Shyama Sastri
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Re: Shyama Sastri
In the dhanyAsi kRti 'mIna lOcanA', SS says 'kunda mukunda radanA'.
Normal usage is ‘kunda radanA’. The purpose of adding ‘mukunda’ is not clear. ‘kunda’ and ‘mukunda’ are names two of the nine treasures (nava nidhi) of kubEra. ‘mukunda’ also means one who gives liberation ‘mukum+da’. However, with reference to ‘radanA’ (teeth) this does not seem to be appropriate.
Can someone clarify as to how to interpret this expression?
Normal usage is ‘kunda radanA’. The purpose of adding ‘mukunda’ is not clear. ‘kunda’ and ‘mukunda’ are names two of the nine treasures (nava nidhi) of kubEra. ‘mukunda’ also means one who gives liberation ‘mukum+da’. However, with reference to ‘radanA’ (teeth) this does not seem to be appropriate.
Can someone clarify as to how to interpret this expression?
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Re: Shyama Sastri
Kunda refers to 'a kind of jasmine'.
(The expression 'kunda sama danta' means one whose teeth are like jasmine.)
Munda means 'a precious stone'.
Kunda mukunda radanA may refer to 'teeth looking like a row of jamine coloured stones'.
(The expression 'kunda sama danta' means one whose teeth are like jasmine.)
Munda means 'a precious stone'.
Kunda mukunda radanA may refer to 'teeth looking like a row of jamine coloured stones'.
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Re: Shyama Sastri
pb,
According to Telugu Dictionary 'mukunda' means 'red lotus'. This again is not a fit comparison for teeth.
IMHO, 'jasmine coloured' seems to be self contradictory.
According to Telugu Dictionary 'mukunda' means 'red lotus'. This again is not a fit comparison for teeth.
IMHO, 'jasmine coloured' seems to be self contradictory.
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Re: Shyama Sastri
As per Monier-Williams Sanskrit Dictionary:
कुन्द means 'a kind of jasmine'
कुन्द सम दन्त means 'one whose teeth are like the jasmine'
मुकुन्द, inter alia, means 'a kind of precious stone'.
कुन्द means 'a kind of jasmine'
कुन्द सम दन्त means 'one whose teeth are like the jasmine'
मुकुन्द, inter alia, means 'a kind of precious stone'.
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Re: Shyama Sastri
V.S.Apte's dictionary also gives the meaning 'quicksilver' for the word 'mukunda'. Does it mean mercury?
Then the meaning will be 'one whose teeth are as white as jasmine flower and mercury'.
Like ,in the Saraswati shlokam, 'yAkundEndu ', where She is described as being as fair as the jasmine flower, the moon, snow,string of pearls etc, here also the whiteness of the teeth is compared to two things-jasmine and quicksilver.
Then the meaning will be 'one whose teeth are as white as jasmine flower and mercury'.
Like ,in the Saraswati shlokam, 'yAkundEndu ', where She is described as being as fair as the jasmine flower, the moon, snow,string of pearls etc, here also the whiteness of the teeth is compared to two things-jasmine and quicksilver.
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Re: Shyama Sastri
There are a few songs which have the expression कुन्द मुकुल दन्त -- 'one whose teeth are like the jasmine buds'!
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Re: Shyama Sastri
punarvasu,
I saw the meaning 'quicksilver' in Apte's dictionary. But it did not strike me then. Therefore, I am using the meaning 'mercury' for 'mukunda'.
Thanks
I saw the meaning 'quicksilver' in Apte's dictionary. But it did not strike me then. Therefore, I am using the meaning 'mercury' for 'mukunda'.
Thanks
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Re: Shyama Sastri
Punarvasu, my first memory of kunda is from the gItam, 'kunda gaura gaurI vara' on Siva, where PD describes the ponnArmEniyan as being as fair as the jasmine flower....
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Re: Shyama Sastri
In the dhanyAsi kRti 'mIna lOcanA', SS says 'kunda mukunda radanA'.
It is a faulty pATha. It should be kunda-mukula-radanA
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Re: Shyama Sastri
keerthi,
I would agree with you. But how to sort out such issues when all books say 'mukunda'?.
In any case, I will make note in the kRti accordingly.
I would agree with you. But how to sort out such issues when all books say 'mukunda'?.
In any case, I will make note in the kRti accordingly.
