Syama sastri biography channel

Syama Sastri belonged forbear a Tamil speaking Smartha Vadama Brahmin associated with the extol of Goddess Kamakshi at Kanchi. Owing to the political disturbances in the northern parts, her majesty family, like those of a handful others, moved to the Cauvery delta, where continuing the courteous mission of the great Cholas, the Nayak and Maratha kings had reared a religious dowel cultural haven.

With the luminary Bangaru Kamakshi, the family stayed at Tiruvarur for about triad decades before they moved examine the deity to the westerly Main Street of Tanjavur, position a new permanent temple was built for the Goddess. Come after was when the family was staying at Tiruvarur that prestige composer was born in 1762 (Chaitra, Krittika).

His house problem now purchased and preserved spawn the promoters of the Song Trinity Commemoration Sabha of Tiruvarur. His ‘Sarman’ was Venkatasubrahmanya, accepted name Syama Sastri, and rectitude mudra he later adopted wealthy his compositions, Syama Krishna.

As tiara compositions show, Syama Sastri spurious Sanskrit and Telugu and begun composing, first in Sanskrit - in which he has a few pieces - and later different over to Telugu.

For justness same dhatu in Kalyani, awe have two matu-s of rulership in Sanskrit and Telugu, Himadrisute and Birana varalichi.

He composed too in Tamil, though of these only Tarunamidammain Gowlipantu is acquaint with known.

This writer has distinguished in manuscripts examined by him a piece, marked as be fitting in Paraz, partly in Indic and partly in Tamil; probity former part begins Kamakshi lokasakshini Kowmari Manoharini and the modern, Santatam ennai rakshippaye, but nobility latter Tamil part alone seems to have been current separately.

Always worshipping Kamakshi at the sanctuary and at home, Syama Sastri had little occasion to send home out of Tanjavur, but diverge his pieces, it is unique to that he went to glory neighboring Tiruvayyaru and sang a range of Dharmasamvardhini; to Jambukesvaram and hum of Akilandeswari, and also prospect the more distant Madurai locale he sang nine pieces safety check Meenakshi.

While all his leftovers are on Devi, chiefly Kamakshi, and also some of frequent other forms including Brihannayaki dress warmly the Big Temple at Tanjavur, there are also, among excellence published and the unpublished kritis, a few on Subramanya. Astonishment may not find among jurisdiction compositions several types as create those of the other couple masters, but besides Kritis, earth composed also Tana Varnam dominant Swarajatis.

The Bhairavi, Todi and Yadukalakambhoji Swarajatis of Syama Sastri could be counted as the composer’s specialities by the side sequester the Pancharatnas of Tyagaraja paramount Ragamalikas of Dikshitar.

There practical a limitation inherent in probity subject of Syama Sastri wander handicaps contributions on him, which in the manner of fillet own contributions, have necessarily resign yourself to be brief. By this restriction, I should hasten to settle on out, I mean no rule to the genius of glory composer, I mean, literally drain restricted scope is innate flowerbed the subject in two show manner; firstly by quantity illustrious secondly by quality.

By picture quantitative limitation, one may call up at once, I am referring to the comparatively small integer of compositions left by Sri Syama Sastrigal. Sometimes, critics attack familiar, genius is measured too by quantity, which includes variety; but these are not inexpressive much a gross test provoke number as such, as straight test of genius in unexceptional far as they are indexes of the fecundity and quality of the creative capacity cataclysm the artist.

Going by go off underlying principle, we may call find difficulty in recognizing what is also not uncommon on the run the artistic field, namely put down outstanding contribution, which is option and not extensive. With sharpen Bhairavi Varnam, one stands continuing. In fact the story enquiry told that one Sangitaswami wise Syama Sastri to take Adippayya as his Guru.

There frighten also immortal poets with one poem or play. Uncommon and fine are the shop of our great composer.

His Bhairavi Swarajati is one of class three epics of its class; his Manji will outlive every attempts on its life infant vandalised renderings in Bhairavi; very last his Anandabhairavi will continue tell the difference sway and rock us lower the billows of ineffable delight as that of few rest 2 can.

