written about the authentic creations of Shyama Sastry. numbering about 72.
He has given valuable information about the ragams used by him.
Very valuable for further study and giving audio samples for each of those kritis and swarajathis by famous veterans of the Golden Decades. ,is a worthy project
-----------------------------------
I found the following excerpts of great interest. My contention is that the TRINITY avoided all the vivadi meLas. ( except varalI and Naattai).
The author of the blog post has gathered information about all the ragas used by Shyama Sastry.
(as follows- only in condensed form).
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1) In his most pleasing and lovely Mangala-Kriti (Shankari-Shankari, Kalyani, Adi), a benediction (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.

------------------------------------------------------
2)
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).

* see pont-5 ( RSR)

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 13th Mela Gāyakapriya; and, Varali is the Janya of the 39th Mela Jhālavarāli.
------------------------------------------------
3)
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.
-------------------
4)
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
--------------------------
5)
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 Three Svarajatis are in:

Todi (8); Bhairavi (20) and, in Yadukulakanbhoji (28)
---------------------------------------------
Sri Shyama Shastry mainly used Rakthi Ragas (meaning pleasing, lovely or charming Ragas) and familiar 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 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).
-------------------------------
He has given in table form, the details of krithis in the various ragams. Worth preserving and analyzing further.
----

RSR
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Re: Shyama Sastri

Post by RSR »

PART-6 of an absolutely CLASSIC BLOG POST on Shayama Sastry's music
Do not miss it.
https://sreenivasaraos.com/2020/07/16/s ... 7-part-six

SrinathK
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Re: Shyama Sastri

Post by SrinathK »

This is indeed an excellent post. Must read it slowly as it has lot of content. Thank you for sharing this @RSR

sureshvv
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Re: Shyama Sastri

Post by sureshvv »

SrinathK wrote: 20 Jul 2020, 14:14 This is indeed an excellent post. Must read it slowly as it has lot of content. Thank you for sharing this @RSR
Article says SS was born in Tiruvaiyaru. Isn't that incorrect?

RSR
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Re: Shyama Sastri

Post by RSR »

@223
Thank you. It is really good series.
-------------------------------
@224
It is a slip. In part-1, he has correctly mentioned the birth-place as Thiruvaaroor.
------------------
As the number of songs are only 72, we can give youtube links to all the songs rendered by veterans of yore.

RSR
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Re: Shyama Sastri

Post by RSR »

Srinivasarao has today come out with part -7 of his blog on Shyama Sastry. Too technical and musicology-oriented blog invaluable for students and learners. He deals with the essentials of Kriti structure ( incidentally, he cites the SSP that sometimes, keertans and kritis are used interchangeably). This is not for casual reading but worth taking a printout and reading again and again .
https://sreenivasaraos.com/2020/07/20/s ... art-seven/

RSR
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Re: Shyama Sastri

Post by RSR »

Srinivasarao is continuing his great blog series on ShyamaSastry's music.
Part -8 is dealing mostly with Layam. Will be very useful to serious students and learners.
https://sreenivasaraos.com/2020/07/25/s ... art-eight/

RSR
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Re: Shyama Sastri

Post by RSR »

srinivasaraos continues with his great blog series on shyama sastry.
https://sreenivasaraos.com/2020/07/30/s ... -part-nine
Language
Raga-mudra
Vaggeyakara-mudra
The Other Compositions of Sri Shyama Shastry
Gitams
1. ‘Kamakshi-karuna-katakshi’ (Raga Pharaju, Triputa Taala)
2. ‘Santatam Ennai’ (Raga Pharaju Adi Taala)
3. ‘ Sarasakshi-sadaa-pahimam’ (Saveri , Triputa Taala)
4. ‘Parvathi Janani Bhavani Sri Rajarajeshvari’ (Bhairavi, Khanda Mathya taala)
5. ‘Kamakshi-Loka-Sakshini’ Madhyamavathi, Triputa Taala)
----------------------------------------------

His Kritis in Sanskrit have the fragrance of poetry with prosodic beauties of alliteration, prasa, delightful adjectives, varied names and descriptions of the Devi. It is excellent poetry. It is exuberant and joyous celebration of the beauty and countless virtues of the Supreme Goddess Devi Kamakshi.

