Jayachamarajendra Wodeyar - The Royal Composer

The 19^th and 20^th century saw several outstanding music composers patronized by the rulers of Wodeyar dynasty in the state of Mysore who made significant contribution to the classical system of music of the south by enriching the treasure of musical composition. Chief among them are Sadashiva Rao, Muttaiah Bhagavatar, Veene Sheshanna, Vasudevacharya and JayaChamarajendra Wodeyar (JCW).

A special mention must be made of the multi faceted personality of JCW whose extraordinary potential found its expression and consummation in making him an able administrator, diligent diplomat, spirited sportsman, class-composer, philosopher, devotee,scholar,author and with all this a humble human. Sri Jayachamarajendra Wodeyar was the last scion of Mysore Wodeyar dynasty par excellence in every field he explored. He was a great soul, having an abiding faith in goodness and humanity.

Born on 18^th July 1919 to Yuvaraja Kanteerva Narasimharaja Wodeyar and Kempu Cheluvajjammani, he succeeded the throne after his uncle Nalwadi Krishnaraja Wodeyar in 1940. He was married to princess Sathya Prema Kumari in 1938 and Tripurasundarammani in 1942.

His early education was at the royal school and was later admitted to Mysore Maharaja’s college where he did BA degree examinations with History, politics and economics securing 5 gold medals. He also studied Kannada, English and Sanskrit to professional levels.

Passion for music

Apart from excellent academic qualification JCW had keen interest for music. He learnt Western music in piano from Sister Ignatius. He took up the examinations conducted by Trinity college London and received high honours. Western music became his passion and he developed a library of Western Classical music and records which is considered as one of the largest and best in India. He helped the Western world discover the music of a little-known Russian composer Nikolai Karlovich Medtner (1880-1951), financing the recording of a large number of his compositions and founding the Medtner Society in 1949.

Medtner’s third piano concerto is dedicated to the Maharaja of Mysore. He became a Licentiate of the Guild hall of Music, London and honorary fellow of Trinity College of Music, London, in 1945.

After ascending the throne on 8^th Sept 1940, he was initiated to the Karnatak Classical Music as a natural sequence to the cultural vibrancy that prevailed in Mysore court till then. He learnt to play veena under Vid. Venkatagiriappa and mastered the nuances of Karnatak music under the tutelage of veteran composer and Asthana Vidwan Sri. Vasudevacharya. He was also initiated into the secrets of ‘SRIVIDYA’ as an upasaka (under assumed name chitprabhananda) by his guru Shilpi Siddalingaswamy. This inspired him to compose as a near hundred compositions with the ‘Srividya’ as the mudra (pen name).

Patron supreme

Many noted Indian musicians received patronage at his court, including Mysore Vasudevacharya, Venna Venkata Giriappa, B Devendrappa, V Doraiswamy Iyengar, T Chowdiah, Tiger Varadachar, Chennakeshaviah, Titte Krishna Iyengar, S N Mariappa, Chintalapalli Ramachandra Rao, R N Doreswamy, H M Vaidyalinga Bhagavatar. The music of Mysore won global acclaim with the smouldering aroma of Karnatak music spreading far and wide.

Compositions of Sri Jayachamarajendra Wodeyar

Greatly inspired by Muttuswamy Dikshitar, JCW has used rare ragas and talas. In the usage of suladi talas sush as Khanda triputa, Mushra Jhampe, Chaturashra Matya he has closely followed the footsteps of Dikshitar. The rare ragas and talas are employed with such ease and aptness that it makes one wonder at the brilliant sponteinity and imagination of the composer. Rendering JCW’s compositions pose a challenge to the musicians and when presented properly it gives immense satisfaction to both the artiste and the listeners. Even when a simple raga like Gambheera Nata is used as in the kriti “SriJalandara” set to Adi tala, the composition is so magnificent in structure and content that only a seasoned artiste with great breadth control would present it with its due dignity and grace.

His compositions have a unique structure with multiple charanas, swara embellishments, raga mudras, madhyamakala sahithya etc. His very first composition in attana “Sri Maha ganapatim” is a refreshing change considering its structure with multiple charanas, madhyamakala shityam and chitteswaram.

In his composition in Vasanta “Kamakshim Varalakshmim” set to rupaka tala, after the pallavi and anu pallavi, the charanam “Ekamranateshwara priya vinodinum” is followed by 3 madhyamakala subcharanas. After each subordinate charanam in madhyama kala the charanam “Ekamranatheshwara priya vinodinik” is sung. A similar structure is followed in his Charukeshi kriti set to Khanda triputa “Swaminatha palayamam”.

