Valsala Shasthriar: Composer of Carnatic Music on Jesus Christ (1990/2007)

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    Valsala Shasthriar :Composer of Carnatic Music on Jesus Christ

    Achuthsankar S Nair

    Carnatic music in its present form is generally accepted to have evolved due to the

    contributions of the trinity of Carnatic music. Saint Tyagaraja, Muthuswami Deekshithar

    and Shyama Shasthri. All these great men belong to Tamil Nadu (through Tyagaraja

    originally doesnt). During the period when the trinities reigned in Tamil Nadu, Kerala also

    had her versatile genius, Maharaja Swathi Thirunal, who is a composer par excellence. He

    has an astonishing variety of compositions to his credit, including Hindusthani ones.

    However Keralas contribution to Carnatic music in the form of composers does not either

    being or end with Swathi Thirunal. Aswathi Thirunal. Irayimman Thampi, Mahakavi

    Kuttamath, K.C Kesava Pillai are all well known composers who have made valuable

    contributions at different levels. It is however doubtful whether another saint, a genius from

    Thiruvananthapuram, Valsala Shastriar is remembered in this context. Known more as a

    Christian missionary, social reformer and poet, the classical gems created by this great man

    still remains mostly unearthed.

    By the second half of the 19th century, the Christian community in Kerala had clearly

    adopted a different cultural outlook due to Western influence from the British

    counterparts. This reflected in the architecture of the churches to the way prayer meeting

    were held. Naturally, the songs rendered in the churches during prayer meeting also

    underwent this transformation. Today though some raga name are sometime mentioned,

    Modified Version of Article Published in Samskara Keralam (Culture Dept, Govt of Kerala) in1990. This article was edited by late Prof S Guptan Nair.

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    Church music doesnt retain any sort of pure South Indian music elements. It is in this

    context that the work of Valsala Shasthriar assumes its uniqueness.

    Born Thirupuram, near Thiruvananthapuram, Valsala Shasthriar (1847-

    1916) was a poet, music composer, singer, missionary and social

    reformer. His actual name was Mosa Valsalam. He was christened

    Valsala Shasthri by the Metropolitan of Malabar in 1883 after listening

    to his music & discourse. He made sermon tours through the villages of

    Travancore and Cochin. He has to his credit a large number of literary

    and musical works. A few of them were published during his life time itself. They include

    Gitamajari-Garland of songs (1903) and Dhyanamalika-Meditation Songs (1916). Later

    on The collected works of Valsala Shasthriar was brought out by Mr. John, his grandson,

    in 1958. An authentic life history has been recently published by the Valsala Shasthriar

    Memorial Committee, Thirvananthapuram, in 1986. These are the available sources of

    information about Valsala Shasthriar and copies of the works published in 1908 and 1916

    were provided to the author by Dr.(Miss) Pushpita John, former Head of the Dept. of

    Education and Dean, Faculty of Education, University of Kerala.

    The purpose of this article is to bring to light the

    compositions presented in Gita Manjari- the garland of

    songs. Many of the compositions testify Valsala

    Shasthriars indepth knowledge of Carnatic music. Some of

    them have the Chitta Swaras attached to them. Only a

    person having real expertise in classical music can produce

    such compositions. Like those in the compositions of

    Deekshithar and Swathi Thirunal, some seem to be even

    composed for dance performances. Kaithukki Parane in

    Saveri-Rupakam, Ananda Kirtaname in Dhanyasi-

    Rupakam and Paadam Santhathamin Shankarabharam

    Rupakam contain this embellishment.

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    The first composition is presented as a Chithrapadyam a

    matrix of letters arranged meticulously to generate the

    poem (Neethithakaya in Thodi). The swara notations are

    unfortunately not included. Even some of the raga and tala

    specifications seem to be confusing. Bandhu varadi is

    possibly Pantu varali. In some compositions, raga is

    specified as English. These compositions are probably set

    to Shankarabharanam and meant to be sung in the

    Western style. This, in the authors opinion, is an

    indication that only songs specified as Englishare meant to

    be sung in the Western style and the others are pure

    Carnatic classical compositions. Unfortunately, a few of the

    songs which are being practiced now in churches do not follow the original form that was

    probably envisaged by the composer.

    There are a few songs with raga mentioned as Hindustani. Anantha pithavinu, Aadi

    Thalam and Devajaatha, Aadi Thalam are instances. The author has tried setting these

    to Hindustani ragas Amir Kalyani and Vrindavana Saranga. They are excellent pieces. A

    few of the composition from Githa Manjari are given below to provide a glimpse of

    Shasthriars genius. A let of work remains to be done to unearth & popularize these unique

    gems.

    Some Compositions from Geetha Manjari:

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    Achuthsankar S Nair 1990, 2007: Anyone is free reuse this article without alteration in

    any form, , provided this notice is retained.