Shyama Sastri
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His padavarNa- "sAmini" in Ananda bhairavi is in praise of kanci varadarAja. And he has composed another kRti on kArtikEya(subrahmaNya)- "sAmi ninnE nammiti" in bEgaDeI may be too silly to ask this. Has shyama sastri composed any kriti praising some other deity than ambal?
I vaguely remember reading somewhere about existance of some such kriti(s?)
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third composition in sankarAbaraNam
today while perusing thro' the 'kriti maNi mAli' by rangarAmanuja Iyengar, there were 44 kriti listed as shyama sastri kritis and there was a third composition in sankarabaranam listed as 'nannu karuninchu' set to rupaka talam. any info on this kriti with anybody??? i guess, recordings would be too much to ask.
today while perusing thro' the 'kriti maNi mAli' by rangarAmanuja Iyengar, there were 44 kriti listed as shyama sastri kritis and there was a third composition in sankarabaranam listed as 'nannu karuninchu' set to rupaka talam. any info on this kriti with anybody??? i guess, recordings would be too much to ask.
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It is interesting to hear ShrI ShyAma ShAstri has composed on ShrI kanchi varadarAja and murugan. It would be great to read the lyrics and listen to these rare pieces when they become available. I just listened to the Carnatica CD of A Sundaresan a few days ago and the composition, "pAhimAm ShrIrAjarAjEshvarI" in nATTa caught my attention. Somehow, it seemed even ShAstri was interested in bhajana as the tune of the kriti had some semblance with the traditional tODaya mangaLam rendered foremost in the paddhati.
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Here are the lyrics for the three songs under discussion.
sAmi ninnE nammiti. rAgA: bEgaDa. Adi tALA.
P: sAmi ninnE nammiti rA rArA muddukumArA
A: nAmIda dayajUci nannu rakSimparA vEgamE tAmasamu jEsitE nimiSamika tALa jAlanayyA muddayyA
C1: nI mahimalu brahmAdulaninci nirNayimpa taramaunA pAmaru nEnu pogaDa
taramA patita pAvana SaDAnana nA manavini vinarA anayamu nI nAmamE japamurA
gambhIrA bhUmilO nIsATi deivamevaDu nIvE mahAnubhAva nannu brOvu
2: tApamunella ika bApuduvani prApu kOritirA nEnu nI pAdamulE dikku
lOkamulanu nikhila santApa haraNa pApa haraNa sammOhana kaLA vidhrta
shrIpati pada vidita vEdAnta rUpa kOTi manmatAnga jita sarOja nEtra dhIra raNavIra
3: kOriyuNTi nIdu sannidhini kOrinavArikella dayatOnu kOrikalaniccEdi nI birudu gadA
kuTila tAraka vidAraka sArasa carita nI dayarAdA shyAmakrSNanuta vaidyE
su-nIlakNTha vAhanadInAvana su-hradayavAsa darahAsa
sAmini rammanavE. rAgA: Anandabhairavi. k/aTa tALA.
P: sAmini rammanavE sArasAkSi I vELa
A: kAmini ganna mA kAncIvAsuDaina shrI varadarAjuni
(ciTTasvara)
, ma pa ma ma ga ri *ni sa ga ri sA sa *ni *ni sa *ni sa ga , ri ga ga ma pa dha pA ma ga ga ma pa ga mA ga ri *ni sa ga ri ga
, ma pa dha dha pa ma pa , ma ga ga mA ; ; *ni sa ma ga ri sA ga ma pa dha pa sa* ni , sa* ma* ga* ri* ga* ri* sA* ga* ri*
sa* ri* sa* ni nI sa* pa dha pa sA* sa ni dha pa dha pa mA dha pa ma ga ma pa gA ma ga ri sa *ni
C1: mAruni bANamulu vEmAru nE tALagalEnu kUrimitO nannElina guNavantuDaina shrI varadarAja
2: pATiyani madi calamukoni sarOja saramula sAraku ghanakucamuladara varALi gamula virALimgalaganIsugOnu nala
3: mAmagu nalasOmuni kAkala kavari sAmin dalaci niratamunu nE viraha vEdanan-vEsarimpa nI tarini IlAgu nanu
4: nelatalagumulu nITulanavari gioluvaga sadA matALula gamulkarakari mrOyaganu I rasamugA madini tA dalaci sAhasamuna mIri ghana rOsamuna shukALipika sEnalanu tA dalaci mAnakanu sAmOdamuna mAyagoni I samayamuna
(ciTTasvara sAhitya)
sarasa jEri samaratula mETi yuparatulacE nenaka garima mIraganu ghanamu jEyucunu taLiribONi bhaLa mAnini vinavE
nannu karuNinci. rAgA: shankarAbharaNa. rUpaka tALA.
