Musicians of the Kingdom of Mysore
The Kingdom of Mysore (1399–1950) was founded by Yaduraya in 1399 as a feudatory of the Vijayanagara Empire and became an independent kingdom in the early 17th century, after the decline of the Vijayanagara Empire. Many musicians and composers have presumably adorned the courts of the Mysore kings from Yaduraya's time, furthering the Dakshinadi school (southern school) of music that had developed in earlier centuries. However, records are only available from the time of King Ranadheera Kanteerava Narasaraja Wodeyar (1638).[1][2] Musical treatises surviving from this time, though, provide ample information on the music, musical instruments, the types of compositions, the raga (melodies) and the tala (rhythms) used. Though all the Mysore kings patronised music, the golden age of Carnatic music was considered to be during the reigns of Kings Krishnaraja Wodeyar III (1794–1868), Chamaraja Wodeyar IX (1862–1894), Krishnaraja Wodeyar IV (1884–1940) and Jaya Chamaraja Wodeyar (1919–1974). The reign of Krishnaraja Wodeyar IV is regarded as particularly important in musical terms.[2][3]
The instruments normally used to play compositions were the
King Krishnaraja Wodeyar III (1794–1868)
Mysore Musicians (1638–1947) | |
---|---|
Vaikunta Dasaru | 1680 |
Veena Venkata Subbiah | 1750 |
Shunti Venkataramaniah | 1780 |
Mysore Sadashiva Rao | 1790 |
Krishnaraja Wodeyar III | 1799–1868 |
Aliya Lingaraja Urs | 1823–1874 |
Chikka Lakshminaranappa | |
Pedda Lakshminaranappa | |
Devalapurada Nanjunda | |
Veena Shamanna | 1832–1908 |
Veena Padmanabiah | 1842–1900 |
Veena Sheshanna | 1852–1926 |
Mysore Karigiri Rao | 1853–1927 |
Sosale Ayya Shastry | 1854–1934 |
Veena Subbanna | 1861–1939 |
Mysore Vasudevachar | 1865-1961 |
Bidaram Krishnappa | 1866–1931 |
T. Pattabhiramiah | 1863 |
Jayarayacharya | 1846-1906 |
Giribhattara Tammayya | 1865–1920 |
Nanjangud Subba Shastry | 1834–1906 |
Chandrashekara Shastry | |
Chinniah | 1902 |
Veena Subramanya Iyer | 1864–1919 |
Muthiah Bhagavatar | 1877–1945 |
Veena Shivaramiah | 1886–1946 |
Veena Venkatagiriappa | 1887–1952 |
Srinivasa Iyengar | 1888–1952 |
Chikka Ramarao | 1891–1945 |
T. Chowdiah
|
1894–1967 |
Jayachamaraja Wodeyar
|
1919–1974 |
Dr. B. Devendrappa | 1899–1986 |
G. Narayana Iyengar | 1903–1959 |
T. Subramanya Iyer | |
Anavatti Rama Rao | 1860 |
Tiger Varadachariar | 1876–1950 |
Chennakeshaviah | 1895–1986 |
T. Krishna Iyengar | 1902–1997 |
S. N. Mariappa | 1914–1986 |
C. Ramchandra Rao | 1916–1985 |
R. N. Doreswamy | 1916–2002 |
Dr. V. Doraiswamy Iyengar
|
1920–1997 |
Vaidyalinga Bhagavatar | 1924–1999 |
This period heralded the beginning of British control over the administration of Mysore and the start of an important period in the development of vocal and instrumental Carnatic music in south India. King Krishnaraja Wodeyar III was a trained musician, musicologist and composer of merit. Being a devotee of the Hindu goddess Chamundeshwari, he wrote all his compositions under the
Veena Venkatasubbiah came from a
