Trinity of Carnatic Music

 

    The Trinity of Carnatic music refer to the outstanding trio of composer-musicians of Carnatic music in the 18th century, beingTyagaraja, Muthuswami Dikshitar and Syama Sastri. Prolific in composition, the Trinity of Carnatic music are known for creating a new era in the history of Carnatic music by bringing about a noticeable change in what was the existing Carnatic music tradition. Compositions of the Trinity of Carnatic music are recognised as being distinct in style, and original in handling ragas.

THYAGARAJASWAMI

     Kakarla Tyagabrahmam (4 May 1767 – 6 January 1847) or Saint Tyagaraja, also known as Tyāgayya in Telugu, Tyāgarājar in Tamil, was one of the greatest composers of Carnatic music or Indian classical music. He was a prolific composer and highly influential in the development of the classical music tradition. Tyagaraja composed thousands of devotional compositions, most inTelugu and in praise of Lord Rama, many of which remain popular today. Of special mention are five of his compositions called thePancharatna Kritis(English: "five gems"), which are often sung in programs in his honour.


MUTHUSWAMI DIKSHITAR

         Muthuswami Dikshitar (March 24, 1775 – October 21, 1835) was a South Indian poet and 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 which is also his mudra (can be found in every one of his songs) .^[1] His compositions are widely sung and played in classical concerts of Carnatic music.

The musical trinity consists of Dikshitar, Tyagaraja (1767–1847), and Syama Sastri (1762–1827)^[2] although, unlike the Telugucompositions of the others, his compositions are predominantly in Sanskrit. He also had composed some of his Kritis inManipravalam.(admixture of Tamil and Sanskrit)

Muthuswami Dikshitar was born in Tiruvarur (of Thiruvarur district in what is now the state of Tamil Nadu) to a Tamil Iyer Brahmin couple Ramaswami Dikshitar(discoverer of Raaga Hamsadhwani) and Subbamma, as the eldest son. According to the account of Subbarama Dikshitar, Muttuswami Dikshitar was born in the manmatha year, in the month of TamilPanguni under the asterismKrittikaa. He was named after the temple deity, Muttukumaraswamy; legend has it that he was born after his parents prayed for a child in the Vaitheeswaran Temple. He had two younger brothers Baluswami, Chinnaswami and a sister Balambal.

In keeping with the Brahminic educational tradition, Muthuswami learnt the Sanskrit language, Vedas, and other important religious texts. He obtained his preliminary musical education from his father.

While he was still in his teens, his father sent him on a pilgrimage with a wandering monk named Chidambaranatha Yogi to gain musical and philosophical knowledge. Over the course of this pilgrimage, he visited many places in North India and acquired a broad outlook that is reflected in many of his compositions. During their stay in Kashi (Varanasi), his guru Chidambaranatha Yogi, presented Dikshitar with a unique Veena and died shortly thereafter. The samādhi of Chidambaranatha Yogi can still be seen in Sri Chakra Lingeshwar temple at the Hanuman Ghat area in Varanasi.

SYAMA SYASTRI

        SYAMA SASTRI was born to Visvanatha Iyer and Vengalakshmi on April 2, 1762.^[2] He was a Tamil speaking Brahmin known as Auttara Vadama. Visvanatha Iyer and his forefathers were archakas in the temple of Goddess Bangaru Kamakshi. Syama Sastri's actual name was Venkata Subrahmanya.

Although Śyāma Śastri did not compose as so many kr̥ti-s as his two prolific contemporaries, his compositions are still well known due to the literary value. It is said that he composed about three hundred pieces in all.

He did not have many disciples to propagate his compositions, nor was the printing press an easy convenience during his time. More importantly, the scholarly nature of his compositions was not appealing to the layperson, they needed to be studied to be savoured.In his compositions there is a perfect blend of Supreme Bhakti (Utmost Devotion), Manodharma Bhavam with adequate Sahityam, but very important all put into the cup of Absolute Talam (Rhythm).

He composed in Telugu and Sanskrit, mostly on goddess Kāmākṣhī.

He composed kr̥ti(s), varṇa(s) and svarajati(s) with the ankita or mudra (signature) Śyāma Kr̥ṣṇa. 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 Varṇaṃ (padavarṇaṃ).

His set of three famous svarajati(s) are intended to be sung in concert rather than danced, and are sometimes referred to as "Ratnatrayam" (Three jewels). They are in ragas Bhairavi, Yadukula kambhoji and Todi, and are called Kāmākṣhī Anudinamu,Kāmākṣhī Padayugamē, and Rāvē himagiri kumāri, respectively. The former two are set to Miśra Cāpu Tāḷa, while the third is set toĀdi Tāḷa.

He was known for his ability to compose in the most complex of Tāḷa(s).^[3] He was also known as "Talaprasthara Shyama Sastri" in music circles in those days. He was as adept in composing in rare ragas as he was in composing the popular ones. He was widely revered for his voice and singing ability during his time.