P: nannau karuNinci brOvu shankari tripurasundari
A: sanaka sanandanAdi munulu sadA bhajincE talli
C: vArija sutA gambhIrA dInajananutA duSkarma vidhu vidAriNI girirAjakumAri
sAmi ninnE nammiti. rAgA: bEgaDa. Adi tALA.
P: sAmi ninnE nammiti rA rArA muddukumArA
A: nAmIda dayajUci nannu rakSimparA vEgamE tAmasamu jEsitE nimiSamika tALa jAlanayyA muddayyA
C1: nI mahimalu brahmAdulaninci nirNayimpa taramaunA pAmaru nEnu pogaDa
taramA patita pAvana SaDAnana nA manavini vinarA anayamu nI nAmamE japamurA
gambhIrA bhUmilO nIsATi deivamevaDu nIvE mahAnubhAva nannu brOvu
2: tApamunella ika bApuduvani prApu kOritirA nEnu nI pAdamulE dikku
lOkamulanu nikhila santApa haraNa pApa haraNa sammOhana kaLA vidhrta
shrIpati pada vidita vEdAnta rUpa kOTi manmatAnga jita sarOja nEtra dhIra raNavIra
3: kOriyuNTi nIdu sannidhini kOrinavArikella dayatOnu kOrikalaniccEdi nI birudu gadA
kuTila tAraka vidAraka sArasa carita nI dayarAdA shyAmakrSNanuta vaidyE
su-nIlakNTha vAhanadInAvana su-hradayavAsa darahAsa
sAmini rammanavE. rAgA: Anandabhairavi. k/aTa tALA.
P: sAmini rammanavE sArasAkSi I vELa
A: kAmini ganna mA kAncIvAsuDaina shrI varadarAjuni
(ciTTasvara)
, ma pa ma ma ga ri *ni sa ga ri sA sa *ni *ni sa *ni sa ga , ri ga ga ma pa dha pA ma ga ga ma pa ga mA ga ri *ni sa ga ri ga
, ma pa dha dha pa ma pa , ma ga ga mA ; ; *ni sa ma ga ri sA ga ma pa dha pa sa* ni , sa* ma* ga* ri* ga* ri* sA* ga* ri*
sa* ri* sa* ni nI sa* pa dha pa sA* sa ni dha pa dha pa mA dha pa ma ga ma pa gA ma ga ri sa *ni
C1: mAruni bANamulu vEmAru nE tALagalEnu kUrimitO nannElina guNavantuDaina shrI varadarAja
2: pATiyani madi calamukoni sarOja saramula sAraku ghanakucamuladara varALi gamula virALimgalaganIsugOnu nala
3: mAmagu nalasOmuni kAkala kavari sAmin dalaci niratamunu nE viraha vEdanan-vEsarimpa nI tarini IlAgu nanu
4: nelatalagumulu nITulanavari gioluvaga sadA matALula gamulkarakari mrOyaganu I rasamugA madini tA dalaci sAhasamuna mIri ghana rOsamuna shukALipika sEnalanu tA dalaci mAnakanu sAmOdamuna mAyagoni I samayamuna
(ciTTasvara sAhitya)
sarasa jEri samaratula mETi yuparatulacE nenaka garima mIraganu ghanamu jEyucunu taLiribONi bhaLa mAnini vinavE
nannu karuNinci. rAgA: shankarAbharaNa. rUpaka tALA.
P: nannau karuNinci brOvu shankari tripurasundari
A: sanaka sanandanAdi munulu sadA bhajincE talli
C: vArija sutA gambhIrA dInajananutA duSkarma vidhu vidAriNI girirAjakumAri
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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.
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brOvu brOvu. rAgA: kIravANi. cApu tALA.
P: brOvu brOvu maninE endu vEDitE nIvu vinna nA vinnapamu nA talli shrI lalitE
A: 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
C: 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
P: brOvu brOvu maninE endu vEDitE nIvu vinna nA vinnapamu nA talli shrI lalitE
A: 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
C: 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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Wikipedia has interesting info on SS. I am cut pasting the info...from
http://en.wikipedia.org/wiki/Syama_Sastri
-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.
-There are only four shrines that were eulogized by all the members of the trinity. (Dharmasamvardhani enshrined at Thruvaiyar, Kamakshi at Kanchi, Nilayadakshi at Nagapattanam and Varadaraja at Kanchi)
-Almost all compositions of Shastri are in praise of the supreme mother goddesses except for a krithi in raga begada 'sami ninne nammitirara ra muthu kumara' and a varnam in raga Anada bhairavi 'samini rammanave'. The begada krithi is in praise of Lord Muthukumara swami at Vaideshvaran koil and the Ananda bhairavi varnam is in praise of Lord Varadaraja at Kanchipuram.
