Shyama Sastri
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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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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.
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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