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Re: Shyama Sastri
In the punnAga varALi kRti 'brOva samayamidE', SS seems to use an unusual term 'SyAma giri' to refer to 'himAlaya'. He refers to pArvatI as 'SyAma giri tanayA' (3rd caraNa).
Is such usage found anywhere else too?
Is such usage found anywhere else too?
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Re: Shyama Sastri
In the sari evaramma (bhairavi) the third caraNa is:
3: pAmara pAvani pArvatI pAkAri vinutE shrI lalitE shyAmakrSNa paripAlini dEvI shyAmagiri suputrI
3: pAmara pAvani pArvatI pAkAri vinutE shrI lalitE shyAmakrSNa paripAlini dEvI shyAmagiri suputrI
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Re: Shyama Sastri
Lakshmanji,
Thanks for the input. I am yet to come to that kRti. I have checked my books also. It is given as mentioned by You.
Therefore, that confirms the usage 'SyAma giri' meaning 'hima giri'.
Thanks.
Thanks for the input. I am yet to come to that kRti. I have checked my books also. It is given as mentioned by You.
Therefore, that confirms the usage 'SyAma giri' meaning 'hima giri'.
Thanks.
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Re: Shyama Sastri
In the kriti 'akshayalinga vibhO' the Lord is referred to as 'hEmagiri nAtha'.
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Re: Shyama Sastri
Ranganayaki,
Thanks for sharing. May I know who the singer is?
punarvasu,
'hEma giri' would mean 'mEru'. Siva is also stated to wield 'mEru' as His bow - tyAgarAja kRti 'ISa pAhi mAM' (hEmAcala cApa).
Thanks for sharing. May I know who the singer is?
punarvasu,
'hEma giri' would mean 'mEru'. Siva is also stated to wield 'mEru' as His bow - tyAgarAja kRti 'ISa pAhi mAM' (hEmAcala cApa).
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Re: Shyama Sastri
Smt Ranganayaki,
With all respect to the Vidwan who has sung in your recording; and other venerable artistes who sang and popularised this song - DKP-DKJ and their students, Sri Nedanuri-garu and others; there has been a mistake in the lyric of the caranam, that has consistently been repeated in all their versions.
Again, with all respect to Smt. Vidya Sankar, the doyenne who probably was the first to publish a compendium of ShyAma shAstri's songs; I submit that her publication could have been the source of this error; as it is the earliest publication with this kRti and this error.
I haven't been able to verify whether or not Prof. Sambamoorthy has published this song, and if he has, in what form.
C1: mAdhava sOdari gaurI mahA bhairavi shAmbhavi
nAda[/color]rUpiNi janani dEvI nArAyaNI naLinAkSi
C2: rAjarAjEshvari cidrUpI rAjIvAkSI lOkasAkSi
tEjOmayI jananI dEvI OjOvatI OmkArI
C3: pAmara pAvani pArvatI pAkAri vinutE shrI lalitE
shyAmakrSNa paripAlini dEvI shyAmagiri suputrI
Above is the correct reading of the three carana-s with suitable anuprAsa concordance. However the hybrid faulty caranam with the first half of the first caranam, and the second half of the last caranam, is what is being sung ubiquitously.
I thought that this observation about the chimera caranam was mine, but as it turns out the musician-scholar Dr. Ritha Rajan has recorded this in her doctoral thesis, that was written in the early 80's.
See below link for her doctoral dissertation.
http://www.musicresearch.in/categorywis ... &authid=16
With all respect to the Vidwan who has sung in your recording; and other venerable artistes who sang and popularised this song - DKP-DKJ and their students, Sri Nedanuri-garu and others; there has been a mistake in the lyric of the caranam, that has consistently been repeated in all their versions.
Again, with all respect to Smt. Vidya Sankar, the doyenne who probably was the first to publish a compendium of ShyAma shAstri's songs; I submit that her publication could have been the source of this error; as it is the earliest publication with this kRti and this error.
I haven't been able to verify whether or not Prof. Sambamoorthy has published this song, and if he has, in what form.
C1: mAdhava sOdari gaurI mahA bhairavi shAmbhavi
nAda[/color]rUpiNi janani dEvI nArAyaNI naLinAkSi
C2: rAjarAjEshvari cidrUpI rAjIvAkSI lOkasAkSi
tEjOmayI jananI dEvI OjOvatI OmkArI
C3: pAmara pAvani pArvatI pAkAri vinutE shrI lalitE
shyAmakrSNa paripAlini dEvI shyAmagiri suputrI
Above is the correct reading of the three carana-s with suitable anuprAsa concordance. However the hybrid faulty caranam with the first half of the first caranam, and the second half of the last caranam, is what is being sung ubiquitously.