-Though raga Ananda Bhairavi enjoys the status of being the most beloved raga to Shastri, his maximum compositions are in raga Kalyani:
1. Talli ninu nera - Chapu 2. Devi nannu brovavamma - Jampa 3. Nive gathi - Matya 4. Paraamukhmenamma - Triputa 5. Birana varalichi - Adi (tishra gati)/Rupaka 6. Himadri sute - (tishra gati)/Rupaka 7. Shankari - Ata 8. Sri kamakshi - Adi 9. Rave parvataraja kumari - Jampa.
-Maanji and Paraz are two beautiful ragas that were exempted by Thyagaraja, but handled by both Dikshitar and Shastri. Though Dikshitar is well known for handling ragas in vilamba kala, both the maanji krithis of Dikshitar (Ramachandrena & Sri Sarasvatihite) are set to medium tempo, while Shastri's masterpiece "Brovavamma tamasamela" brims with subtle nuances of maanji in a majestic vilamba gait. Both Dikshitar and Shastri have four compositions to their credit in raga paraz. Shastri has composed two giitams and two beautiful krithis while Dikshitar has two madhyama kala and two vilamba kala krithis in raga paraz.
http://en.wikipedia.org/wiki/Syama_Sastri
-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.
-There are only four shrines that were eulogized by all the members of the trinity. (Dharmasamvardhani enshrined at Thruvaiyar, Kamakshi at Kanchi, Nilayadakshi at Nagapattanam and Varadaraja at Kanchi)
-Almost all compositions of Shastri are in praise of the supreme mother goddesses except for a krithi in raga begada 'sami ninne nammitirara ra muthu kumara' and a varnam in raga Anada bhairavi 'samini rammanave'. The begada krithi is in praise of Lord Muthukumara swami at Vaideshvaran koil and the Ananda bhairavi varnam is in praise of Lord Varadaraja at Kanchipuram.
-Though raga Ananda Bhairavi enjoys the status of being the most beloved raga to Shastri, his maximum compositions are in raga Kalyani:
1. Talli ninu nera - Chapu 2. Devi nannu brovavamma - Jampa 3. Nive gathi - Matya 4. Paraamukhmenamma - Triputa 5. Birana varalichi - Adi (tishra gati)/Rupaka 6. Himadri sute - (tishra gati)/Rupaka 7. Shankari - Ata 8. Sri kamakshi - Adi 9. Rave parvataraja kumari - Jampa.
-Maanji and Paraz are two beautiful ragas that were exempted by Thyagaraja, but handled by both Dikshitar and Shastri. Though Dikshitar is well known for handling ragas in vilamba kala, both the maanji krithis of Dikshitar (Ramachandrena & Sri Sarasvatihite) are set to medium tempo, while Shastri's masterpiece "Brovavamma tamasamela" brims with subtle nuances of maanji in a majestic vilamba gait. Both Dikshitar and Shastri have four compositions to their credit in raga paraz. Shastri has composed two giitams and two beautiful krithis while Dikshitar has two madhyama kala and two vilamba kala krithis in raga paraz.
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Hmm, none of the links of Coolkarni-ji are working. Is anyone having the same difficulty? Even meena's vedio link too is not working.coolkarni wrote:http://rapidshare.de/files/15370696/San ... Voleti.mp3
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Oh.. Please ignore. these are outdated links. Sorry...hsuvarna wrote:Hmm, none of the links of Coolkarni-ji are working. Is anyone having the same difficulty? Even meena's vedio link too is not working.coolkarni wrote:http://rapidshare.de/files/15370696/San ... Voleti.mp3
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In the case of this kriti, or many others where the word 'vinata' is used, it is a verb - and means 'praised' 'revered' etc.hsuvarna wrote:vinatha is mother of garutmanta, vehicle of vishnu.rshankar wrote:Kiran,
Great job. Thanks!
What does vinathA mean?
Ravi
vinatha sutha ghana vaahana muni maanasa sadana...
(in sharanam bhava karunamyi) or
vinatA suta vAhanuDai veDalenu kAnci varaduDu of Tyagaraja..
vi - is a upasarga
nata -> bow in reverence
-Ramakriya
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You are absolutely right that in this kriti, this meaning fits well. Care needs to be given if 'suta' follows. Even then care needs to be takenramakriya wrote:In the case of this kriti, or many others where the word 'vinata' is used, it is a verb - and means 'praised' 'revered' etc.hsuvarna wrote:vinatha is mother of garutmanta, vehicle of vishnu.rshankar wrote:Kiran,
Great job. Thanks!
What does vinathA mean?
Ravi
vinatha sutha ghana vaahana muni maanasa sadana...
(in sharanam bhava karunamyi) or
vinatA suta vAhanuDai veDalenu kAnci varaduDu of Tyagaraja..
vi - is a upasarga
nata -> bow in reverence
-Ramakriya
to see the context.