Himadrisute-pahimam (65-Kalyani, Rupaka Taala)

Himadrisute-Pahimam/Varade-Paradevate/

Sumeru-madhya-vasini/ Shri Kamakshi /

Hemagatri/ Pankaja-netri/Matanga-atmaje/ Saroja-bhava-Harisha-sura –munindra-nute/

Ambujari-nibha-vadane/Maukti-kamani-haara-shobhamana-gale/ Bhaktha-kalpa late/ Shyama-Krishna sodari/ Gauri / Parameshvari /Giri-jaala-Nilaveni / Kiravani/ Shri Lalite/

*

Shripatimukha viracita (15-Saveri, Adi)

Shripati-mukha-viracita-pujye /Shri Parvati/ Mam-pahi-Devi/

Ni-pavananilaye/Niramaye/Nitila-nayana-jaye/Mama-hrdaya-taapa-harini / Navaratna-alaye/ Taapasa-vara Narada-mudite- Devi /

Taruni/ Lata-pallava-mrdu-carane/ Tapana-vidhu-vilocane / Aruna- koti –sama-kantiyuta-sharire/Kaladhrta-kalape/Suru-cira-mani–khanta lasanmani -hare / Suguna-sheele/ Satatam-samudam /Karunaya-avadinam –para-devate / Kama-koti- pitha-gate/ Lalite /

Karimukha-Kartikeya-Janani/Svara-palini/Pavani/Hari-sahodari/ Vidalita / Daityari – gane/ Sadaa- purne/ Paramesha-vinute/ Shrtajana- palite/ Pritiha- vasatu-vimale/ Purahara-priye/ Shashi-bhanane/ Purna-kame/ Sama-gana-lole/

Bhuvaneshvari-jula-vani/Sakala-bhaya-nivarini/He-Maheshvari-Madhu-pasadrsha-veni/Kameshvari-Gauri-Shyama-Krishna-sodari Bhuvaneshvari – Shambhavi -Maha Tripura Sundari/Himagiri-kumari / Kavi -kula-kamade-kanksita-phaladayike
This is the ninth in the series.

RSR
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Re: Shyama Sastri

Post by RSR »

see viewtopic.php?p=365269#p365269
posts 1569,1570,1571

RSR
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Re: Shyama Sastri

Post by RSR »

Here is srinivasaraos blog -part 10- dealing with the three famous swarajathis of Shyama Sastry. with deep analysis and extensive quotes from scholars.
https://sreenivasaraos.com/2020/08/03/s ... -part-ten/
-------------------------------
viewtopic.php?p=365271#p365271

In the above link, Smt.MS renders the three swarajathis.
Links to the lyrics and translation in many languges by Sri.V.Govindan also are given there.

-----------------------------------
and,
all the three Svarajatis are dedicated to Devi Sri Kamakshi of Kanchipuram.
Each Svarajati extols the beauty, the magnificence and splendid virtues of the Devi. And, through these gems, Sri Shyama Shastry prays to the Devi, seeking her blessings, her protection and her Motherly Love; and, refuge at her Lotus-feet.

RSR
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Re: Shyama Sastri

Post by RSR »

sreenivasarao's great blog series on Shyama Sastry - part-11

https://sreenivasaraos.com/2020/08/05/s ... rt-eleven/

---------------------------------------------------
some exerpts
The Taana-Varna, with Svara and Sahitya passages, is essentially for concert Music. The Pada-Varna, with its rhythmic patterns, is mainly for Dance.
----------
According to most of the versions that are now in circulation, Sri Shyama Shastry is credited with four Varnas, which are highly musical in their structure. They are:

(1) Na-manavi-vinu (Saurastra-Chatursra-Ata); (2) Samini-ramm-anave (Anandabhairavi, Khanda-Ata); (3) Dayanidhe (Begada, Adi); and, (4) Nive-gatiyeni (Kalyani, Tisra-Mathya).
Varnas of Sri Shyama Shastry 2
[Though most of the sources mention these four Varnas as the works of Sri Shyama Shastry, Smt. Sharadambal recognized only two Varnas (not four) as that of Sri Shyama Shastry.
------------------------
This Varna is marked by a number of distinct features.
This is a fairly lengthy Varna with Pallavi, Anupallavi and two Caranas, with four Svarasahithya passages interposed between the Anupallavi and the last Carana.