I thought that this observation about the chimera caranam was mine, but as it turns out the musician-scholar Dr. Ritha Rajan has recorded this in her doctoral thesis, that was written in the early 80's.
See below link for her doctoral dissertation.
http://www.musicresearch.in/categorywis ... &authid=16
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Re: Shyama Sastri
keerthi,
The caraNams, as mentioned in your post, are found as it is - well almost - in the book by SrI TK Govinda Rao and that of Vidya Shankar also. As usual with SS kRtis 'ambA' and 'dEvi' are found 'extra' in these books in caraNams 1 and 2.
The caraNams, as mentioned in your post, are found as it is - well almost - in the book by SrI TK Govinda Rao and that of Vidya Shankar also. As usual with SS kRtis 'ambA' and 'dEvi' are found 'extra' in these books in caraNams 1 and 2.
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Re: Shyama Sastri
vgovindan wrote:Ranganayaki,
Thanks for sharing. May I know who the singer is?
Govindan Mama,
That was my father.
Last edited by Ranganayaki on 06 Apr 2011, 07:26, edited 1 time in total.
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Re: Shyama Sastri
Keerthi, I've been trying to think of this, and I've been wondering if this is a really a mistake. But first of all, let me assure you that I welcome your comment and if my father had received it, he would certainly have listened attentively to your point of view. I am not sure I can agree that it is a particularly big mistake. I think a lot of songs have multiple charanams that are never sung in concerts and artists usually choose one or two (or just a few) to sing. In this case, I think it was not a mistake, but a choice that was propagated. Surely, the original intention was to drop a part of the song. I think they may have wanted only one charanam, and they may have picked and chosen their preferred lines and combined them to retain the most beautiful lines that also contain the mudra. I think they may have simply taken some artistic liberty. If the DK siblings were actually the ones who started this, others may have continued along these lines especially as these two were musical heavy-weights, but considering that the Sahityam books are freely available, it may have been a choice. I am not speaking from any deep expertise, but just using my ideas on this kind of freedom, and my own sense of it, with a slightly easy-going spirit.keerthi wrote: With all respect to the Vidwan who has sung in your recording; and other venerable artistes who sang and popularised this song - DKP-DKJ and their students, Sri Nedanuri-garu and others; there has been a mistake in the lyric of the caranam, that has consistently been repeated in all their versions.
If one is going to be really rigorous about it, then we ought to sing the whole song faithfully, and drop no charanams. Paayum oli, for example should have all its stanzas sung, not just the four that are sung by most people. So I think the choice made was between rigor and audience interest - a long song would have been boring; the choice was possibly also for the most pleasing lines, to make for a very beautiful song.
Please do give me your views.
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Re: Shyama Sastri
Singing one carana and leaving out the others, is not wrong, but taking two lines from one caranam and two from another..?
That is what has happened here. And I am sure you agree with me, in that this is a whole different thing. Especially, given the attention that the vaggEyakAra-s paid to prAsa concordance. [you can see a discussion on that in the general discussions section]
Govindan Sir says that Vidya Shankar's book gives these carana-s, but I suspect he has a later edition of the book, where the correct version of the carana-s may have been added; which is a welcome thing.
That is what has happened here. And I am sure you agree with me, in that this is a whole different thing. Especially, given the attention that the vaggEyakAra-s paid to prAsa concordance. [you can see a discussion on that in the general discussions section]
Govindan Sir says that Vidya Shankar's book gives these carana-s, but I suspect he has a later edition of the book, where the correct version of the carana-s may have been added; which is a welcome thing.
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Re: Shyama Sastri
Yes, I agree with you, but my first reaction is why not. Now it is without the prasa concordance, like free verse, may be? I wonder what the limit is for the liberty an artist can take with a kriti. That said, I do feel that if the practice of singing it this way originates in a whole lot of books all giving the abridged version of the song, and no one remembers that there is a choice being made here, then it amounts to an actual mistake, and I will agree with you completely.keerthi wrote:Singing one carana and leaving out the others, is not wrong, but taking two lines from one caranam and two from another..?
