Thyagaraja Swamikal, Muthu Swami Deekshithar, Shyama Shasthrikal
Thyagaraja Swamikal
Thyaga Raja Swamikal ( May 1767 – January 1847 , was one of the greatest composers of Carnatic music
He was a prolific composer and highly influential in the development of the South Indian classical music tradition. Tyagaraja composed thousands of devotional compositions, most of them in praise of Lord Rama most of which remain very popular even today.
Of special mention are five of his compositions called the Pancharatna Krithis (English: 'five gems') Of Ragas Natta,Varaali,Arabhi,Gowla and Sree ragam, which are often sung in programs in his honor.The Kriti Endaro Mahanabavulu in the ragam sri which was composed by Thyagaraja after meeting Shadkala Govinda Marar from Kerala is considered to be his greatest composition.
Muthu Swami Deekshithar
Muthuswami Deekshithar ( March 1775 – October 1835 ) a great composer and is one of the Musical Trinity of Carnatic music. His compositions, of which around 500 are commonly known, are noted for their contemplative nature and for capturing the essence of the raga forms through the vainika (veena) style that emphasises gamakas.
They are typically in a slower speed (chowka kala). He is also known by his signature name of Guruguha.
His compositions are widely sung and played in classical concerts of Carnatic music.
On Deepavali day, in 1835, Dikshithar performed puja as usual and asked his students to sing the song "Meenakshi Me Mudam" in the raga Poorvikalyani.As his students sang the lines "Meena lochani pasa mochani" he raised his hands and saying "Sive Pahi" and left the world.
His Samathi is at Ettaya puram ( Mahakavi Bharathi's Birth Place), between Koilpatti (14 km) and Tuticorin.
Shyama Shasthrikal
Shyama Shastri (1762-1827) is one of the most renowned composers of Carnatic music. He is the oldest among the Trinity of Carnatic Music.
Syama Sastri was born in Tiruvarur in Thiruvarur district, into a scholarly and priestly Tamil speaking Brahmin,Iyer Vadama family.
Although Syama Sastri did not compose as many kriti-s as his two prolific contemporaries, his compositions are equally well known. It is said that he composed about three hundred pieces in all.
He composed in Telugu , Sanskrit and Tamil , mostly on goddess Kamakshi. He composed kritis, varnams and svarajatis with the ankita or mudra (signature) 'Syama Krishna'. He was probably the first to compose in a new form of the svarajati musical genre. Prior to this the svarajati was primarily a dance form, and was close in structure to the dance varnam (padavarNam).
His set of three famous svarajatis are intended to be sung in concert rather than danced, and are sometimes referred to as "ratna traya" (three jewels). They are in ragas Bhairavi, Yadukulakamboji and Todi, and are called Kamakshi Anudhinamu, Kamakshi Padhayugame, and Raave Himagiri Kumari, respectively. The former two are set to Mishra Chapu Tala, while the third is set to Adi Tala. He was renowned for his ability to compose in the most complex of Talas. He was as adept in composing in rare ragas as he was in composing with the popular ones.
He was widely revered for his voice and singing ability during his time.
Thyagaraja Swamikal
Thyaga Raja Swamikal ( May 1767 – January 1847 , was one of the greatest composers of Carnatic music
He was a prolific composer and highly influential in the development of the South Indian classical music tradition. Tyagaraja composed thousands of devotional compositions, most of them in praise of Lord Rama most of which remain very popular even today.
Of special mention are five of his compositions called the Pancharatna Krithis (English: 'five gems') Of Ragas Natta,Varaali,Arabhi,Gowla and Sree ragam, which are often sung in programs in his honor.The Kriti Endaro Mahanabavulu in the ragam sri which was composed by Thyagaraja after meeting Shadkala Govinda Marar from Kerala is considered to be his greatest composition.
Muthu Swami Deekshithar
Muthuswami Deekshithar ( March 1775 – October 1835 ) a great composer and is one of the Musical Trinity of Carnatic music. His compositions, of which around 500 are commonly known, are noted for their contemplative nature and for capturing the essence of the raga forms through the vainika (veena) style that emphasises gamakas.
They are typically in a slower speed (chowka kala). He is also known by his signature name of Guruguha.
His compositions are widely sung and played in classical concerts of Carnatic music.
On Deepavali day, in 1835, Dikshithar performed puja as usual and asked his students to sing the song "Meenakshi Me Mudam" in the raga Poorvikalyani.As his students sang the lines "Meena lochani pasa mochani" he raised his hands and saying "Sive Pahi" and left the world.
His Samathi is at Ettaya puram ( Mahakavi Bharathi's Birth Place), between Koilpatti (14 km) and Tuticorin.
Shyama Shasthrikal
Shyama Shastri (1762-1827) is one of the most renowned composers of Carnatic music. He is the oldest among the Trinity of Carnatic Music.
Syama Sastri was born in Tiruvarur in Thiruvarur district, into a scholarly and priestly Tamil speaking Brahmin,Iyer Vadama family.
Although Syama Sastri did not compose as many kriti-s as his two prolific contemporaries, his compositions are equally well known. It is said that he composed about three hundred pieces in all.
He composed in Telugu , Sanskrit and Tamil , mostly on goddess Kamakshi. He composed kritis, varnams and svarajatis with the ankita or mudra (signature) 'Syama Krishna'. He was probably the first to compose in a new form of the svarajati musical genre. Prior to this the svarajati was primarily a dance form, and was close in structure to the dance varnam (padavarNam).
His set of three famous svarajatis are intended to be sung in concert rather than danced, and are sometimes referred to as "ratna traya" (three jewels). They are in ragas Bhairavi, Yadukulakamboji and Todi, and are called Kamakshi Anudhinamu, Kamakshi Padhayugame, and Raave Himagiri Kumari, respectively. The former two are set to Mishra Chapu Tala, while the third is set to Adi Tala. He was renowned for his ability to compose in the most complex of Talas. He was as adept in composing in rare ragas as he was in composing with the popular ones.
He was widely revered for his voice and singing ability during his time.
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