Shunti Venkataramaniah was a musician from Tiruvayyar (modern Tamil Nadu) and an expert at playing the tambura.[14] He was introduced to the king by the court musician Veena Venkatasubbiah under unusual circumstances. When Venkataramaniah first met Veena Venkatasubbiah, the latter asked him to sing a particular tune. Unable to sing it, Venkataramaniah walked away, only to return a year later having mastered the tune. While singing the tune, Venkataramaniah went into a trance and the court musician hurried to the palace and requested the king to be audience to the singer. The king arrived there and was so pleased with Venkataramaniah's voice he appointed him as a court musician. Venkataramaniah's most famous composition is the Lakshana gite.[15]
Chinniah was the eldest son of a family known as the "Tanjore quartet", a quartet of brothers who were singers and composers. Before his arrival in Mysore, Chinniah served at the court of the Tanjore kings Sarabhoji II and Shivaji II. He had learnt music from
Veena Chikka Lakshminaranappa, an expert vainika, was a descendant of Krishnappa, a Mysore court musician during the time of Bettada Chamaraja Wodeyar in the 16th century. Chikka Lakshminaranappa became the chief musician in the Prasanna Krishnaswamy temple located within the palace premises. His two sons Krishnappa and Seenappa, who were later patronised by the kings of Mysore, were also proficient players of the veena and violin.[17] Well known visiting musicians to the court during this time included Pallavi Gopalayyar, Veena Kuppayyar, Tiruvattiyur Thyagayyar, Veena Krishnayya and Suryapurada Ananda Dasaru.[18]
King Chamaraja Wodeyar IX (1868–1894)
King Chamaraja Wodeyar IX was also a patron of the fine arts and literature, having been tutored by his own court musicians Veena Sheshanna and Veena Subbanna.[19] The king was well versed in the violin and often participated, along with other musicians, in violin performances at the Krishna temple located in the palace premises. He is known to have helped many budding artists, both by patronage of their talent and in their personal difficulties. He sponsored Mysore Vasudevacharya (who later became a famous musician) to train at Tiruvayyar under the famous Patnam Subramanya Iyer. He also formed the "Amateur Drama Club" to encourage young artists. However, he died at the early age of 32 while travelling in Kolkata.[19] Veena Shamanna was the son of Rama Bhagavatar, an immigrant from Tanjore who came to Mysore during a famine, seeking royal patronage. His birth name was Venkata Subramanya.[20] In 1876, Veena Shamanna was appointed court musician for his talent in both vocal and instrumental classical music. He was known as "Tala Brahma" for his mastery of the veena, violin, ghata and swarabhat.[21] A conservative artist, he played by the norms of theorical classical music and was a tutor to the royal family. In honour of his achievements, a street in Mysore city was named after him. His compositions were published by his son Veena Subramanya Iyer in a book called Sangeeta samayasara in 1915.[22]
Veena Padmanabiah, a native of Sriramapura (also known as Budihalu in Chikkanayakanahalli taluk, Karnataka), was trained in classical vocal and veena in his early days by a disciple of Veena Shamanna. Later, under the guidance of Veena Shamanna, Padmanabiah's expertise grew. An incident at the king's palace during his youth made him popular and impressed the king. A well-known musician called Veena Sambayya made a mistake in interpreting a
Veena Sheshanna, considered one of the greatest exponents of the veena in India, was born in Mysore in 1852 to Bakshi Chikkaramappa, a court musician of King Krishnaraja Wodeyar III.
