Worthy of remember the well-known period for Carnatic music in 18 and 19th centuries. At that time we were bestowed three great composers - Syama Sastri (1767-1847), Thyagaraja (May 4, 1767–January 6, 1847) and Muthuswamy Dishitar (1775-1835). They are called the Trinities of Carnatic music. The composition of these great songs attribution of divinity. All the songs are the dwelling of deep devotional and spiritual exercise. It is said that Syama Sastri was the eldest among the trinity of CarnaticMusic
Syama Sastri was born in Tiruvarur, into a scholarly and priestly Tamil speaking Brahmin, Vadama family. His father’s name was Viswanatham and his mother’s name was venkalakshmi. Viswanatham was a hereditary priest whose main responsibility was to take care of the goddess Bangaru Kamashi. The temple is located in Tanjavoor. Syamasastri’s early name was Venkatasubramanyam and his pet name was syamakrishna. The family was comfortably settled in Tanjavoor and maintained a long tradition as devoted priests and scholars. He had excellent skill in Sanksrit and Telugu. Even at a young age, he was highly competent in music. Although he had initial music training from his uncle, later he came under the tutelage of a great sanyasi named, Sangitha Swami from Banares and Pachimiriyam Adiyappayya. Syama Sastri was initiated into the Sri Vidya cult and was also trained in music for three years under a guru – Sangita Swami.
It is said Syama Sastri composed about three hundred songs… His compositions were in telugu, Sanskrit and some in Tamil. Most of his compositions on goddess Kamakshi. According to the history evidence once when syama sastri was practicing music there was a girl adoring plenty of jewels and golusu holding a bowl full milk came and called him as “Anna” means brother in telugu and kept the milk bowl and disappeared he was surprised because his cousin used to bring milk every day but she was wearing goddess jewels. He ran home and asked his aunt did she send milk for him why she wore goddess ornaments..? She said that did not send milk that day. Then he understood that Mother goddess Kamakshi brought milk to him from that day many of his songs mentioned syamakrishna sothari.(meaning shyamakrishna‘s Sister) He composed keerthanas, varnams and svarajatis with the mudra 'Syama Krishna'. First his keerthana composition of goddess Kamakshi grace “Oh Jagadhamba Ragam Ananthabairavi following that He composed the svarajati in a new form of musical technique originally it was a dance form, His set of three famous svarajatis are purposed to be sung in concert rather than danced, and they are known to as "ratna traya" (three jewels). Respectively they are Bhairavi, Yadukulakamboji and Todi, and are Kamakshi Anudhinamu, Kamakshi Padhayugame, and Raave Himagiri Kumari,. talam Mishra Chapu, the third is Adi Talam. He was known for composing in the most complex of Talams. He was expert in composing in rare ragas as he was in composing with the popular ones. He was widely respected for his voice and singing ability during his time.
Syama sastri did not have many disciple and he taught his second son Subbaraya Sastri (1803–1862), who had the unique privilege of learning under each of the trinity. His composition songs with the Mudra 'Kumara' are known for his entire structure of a raga in the space of a single composition. Syama Sastri's grandson, Annasvami Shastri (1827–1900), was also a fine composer.
Shymasastri’s wife had realization before him, he loved his wife extremely. He was grieving over his lose and whoever come to condolence on his wife death he used to tell them that “Saaga anjinaal, seththu aarinaal”, meaning "She was afraid to die, but in death she attained peace" —this was normal understand but Sastri predicted his end is amazing. The actual meaning was that he conveyed, saga aindunal told was that he was to die in five days — saaga aindunaal — and that was the sixth day of her death (seththu aarunaal). As his truth prediction this great composer Syama sastri attained gods realization eleventh day of his wife in 1827.
Interestingly, a portrait of his was executed even during his lifetime followed his footsteps, by his own descendants Subbaraya Sastri and Annaswami Sastri .
Subbaraaya Shaastri - (1803-1862) Born in Tanjavur as the second son of Shyama Sastri, he listened to great music at home and at the Bangaru Kamakshi temple. He studied music from his father.