Though it is listed under Taana-Varnas, its Sahitya resembles Pada-Varna.
We find the Kshetra-mudra ‘Kanchi-vasudina-Sri Varadarajuni’ in the Anupallavi.

The Telugu language used in this Varna is different from the one found in his Kritis. The use of the complex words of archaic poetic nature resemble the Svarajatis; and gives a complex form to the language, as against the simple colloquial style of the Kritis. In fact, the Telugu Sahitya here makes a difficult reading.

*
And, to say the least, this is a rather unusual Varna; and, therefore, has been much discussed.
This is one of the two compositions of Sri Shyama Shastry that is not dedicated to praise the Mother Goddess in her various forms.
This Varna is the only single instance among the body of the works of Sri Shyama Shastry portraying Madhura-bhakthi.*
The Varna in Anandabhairavi is the sole instance of Madhura Bhakthi among all his compositions.
This could be considered as a very brief phase along the course of his Sadhana, which was essentially rooted in the Apatya-bhava, the purest of all. Just as Sri Ramakrishna did later, Sri Shyama Shastry had quickly come back to his own natural aptitude. You can perhaps say; Apatya, truly, was Sri Shyama Shastry’s Sthayi-Bhava; while Madhurya was a fleeing Sanchari-Bhava.
-----------
Some have pointed out that considering the overall nature of Bhakthi and Karuna Rasa, that pervades the compositions of Sri Shyama Shastry, the Varna ‘Samini..,’ surely does appear to be out of character; and, it stands out oddly. Therefore, they have expressed reservations about the authorship of this Varna; and, have even pondered over the possibility that it might have been, at a later stage, interpolated (prakshepa) by someone else into the body of the works of Sri Shyama Shastry.
That is a fairly plausible way of looking at this Varna, in the context of Sri Shyama Shastry’s compositions taken as a whole.
---------
The Dayanidhe (Begada, Adi Taala), comparatively, is a short Varna. Its Pallavi, Anupallavi and Carana, have just one line each. The Svarasahitya that follows the Carana has four lines.
The Vaggeyakara Mudra or Sva-nama, unusually, appears right at the beginning of the Varna in the Pallavi as: Dayanidhe mamava sadaa Shyama Krishna pujite.

This Varna in Sanskrit is a simple prayer, composed in easy flowing beautifully worded lines; very pleasant on the ears.

The Varna calls out to the Mother, citing her various names and forms (Nama-Rupa).It describes the beauty of Devi as having soft and delicate feet; and a very graceful neck.

Lalita-pada-yugale; kamaniya-kandhare
Sri Shyama Shastry sings the magnificence of the Mother, praising her as the protector of the people of the world, the Sages and all the celestial beings. And, as one who mitigates the sins of all beings; and, protects the virtuous
-----------------------
For lyrics , he has given links to Sri.V.Govindans blog on Shyama Sastry kruthis.
---------------------

kmrasika
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Re: Shyama Sastri

Post by kmrasika »

Pardon my ignorance and going on tangent, but wondered whether ambi śāstri is related in any way to śyāma śāstri? Just curious as the TSML used the latter's picture in the cover of its publication of compositions of the former: https://archive.org/details/keerthanas-by-ambishastri-series-no.-426-thanjavur-sarasvati-mahal-series/page/n99/mode/2up

vgovindan
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Re: Shyama Sastri

Post by vgovindan »

I have received the following email from Dr Balasubramaniam -

"....sir, i am intrested in lyrics of kriti chandramouleshwara,sankaram,sambamurty,guru in simhanandana thalam. This was made famous by sadguru sri Shama sastri. If you have the song, preferable in mp3 format,please mail it to me.
I will be greatly obliged.
T in advance
Dr Balasubramaniam
pune

His email address is

drsbalagm.bs@gmail.com

Since this is not a SS composition, I could not respond to him. I asked him to post here. But he says he is facing problem in creating an account.

Can someone help him?