That is what has happened here. And I am sure you agree with me, in that this is a whole different thing. Especially, given the attention that the vaggEyakAra-s paid to prAsa concordance. [you can see a discussion on that in the general discussions section]
Since I don't know much about what's in the books, I can't comment further, and will take your word for it. But I do plan to check my father's book in Mysore and see what's in it when I go there this summer.
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Re: Shyama Sastri
'What are the limits of liberty that an artiste can take with a kRti' is indeed a very interesting question. Especially, given the strange combo of restriction and creative freedom that carnatic music is, we could discuss that topic in detail separately.
There have been discussions here before, on the primacy / relative importance of lyrics and music, of the problem of padacchEda, of the tradeoff between pAThAntara fidelity and creative sangati-s etc. We could put it all into one discussion.
There have been discussions here before, on the primacy / relative importance of lyrics and music, of the problem of padacchEda, of the tradeoff between pAThAntara fidelity and creative sangati-s etc. We could put it all into one discussion.
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Re: Shyama Sastri
nice writeup of SS
http://www.hindu.com/fr/2011/05/06/stor ... 650300.htm
http://www.hindu.com/fr/2011/05/06/stor ... 650300.htm
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Re: Shyama Sastri
Dear Shyama Shastri bhaktas and experts,
I just heard a fine rendering of a kriti by Maharajapuram Santhanam here:
http://www.sangeethapriya.org/noauth.ph ... ntanam.mp3
Now I also saw somewhere this is a mis-attribution to Shyama Shastri.
I request you to enlighten me. I am surely moved by Santhanam's fine rendition.
Thanks!
Sachi R
I just heard a fine rendering of a kriti by Maharajapuram Santhanam here:
http://www.sangeethapriya.org/noauth.ph ... ntanam.mp3
Now I also saw somewhere this is a mis-attribution to Shyama Shastri.
I request you to enlighten me. I am surely moved by Santhanam's fine rendition.
Thanks!
Sachi R
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Rare and beautiful composition on Syama Sastri by M.D.Ramana
Shyaama Shaastrivale Kaamaakshi Bhakthudu
Eee Mahilo Evarayya
Ememo Raaga Layaadulatho Poshinchi
Shyamkrshnaankitamai Velayu
Shaashwatha Mahima Krituta rachinchina
Bangaaru Kaamaakshini Sadaa Poojinchi
Shankaarahitude Sharanaagathamu Chesi
Sangeeta Saahitya Rasaadulanu Delisi
Inkitamerugu Sangita Muni
Ishta Shishyudai Velasina Sri
Varamagu Kamalaanagarilo Putti
Varamagu Sadbhakti Sugnyaanamutho
Swarajathi Gathiyutha Kritulanu Chesi
Parama Bhaagavathudai Velasi
Varadaasuni Joochi Brochina
Sung by Amrutha Venkatesh for her Shyama Sastry Jayanti concert at Chennai recently.
http://www.youtube.com/watch?v=LRmgWyzcJmc
Eee Mahilo Evarayya
Ememo Raaga Layaadulatho Poshinchi
Shyamkrshnaankitamai Velayu
Shaashwatha Mahima Krituta rachinchina
Bangaaru Kaamaakshini Sadaa Poojinchi
Shankaarahitude Sharanaagathamu Chesi
Sangeeta Saahitya Rasaadulanu Delisi
Inkitamerugu Sangita Muni
Ishta Shishyudai Velasina Sri
Varamagu Kamalaanagarilo Putti
Varamagu Sadbhakti Sugnyaanamutho
Swarajathi Gathiyutha Kritulanu Chesi
Parama Bhaagavathudai Velasi
Varadaasuni Joochi Brochina
Sung by Amrutha Venkatesh for her Shyama Sastry Jayanti concert at Chennai recently.
http://www.youtube.com/watch?v=LRmgWyzcJmc
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Re:
lakshmanji,Ecstacy wrote:Yes Meena, that's brOvumu manine - kIravANi/Adi. Its strange to note that brovu brovu is what is mentioned in CD or Cassette description and talam is jhambai (Maharajapuram Santhanam's AVM audio twin cassette album BSFR 192/193 on Shyama Saatri compositions). These are one of those compositions that are attributed to Shyama Sastry, but have never been verified in any way, and are also not listed by T. K. Govinda Rao in his book.