Two other places it is garuda vinata-suta-vaahana-sri-ramana(jayantasena), vinatasuta-vaahanudai(harikambhoji),
vinata-suta-raara(huseni).
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Thanks meena. I was confused about another thread on SS which started recently. Then I saw this one with somanymeena wrote:the video links:Even meena's vedio link too is not working.
http://www.sendspace.com/folder/398bf8
Pl. note : NOT u/l by moi, links are posted on sangeethapriya.org
:):) "Rasika", here u go :Oh.. Please ignore. these are outdated links. Sorry...
http://www.rogepost.com/n/6501269128
Enjoy!
uploads and lyrics. None of the links work and then I saw the dates which were in 2006.
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Yes http://syamasastri.blogspot.com/ is very impressive and basically Saradhambal's Phd thesis on Shyama Sastri and his descendants.
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I beg to differ.hsuvarna wrote:-Maanji and Paraz are two beautiful ragas that were exempted by Thyagaraja
There is a kriti of tyagaraja in Pharaz. I have heard Sri VV Srivatsa sing it at a recent lec-dem. It is 'varamaina nEtrOtsava' which is part of the prahlada bhakta vijayam. Sri Srivatsa also mentioned that Dr S Ramanathan and Smt Seetha Rajan sing it.
about mAnji as well, i have heard somebody say about the existance of a tyagaraja kriti.
could somebody throw some light on this?
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Inspired by the Vijaya Siva Rasikas Shyama Sastri Krithis Concert, I was looking for some Shyama Sastri material and bumped into this blog post by our rbharath.
I thought I will provide a bump to this thread by posting it here.
rbharath's blog on the 2008 lec-dem on SS by Nadita Ravi: http://me-and-music.blogspot.com/2008/1 ... hyama.html
Nandita Ravi talks about the SS Saurashtra varnam in the above lec-dem. Here are a couple of links to that varnam
http://sangeethapriya.org/tributes/shya ... a-Ravi.mp3 ( Rama Ravi )
http://sangeethapriya.org/tributes/shya ... nathan.mp3 ( Ambujam Viswanathan )
I could not quite figure out if these two versions illustrate what Nandita Ravi says about how to sing the charana portions of this varnam.
I thought I will provide a bump to this thread by posting it here.
rbharath's blog on the 2008 lec-dem on SS by Nadita Ravi: http://me-and-music.blogspot.com/2008/1 ... hyama.html
Nandita Ravi talks about the SS Saurashtra varnam in the above lec-dem. Here are a couple of links to that varnam
http://sangeethapriya.org/tributes/shya ... a-Ravi.mp3 ( Rama Ravi )
http://sangeethapriya.org/tributes/shya ... nathan.mp3 ( Ambujam Viswanathan )
I could not quite figure out if these two versions illustrate what Nandita Ravi says about how to sing the charana portions of this varnam.
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vasanthakokilam wrote:
Nandita Ravi talks about the SS Saurashtra varnam in the above lec-dem. Here are a couple of links to that varnam
http://sangeethapriya.org/tributes/shya ... a-Ravi.mp3 ( Rama Ravi )
I could not quite figure out if these two versions illustrate what Nandita Ravi says about how to sing the charana portions of this varnam.
The ettugade caraNa starts 'Bhaktudai' which is approximately to the tune PMDD and ends with 'mAyamma' which is to the tune DPM-GR-GM..
The first and second muktAyi swara-s begins with Pa, that is a natural following from the M of the charanam ending..
The 3rd swara begin with D and the 'mAyamma' to the tune of PDPM-GM which again dovetails into the P of bhaktuDaina.. (GMD and PMD are legitimate, and characteristic phrases in saurASTra)..
The fourth swara begins with a tAra S, and hence the caraNa when sung before it ends on a different tune - DDPM D,N, for mayamma so that it can naturally lead to the swara that begins S,,RRSN..
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Re: Shyama Sastri
In the finale concert as part the recent YACM anniversary celebrations, Lalitha Sivakumar and Nithyasree included a Tamil kriti by Syama Sastry - ennEramum un nAmam - in Purvikalyani ragam.
I believe there are a small number of Tamil kritis by Syama Sastrigal (another kriti I can think of is ennEramum un padakamaladhyAnam in Punnagavarali). I am curious to find out what is the general opinion regarding these kritis compared to his Telugu kritis. Also interested in vocal renditions of these kritis.
Lakshman-ji, can you please provide a list of SS's Tamil kritis?
I believe there are a small number of Tamil kritis by Syama Sastrigal (another kriti I can think of is ennEramum un padakamaladhyAnam in Punnagavarali). I am curious to find out what is the general opinion regarding these kritis compared to his Telugu kritis. Also interested in vocal renditions of these kritis.
Lakshman-ji, can you please provide a list of SS's Tamil kritis?