RSR
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Re: Shyama Sastri

Post by RSR »

@vgovindan
shyama Sastry had a 'great grandson'.he was a contemporary of dr.v.ragavan in his college days. he taught shyama satrigal kritis to dr.raghavan's just married wife. who happens to be , in a way, my once-removed mother's sister. ;saradha;. dr,ragavan himsekf has narrated this,
I have mentioned it in my comment on rao's blog.

RSR
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Re: Shyama Sastri

Post by RSR »

@vgovindan
shyama Sastry had a 'great grandson'.he was a contemporary of dr.v.ragavan in his college days. he taught shyama satrigal kritis to dr.raghavan's just married wife. who happens to be , in a way, my once-removed mother's sister. ;saradha;. dr,ragavan himsekf has narrated this,
I have mentioned it in my comment on rao's blog.

ajaysimha
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Re: Shyama Sastri

Post by ajaysimha »

Hello Rasikas,

Is there any audio links to A dinamuninci?
A ananda bhairavi Krithi of shyama sastrigal

nAdopAsaka
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Re: Shyama Sastri

Post by nAdopAsaka »

Seems to be a rare kriti ? lost in the other well-known Anandabhairavis of this great master

I did find another Anandabhairavi to similar SyAmalAmbika devi 'mahilo amBA'
seems like tanjavur-brihannayaki etc site

https://www.youtube.com/watch?v=S5rAkTzY9eI

This SyAmalAmbA aspect is used in more than one of the Anandabhairavi's.

another sweet bonus (to me) of this above quest was that I dredged up a nice veena version of

kAmboji "dEvi nipada sArasa" which is of course to the Madurai devi

https://www.youtube.com/watch?v=m8rNnud_cS4

very few views over the years for either of these fine postings...
but still grateful to these expert vidushis/teams for sincere renderings and sites for such postings

nAdopAsaka
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Re: Shyama Sastri

Post by nAdopAsaka »

A fine unhurried rendition of the classic Todi ninne namminanu by S Rajam,
although punctuated occasionally by the pakkavAdyam of a passing car horn !!

The rAga shines in MiSra Capu..

https://www.youtube.com/watch?v=3y1Glfej4Wc

rnfhari
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Re: Shyama Sastri

Post by rnfhari »

Please, can anyone post the meaning for Kanaka shaila viharini - Punnagavarali ?

RSR
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Re: Shyama Sastri

Post by RSR »

p-239
------
https://syamakrishnavaibhavam.blogspot. ... -raga.html

For any of the compositions of ShyamaSastry, you can refer to the blog cited here. It is by Sri.V.Govindan
Look for the sidebar also.
We can get lyrics, and meaning for the compositions of Thyagaraja, MD, Sadasiva Brammendram also. from the links in sidebar.

RSR
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Re: Shyama Sastri

Post by RSR »

kanaka saila vilaasini
punnagavaraLi
Smt.MSSubbulakshmi

https://youtu.be/RnqNVeG4Ocs

sankar rajasekaran upload

RSR
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Re: Shyama Sastri

Post by RSR »

nice post by Sriram.V
---------------------
https://sriramv.wordpress.com/2010/06/1 ... ma-sastry/
------------------------------------------------
(some excerpts)
----------------

"There is a popular perception that he did not travel much. However, he appears to have travelled to Tiruvayyaru, Madurai, Kanchipuram, Pudukottai, Vaitheeswarankoil and Nagapattinam as evinced in his songs.
-------------------------------
Kanchipuram held special significance for Syama Sastry. Fearing an invasion by Hyder Ali and his son Tipu Sultan, the family moved into Tanjavur fort, where the ruler Tulaja welcomed them and constructed a shrine for the idol on West Main Street.

The family gave up all ideas of moving back to Kanchipuram and settled in Tanjavur for good. However, given that the Goddess had come from Kanchipuram, Syama Sastry in many of his songs addresses her as Kanchi Kamakshi.

“O Jagadamba” in Ananda Bhairavi is one such. “Brovavamma” in the rare raga Manji is yet another song on Goddess Kamakshi.