Mysore Karigiri Rao was the son of Lakshmi Narasimhacharya, who hailed from Tumkur and was a Sanskrit Pandit in the court of King Krishnaraja Wodeyar III. Karigiri Rao learnt music secretly because his family was against that profession. He later travelled, performing in many places before returning to Mysore at the age of fifty when he was appointed court musician by King Chamaraja Wodeyar IX.[32] He was given the title "Sangeeta Vidya Kanteerava" by senior musicians of the day and "Ganakara Durandhara Sangeeta Bhushana" by the king himself. He is credited with writing several Carnatic compositions and more than 200 devaranama (devotional songs).[33] Veena Subbanna was born in 1861 in Mysore into a wealthy family of musicians to which he was the only heir. He studied with Prince Chamaraja Wodeyar IX at the Royal school and was well versed in the English language. He was trained in Carnatic vocal music by Mysore Sadashiva Rao and in instrumental music by his father Dodda Sheshanna who was also a famous musician.[34] Veena Subbanna was appointed court musician in 1888 and was a contemporary of the legendary Veena Sheshanna, with whom he was paired in many concerts. A generous man known for his philanthropic deeds, he has many compositions to his credit and earned such titles as "Vainika Praveena", "Vainika Vara Choodamani" and "Vainika Kesari".[35]
Mysore Vasudevacharya was a musician and composer born on 28 May 1865 in Mysore. He holds the unique distinction of having been patronised by four generations of Mysore kings and of having been court musician to three.[35] He received royal patronage from the age of five owing to his talent. During his time in Sanskrit school, he learned to play the veena from ace musician Veena Padmanabiah. Later, King Krishnaraja Wodeyar IV sponsored him to learn music at Tiruvayyar under Patnam Subramania Iyer.[36] A master of both Carnatic and Hindustani raga, he delivered the opening Sanskrit shloka (devotional songs) at the Indian National Congress convention at Belagavi in 1924. He represented Mysore in the "Akhila Bharateeya Sangeeta Parishat" concert held in Gwalior. He earned laurels and titles from kings and dignitaries from all over India, including the "Sangeeta Shastra Ratna" and "Sangeeta Shastra Visharada".[37] Numerous compositions in Sanskrit and Telugu are credited to him, as well as one song in Kannada called Karunisou under the pen name "Vasudeva".[38]
Bidaram Krishnappa was a
Among other well-known composers of the time, Tiruppunandal Pattabhiramiah from
King Krishnaraja Wodeyar IV (1884–1940)
This period, as during the time of the predecessor king, was an important era of music in Mysore, especially for Kannada compositions. The King himself was educated in Kannada, English, Sanskrit, the sciences and was knowledgeable in Tamil and Urdu as well. He was well versed in playing musical instruments including the veena, violin, mridangam, nagaswara, sitar, and harmonium as well as Western instruments such as the saxophone and piano. He encouraged his musicians to compose in the Carnatic, Hindustani and Western styles.[45] During this period, Veena Subramanya Iyer wrote an important treatise on music in Kannada, dealing with both its theoretical and practical aspects, called Sangeeta Samayasara which was published in 1915.[46] A very influential musician, academic and composer of this period was Harikeshanallur Dr. L. Muthiah Bhagavatar. A native of Tirunalveli (in modern Tamil Nadu), he was a scholar in Sanskrit and was trained in music by Samabasiva Iyer in Tiruvayyar.