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Re: Shyama Sastri
While some people doubt the authenticity of these tamizh kritis, IIRC, the late Smt. Vidya Shankar was of the opinion that they were genuine.
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Re: Shyama Sastri
ennEramum unpAda kamala. rAgA: punnAgavarALi. tripuTa tALA.
ennEramum un nAmam. rAgA: pUrvikalyANi. tripuTa tALA.
parAmukhamEnammA. rAgA: kalyANi. tripuTa tALA.
santatam ennai rakSippAi. rAgA: paraju. Adi tALA.
taruNam IdammA. rAgA: gauLIpantu. Adi tAlA.
ennEramum un nAmam. rAgA: pUrvikalyANi. tripuTa tALA.
parAmukhamEnammA. rAgA: kalyANi. tripuTa tALA.
santatam ennai rakSippAi. rAgA: paraju. Adi tALA.
taruNam IdammA. rAgA: gauLIpantu. Adi tAlA.
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Re: Shyama Sastri
A clip of Enneramamum-Purvikalyani is available here:ragam-talam wrote: ...Also interested in vocal renditions of these kritis.
http://charulathamani.com/music/carnati ... _music.php
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Re: Shyama Sastri
Came across this statement at the Sumithra Vasudev concert review thread:
Any viewpoints on this assertion?It seems a very senior musician (famous as a teacher & scholar than a performer) remarked once that inclusion of SS in the trinity is a mere accident.
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Re: Shyama Sastri
ragam-talam wrote:
...Also interested in vocal renditions of these kritis.
I am providing links where you can get the songs:
http://www.sangeethapriya.org/tributes/ ... ithis.html
16 ennEramum-un punnAgavarALi
18 ennEramum-un-nAmam pUrvikalyANi
56 parAmugamEnammA
73 taruNam-IdammA gauLIpantu
The sl number is indicated against each song in the download link.
santatam ennai rakSippAi. rAgA: paraju. Adi tALA.-This is to be located.
venkatakailasam
...Also interested in vocal renditions of these kritis.
I am providing links where you can get the songs:
http://www.sangeethapriya.org/tributes/ ... ithis.html
16 ennEramum-un punnAgavarALi
18 ennEramum-un-nAmam pUrvikalyANi
56 parAmugamEnammA
73 taruNam-IdammA gauLIpantu
The sl number is indicated against each song in the download link.
santatam ennai rakSippAi. rAgA: paraju. Adi tALA.-This is to be located.
venkatakailasam
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Re: Shyama Sastri
It must have been one of those rare happy accidents , I think 8)It seems a very senior musician (famous as a teacher & scholar than a performer) remarked once that inclusion of SS in the trinity is a mere accident.Any viewpoints on this assertion?
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Re: Shyama Sastri
It must have been one of those rare happy accidents , I think 8)[/quote]
-mankuthimma
"Sri Shyama Sastri's kritis are veritable crystals in the respective ragas.
For the polished nature of his music and the beauty of the language, his compositions remain unsurpassed.
The presentation of ragas in his modern setting is uncommon facility with which he composed in apurva ragas, with the abundance of feeling running through them. All these and more have entitled him to be ranked as one of the Musical Trinity, who are primarily responsible for making Thanjavur the brightest spot on the musical map of South India."
venkatakailasam
Can we know the Senior musician ?. Just curious!
-mankuthimma
"Sri Shyama Sastri's kritis are veritable crystals in the respective ragas.
For the polished nature of his music and the beauty of the language, his compositions remain unsurpassed.
The presentation of ragas in his modern setting is uncommon facility with which he composed in apurva ragas, with the abundance of feeling running through them. All these and more have entitled him to be ranked as one of the Musical Trinity, who are primarily responsible for making Thanjavur the brightest spot on the musical map of South India."
venkatakailasam
Can we know the Senior musician ?. Just curious!
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Re: Shyama Sastri
Nisha Rajagopal is singing a beautiful Durusuga Right now -
AIR Sammelan
AIR Sammelan
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Re: Shyama Sastri
MT - the sangeeth sammelan concert of Nisha is already uploaded here: http://www.sangeethamshare.org/tvg/UPLO ... _Sammelan/
The durusuga rendition is indeed great.
The durusuga rendition is indeed great.
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Re: Shyama Sastri
Here is a 46.43mts concert of his Swarajathi- Group singing brodcast by DD SRSN
-Kamakshi_ni_padayugame-yadukulakambhoji
-kamakshi_amba-bhairavi-
-Rave_himagiri_kumari-todi-
-Devi_brova_samayamide-chintamani
E'-SWARA -001-Shyama Sastry-Swarajathi-group singing
http://www.youtube.com/watch?v=qvS4-1mjho0
venkatakailasam
-Kamakshi_ni_padayugame-yadukulakambhoji
-kamakshi_amba-bhairavi-
-Rave_himagiri_kumari-todi-
-Devi_brova_samayamide-chintamani
E'-SWARA -001-Shyama Sastry-Swarajathi-group singing
http://www.youtube.com/watch?v=qvS4-1mjho0
venkatakailasam
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Re: Shyama Sastri
#2 - darshan
» 17 Feb 2006 19:02
Sahana-priyan, I didn't know that Pahi Maam Sri Rajarajeshwari was a composition of Sri Syama Sastrigal. Even the krithi listings of SS at Sangeetham.com do not give it. Can you please throw more light on it?
