Mysore Maharaja's Contribution to Carnatic Music.
JAYACHAMARAJA WODEYAR or MYSORE MAHARAJA (1919 - 1974 A.D) was the 25th the Wodeyar Dynasty, who ruled the Kingdom of Mysore. He was born on 18 July 1919 to Yuvaraja Kanthirava Narasimharaja Wodeyar, and Kempe Cheluvajjammanni. He was brought up under the personal supervision of his uncle, Nalwadi Krishnaraja Wodeyar. He studied at the Royal School and later he graduated from the Maharaja's College, Mysore, with distinction, securing several Gold Medals. Jayachamaraja Wodeyar studied Philosophy, Metaphysics, and Mimamsa. His knowledge was very vast and he was author of many classical works like "Dattatreya – the way and the goal", "Gita and the Indian Culture", "Dharma Mattu Manava", and so on. On 8 September 1940, he was crowned as Maharaja. He married Princess Satya Prema Kumari Devi in 1938 (no children), and later Tripura Sundarammanni in 1942 (six children). A decade of his rule was constitutional, benevolent and one of enlightened monarchy. His subjects were happy for he introduced many welfare measures.
During the period of 19th and 20th century many musicians were patronised by the kings and rulers of Wodeyar Dynasty in Mysore state who were the great contributor to Carnatic Music. The influence of the Trinity can be seen in almost all the composers as they created a basic structure of the classical system of Carnatic Music by enriching the treasure of Musical Composition. Apart from many court musicians Jayachamaraja Wodeyar or Mysore Maharaja was one of the Composer as well as the King himself contributed his expertise in Carnatic Music.
v Mysore Maharaja’s contribution
towards Carnatic Music
Maharaja underwent training in Carnatic
vocal music from Mysore Vasudevacharya and in Veena with Veena Venkatagiriyappa for a
short term before he became King of Mysore Palace. However, Western classical
music was a passion for him, and only much later around 1940, his interest in
south Indian music cherished, when he came into contact with stalwarts like H.H
Muttaih Bhagvathar, Ariyakkudi Ramanuja Iyengar, and Tiger
Varadachariar. Naturally, music luminaries and artists were attracted to
his court. Scholars and composers who adorned his court include Tiger
Varadachariar, Chennakeshavayya, Titte Krishna Iyengar, S. N. Mariappa,
Chintalapatti Ramachandra Rao and R. N. Doraswamy, H.M. Vaidyalingam (the
adopted son and nephew of Muthiah Bhagavatar). Jayachamaraja held several
alluring posts, During Independace days; he was a Rajapramukha of Mysore, later Governor of Madras, Chancellor
of Mysore, Madras, and Banaras Universities, President of Sangita Nataka
Academy, and so on. He was awarded honorary doctorate degrees from several
universities including the University of Queensland, Australia, and the
fellowship of the Sangita Nataka Academy.
Jayachamaraja Wodeyar was initiated
to "Srividhya upasana”,
by Saint Siddhalinga Swami, the chief of the Nagalinga Matham. Being Srividhya Upasaka he composed
compositions and followed Muttuswami Dikshidhar. He was quite at home in
literature, philosophy, political science, music, musicology, English and
Sanskrit He soon gained a deep understanding of the Srichakra ritual of worship. He used to hold frequent sessions
with Mysore Vasudevacharya, Tiger Varadachariar and others, discussing finer
aspects of Hindu religion, music, and so forth. With his immense knowledge of
Sanskrit and philosophy, he composed a large number of compositions in Carnatic music. His compositions are 97 in number which are supposed to be available in print.
Jayachamaraja Wodeyar’s compositions
were modelled after Muttuswami Diksitar, who was also a Srividya Upasaka.
All his compositions are in uncorrupted Sanskrit.
With the new research in 97 songs, 11 are on Ganapati, 13 in Shiva,
4 on Vishnu, 2 on Sarasvati, 1 on Gayatri, and the rest of Goddess Parvati, and Laksmi. While not on specific shrines, references to Kanchipuram
(Kamaksi, Ekamreshvara), Arunachalanatha (Tejolingam)
Of Tiruvannamalai, Madhurai, Shringeri, Gajaranyam, Mahabala Giri, Shwetadri
(White Hills?), etc., in some of his songs. It is not clear whether he visited
these temples and composed songs there. All his kritis incorporate several doctrines from Srividya, Srichakram and Mantra Shastram. These compositions
were his vehicles to express his inner spirit longing for liberation from this
world. Many of these songs obviously were inspired by similar compositions of
Muttuswami Diksitar.