[47] He was appointed court musician at Mysore in 1927 and was honoured by kings and notables alike. He was given the title "Gayaka Shikamani" by his patron King Krishnaraja Wodeyar IV. To this famous musician are credited one hundred and eight Chamundeswari kritis in Kannada, one hundred and eight Shivashtottara compositions in Sanskrit, an important treatise on music in Tamil called the "Sangeeta Kalpadrumam", and a biography in Sanskrit on the life, achievements and contributions of Tyagaraja to Carnatic music called Srimat Tyagaraja Vijaya.[48] He wrote a total of over four hundred compositions in all, in Sanskrit, Kannada, Telugu and Tamil under the pen name "Harikesha" and started the "Tyagaraja Sangeeta Vidyalaya" ("Tyagaraja School of Music") in 1920. For his accomplishments, he was given the title of "Sangeeta Kalanidhi" by the Madras Music Academy and received an honorary Doctor of Letters degree from the University of Travencore.[49] Muthiah Bhagavatar died in Mysore in 1945 and is considered one of the most important composers of the post- Tyagaraja period.[50]
Veena Shivaramiah was the son of the Mysore musician Veena Padmanabiah (of Chikkanayakanahalli taluk, Karnataka). Shivaramiah learnt to play the veena from his father and later from Mysore Karigiri Rao and Mysore Vasudevacharya and was appointed court musician in 1900 by King Krishnaraja Wodeyar IV. His one hundred Carnatic compositions are in Telugu, Kannada and Sanskrit, while his Western musical compositions are in English.[51] King Jayachamaraja Wodeyar gave him the title "Vainika Praveena" in 1941. Shivaramiah was also a Kannada writer and co-authored works with such well-known Kannada scholars as Devottama Jois, Anavatti Rama Rao and Krishna Shastry.[52] Veena Venkatagiriappa, a native of Heggadadevanakote (in modern Mysore district) and a student of Veena Sheshanna, became a court musician under unusual circumstances. At the end of the very first concert that Venkatagiriappa gave in the king's presence, the king merely gave him a gift of two Indian rupees and left the concert. The musician and his family were disappointed at the king's response. Later the king learnt from one of his attendants that the musician and his family had taken the gift graciously. The king, who had been testing the musician's attitude to music, was pleased and appointed Venkatagiriappa court musician.[53] Over the years, the king gave Venkatagiriappa more responsibility in the functioning of various schools of fine arts in his kingdom. Venkatagiriappa played the veena for fifteen minutes in a well-known documentary movie called "Musical Instruments of India" in 1935. He was given the title "Vainika Praveena". His compositions are in Kannada, Telugu and Sanskrit, and he is credited with having created a new kind of Carnatic composition called nagma, which resemble the gats of Hindustani music.[54]
Belakavadi Srinivasa Iyengar, whose birth name was Kuppaswamy Iyengar, was a native of Srigiripura near Shivaganga (in modern Tumkur district). He came to Mysore in 1912 and was trained in music by Bakshi Subbanna, a musician in the court of King Krishnaraja Wodeyar IV. Srinivasa Iyengar was later appointed a court musician. He was an expert in the gotuvadya and the violin. He was given the title "Mysurina Madhurayi Pushpavanam" by the famous vocalist Subramanya Iyer.[55] Srinivasa Iyengar was a noted dramatist and acted in such well-known dramas as Babruvahana, Rama pattabhisheka, Veera simha charitre, Abhignana shakuntala, Virata charitre, and Sudhanva charitre.[56] Unfortunately, very few of his compositions, which written under the pen name "Srinivasa", are available today. It was Srinivasa Iyengar who popularised Purandara Dasa's Kannada song Jagadoddharana by composing its notation.