My reply:-
"Sarasa padayugale swarajathikalpitha sangeetha rasikke'' this portion of Charanam was interpreted by Late A.Sundaresan ,a specialist on SS -According to him this kriti should have preceded (if my memory serves me correct)the composing of Swarajathis.
» 17 Feb 2006 19:02
Sahana-priyan, I didn't know that Pahi Maam Sri Rajarajeshwari was a composition of Sri Syama Sastrigal. Even the krithi listings of SS at Sangeetham.com do not give it. Can you please throw more light on it?
My reply:-
"Sarasa padayugale swarajathikalpitha sangeetha rasikke'' this portion of Charanam was interpreted by Late A.Sundaresan ,a specialist on SS -According to him this kriti should have preceded (if my memory serves me correct)the composing of Swarajathis.
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Re: Shyama Sastri
I have posted the lyrics for this song here:
http://www.rasikas.org/forums/viewtopic.php?f=13&t=15509
http://www.rasikas.org/forums/viewtopic.php?f=13&t=15509
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Re: Shyama Sastri
Re : Emani migula - rAga tOdi.
In the third caraNa of the kRti, SS calls Mother dharma saMvardhani (Mother at tiruvaiyAru) as 'kanjanadAntuni kAmitA'. In the book of TKG, this has been taken to mean 'Consort of Siva'. In the book of Vidya Sankar, it has been translated as 'Beloved of Victor of manmatha'. This word is to be split as 'kanjanada+antuni' (antuni - of one who has put an end). Therefore, 'kanjanada' (or is it 'kanjanata?) should mean 'manmatha'. I have not come across this usage anywhere. Any clarifications please.
Further, in the same caraNa, SS mentions as 'pancApakESa muni nutA'. In the book of Vidya Sankar, this has been translated as 'hermit pancApakESa'. Is (was) there any such hermit?
In the third caraNa of the kRti, SS calls Mother dharma saMvardhani (Mother at tiruvaiyAru) as 'kanjanadAntuni kAmitA'. In the book of TKG, this has been taken to mean 'Consort of Siva'. In the book of Vidya Sankar, it has been translated as 'Beloved of Victor of manmatha'. This word is to be split as 'kanjanada+antuni' (antuni - of one who has put an end). Therefore, 'kanjanada' (or is it 'kanjanata?) should mean 'manmatha'. I have not come across this usage anywhere. Any clarifications please.
Further, in the same caraNa, SS mentions as 'pancApakESa muni nutA'. In the book of Vidya Sankar, this has been translated as 'hermit pancApakESa'. Is (was) there any such hermit?
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Re: Shyama Sastri
kanjana means manmatha and dAnta means warrior or vanquisher.
kanjana-dantuni kamitA would translate to the lover of the destroyer of cupid.
It is an uncommon expression, and I haven't encountered that choice of words anywhere else.
In this remarkably beautiful song, there is a need for critical edition, and this caranam [kanjana-dAntuni..] has been further altered in M.Balamuralikrishna's singing. There is some major prAsa dislocation.
It would be nice if we could contact the composer's descendant shri RajaH who lives in Chennai, and took a look at the manuscript that he has, which has more than a hundred songs of shyama shastri.
For one, we could get a better, close-to-foolproof version of the lyrics; and more hopefully unearth more sAhityams of this composer par excellence.
pancApakEsha itself is a contentious word, and I've been convinced by some Sanskritists that it should be pancApagEsha with apagA meaning river. The word pancApakEsa has got firmly entrenched in literature.
pancApakEsha-muni-nutA should probably read pancApagEsa-vihita, but then, what do I know?
kanjana-dantuni kamitA would translate to the lover of the destroyer of cupid.
It is an uncommon expression, and I haven't encountered that choice of words anywhere else.
In this remarkably beautiful song, there is a need for critical edition, and this caranam [kanjana-dAntuni..] has been further altered in M.Balamuralikrishna's singing. There is some major prAsa dislocation.
It would be nice if we could contact the composer's descendant shri RajaH who lives in Chennai, and took a look at the manuscript that he has, which has more than a hundred songs of shyama shastri.