His compositions have beautifully woven raga mundras in the sahitya.

Examples:

à Purandaradi sanuta gambheeranatya pradarshaka nagalingam

à gowri manohari pahi kumara

à Umam namami hemavatim bhagavatim

à parabrahma gamanashrama hitakarini

à brahmanda valaye maye

à Pavitra baalachandrikaa modinim manonmanim

His knowledge of western classical music has given him an edge over other composers of his time in retaining the essential character of the note (suddha swara) and also exploiting them to the fullest advantage of the raga with the judicious usage of gamakas.

Unique features of his compositions

Has composed all his kritis in Sanskrit. Sound knowledge of this divine language has given them a rare dignity of diction. The lyrics or text of his compositions are in praise of Hindu deities and do not address social issues or reforms.

All the compositions are in different ragas without repetitions. He has composed kritis in rare ragas like Bhogavasantham, Durvanki, Nagadhwani, Nadabrahma etc. and used uncommon talas like Khanda triputa, Mishra Jhampe and chaturashra matya.

His compositions follow a majestic gait of what can be noticed as neither vilamba(slow) nor druta(fast).

His compositions have a unique structure with multiple charanas, chitteswaras, swaraksharas, raga mudras, madhyamakala sahitya etc.

Sri Jayachamarajendra wodeyar led a wholesome life setting an example to the society. He died on 23^rd August 1974 leaving behind a rich legacy to cherish and benefit.

Supplement:

àLiterary works of JCW

- The quest for peace: an Indian approach. University of Minnesota, Minneapolis 1959

- Dattatreya: The way & the goal, Allen & Unwin, London 1957

- The gita & Indian culture, Orient Longmans, Bombay, 1963

- Religion and man, Orient Longmans, Bombay, 1965. Based on prof. Ranade series lectures instituted at Karnataka University in 1961

- Avadhuta: Reason & reverence, Indian Institute of World Culture, Bangalore 1958

- An aspect of Indian aesthetics, University of Madras 1956

- Puranas as the vehicles of India’s philosophy of history, Journal purania, issue #5, 1963

- Advaita philosophy, Sringeri souvenir volume, 1965, pages 62 – 64

- Sri Sureshwaracharya, Sringeri Souvenir Volume, Srirangam, 1970, pages 1-8

- Kundalini yoga, A review of “Serpent Power” by Sir John Woodroff

- Note on ecological surveys to precede large irrigation projects – Wesley press, Mysore 1955

- African Survey-Bangalore press, 1955

- The virtuous way of Life – Mountain path journal  - July 1964 edition

He also sponsored the translation of many classics from Sanskrit to kannada as part of the Jayachamaraja Grantha Ratna Mala, including 35 parts of the rigveda. These are essentially ancient sacred scriptures in Sanskrit till then not available in kannada language comprehensively. All the books contain original text in kannada accompanied by kannada translation in simple language for the benefit of common man. As late H Gangadhara Shastry – Asthan (court) astrologer and Dharmadhikaari of Mysore Palace – who himself has contributed substantially in the above works – has stated that Maharaj used to study each and everyone of these works and discuss with them with the authors.

Able administrator

Having led the state of Mysore to its complete honours for a period though short in the scale of time JCW’s achievements as an inspiring model were not to ignore. He continued his artless service to the nation in various capacities even after he signed the instrument of accession with the dominion of India on the eve of India attaining independence in August 1947 and the princely state of Mysore got merged with the republic of India on January 26, 1950. He held the position of Raj pramukh of the state of Mysore from 1950 – 1956. After the integration of the neighbouring kannada – majority parts of the states of Madras and Hyderabad, he became the first governor of the recognized unified state of mysore, 1956 – 64 and later was transferred as the governor of the state of Madras (Tamil Nadu) 1964 – 66.

Spirited Sportsman

He was a good horseman and a tennis player who helped Ramanathan Krishnan to participate at Wimbledon. He was also well known for his marksmanship and was highly sought-after by his subjects whenever a rogue elephant or a man eating tiger attacked their immediate surroundings. He was also responsible for establishing and supporintg the wildlife sanctuary at Bandipur.

Honours

- The british government honoured him with the GCSI in 1945 and GCB in 1946

- Doctor of Literature from the university of queensland, Australia [3][4]

- Doctor of Literature from the Annamalai University, Tamilnadu

- Doctor of Law from the Banaras Hindu University

- Doctor of Laws honoris causa from University of Mysore, (1962)

- Fellow and president of Sangeet natak academy, New Delhi, 1966

- First chairman of Indian Wildlife board

- Founder – President of the Vishwa hindu Parishad


Copyright T S Sathyavathi (All rights reserved)

Music - The most potent instrument in Education

Introduction 

Pure music has a universal appeal. Nada and Laya (melody and Rhythm), the basic components of music find presence in all human activities. Man has developed, cultivated, improvised and perfected them into a refined art.