------------------------------
Tiruvayyaru, the sylvan village of five rivers is a short distance from Tanjavur and in Syama Sastry’s time was home to Tyagaraja. It is not clear if the two composers ever met, but Syama Sastry’s son Subbaraya Sastry was a disciple of Tyagaraja too. In Tiruvayyaru stands the twin-shrine of Panchanadeeswara and Dharmasamvardhini. Syama Sastry gave us “Durusuga Krpajuchi” in Raga Saveri on the Goddess here. “Karunajudavamma” in Raga Varali, “Emani Migulavarnintu” in Raga Todi and “Palimpavamma” in Raga Mukhari are other songs on this shrine by Syama Sastry.
-----------------------------------------
In Tiruvanaikka near Tiruchirapalli stands the temple of Jambukeshwaram dedicated to Shiva- Jambukeshwara who is worshipped here as the primordial element – Water. The Goddess here is Akhilandeshvari, well known for the Sri Chakra vested in Her enormous earrings by Adi Sankara. Syama Sastry composed his “Sankari Samkuru” in Raga Saveri on the Goddess here. There are four other songs by him dedicated to the Goddess – “Akhilandeshvari” in Karnataka Kapi, “Enneramum Un Namam” in Purvikalyani, “Enneramum Un Pada Kamala” in Punnagavarali and “Nannu Brova Rada” in Gaulipantu.
--------------------------------------
Madurai appears to have exerted an enormous fascination on Syama Sastry. It is said that no less than nine of his songs, known as the Navaratnamalika were dedicated to Goddess Meenakshi. “Devi Ni Pada Sarasa” in Raga Kamboji is one of them. Books on Syama Sastry kritis list another seven – “Devi Minanetri” in Shankarabharanam, “Nannu Brovu Lalita” in Lalita, “Marivere Gati” in Ananda Bhairavi, “Mayamma” in Ahiri, “Minalochana” in Dhanyasi, “Rave Parvatarajakumari” in Kalyani and “Sarojadalanetri” in Shankarabharanam.
--------------------------------------------
Nagapattinam is a pilgrim centre that is less well known compared to the shrines written about above. It has a magnificent temple for Shiva-Kayarohanesa and Goddess Nilayatakshi. It is famed as a Vishnavite kshetra for its Saundararaja Perumal Temple. It is a pilgrimage centre for Muslims for the Andavar Dargah in nearby Nagoor and for Christians for the Velankanni shrine. Syama Sastry’s tribute to Goddess Nilayatakshi is “Nilayatakshi Nive Jagat Sakshi” in Raga Mayamalavagaula. This is also sung in Raga Paraju. There are besides two others songs on the Goddess by him – “Nannu Brova Rada” in Raga Janaranjani and “Ninne Nammiti” in Raga Kedara Gaula.
------------------------------------
Syama Sastry also appears to have visited Vaitheeswaran Koil. There is a song on Lord Muthukumaraswami set in Raga Begada.
-------------------------------------
From his song “Karunanidhi Ialo” in raga Todi we see that he must have also visited Pudukottai, for the song is dedicated to Brhannayaki. The fact that it specifically mentions that She is the consort of Gokarneshvara lends credence to the belief that this was composed in Pudukottai. Some other songs on Brhannayaki/Brhadamba by Syama Sastry are also ascribed to this shrine but in the absence of any internal evidence, they could be on the Goddess in the Big Temple in Tanjavur also.

nAdopAsaka
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Re: Shyama Sastri

Post by nAdopAsaka »

regarding the observation on begada made circa 2010 as noted in previous post - #242
" Syama Sastry also appears to have visited Vaitheeswaran Koil. There is a song on Lord Muthukumaraswami set in Raga Begada ",

all three of syAmA SAStrI’s begada kritis carry the “dayA” motif..
as seen in the text-excerpts below..

This is mildly interesting, since rAga begada is typically associated with the so-called vira-rasa , rather than karunA rasa....however in the hands of this master it doesn't seem to matter..the varnam especially..