For one, we could get a better, close-to-foolproof version of the lyrics; and more hopefully unearth more sAhityams of this composer par excellence.
pancApakEsha itself is a contentious word, and I've been convinced by some Sanskritists that it should be pancApagEsha with apagA meaning river. The word pancApakEsa has got firmly entrenched in literature.
pancApakEsha-muni-nutA should probably read pancApagEsa-vihita, but then, what do I know?
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Re: Shyama Sastri
keerthi,
In regard to 'kanjandAntuni kAmitA', I feel it should be 'kaM+janita+antuni' - kanjanitAntuni.
In regard to 'pancApakESa' I agree with you that it should be 'pancApagESa'. But, 'muni' is still a problem.
I have received your email.
I shall await your further inputs.
However, I shall be publishing these kRtis in my blog. This can be further revised.
Any other inputs from others please?
In regard to 'kanjandAntuni kAmitA', I feel it should be 'kaM+janita+antuni' - kanjanitAntuni.
In regard to 'pancApakESa' I agree with you that it should be 'pancApagESa'. But, 'muni' is still a problem.
I have received your email.
I shall await your further inputs.
However, I shall be publishing these kRtis in my blog. This can be further revised.
Any other inputs from others please?
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- Joined: 07 Nov 2010, 20:01
Re: Shyama Sastri
keerthi,
In the MD kRti 'paramESvara jagadISvara' on praNatArti hara at tiruvaiyAru, Siva is mentioned as 'vIra kshEtra pAla vinuta caraNa'. This refers to 'bhairava' aka 'muni' in Tamil Nadu. May be 'pancApagESa muni' might refer to bhairava.
http://www.vgovindan.info/Nadopasaka/default.html
In the MD kRti 'paramESvara jagadISvara' on praNatArti hara at tiruvaiyAru, Siva is mentioned as 'vIra kshEtra pAla vinuta caraNa'. This refers to 'bhairava' aka 'muni' in Tamil Nadu. May be 'pancApagESa muni' might refer to bhairava.
http://www.vgovindan.info/Nadopasaka/default.html
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Re: Shyama Sastri
In the kRti 'karuNA nidhi ilalO' rAga tODi, certain major variations has been observed in the book 'Compositions of SrI Syama Sastry' by Mr and Mrs NC Parthasarathy (Telugu script). The other two books - by SrI TK Govinda Rao and by Vidya Shankar have similar version. The major variations are as under -
anupallavi---------------------------------------------------------------Variation (in the book of Parthasarathy)
aruNAmbuda nibha caraNA sura muni ---------------------aruNAmbuda nibha caraNAmbudhi sura muni
SaraNAnantEshTa dAyaki SrI bRhan-nAyaki---------------SaraNAnantEshTa dAyaki SrI bRhan-nAyaki
caraNam 2
pAmara pAlini pAvani nIvu gadA nI------------------------pAmara pAvani (amba) pAvani mUrtivi nIvu gadA nIdu
pAdamE gatiyani namminAnu------------------------------pAdamE gatiyani nammiti
How this much of variation can crop up?
Any suggestions please?
anupallavi---------------------------------------------------------------Variation (in the book of Parthasarathy)
aruNAmbuda nibha caraNA sura muni ---------------------aruNAmbuda nibha caraNAmbudhi sura muni
SaraNAnantEshTa dAyaki SrI bRhan-nAyaki---------------SaraNAnantEshTa dAyaki SrI bRhan-nAyaki
caraNam 2
pAmara pAlini pAvani nIvu gadA nI------------------------pAmara pAvani (amba) pAvani mUrtivi nIvu gadA nIdu
pAdamE gatiyani namminAnu------------------------------pAdamE gatiyani nammiti
How this much of variation can crop up?
Any suggestions please?
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Re: Shyama Sastri
In tODi kRti 'rAvE hima giri kumAri', composed in praise of kAmAkshi of Kanchipuram, Syama Sasty extols Her as 'kAma pAlini' - one who protected manmatha. manmatha is stated to have been revived (without body – hence ‘ananga’) by Mother after he was burnt to ashes by Lord Siva. This kRti seems to have a saundarya lahari connection. 'saundarya lahari', verse 6 -
dhanuH paushpaM maurvI madhu-kara-mayI panca viSikhAH
vasantaH sAmantO malaya-marud-AyOdhana-rathaH |
tathApy-EkaH sarvaM hima-giri-sutE kAmapi kRpAM
apAngAt-tE labdhvA jagad-idam-anangO vijayatE ||
O Daughter of hima giri! Even that manmatha, to whom, flower is bow, bee-line is bow-string, arrows are five, spring is minister, malaya marut is chariot of war, being helpless by himself, receiving grace through Your side glance, conquers the whole world.
It is interesting that SyAmA Sastry uses ‘hima giri sutE’ referred to in the above verse as ‘hima giri kumAri’.