Later sent him to Tyagaraja to study music at Tiruvaiyaru. Tyagaraja had great respect for Shyama Sastri and gladly took Subbaraya Sastri as his disciple. Subbaraya Sastri became one of Tyagaraja's favorite students. After his studies with Tyagaraja, Subbaraya Sastri continued his music education with his father.
Once Muttuswami Dikshitar with a group of four persons was staying in Tanjavur in his disciple’s home, just behind the street where Shyama Sastri's home was located. The two great composers met frequently and regularly held musical sessions at Shyamasastri’s home it was very helpful to Subbaraaya Sastri. One day when he went to syamasastri’s home he happened to hear Subbarayasastri’s composition Dikshitar appreciated of Subbaraya Sastri's talents and also taught him some of his own compositions. Subbaraya Sastri was the only person to learn from all the three: Shyama Sastri, Tyagaraja and Muttuswami Dikshitar. Subbaraya Sastri also interested to learn Hindusthani music and he learnt from Marahtta musicians of Tanjavoor palace later from Ramadas Swami a virtues person and lived in Tiruvidaimarudur.
Subbaraya Sastri went to udaiyarpalayam and he felt comfortable, Peace and encouragement to continue to his musical work. He stayed a long years and composed most of his songs in praise of the Mother Goddess. He hardly composed about twenty keerthanas. He was honored by the zamindhar of Udaiyarpalayam because his compositions have great Raga Bhavam deep devotion and depths of music and all his compositions have Mudra is “Kumara” He liked to have pilgrimage so visited many sacred places in the south. He inaugurated his songs at the Meenakshi temple in Madurai. MInanayana nevu in darbar is his tribute to Goddess Meenakshi.
As his wife resided in Kanchipuram, he had frequent opportunity to visit Kamchi. There he sang on Sri Kamakshi, Ema ninne in mukhari. Towards the end of his life, he visited Tirupati where he sang the hamir kalyani Venkatashaila vihara. He stayed for twelve years in chennai. The composition ninu sevincina, in which he beautifully made yadukula kambhoji, is in praise of Sri Parthasarathi Perumal at Thiruvallikeni.. It is said that His ninnuvina gatigana in kalyani is in praise of Goddess Dharmasamvardhani in Tiruvaiyaru at present of his guru Tyagaraja. Tyagaraja to draw by appealing excellence of raga bhavam in this composition of his disciple. He was a great composer a worthy successor to the Trinity breathed his last. The music of Subbaraaya Sastri was influenced by his teachers: in words and cittaswaras by his father, and in madhyama kaalam by Tyaagaraja. slow speed were the influence of Dikshitar. Subbaraya sastri had only one daughter but he adopted a boy from his elder brother and he named Annaswamy sastri. He followed in the footsteps of his ancestors and appeared on the scene
Annaswami sastri born in Tanjavoor 1827–1900 has composed varnams also in addition to kirtanas, in contrast to his forefathers.
His compositions are all short, and in Sanskrit whereas Syama Sastri's kritis have minimum or no sangati patterns. Those of Subbaraya Sastri and Annaswami Sastri are adorned with sangatis. The pallavi of Annaswami Sastri's keerthanas are straightforward statements yet the latter part of the pallavi has sangatis. The kerthanas are full of devotion, raga bhavam and well bound in talam. Deep emotions are expressed well in Sanskrit (easily understandable) Annaswamy sastri did not have any mudra in his compositions. He composed only few songs some are:
Sri kanchi nayike Asaveri Rupaka .. Sri Lalithe Kanchinagar Sahana Adi.. Ninne koriyunnanura Varnam Saranga MisraChapu.. Inke varunaru Kambhoji Adi.. Sri kamakshi Bhairavi Adi
It is said that even today their music compositions written on palm leaf some of on notes protected and follows closely the teaching methods, practices, by an hereditary of sastri’s and also taking care of Bangaru Kamakshi…
I urge on the younger readers of this article whether living in their home land or abroad, kindly understand the value of the Carnatic music, and it is a great pleasure to learn, practice and sing them for your everyday prayer… this music will develop our knowledge, discipline with devotion and it is a treasure and strong foundation to the southern culture..
http://www.youtube.com/watch?v=gGNXGOYk_MM Subbaraya Sastri
Press ctrl+ click on the URL.. Enjoy the music
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Very well written article
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