Music is the earliest ‘fine art’ in the history of human culture. It is often considered as the most powerful and effective vehicle of thoughts with its ability to touch, melt, stimulate and soothe the innermost feelings of the human heart.

Music in India

Music has been an inseparable part of Indian society from very early times. No occasion, festivity, funeral is unaccompanied by music. India is the only country to have realised the potential of music in its entirely. It is only here that music has a diverse application. It is asmuch a means of entertainment as it is a path to salvation. The chandogya upanishad confirms music as one of the esoteric means of Realisation.

Music and Education 

With the final goal of education being ‘Attaining the ultimate good of humanity through the complete blossoming of the individual personality’ the relevance of human, social and moral values can hardly be exaggerated. That which breeds values is the value of values and that is what is music. It cleanses the mind of its impurities and prepares one to be receptive, for “it is only a pure mirror that can reflect, not a lump of clay”! 

Child and Music 

Infants, beasts and serpents enjoy music alike. This is because music is not external to ‘beings’. It is within. The crystal clear mind of a child is lost in the adult as a result of drifting away from what is natural. 

There is a natural instinct in every child to sing, which if suppressed, results in an imbalance. The blooming of a personality (Expansion of the inherent elements to the fullest extent) is possible only when these positive impulses are nourished from a very early stage. So “catch them young”.

Method of Teaching

One should remember that there is no need for every child to become a great musician but there is every need for getting introduced to this most ancient and original art in order to achieve the following. 

1. Relief from stress and relaxation of the mind. 

2. Clear perception. 

3. Increasing the ability to concentrate. 

4. Boost creativity. 

5. Ability to grasp greater values. 

6. Important of all — “Experience of the Infinite” 

Even though it is often observed that the abstract should be approached through the concrete, it is better in case of music to go the other way. 

Pure music (without either the text i.e. wordings or the notes) should be taught first. The best way to begin would be chanting of ‘OM’ in the place of S, P and S. This helps the child achieve control of breath, remaining on a note for a longer time. The variations in sound will be understood without much effort. 

This may be followed by exercises in articulation, using the vowels, and flat notes, various combinations of notes, rhythmic beats, and simple songs and so on.. ..in continuation. 

The concept of “Gamaka” and “Raga” should be taught at a higher level. 

(Pg 41 - "Confluence-1998", National Conference for Indian Knowledge Systems)

Human Values in Bhasa

How appropriate and timely it is to remind ourselves of 'human values' at a time of decadence, when all social norms, political ideologies and professional ethics are thrown to wind; when corrupt persons plunge the nation into the darkness of disgrace by their nefarious activities. It is highly unfortunate that the country which was peerless in its pursuit of moral values should have its prestige staked by an increasing number of चारित्रहीनपुरुष s, while as Bhasa claims, a single immoral person is sufficient to cause a conflagration which can devastate a thriving forest.

Bhasa, (also known as Bhasamuni), a celebrated poet-dramatist, has been praised in unequivocal terms by such poets as Kalidasa. He is an example of the exemplary virtue of humility; his name never occurs in any of his thirteen plays.

After a careful study of Bhasa's works, one finds an undercurrent of a synthesised philosophy of life running behind a variety of expressions, episodes, the depiction of life-like characters, picturesque descriptions, enchanting dialogues and appropriate usage of charming alankaras. That the rich values of love, compassion, selflessness, balance of mind, contentment, truthfulness, dedication and conviction were so dear to Bhasa is discernible in his very approach and attitude towards the epics.

Bhasa attempts at seeing the good in all! He cannot tolerate the blame of Kaikeyi for the exile of Rama; he does not approve of branding Duryodhana as selfish and greedy; he is all praise for Karna's loyalty, charitability and heroism; he is unable to paint Shalya in the bad colours of a heartless schemer. This does not mean he approved of crime and bad actions. But he is a "GuNaikagraahi". Thus, several bad characters of the epics emerge flawless and pure by the magical touch of his poetic wand. Prof. G K Bhat (p 91 Sanskrit Drama) befittingly points out - "Bhasa also displays an uncommon insight into the mind of his characters and unravels nobility and deep humility in the hearts of the traditional villains like Kaikeyi, Vali, Kamsa, Duryodhana and Karna. It is Bhasa alone who has revealed the good, the human in souls of legendary characters whom tradition has dubbed as wicked and villainous."