Someone has requested me for the lyrics of this song (brOvu brOvumani nE - kIravANi) - attributed to SS. However, this kRti is not found in any of the books referred to by me. I have the audio of Maharajapuram Santanam.
Can you please provide the lyrics for this kRti as also who wrote this kRti.
Thanks
V Govindan
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Re: Shyama Sastri
(From Lakshman sir)
brOvu brOvu - kIravANi - cApu tALA
pallavi
brOvu brOvu maninE endu vEDitE nIvu vinna
nA vinnapamu nA talli shrI lalitE
anupallavi
dEvI shrI mInalOcani brOva sundarEshuni rANi
nI shrI madurApura vAsini
(ciTTasvara)
nI sa rI ni sa rI gA ri nI sA ni sa sa ni dha pa dha ni
sa rI ga mA pa dha ni sA ri ga mA ga ri sA ni dhA pA mA gA ri
caraNam
shyAmakrSNa sahOdari shyAmaLE shatOdhari amba
kAmitArtha mosage kalpakavalli
tAmasamElE tanayuni pAlincuTE
sAmagAna kanjalOcani kIravANi
(ciTTasvara sAhitya)
nI sari bhuvilO pati nAtu evarunnArammA shrI mahA
tripurasundari shankari vEgamE vacci nannu
brOvu brOvu - kIravANi - cApu tALA
pallavi
brOvu brOvu maninE endu vEDitE nIvu vinna
nA vinnapamu nA talli shrI lalitE
anupallavi
dEvI shrI mInalOcani brOva sundarEshuni rANi
nI shrI madurApura vAsini
(ciTTasvara)
nI sa rI ni sa rI gA ri nI sA ni sa sa ni dha pa dha ni
sa rI ga mA pa dha ni sA ri ga mA ga ri sA ni dhA pA mA gA ri
caraNam
shyAmakrSNa sahOdari shyAmaLE shatOdhari amba
kAmitArtha mosage kalpakavalli
tAmasamElE tanayuni pAlincuTE
sAmagAna kanjalOcani kIravANi
(ciTTasvara sAhitya)
nI sari bhuvilO pati nAtu evarunnArammA shrI mahA
tripurasundari shankari vEgamE vacci nannu
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Re: Shyama Sastri
Lec dem on syama sastri
http://www.thehindu.com/features/friday ... 309586.ece
http://www.thehindu.com/features/friday ... 309586.ece
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Re: Shyama Sastri
Imo, no one renders Shyama Sastri krithis better than Bombay Jayashri:
Neelayatakshi - Paras,
Rave Himagiri Swarajathi - Todi,
Saroja Dala Netri - Shankarabharanam, and
Himachala Thanaya - Anandabharavi:
http://mio.to/album/Bombay+Jayashri/Tra ... he+Trinity
Dayanidhe Begada Varnam,
Pahi Sri Giriraja Suthe - Anandabhairavi,
Kamakshi Ni Pada Swarajathi - Yadhukulakambhoji,
Devi Brova - Chintamani,
Thalli Ninnu Nera - Kalyani,
Kamakshi Lokasakshini Geetham - Madhyamavathi, and
Kanaka Shaila - Punnagavarali
http://mio.to/album/Bombay+S+Jayashri/S ... ri+Krithis
Ninne Nammi Nanu - Todi:
http://mio.to/album/Bombay+Jayashri/Rar ... %281997%29
Himadhri Suthe - Kalyani:
http://mio.to/album/Bombay+Jayashri/Bom ... hree+Vocal
O Jagadamba - Anandabhairavi:
http://mio.to/album/Bombay+Jayashri/Chi ... Aesthetics
Kamakshi Bangaru - Varali:
http://mio.to/album/Bombay+Jayashri/Maargam+Vol+1
Palinchu Kamakshi - Madhyamavathi:
http://mio.to/album/Bombay+Jayashri/Paa ... Kaamaakshi
Mayamma - Ahiri:
http://mio.to/album/Bombay+Jayashri/Mad ... gazhi+2006
Kamakshi Anudinamu Swarajathi - Bhairavi:
https://www.youtube.com/watch?v=gSD0VA3QHVs
Neelayatakshi - Paras,
Rave Himagiri Swarajathi - Todi,
Saroja Dala Netri - Shankarabharanam, and
Himachala Thanaya - Anandabharavi:
http://mio.to/album/Bombay+Jayashri/Tra ... he+Trinity
Dayanidhe Begada Varnam,
Pahi Sri Giriraja Suthe - Anandabhairavi,
Kamakshi Ni Pada Swarajathi - Yadhukulakambhoji,
Devi Brova - Chintamani,
Thalli Ninnu Nera - Kalyani,
Kamakshi Lokasakshini Geetham - Madhyamavathi, and
Kanaka Shaila - Punnagavarali
http://mio.to/album/Bombay+S+Jayashri/S ... ri+Krithis
Ninne Nammi Nanu - Todi:
http://mio.to/album/Bombay+Jayashri/Rar ... %281997%29
Himadhri Suthe - Kalyani:
