Nine brilliant Carnatic compositions on Devi

How different composers visualised Shakti

At seven in the morning, I eagerly looked forward to attending my music class. I was excited about having already learnt two compositions since my gurukulavasam with Dr. S. Ramanathan began at his Triplicane residence. That morning, my guru started with an awe-inspiring Saveri alapana before teaching ‘Durusuga’ by Syama Sastri, a majestic composition that highlights the regal beauty of goddess Tripura Sundari. Though it has three charanams, it’s only the last mudra charanam that is usually sung. The composer pleads for a disease-free life, an apt song for the pandemic. The anupallavi describes her as an ocean of mercy, compassion, and the queen of Pranatharthihara, as Dharmasamvaddhani, and as Tripura Sundari. The first line of the anupallavi is a favourite for niraval singing. The play of words at ‘Bahu para kamalaguna’ is interesting. The first charanam describes the Pranava embodied (omkari). In the second charanam, Syama Sastri says that it is only She (Kamakshi) who can give him refuge as there is no one else equal to her. The composition has many swaraksharams, a trademark of Syama Sastri. The phrase ‘g r n’ in the swara sahityam leading up to the pallavi is unique.

I once travelled with my guru for a concert in Bengaluru. At the hotel, he suddenly told me to bring the shruti box and taught me ‘Pahi parvatha’ in Arabhi, composed by Swati Tirunal. That evening at the concert, he sang the piece, prefixed by a brilliant alapana and suffixed with kalpanaswarams at ‘Pahi parvatha’ using swaraksharam at ‘pa’ of Pahi. The Arabhi in the pallavi itself is a work of art. The samskritam used by the royal composer is exquisite, with ‘Parvanendu’ (for the full moon), ‘kesari’ (for lions), and ‘ditijaali’ (for demons) uncommon words used in the kriti. The description of her locks dancing on her forehead is beautiful (chanchadali lalita alake). Here too there are three charanams, but only the last is usually sung. The composer’s usual mudra is not seen, but there is a reference to the kings of the Vanchi region.