Beatific

 Of the three great composers who have graced Carnatic Music, Shyama Sastri was different. Unlike Tyagaraja and Muttuswami Dikshitar, he did not travel much. He was mostly confined to his home where he worshipped Bangaaru Kamakshi idol believed to have been handed over to his family by Adi Shankara himself.

Secondly, he composed just around 300 kritis. Compare this with the thousands of kritis composed by the other two. Thirdly, he had a unique Laya Gnaana and his compositions stand testimony to this (not that Tyagaraja’s and Dikshitar’s Laya Gnaana was inferior but Shyama Sastri’s kritis had some intricate taaLas). Fourthly, he did not have any ‘Group kritis’(except one) on the lines of ‘Pancharatna’ or ‘NavaavarNa’. Fifthly, he did not have too many disciples.

And yet, if many of his kritis are still rendered by musicians today, it is because of the musicality and most importantly, the ‘Bhakti Bhava’.

As mentioned, he did not travel much. But it is said that once an old man approached him in Pudukkottai and to go to Madurai and sing on Meenakshi. After a while, the same old man is said to have appeared in his dream. He obliged and sang what is called as the ‘Navaratnamaalika’. Of the nine krits, only seven are available now and apart from being sung regularly in concerts, these are rendered during the Navaraatri as these shimmer with special musicality radiating spirituality and spreading serenity.

Though all the 7 are equally great, ‘Nannu Brova Lalita’ is significant because as far as I know this is the only kriti of this composer in which the name of the raga appears. In this kriti, he addresses Meenakshi as ‘Kalpakalata’, which is unique as well. The uniqueness is because of  the word ‘lata’, which means a creeper. As per mythology, there existed a tree-Kalpataru- which would fulfil one’s wishes if one stood under it (there is an interesting story about this too, but I am not getting into that now!). But Shyama Sastri preferred Her to be depicted as a creeper than a tree (isn’t a creeper more beautiful than a tree?).

He also addresses Her as ‘Janani’ in the anu pallavi. In Sanskrit, ‘Janani’ means ‘Universal Mother’. It also means ‘Very beautiful’. In Arabic, it means ‘Heart and Soul’.

 It is indeed a very powerful word which spreads happiness.

Of course, the moment this particular word is pronounced/heard/read, people who admire the music of ILaiyaraaja would think of one particular song and immediately be drenched with devotion(even if he/she is an atheist!).

Like Shyama Sastri, ILaiyaraaja too is a staunch devotee of Shakti and his songs too shine with a unique spirituality-whether film or non-film. He has used the word ‘Janani’ in a couple of other songs too and needless to say this has a huge impact on the listener not least because of the power that word carries.

‘Amma Janani’(ILaiyaraajavin Geetanjali) is one of those compositions which take us literally to a new level. Like ‘Nannu Brova’, this too is based on Lalita.

The sympathetic strings in the beginning give us a feeling of dawn (strictly speaking Lalita is not a morning raga, though the Hindustani counterpart of its parent raga-Mayamalavagowla- Bhairav, is a morning raag in the Hindustani system).

The bass string of the VeeNa plays the swaras of Lalita and one can’t help feeling the Saama Veda here. The guitar replies in Veda Sangeetam. After 4 aavartanaas , the VeeNa plays with its other strings with the guitar backing it and one sees the divinity of Lalita.

The Pallavi is in ‘ateeta eduppu’ with the ‘samam’ in ‘ma’ of ‘amma’. The meditative voice of the Master radiates a unique charm which cannot be described in words and even if described, may not do full justice to the kind of feeling one experiences.

The VeeNa follows the voice after the first line and plays with grace for a full aavartana.

VeeNa’s grace and elegance continue in the interludes with the veda mantram surrounding us. There is a sudden twist here (what is life without twists and turns) with the flute entering and playing some unknown dimensions of Lalita, sans percussion. In fact, the VeeNa plays a couple of repetitive swaras repeatedly, the rhythm guitar sounds at an interval of 2 beats and these two act as the percussion. The flute is soft, sensitive and powerful. The guitar and a S.E.Asian instrument then combine together and the effect is stupendous. It goes very deep into our heart and moves the veins rhythmically.

The heart is filled with joy during the ‘akaaram’ after ‘darisanangaL’. This ‘akaaram’ which lasts for one and half aavartanas, also touches the mandra stayee(lower octave) swaras giving a practical definition of meditation.

‘Give me Your Darshan everyday Oh Soundarya Lahari of Adi Shankara’ says the first CharaNam.

The brilliance of the Vaaggeyakaara (note that Raaja sir himself wrote this song) is seen in the second CharaNam where the word ‘ViLakku’ is used to convey two meanings in two different lines- ‘Light’ which dispels the darkness and ‘to explain’ the ‘Iyal and Isai’(literature and music)!

‘The waxing Moon which never wanes’ continues the CharaNam, ‘The one who is worshipped by one and all’.

You are my refuge. You are the Music of my Soul. You are Lalita.

You are Janani.