http://mio.to/album/Bombay+Jayashri/Bom ... hree+Vocal
O Jagadamba - Anandabhairavi:
http://mio.to/album/Bombay+Jayashri/Chi ... Aesthetics
Kamakshi Bangaru - Varali:
http://mio.to/album/Bombay+Jayashri/Maargam+Vol+1
Palinchu Kamakshi - Madhyamavathi:
http://mio.to/album/Bombay+Jayashri/Paa ... Kaamaakshi
Mayamma - Ahiri:
http://mio.to/album/Bombay+Jayashri/Mad ... gazhi+2006
Kamakshi Anudinamu Swarajathi - Bhairavi:
https://www.youtube.com/watch?v=gSD0VA3QHVs
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Re: Shyama Sastri
Best joke of the yearnarayara000 wrote: ↑01 Aug 2017, 21:56 Imo, no one renders Shyama Sastri krithis better than Bombay Jayashri:
Neelayatakshi - Paras,
Rave Himagiri Swarajathi - Todi,
Saroja Dala Netri - Shankarabharanam, and
Himachala Thanaya - Anandabharavi:
http://mio.to/album/Bombay+Jayashri/Tra ... he+Trinity
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Re: Shyama Sastri
Actually, CRama, the best joke of the year was when some Narayana said that the best Paramathmudu he heard was from the mouth of Aruna Sayeeram!!
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Re: Shyama Sastri
Don't know what you guys have against BJ, beautiful voice and perfect pronunciation in these renderings
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Re: Shyama Sastri
Thanks sankark for the link. It was an enriching lec dem in Kannada by Dr. TSSatyavati followed by a brief concert of SS kritis.
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Re: Shyama Sastri
recently i had attended harikatha by vid.Vishakha Hari on musical trinity and purandaradasa
when it came to life history of shyama shyastrigal:
vid.Vishakha ji, shared an incident:
shyama shyastrigal could predict his day of death(on that day he attained siddhi)
when he lost his loving wife he said:
" saga anju naal; setha ara naal"
but people understood as
" saga anjinal; setha ara naal"(meaning she feared for death, and died on 6 th day)
but shastrigal wanted to convey
" saga anju naal; setha ara naal"(meaning his wife will die on 5th day; from there shartigal will die on 6th day(i.e 11th day))
and shastrigal attained siddhi on that very day
could anybody shed some light on this incident of shastigals life
when it came to life history of shyama shyastrigal:
vid.Vishakha ji, shared an incident:
shyama shyastrigal could predict his day of death(on that day he attained siddhi)
when he lost his loving wife he said:
" saga anju naal; setha ara naal"
but people understood as
" saga anjinal; setha ara naal"(meaning she feared for death, and died on 6 th day)
but shastrigal wanted to convey
" saga anju naal; setha ara naal"(meaning his wife will die on 5th day; from there shartigal will die on 6th day(i.e 11th day))
and shastrigal attained siddhi on that very day
could anybody shed some light on this incident of shastigals life
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Re: Shyama Sastri
A couple of years back, we had a discussion on Shyama Sastri's usage of vilOma chApu for trilOka mAtA nannu (the original version). MDR sang it quite a few times on record, but being MDR it is often not that easy to follow him.
So here's another version by Amrutha Venkatesh (from her Youtube channel) : https://www.youtube.com/watch?v=WSI4jxzay88
So here's another version by Amrutha Venkatesh (from her Youtube channel) : https://www.youtube.com/watch?v=WSI4jxzay88
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Re: Shyama Sastri
is there any specialty of shyama-shyastrigal using the word "gaja-gamana" in most of his compositions ?