-sAmi ninnE nammiti rA rArA muddukumArA
anupallavi
nAmIda daya-jUci nannu rakSimparA
in charanam
kuTila tAraka vidAraka sArasa carita nI daya-rAdA shyAmakrSNanuta vaidyE

- kAmAkSi nAtO vAdA dayalEdA

- dayAnidhE mAmava sadA shyAmakrSNa pUjitE

One cannot have enough of begada ! so an example of each of these fine kritis is in good order..

https://www.youtube.com/watch?v=UqejWQQP610

https://www.youtube.com/watch?v=JHtvYr2_lnM

https://www.youtube.com/watch?v=EKoMgOoDe80

nAdopAsaka
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Re: Shyama Sastri

Post by nAdopAsaka »

It is a bit surprising that sYAmA sAstri does not have compositions in either Mohana or Bilahari..

These two rAgas are inescapable in the panCanadi region, especially in the time frame of his generation.

Of course his begada and yadukula kAmboji (as well as sankarAbharanam, kalyAni etc ) are known , which I would argue makes the missing rAgas even more tantalizing..

It does not seem as if there is a mistake, i.e. an omission or oversight by the historians and record-keepers/musicologists in this case.

Some kind of explanation is desirable (if not required) , in my opinion..

An immediate explanation could be that to the mind of sYAma sAstri..these rAgas did not offer “enough scope for exploration…” This of course is akin to the criticism of Mozarts compositions that they “had too many notes”..

One could also interpret this defensive attitude to mean that sYAma sAStri (and later his family) were simply overwhelmed with the output of his great contemporaries (and others) in these rAgas and could not bring themselves to “gild the lily”.

It is known that subbarAya sAstri was an ardent disciple of these two, almost an acolyte, which further supports this notion.

Or there was some unique aversion developed to these melodies by this family, perhaps linked to some family tragedy or mishap or even superstition..maybe whenever they started humming these melodies some one got a cold or worse or some idol came crashing down or they got some sort of bad news (although before the days of telegrams..)

Or worse yet, perhaps in some sort of “warped puritanism” these beautiful melodies somehow became associated with disreputable activities to this family….there has been and continues to be quite a lot of this..

The former explanation seems marginally more reasonable to me than the latter ..…sYAma sAStri is the least “competitive” of the great vAggeyakAras, content with his srividyA and vision of Devi and his focused craftmanship.. ...(unlike the Dikshitar who undoubtedly had both severe sibling and enormous parental pressure or the tyAgarAja who got a lot of grief from his own family and may have been defiant to them, even thumbing his nose at them with his wide output)..

Fortunately when it comes to sAveri sYAma sAstri did not simply accept the interpretations of others

A fine less-heard, unhurried sAVeri of this great master is available

https://www.youtube.com/watch?v=oH7GfeVhfLw

rajeshnat
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Re: Shyama Sastri

Post by rajeshnat »

Nadopasaka
Shyama Sastri was also a temple priest almost full time and hence a part time vaggeyakkara , So possibly he unline other two trinities was not a full time vaggeyakkara

nAdopAsaka
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Re: Shyama Sastri (the himACala devi kritis ?)

Post by nAdopAsaka »

himACala devi kritis of sYama sAstri

some of the major kritis of sYama sAstri appear to be focused on a unique himACala devi aspect....

it could be interesting to see how this integrates with his use of the other iconic names jagadAmba, kAmakSi, brihannayaki etc.

rAve himagiri kumAri is the Todi masterpiece , which certainly gives off a temple-chant vibe (as noted below)

sandhyAvandanam Srinivasa Rao does a very fine job (with his crisp, nasal voice)..

https://www.youtube.com/watch?v=-Tq8TP8 ... iK&index=5

Others are
himAcalatanaya brOcuTakidi - Anandabhairavi

SSR again

https://www.youtube.com/watch?v=HL5Xw5aDpwA

himAdrisutE pAhimAM - kalyANi/rupaka

sarOjadaLanEtri himagiriputri - shaHNkarAbharaNaM/Adi

There are other places this appears e.g mAyamma nannu brova – nAta kuranji..
fine rendition by a senior vidushi explores this
https://www.youtube.com/watch?v=bRf--4USJnM

ps SSR has many fine tyAgarAja and Dikshitar kritis also available now…

https://www.youtube.com/watch?v=bzH2laPuB6Y
captures many fine tyAgarAja kritis in his distinctive voice/style…

the niLambAri , varAli and bauli are rousing while the sahana and yadukula K are sweet and mellow

nAdopAsaka
Posts: 878
Joined: 20 Jul 2020, 17:05

Re: Shyama Sastri (some notes on his gaulipantu kritis)

Post by nAdopAsaka »

the rAga gaulipantu

tyAgarAjA’s plea to remove the stubborn “screen-saver” on the Tirupati idol dominates the
Gaulipantu landscape in kutcheris etc...