[57] Chikka Rama Rao, a native of Kurudi (in modern Kolar district) was trained under Mysore Karigiri Rao. He was proficient in both the Kannada and Sanskrit languages, and among musical instruments, in the veena, glass tarang and jalatarang. He gained expertise in Western music as well.[58] He is known to have had the gift of playing the veena while singing in a melodious voice. His talent was noticed by the "Raj mata" (queen mother) who brought this to the attention of the king. After listening to him perform, the king appointed him court musician in 1914. Along with Srinivasa Iyengar, Chikka Rama Rao acted in many dramas of the day and was honoured by King Krishnaraja Wodeyar IV with the title "Sangeeta Ratna" (literally, "gem of music") and "pandit" by Hindustani music aces Abdul Karim Khan and Bhaskara Bhuva. To his credit are many compositions in Kannada, Sanskrit and Telugu.[59]
King Jayachamaraja Wodeyar
See also
- Jayachamaraja Wodeyar Bahadur
- Chamaraja Wodeyar
- Krishnaraja Wodeyar IV
- Kadagathuru Seshacharya
- Chintalapalli Parampara Trust
- Chintalapalli Ramachandra Rao
Notes
- ^ Pranesh (2003), pix in author's note
- ^ a b c Kamath (2001), p282
- ^ a b Pranesh (2003), pxiii in author's note
- ^ Pranesh (2003), p54-55, p92, p162-163, p225-226
- ^ a b Pranesh (2003), p108
- ^ Kamath (2001), p283
- ^ Kamath (2001), p281
- ^ Pranesh (2003), p54
- ^ Pranesh (2003), p54-55
- ^ Pranesh (2003), p61, p65
- ^ Pranesh (2003), p77
- ^ Pranesh (2003), p75-76
- ^ Pranesh (2003), p78-79
- ^ Pranesh (2003), p76
- ^ Pranesh (2003), p76-77
- ^ Pranesh (2003), p84-86
- ^ Pranesh (2003), p86
- ^ Pranesh (2003), p88-90
- ^ a b Pranesh (2003), p92
- ^ Pranesh (2003), p93
- ^ Pranesh (2003), p94
- ^ Pranesh (2003), p96
- ^ Pranesh (2003), p99
- ^ Pranesh (2003), p100
- ^ Pranesh (2003), p101-108
- ^ Pranesh (2003), p109
- ^ Pranesh (2003), p110
- ^ Pranesh (2003), p110-111
- ^ Pranesh (2003), p111-112
- ^ Pranesh (2003), p113
- ^ Pranesh (2003), p114-122
- ^ Pranesh (2003), p123-124
- ^ Pranesh (2003), p124, p127
- ^ Pranesh (2003), p128
- ^ a b Pranesh (2003), p135
- ^ Pranesh (2003), p138
- ^ Pranesh (2003), p140, p147
- ^ Pranesh (2003), p140
- ^ Pranesh (2003), p149
- ^ Pranesh (2003), p151
- ^ Pranesh (2003), p154-55
- ^ a b Pranesh (2003), p157
- ^ Pranesh (2003), p158
- ^ Pranesh (2003), p158-159
- ^ Pranesh (2003), p162
- ^ Pranesh (2003), p164
- ^ Pranesh (2003), p167
- ^ Pranesh (2003), p180
- ^ Pranesh (2003), p169, p170
- ^ Pranesh (2003), p170
- ^ Pranesh (2003), p185
- ^ Pranesh (2003), p186
- ^ Pranesh (2003), p191
- ^ Pranesh (2003), p193, p197
- ^ Pranesh (2003), p200-201
- ^ Pranesh (2003), p202
- ^ Pranesh (2003), p200
- ^ Pranesh (2003), p207
- ^ Pranesh (2003), p209, p210
- ^ Pranesh (2003), p214
- ^ Pranesh (2003), p216
- ^ Pranesh (2003), p220-221
- ^ Pranesh (2003), p222
- ^ Pranesh (2003), p225
- ^ a b Pranesh (2003), p233
- ^ Pranesh (2003), p236
- ^ Pranesh (2003), p237-240
References
- Pranesh, Meera Rajaram (2003), Musical Composers during Wodeyar Dynasty (1638–1947 A.D.), Vee Emm Publications, Bangalore EBK 94056
- Suryanath U. Kamat, A Concise history of Karnataka from pre-historic times to the present, Jupiter books, MCC, Bangalore, 2001 (Reprinted 2002) OCLC: 7796041
- "Veene Sheshanna". Musical Nirvana.com, August 1, 2000. Retrieved 1 September 2007.
- "Mysore Vasudevachar". Musical Nrivana.com, June 17, 2003. Retrieved 1 September 2007.
- "Mysore Chowdiah". Musical Nrivana.com, May 2, 2003. Retrieved 1 September 2007.
- "Mysore Doraiswamy Iyengar". Musical Nrivana.com, May 2, 2003. Retrieved 1 September 2007.
- "Muthaiah Bhagavathar". Musical Nrivana.com, May 2, 2003. Retrieved 1 September 2007.
- "Mysore Sadashiva Rao". Musical Nrivana.com, May 27, 2002. Retrieved 1 September 2007.
- "Jayachamaraja Wodeyar". Musical Nrivana.com, May 27, 2002. Retrieved 1 September 2007.
- Mysore Composers