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Re: Shyama Sastri
i just wanted to know which was the first composition of sri shyama shyasrigal
as we all know
thyagarajars first was namO namO rAghavAyaanisham in desika-todi and
diksithars first was shrI nAthAdi guruguhO in mayamalavagowla
as we all know
thyagarajars first was namO namO rAghavAyaanisham in desika-todi and
diksithars first was shrI nAthAdi guruguhO in mayamalavagowla
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Re: Shyama Sastri
got the answer through sangeethapriya groups by K N Ramesh(popular blogger)
"Interesting Which I came across !
SHYAMA SASTRI, one of the Music Trinity, was christened Shyamakrishna at birth. What made him address Devi Kamakshi of Thanjavur as his sister (Shyamakrishna Sodari) in all his kritis is an interesting story handed down by the temple archakas of his time, according to Swaminantha Atreya, the asthana Sanskrit vidwan of the Kanchi mutt. Those were the days when the temple for Goddess Kamakshi was being built by Thulajaji, the Maratha ruler of Thanjavur. Shyama would practise the songs in his wonderful voice sitting on the tower meant for the temple bell. His aunt who was fond of him used to send him milk through her little daughter. One
day the girl came calling him "Anna" (brother), placed the bowl of milk by his side and disappeared. Shyama noticed her angelic charm that day with the necklace of the deity adorning her neck. He at once ran home only to reprimand his mother for having sent her decked with the deity's jewel.When he learnt that she had not sent the girl that day, as she was not available he knew that Goddess Kamakshi had come to enslave him. The first kriti that flowed from his lips praising Her grace was "Oh, Jagadamba' in Ananda Bhairavi which was later followed by about 300 kritis with his mudra `Shyama Krishna Sodari'. Did she not address him as "Anna"?..."
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Re: Shyama Sastri
in addition to my previous post i also got one more titbit information:
from: https://www.indiadivine.org/content/top ... a-shastri/
-The first composition of Shyama Shastri 'janani natajana paripaalini' in raga saveri is unique in the aspect that it does not have the 'shyama krishna' mudra.
the last compositions of trinities:
thyagarajar: giripai nelakona
dikshithar: menakshi memudam
is there any idea of which song was lastly composed by shyama sastrigal
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Re: Shyama Sastri
Meenakshi Mumudam was NOT his last krithi, he asked his students to sing it when he knew he was on his death bed and passed away hearing the line "Meenalochani pacha mochani".ajaysimha wrote: ↑25 Mar 2019, 17:33in addition to my previous post i also got one more titbit information:
from: https://www.indiadivine.org/content/top ... a-shastri/
-The first composition of Shyama Shastri 'janani natajana paripaalini' in raga saveri is unique in the aspect that it does not have the 'shyama krishna' mudra.
the last compositions of trinities:
thyagarajar: giripai nelakona
dikshithar: menakshi memudam
is there any idea of which song was lastly composed by shyama sastrigal
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Re: Shyama Sastri
ohh, good to know. thanks for info.
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Re: Shyama Sastri
the last compositions of trinities:
thyagarajar: giripai nelakona
I have heard that kAlaharaNamElarA was the last song of Thygaraja
thyagarajar: giripai nelakona
I have heard that kAlaharaNamElarA was the last song of Thygaraja
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Re: Shyama Sastri
may harikatha artists say giripai nelakona was last song.
even many articles or books give the same info.
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Re: Shyama Sastri
we quite often hear thagarajar charitram and rarely dikshitar charitram.
has anybody come across anything like shyama shastri charitram or harikatha on shyama shastri ??
i could find only 2 videos on YTB
Sangeetha Mummoorthigal - Vishaka Hari https://youtu.be/JBoh67oz4Z4
Syama Sastri - Chaganti Koteswara Rao https://youtu.be/nCCc5ndE9bo
any suggestions ?
thanks,
ajay simha
has anybody come across anything like shyama shastri charitram or harikatha on shyama shastri ??
i could find only 2 videos on YTB
Sangeetha Mummoorthigal - Vishaka Hari https://youtu.be/JBoh67oz4Z4
Syama Sastri - Chaganti Koteswara Rao https://youtu.be/nCCc5ndE9bo
any suggestions ?
thanks,
ajay simha
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Re: Shyama Sastri
Lovely writeup of this bangaru kamakshi amman temple. Once i had a family function in a hall very next to this temple , this temple is great. Write up dated 17th May,2019 in The Hindu
https://www.thehindu.com/entertainment/ ... 148229.ece
https://www.thehindu.com/entertainment/ ... 148229.ece