|
Book Review
Trinity’s compositions
LALITHAA KRISHNAN
THE TREASURE OF THE TRINITY — A Compendium of the Works of Syama Sastri, Dikshitar, Tyagaraja…: A. Parthasarathy; Narada Gana Sabha, 314, T.T.K. Road, Chennai-600018. Rs. 100.
Carnatic music is both an art and a science. Down the centuries, its hoary tradition has been enriched by the contribution of great composers (vaggeyakaras), musicians and musicologists who have brought myriad shades of emotion and awesome intellect to bear upon timeless compositions and brilliant, thought-provoking treatises. The classification of ragas under the melakarta scheme devised by Venkatamakhi and later streamlined by Govindacharya is a masterpiece of systematic classification based on incisive analysis.
In the galaxy of composers who have enriched the treasure trove of compositions, the names of three luminaries — Tyagaraja, Muthuswami Dikshitar and Syama Sastri, known collectively as the Trinity or Sangeetha Mummoorthis, shine brightest. Revered for their oeuvres, which encapsulate both simple and esoteric concepts, in lyrics set to music that has the power to move and elevate, these three composers have crafted masterpieces upon a vast canvas of ragas. The focus of this compendium is to list in alphabetical order, the ragas used in the compositions of the Trinity, with a compilation of the Trinity’s compositions in each of these ragas for which the arohana (ascent) and avarohana (descent) are specified. To this end, a brief but succinct introduction throws light upon the distinguishing characteristics of the compositional style of the three iconic vaggeyakaras. This is followed by the Karnataka Mela scheme of 72 ragas, comprising 36 suddha madhyama ragas and 36 prati madhyama ragas, which together are known as the janaka (parent) ragas. They constitute the source from which an exhaustive inventory of permutations and combinations of notes is derived to form the scales of the janya (derivative) ragas.
Meticulous
The author goes on to list the janya ragas used in the Trinity’s compositions, each with its arohana and avarohana. As some ragas are known by more than one name, the equivalent names are provided, since they are often encountered in the Dikshitar Sampradayam. This listing is particularly helpful for those who need a source of quick reference. For instance, one finds that the raga Suddha Saveri (a janya of melam 28) in the Tyagaraja Sampradayam is known as Devakriya in the Dikshitar Sampradayam, while the raga Suddha Saveri as per the Dikshitar Sampradayam is a janya of the first melam. Hindustani equivalents and near equivalents are also provided, making raga identification easier.
The author’s methodical approach and meticulous compilation not only of core content but also of related material, in a lucid lead-up to the main theme, deserves special mention. This book, which is a Golden Jubilee Year publication of the Narada Gana Sabha promises to be of immense benefit to students as well as teachers of Carnatic music. For performing artistes, particularly those juggling busy schedules, this compendium comes as a boon, serving as a ready reference manual from which to select compositions for drawing up a concert programme list or planning a theme-based recital.
Printer friendly
page
Send this article to Friends by
E-Mail
Book Review
|
