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.