The Composers of Karnataka

by Ashok Madhav

The ‘Hari dasas’ of Karnataka like Sripadaraya,Vyasaraya, Purandaradasa, Kanakadasa, Vadiraja and many others have made valuable contributions in bringing esoteric and complex aspects of Vedas, Upanishads and Puranas available to the common man in the form of simple compositions infused with bhakti element as devotion to the Lord. The compositions are predominantly in Kannada and set in familiar ragas. These Hari dasas were living some time between 1400-1600 AD. However, not much significant data is available on the later musicians and composers of 17^th and 18^th centuries and if available they are scanty.

Only when the Wodeyar dynasty assumed power and prestige in the state of Mysore, particularly Mummadi Krishna Raja Wodeyar (1794-1868) – who was interested in music and fine arts – serious efforts were made by him to develop them. He was himself a composer of merit. Music and fine arts were patronized during his regime and the succeeding Rulers of the Wodeyar dynasty, resulting in many musicians from neighboring states settling down in Mysore.

Composers of Karnataka belonging to 19^th, 20^th and 21^st centuries have created compositions most often in Telugu and Sanskrit. These composers were more comfortable in creating compositions in Telugu and Sanskrit, as they felt the above two languages are better suited, following the pattern set by the Trinity. The influence of the Trinity is evident in these composers and their compositions.

Composers who have enriched the lore of Carnatic music in the state of Mysore include Mysore Sadashiva Rao, Veena Venkatasubbaiah, Lingaraj Urs, Basavappa Sastry Tanjavur Chinnayya (one of the Tanjavur quartet), Veena Shamanna, Veena Padmanabhaiah, Veena Seshanna, Veena Subbanna, Karigiri Rao, Mysore Vasudevacharya, Bidaram Krishnappa, Giribhattara Tammaya, Nanjangud Subba Sastry, Chandrashekara Sastry,Veena Subramania Iyer, H.Muthiah Bhaghavatar, Veena Shivaramaiah, Veena Venkatagiriappa, Belakavadi Srinivasa Iyengar, Chikka Rama Rao, Mysore T.Chowdiah, Jayachamaraja Wodeyar, C.Rangaiah, Chennakeshavaiah, R. N. Doreswamy, H.Yoganarasimham, Bangalore Mukund and R.Vishveshwaran. Most of their compositions are set in Telugu and Sanskrit. Of course, some of them have composed in Kannada also.

Mysore Sadashiva Rao (1799- 1879) of Chittoor Dt., was a grand disciple of Tyagaraja through Walajapet Venkataramana Bhagavatar. He was a court musician at Mysore royal court. He has composed swarajathis, varnams, kritis, and tillanas in Sanskrit and Telugu. His compositions are scholarly with raga bhavam and lyrical beauty. His swarajati, ‘Ramabhi Rama’ (Hamsadhwani) and kriti –‘Paramadbhuta’ (Khamas) are two of his fine creations.

Veena Venkatasubbaiah (1750- 1838) from Kapistalam, Tanjavur Dt settled down in Mysore as a music teacher to Mummadi Krishna Raja Wodeyar. He has several compositions and pioneered a sapta taleshwara composition in Reetigoula which incorporates all seven suladi talas.

Lingaraja Urs (1823-74) of Mysore Dt. Among his several compositions, “Shringara lahari” in Neelambari with a nice chitta swaram is popular Sanskrit kriti. He has also composed javalis and Yakshaganas in Kannada.

Basavappa Sastry (1843-91) of Narasandra village,Mysore Dt was proficient in Sanskrit and Kannada. He has translated Kalidasa’s Shakuntalam, Malavikagnimitram and other plays in Kannada and also Shakespeare’s Othello in Kannada. He was given the title, “Karnataka Nataka Pitamaha” .He has composed a number of songs for his play-“Ratnavali” and “Uttara Rama Charitram”.He composed the famous state anthem “Kayo Sri Gauri”.

Tanjavur Chinnayya (1803-56) one of the Tanjavur Quartet was born in Tanjavur Dt. He became a court musician of Mysore. He has composed varnams, kritis, javalis either in Sanskrit and Telugu. “Amba Souramba” (Arabhi) and “Amba Neelambari” (Nellambari) are his nice compositions with built in chittaswaram. Chinnayya has also been given credit of composing “Amba Souramba”(Arabhi).

Veena Shamanna (1832-1908) was originally from Salem,Tamilnadu migrated to Mysore and was appointed as a court musician in 1876. He has composed only a few compositions like Jatiswaram and varnam.

Veena Padmanabhiah (1842-1900) from Chikkanayakanahalli has composed several swarajathi, kritis, javalis and a sapta talesharam in Thodi. His kritis, “Sri Herambamide” in Nattakuranji and “Bhavayami tavapada” in Nagaswaravali with captivating chittaswaram are given as examples. Most of his compositions are either in Sanskrit or Telugu except one Javali, which is in Kannada.

