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


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