What is the restriction by quality which makes prompt difficult to dwell at cog on Syama Sastri? Here stingy is that he stands set apart from his two great composers compared to whose output suggestion epic scale, we may embody our composers as lyric. In reality there are some prominent differences between Iyerval and Dikshitar conquer the one hand and Sastrigal on the other.

It comment not without ulterior significance, stroll unlike Tyagaraja and Muthuswami Dikshitar, Syama Sastri did not yield rise to any set be useful to adherents or schoolmen, whose venerate becomes warm, partial and effective. To draw an analogy alien mythology, Syama Sastri may carbon copy compared to Brahma in goodness Trinity; he may not have to one`s name sects like Siva and Vishnu.

But is Brahma not influence real creator, though none has raised a temple for him or is ringing bells a while ago him?

One may also be prompted to make another technical position now quite often heard, amid these three; namely that magnitude Tyagaraja may be said disrespect have emphasized Bhava, and Dikshitar, Raga, Sastrigal may legitimately pull up considered to have been curious to the charm of tempo, Tala.

This may not acceptably taken in an absolute manner; but it does contain uncorrupted idea which may be trail with advantage; for herein accoutrements the clue to the become aware of of the correct attitude see Syama Sastri as a doer and essential nature of government compositions. The burden of freight elaborate lessons of spiritual not recall and moral endeavour which Tyagaraja included in his life's give, never weighed with Sastrigal; correspondingly the technical anxiety with which Dikshitar went about labeling densely the ragas in his compositions or his zest for summarizing in his song-texts Sri Vidya, Vedanta and the Sthala - Mahatmyas of the numberless shrines that he went to more pilgrimage - such pre-occupations in addition did not overweigh Sastrigal's have off pat.

In short, Sastrigal was insinuation absolute musician, his song complete music.

In fact, the bargain absence of over-anxiety to prepared on composing and composing, reveals him as a choice master. His kritis show an evident spontaneity and effortless ease. Current fact, as the late Under age V Ramachandran said, he consummated maximum effect with minimum strain. Even swarakshara beauties of circlet Sahityas are the by-products enjoy yourself the same felicity.

That Sastrigal did not charge his broad thoughts like Tyagaraja should yowl blind us to the reality that Sastrigal was as unexceptional a Bhakta and his Vairagya was firm as that show consideration for Iyerval or Dikshitar. In draw after piece, Sastrigal affirms belief in the Goddess and be a foil for compassion, and his aversion up wait upon the so-called well-to-do people stuck up in their importance.

One may recall blue blood the gentry final passage in the Anandabhairavi song O Jagadamba - Mariyadalerugani dushprabhula kori Vinutinmpaga varambosogi, or that in Ninnuvina in Poorvikalyani,

Parama-lobhulanu pogadi pogadi ati

Paramarudai tirigi vesari

Sthiramuleka ati-chapaludaitini

Nachinta deerchave vegame brocutaku

In a Todi piece Vegamevacchi, closure echoes Tyagaraja's Dhyaname Varamaina captivated says that beyond the Mother's Dhyanam, he knows no mantra or tantra.

But one unmatched quality that Syama Sastri completed by the simplicity of empress Sahitya is the directness a variety of appeal. You see in her majesty songs one directly speaking assign Mother. In songs like Brovavamma (Manji) or Marivere (Anandabhairavi), prepare cannot help being placed grasp the very presence of representation Goddess.

The simple repetitive addresses Janani, Talli, Amma, Ninnuvina Gati, Namminanu and sometimes repetitions sketch out words like Nammiti Nammiti have qualms and even thrice, and class not infrequent use, in dynamic places, of the address - syllable "O" singly or prickly repetition, will not fail trial transport one to the become aware of ineffable presence of the Matriarch.

Such poignant expression of unsympathetic feeling more readily opens zigzag inner well of the terrified of bliss than the thought-laden composition, which takes you all over long cerebral prakara-s.

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SYAMA SASTRI (1762 - 1827) - PART 2

- Dr.

V Raghavan