How the child-mother bond lies at the heart of Syama Satri’s compositions

Next twelvemonth marks 200 years since Syama Sastri (1762–1827) near this world. Yet, his kriti ‘O jagadamba’ inactive anchors galore concerts. Though nary 1 insists, it is conscionable sung. This paradox formed the halfway of R.K. Shriramkumar’s caller lec-dem, organised by Kedaram Trust astatine Ragasudha Hall. Supporting him successful this reflective presumption were vocalist Amirtha Murali, violinist Madan Mohan, mridangist K. Arunprakash and Nanditha Kannan (tambura and vocal).

Born successful Tiruvarur into a household of Kamakshi archakas, Syama Sastri inherited a beingness devoted to worship. After governmental upheaval, his household brought the Bangaru Kamakshi idol to Thanjavur, wherever the Maratha tribunal built them a temple (on West Main Street) and agrahara homes. Syama Sastri’s house, down that temple, inactive stands successful its archetypal Maratha benignant — a preservation Shriramkumar praised. Syama Sastri was the archetypal instrumentalist successful the household and trained nether Sangita Swami and past Pacchimiriyam Adiappayya.