There are neither
Varnam nor Ragamalika in his works, and all are
just kirtanams with Pallavi, Anupallavi and Charanam.
In some of his compositions multiple Charanams
can be found. One can see his creativity in the composition Rajarajeshvarim,
Sri Mahaganapartim, Sri Jalandharam where he has composed Chitta
svara are found in some compositions. Many of his compositions are adorned with
Madhyamakala Sahityam, some
appearing only in Charanam and
some in both Anupallavi and Charanam. In one composition, Madhyamakala sahitya can be found in
the Pallavi itself ("Pahi
Mam Sri Rajarajeshvari"
in Ragam Jayasamvardhani).
Pallavi
Pahi maam Sri Raja Rajeshwari
Parvata Rājakumāri ekanekśari Bhuvaneshwari
पाहि मां श्री राजराजेश्वरी
पर्वतराजकुमरि एकानेकक्षरि भुवेश्वरी
The composition, "Kamakshim
Varalakshmim"
in raga Shivakamboji set to Khanda Triputa Tala has three madhyamakala passages. The theme of Srividya is sprinkled liberally in
all his compositions. Some of the following illustrative lines especially
noteworthy are:
· In the
compositions “Kshirasagarashayana” in raga Mayamalavagowla set to
Chaturasra Dhruva Talam. He has composed
in various new talams which seems to be little difficult for anyone to think in
the way he used to compose.
·
In the composition “Sri Rajarajesvarim” in raga Devagandhari set to Adi tala
“Kshityadi Shivanta Sattrimshat
Tattvasvarupini".
क्षित्यदि शिवान्त षट् त्रिंशत्
तत्त्व स्वरुपिणीं
·
In charnam of the composition “Ambujakshi
Pahi mam” is in raga Simhavahini set to Adi tala one can see the phrase
occurring :
“Shreem
Hrimkarekaśharanuvāgartha svarupini simhavahini"
श्रीं ह्रींकारेकाक्षरानुवाग अर्थ स्वरुपिणी सिंहवाहिनी
·
In the
composition “Kamakshi Pahimam” which is in raga Janaranjani set to
Rupakam Tala.
"Hakara makara
sakara Rupa svaso jnanamayi"
हकारमकारसकाररूपश्वासो ज्ञानमयी
The
composition “Bhuvaneshvari” in raga Bhuvanagandhari set to Adi tala in
Charanam:
"Anāhatādi Shaṭkamalāntasthitē
Akhandaikarasāsvada bharitē"
अनाहतादि षट्कमलान्तस्थिते अखण्डैकरसास्वादभरिते
In some his compositions, the
Maharaja has incorporated phrases from "Lalita
sahasranamam”, For instance:
1. In composition "Jaganmohinim
Haramohinim" in raga
Jaganmohini set to Mishra Jhampa tala, the phrases occur in Anupallavi.
"Chatuh Sasthikotiyogoini Ganavanditam
Chidagnikyunda Sambhutam Subhakritam"
चतुः षष्टिकोटियोगिनी गणवन्दितं चिदङ्गी कुण्ड संभूतं
शुभकृतं
2. In
one song, "Shri Gayati Devi",
references to Gayatri Maha Mantram have been given:
Muktā Vidrumādi Kāntiyutē
Panca Tējōmaya Mukha Shōbhite
Mumukśhu Sarva
Sampatpradanā-Shaktē Sarasija Pīkavāstanē
मुक्ता विद्रुमादि कान्तियुते पञ्च तेजोमय
मुख शोभिते
मुमुक्षु सर्वसंपत्प्रदनासक्ते सरसिजपीठवसिते
3. The
composition, "Matangakanyam" in Shuddha Todi has several phrases
resembling the popular Churnika,
"Shyamala Dandakam" of poet Kalidasa.
Pallavi
Mātanga Kanyām Manasā
Smarāmi
Marakata Maṇimayāngīm
Mēchakāngīm
Anupallavi
Mārtāṇḍa Sannibha
Prabhāsahitām
Māṇikya Veeṇā Shōbhitām
Lalitām
Mātrikā Svarūpām Āryām
Madana Vairi Manasa
Nilayām Shrīvidyām
Charaṇam
Bhadrām Chidāgni Kuṇḍa Sambhūtām
Bhaṇḍāsurādi Ditya
Mathana Niratām
Bhadrādi Navadēvi
Sampūjitām
Bhavabhaya Haraṇa
Shaktiyutām Parashiva Kāntām
Mudrā Tōśhitām Madālasām
Shuddhatōḍi Rāga Mōdhitām
Shānthām
The above composition is just an
example where Mysore maharaja has composed in Sanskrit Language and also used
phrases from Shymala Dandakam as mentioned above.