Human values are the finer elements in a man that save him from falling into the category of beasts. They elevate him and make him realise his own positive potential. In simple words, they teach him to live and let live. It is nothing but a thorough understanding of oneself in relation to the cosmic system; a definitive upward growth of the personality through dharma and karma, presented in a beautiful manner in Bhasa's works.

In the प्रतिमा नाटक (pratima nataka) , Kaikeyi is an epitome of maternal affection. By sending Rama on exile (being aware of the curse on Dasaratha that he must die on account of पुत्रशोका (putrashoka) ) she brings widowhood on herself. Instead of स्वार्थ (swartha - selfishness) this is one of the brightest instances of त्यागा (tyaaga - sacrifice) , a much honoured human value.

Similarly Duryodhana becomes virtuous desciple of Drona when he declares as given , half the kingdom to Pandavas as a 'DakshiNa' promised to the preceptor at the end of a याग ! 

Thus does Bhasa satisfy his yearning for peace by avoiding the gory Mahabharata war.

After much coaxing and promptings from Bheeshma, Drona asks Duryodhana to give half the kingdom to Pandavas. In this irksome situation, Duryodhana consults Shakuni and Karna. Though Shakuni remains his usual wicked self, it is significant to mark what Karna says:

"I shall not forbid you from treading the path of brotherhood trodden by Rama and his brothers. It is up to you to decide. But I'm there by your side in the event of a battle." - a true friend indeed.

In 'KarNabharam', Karna is there on the sixteenth day of the Mahabharata war, with the onerous responsibility of saving his master's side from a total destruction. He is accompanied by a very kind-hearted and understanding character, Shalya. When shalya warns against giving away the 'kavacha' and 'kuNdals' to Indra who came in the guise of a brahmin, KarNa says

"Knowledge fades as time passes; trees deep-rooted do fall; water in the reservoir gets dried; what is offered (as offering at the sacrifice) and given (to the solicitors) remains ever."

Bhasa's attitude towards life is uniform and pointed. His entire outlook of life is embedded in the words धर्मं (dharma) and  कर्म (karma). This is very well reflected in the words of karna

"The wealth of a king is as fickle as the serpent's tongue. But those kings, who rule with the sole purpose of protecting the people, survive even after their demise by means of their virtues. Therefore , man must strive to adhere to धर्मं" 

हुतं च दत्तं च ......, सत्ये तिष्ठन्ति तिष्ठति !! all these point to one thing - सत्कर्म (satkarma) - just and right action alone remains, while all the rest is prone to destruction.

In मध्यमव्यायोग (madhyamavyayoga) , the amount of restraint exercised by घटोंत्कचा  (Ghatothkacha) , son of राक्षसी हिडिम्बा (Rakshasi Hidimba) , is remarkable. The civil manner in which he deals with the Brahmin family is very interesting. He says "Maata kila manushyaNaam daivataanam ch daivatam"

He knows that all Brahmins are worthy of respect at all times and all places. He says , 

At the command of his mother, he sets aside all scruples. घटोंत्कचा shines as a मात्रुभार्त्रिपरायाना.

In the same play, we come across the three Brahmin sons vying with each other to sacrifice oneself for the sake of the family. 

Love and affection are a symbol of nobility. Love is the fountain-head of values like amicability, sacrifice, compassion, benevolence, forgiveness and charity.

Vaasavadatta and Payaavatee in "स्वप्नवासवदत्ता" (Swapnavasavadatta) are best examples of amicability and sisterly affection. Vasavadatta sacrifices all her pleasures just to see that her husband's lost glory is regained. Her पतिप्रेमा (patiprema) and sacrifice win her a great appreciation.

Bhasa's critics charge him of pessimism. Though he does not show tendencies in that direction at times, he loves life, world and he honours human efforts. Otherwise he would not say

Nothing is impossible for the zealous. But efforts should be made in a right way. If one fails even after putting for the best of his efforts, it is none of his fault.

So Bhasa does not speak of 'Utopia', but perhaps seems to be pointing towards that by asking us to have गुरुषु विनय (gurushu vinaya) , वयस्येषु प्रणय (vayasyeshu pranaya) , दीनेषु दया (deeneshu daya) and सर्वभूतानुकम्पा  (sarvabhootanukampa) which makes life worth living. The following सुभाषित (subhashita) beautifully summarises all that can be said about human values in Bhasa.

  (This is an article published in "संस्कृति" by Samskriti Sangha , Indian Institute of Science - 1995)

Copyrights  Dr. T S Sathyavathi , All Rights Reserved , 2010