But there is a subtle difference between what is said in the verse 6 - 'dhanuH paushpaM' (bow of flowers) - 'panca viSikhAH' (five arrows) and the traditional description of manmatha - wielding sugar-cane bow (tyAgarAja would call him 'tuNTi viNTi vADu) and five flowers - including Lotus - as arrows. Similarly Mother is called 'kAma rUpiNi' (lalitA sahasra nAma) and as kAmAkshi she also wields sugar-cane bow.
Can someone explain the variation in Verse 6 of saundarya lahari, please?
Please refer to - http://www.kamakotimandali.com/advaita/lahari_6.html for full meaning of the verse.
dhanuH paushpaM maurvI madhu-kara-mayI panca viSikhAH
vasantaH sAmantO malaya-marud-AyOdhana-rathaH |
tathApy-EkaH sarvaM hima-giri-sutE kAmapi kRpAM
apAngAt-tE labdhvA jagad-idam-anangO vijayatE ||
O Daughter of hima giri! Even that manmatha, to whom, flower is bow, bee-line is bow-string, arrows are five, spring is minister, malaya marut is chariot of war, being helpless by himself, receiving grace through Your side glance, conquers the whole world.
It is interesting that SyAmA Sastry uses ‘hima giri sutE’ referred to in the above verse as ‘hima giri kumAri’.
But there is a subtle difference between what is said in the verse 6 - 'dhanuH paushpaM' (bow of flowers) - 'panca viSikhAH' (five arrows) and the traditional description of manmatha - wielding sugar-cane bow (tyAgarAja would call him 'tuNTi viNTi vADu) and five flowers - including Lotus - as arrows. Similarly Mother is called 'kAma rUpiNi' (lalitA sahasra nAma) and as kAmAkshi she also wields sugar-cane bow.
Can someone explain the variation in Verse 6 of saundarya lahari, please?
Please refer to - http://www.kamakotimandali.com/advaita/lahari_6.html for full meaning of the verse.
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Re: Shyama Sastri
1. I don't think any of the vAggeyakAras (trinity) have made the bhairava-munIshwara conflation.
2. While all the books say aruNAmbuda-nibha; I strongly feel it should be aruNAmbuja-nibha.
There is no precedent in literature (that I've seen so far) where feet are compared to red clouds. ambuda is cloud and ambuja is lotus. There are countless examples with references to lotus-feet.
3. pAmara-pAvani pAvani is a redundancy (paunahpaunya) that the trinity weren't entirely free of; but avoided as far as possible. pAmara-pAlini pAvani seems to be a better reading.
4.
I know of one particular instance of an amba! included in bAlagOpAla, the bhairavi song. Some calf in the vicinity of bAlagOpAla must have bellowed 'ambA' and it got incorporated ito the song.
The second ambudhi must be a metamrphosed amba, which is anyway an interpolation.
pAvana-mUrtivi is acceptable pAvani mUrtivi is wrong.
It seems funny that the aruNa caraNa SaraNa prasa isn't continued to the other caraNa.
5.
2. While all the books say aruNAmbuda-nibha; I strongly feel it should be aruNAmbuja-nibha.
There is no precedent in literature (that I've seen so far) where feet are compared to red clouds. ambuda is cloud and ambuja is lotus. There are countless examples with references to lotus-feet.
3. pAmara-pAvani pAvani is a redundancy (paunahpaunya) that the trinity weren't entirely free of; but avoided as far as possible. pAmara-pAlini pAvani seems to be a better reading.
4.
This is definitely an aberration. I even have a speculation about where it comes from. Our excessively devout singers have tendency in stick in 'amba!'-s in the middle of songs, wherever there is a longish pause. They all abhor vacuums and inject a bunch of amba-s, often in the middle of phrases.aruNAmbuda nibha caraNAmbudhi sura muni
I know of one particular instance of an amba! included in bAlagOpAla, the bhairavi song. Some calf in the vicinity of bAlagOpAla must have bellowed 'ambA' and it got incorporated ito the song.
The second ambudhi must be a metamrphosed amba, which is anyway an interpolation.
pAvana-mUrtivi is acceptable pAvani mUrtivi is wrong.
It seems funny that the aruNa caraNa SaraNa prasa isn't continued to the other caraNa.
5.
What is the variation you allude to? Flowery bow and sugarcane bow?Can someone explain the variation in Verse 6 of saundarya lahari, please?
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Re: Shyama Sastri
keerthi,
Yes, the variation about the type of bow - whether flower or sugar-cane?
Yes, the variation about the type of bow - whether flower or sugar-cane?
It is surprising that what singers sing on the stage should become a standard and also get incorporated in books. Much similar to a discussion in this form about how a Bridge at Triplicane got its name as 'Barbers' Bridge'!I know of one particular instance of an amba! included in bAlagOpAla, the bhairavi song. Some calf in the vicinity of bAlagOpAla must have bellowed 'ambA' and it got incorporated ito the song.