Jayachamaraja Wodeyar
handled different Ragams and Talams.
The Maharaja has used a total of 30 Mela Ragams in his compositions.
Besides the popular Melams like
Todi, Kalyani, Sankarabharanam,
Latangi, Shanmukhapriya, Chakravakam, Charukesi, Subhapantuvarali, Simhendra
Madhyamam, Hemavati, Dharmavati, he has also employed some rare mela
ragas like Hatakambari, Bhavapriya,
Ragavardhani, Vishvambhari, Sadvidhamargini, Suvarnangi and Namanarayani. A
notable omission is melam 22, kharaharapriya. The Janya ragams employed include some
popular ones, some very rare ones, and one invented by Maharaja himself, as the
following list illustrates:
The scales of some lesser known ragams he employed are given below
were invented by Jayachamaraja Wodeyar himself
Besides Adi (Chaturashra Triputa), Rupakam, and Mishra Chapu, he has composed in rare Talams like: Mishra
Jhampa, Trishra Jhampa , Chaturashra Ata
, Chaturashra Matyam, Chaturasra Dhruvam, Khanda Rupakam, Khanda Triputa ,
Sankirna Triputa, , and Mishra Triputa.
Mudra
that has been incorporated in his compositions
Being an ardent devotee of Goddess
and follower of Srividya, the
Maharaja chose the phrase "Srividya"
as his Vaggeyakara mudra in
most of his compositions. Srividya
mudra is not used in 8
compositions, "vidya"
instead or the phrases "sri"
and "vidya" separated
by a qualifying adjective such as "Maha".
The phrase "Nagalinga"
in a few compositionsis used which perhaps is an offer of respect to his
spiritual Guru,
Pallavi
Nāgalingam Mahēshvaram
Bhaja Mānasa Satatam
Anupallavi
Nagarājādi Bhakta
Shankarābharaṇayutam
Nāgātmaja Sahitam Agastya
Muni Sampūjitam
Nāga Charmāmbarayutam
Āgamadi Su-Vidhitam
Charaṇam
Sundara Madurāpurādīshvaram
Sōmēshvaram
Indrādi Sakala Vadanamprāṇata
Sajjanārthiharam
Varam Indrākśhi Lalitā
Tripurasundari
Manōharam Sudhīndranuta
Shrī Vidyā Mahā Mantrēshvaram
Shilpi Siddhalinga Svami of the Nagalinga Matham. Also there are references to Kanthirava (his teacher),
and Yoga Pattabhirama.
Genuine Raga Mudra is available
for 86 songs. The missing ones are in ragams
Hanumatodi, Athana, Amirtavahini,
Hindoladarbar, Charukesi, Vasantabhairavi and Malavi. Many a time phrases like " --- Raga Thosite", appear as synonyms of the corresponding name for
the Goddess e.g., Kalyani, Suvarnagi,
Bhavapriya, Jaganmohini, Hemavati. In a few rare cases, raga mudra has been used through some
ingenious word construction. For example;
·
In Ragam Mand
the raga mudra appears in the Palavi itself
“Brahmanda Valaye Maye brahmādi vandita shivajāyē
·
In composition
Shri Gayatri Devi Raga mudra is visible in charnam Ragam Gamanashrama
“Parabrahama Gamanasramahitakārini
Kalyāni”
·
In composition “Chintayāmi
satatam” in Ragam Dhenuka the raga mudra is noticeable in charnam
“Mahiśha
Shiracchēdanakara Charitrām Kāmadhēnu Kātishayam”
·
In the
composition “Saraswathim Bhagawathim” Ragam Hamsavinodini raga mudra appears to
be like this
Saraswatim Bhagavatim Namāmyaham
Sammōhinīm Paramahamsavinodinim
·
In Ragam Dharmavathi the composition is
Durgadevi sam Rakshamaam, In charanam one can find the Raga mudra like
Varapāshēkśu
Dhanur Bāṇayutē
Vara
Dharmavathinama Pratipadite
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