However this limited view should not conceal syAmA SAStri’s at least** 2 (two ) gaulipantu kritis where he shows how to handle different language/words and tAlam in the same rAga with similar (but not identical) meaning.

some common concepts in the words are seen ranging from bees to birds

for example “kalarava mrdutaravAni “ or bird-song in purahara jAye becomes
“CAtakam Saranam” in tarunAmidammA "taking refuge in the the bird CAtaka"

fine versions in each language are available , thanks to artists and upload agencies

tarunAmidammA by MSS
https://www.youtube.com/watch?v=j4Uv0iyPrNM

purahara jAye by a leading viduSi
https://www.youtube.com/watch?v=K4PJqZCvO1w

**there is yet another kriti "nanu brovarAda vegamE nIvu" also in Gaulipantu by this great master
which may also be part of this language/rAga exercise (differing in language from the other two)

I haven't found a good rendition of this

nAdopAsaka
Posts: 878
Joined: 20 Jul 2020, 17:05

Re: Shyama Sastri ( Devi as "svara-jati kalpita sanGita-rasike nata priyE" )

Post by nAdopAsaka »

The auspicious Devi kriti of SYAmA SAStrI in rAga nAta “pAhi mAm Sri rAja rAjeSwari” is undeniably linked to Sri Cakra upAsana and the lalitA sahasranAma.

So although it makes a reference to the (kAnCi) kAmakoti pitha/shrine, the kriti prefers to use the name “rAja-rAjeswari”, and does not use either kAmeSwari or kAmAkSi as names (as in many of his other Devi kritis).

Notably the equally auspicious bija-mantra kriti of the other Devi-upAsaka , the Dikshitar (the madhyamAvati "SrI rAja-rAjESwarIm tripura sundarIm") also has similar focus of name.

The nAta kriti also uniquely describes the Devi as “svara-jati kalpita sanGita-rasike nata priyE bAlE” which is interesting since it comes from the svara-jati master and also gives the rAga mudra.

A leading vidUSi gives a chaste rendering of this somewhat less-heard kriti in pleasing rupaka tAla

https://www.youtube.com/watch?v=P0j-MKU1dAU

Lakshman
Posts: 14019
Joined: 10 Feb 2010, 18:52

Re: Shyama Sastri

Post by Lakshman »

In post 219 Govindan wrote:
Is this a SS kRti? - someone has raised a query in my blogpost. Anyone knows?
kAmAkshi kalyANi kamalAmbA kApADi rakshippai amma in rAga mAlika.
It is definitely not a composition of Shyama Shastri. The mudra Vedapurishsha dasan occurs at the end of the song.

nAdopAsaka
Posts: 878
Joined: 20 Jul 2020, 17:05

Re: Shyama Sastri

Post by nAdopAsaka »

Although there are upto 5 kritis by SyAmA SaStrI on the AkhilandeSwari of the Jambukeswaram site,
only one specifically mentions the Jambupati.

Other than this solitary reference there is no indication in all these Devi oriented kritis of the
status of JambukeSwaram/Tiruvanaikaval as one of the panCa bhUta linga sthalas or of the
so-called Apa-linga (water linga) in comparison to the Dikshitars rather explicit JambupatE yamunA kalyAni.

Further , the Jambupati reference comes as the very first word in the first charanam, but usually only the third charanam (with the shyAmakrSNa sOdari mudra) is sung by most vidwAns/viDuSi’s,
so one important aspect of this sthala appears subdued, if not erased entirely.

Perhaps this tradition is also in keeping with SyAmA SaStri’s severe Devi focus.

The kriti is of course the fine classic sAveri Sankari Samkuru

an exceptional vocal is available
https://www.youtube.com/watch?v=g_OLJH9mMFQ

a fine dance interpretation has also been made

https://www.youtube.com/watch?v=Ae-MVZ7jcVs

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