Veena Seshanna (1852-1926) born in Mysore, was appointed as a court musician in 1882. His forte was ragam tanam pallavi. He has also composed several jatiswarams, varnams, kritis, ragamalikas and tillanas both in Telugu and Kannada. One of his javalis is set in Hindi also. His kriti “Rama ninnu” in Anandabhairavi and “Gangadhara” in Gouri are quite well known.

Mysore Karigiri Rao (1853-1927) of Tumkur has composed varnams, kritis, tillanas. He has given notations for 200 Devaranamas. Most of his kritis have chittaswarams. “Nenarunchira” (Mohanam) and “Saraswathi Bhagavati” (Saraswati) are two of his compositions. He is the author of two books “Sangita subhodhini” and “Gana vadya Rahasya Prakashini”.

Veena Subbanna (1861-1939) of Mysore was an expert in pallavis. He was known to have sung 16-kalai pallavi. Veena Subbanna and Veena Seshanna have performed together many times. Subbhana is credited to have composed varnams, jatiswarams, kritis, ragamalikas, tillanas and javalis. His varnam “Srinivasa nannu” (Athana) and Paripahi Sri (ragamalika) may be cited.

Mysore Vasudevacharya (1865-1961) has been a prolific composer of jatiswarams, varnams, kritis, javalis, tillanas and bhajans all in Sanskrit or Telugu. “Mama hrudaye” (Reetigoula), Bhajare Manasa (Abheri) and “Sri Chamundeshwari” (Bilahari) are some of his compositions. There is a Kannada kriti of his “Karuniso” (Saraswathi manohari). His compositions are often heard in concerts.

Bidaram Krishnappa (1866-1931) of Udupi was a popular musician and has acted in several dramas and trained several musicians like Bangalore Nagaratnamma, T.Chowdiah, Rallapalli Anantha Krishna Sharma, BS.Raja Iyengar and others. His compositions are not many. “Amba brovave” (Dharmavati) and “Dasharathi ninnu” (Rishabhapriya) are mentioned here.

Giribhattara Tammayya (1865-1920) of Mysore was a composer of songs primarily for dramas like Draupadi swayamvara, Neeti chudamani and Yakshaganas, etc.

Nanjangud Subba Sastry (1834-1906) of Nanjangud was a music teacher in the Mysore Palace. He has composed many songs for dramas like Mrichakatika, Malavikagnimitra, etc.

Chandrashekara Sastry (1867- ?) has composed javalis both in Kannada and Telugu.“Ye kamini bodhinchinadi” (Nattakuranji) and “Balika na pai” (Kalyani) are examples.

Veena Subramanya Iyer (1864-1919) son of Veena Shamanna is the author of the book,”Sangita Samayasara” which explains both theory and practice of music. Published in 1915 in Kannada, it is a valuable contribution to Carnatic music.

Harikeshanallur Muthiah Bhagavatar (1877-1945) of Tirunelveli was one of the great composers of the 20^th century. His compositions became well known after his moving to Mysore in 1927. He has composed in several languages like Sanskrit, Tamil, Telugu and Kannada and made varnams, kritis, ragamalikas, tillanas etc. In the beginning of his career, he was a harikatha exponent and so he did compose Nirupanams, padams for them. He has also composed 108 Chamundeshwari ashtottara kritis. “Mathe malayadhwaja” (Khamas daru) and “Vanchatonu na” (Karna ranjani) may be given examples of his compositions. He has created several new ragas such as Niroshta.

Veena Shivaramaiah (1886-1946) son of Veena Padmanabhaiah was a Mysore court musician. His compositions include jatiswarams, varnas, kritis, tillanas set in Sanskrit,Telugu and Kannada. He has also composed 72 mela raga kritis. Two kritis,“Vani veena pani” (Sri ragam) and “Sri Raja rajeshwari” (Dharmavati) are mentioned here.

Veena Venkatagiriappa (1887- 1952) of Heggada devanakote was a director of the Mysore Palace orchestra. He traveled widely all over north and south India displaying his expertise on veena playing. He has composed varnams, kritis, tillanas, ragamalikas, etc. in Telugu, Kannada and Sanskrit. He introduced a new type of musical form called “Nagma.” It resembles the gats in Hindustani music. “Lalitambe Sri mate” (Bhuvana-gandhari) and “Sri Jaya Lalithe” (Behag) are two kritis given here.

Belakavadi Srinivasa Iyengar (1888-1936) of Srigiripura, Mysore State was a good singer and acted is several dramas. He has composed varnams, kritis including kritis in 72 mela ragas. Unfortunately, the 72 mela raga kritis were not published and the manuscripts are not traceable. He has authored a book “Ganamrita” in Kannada. “Ye papamu” (Saraswathi) and “Nannu brovavayya” (Begada) are two compositions cited here.

Chikka Rama Rao (1891-1945) of Kolar Dt was a good musician. As a youngster, he acted in several plays. He has to his credit composing varnams, kritis, ragamalikas, tillanas in Sanskrit, Telugu and Kannada. “Chamundike paripalisali” (Saranga) and “Kamita sadana” (Sri ragam) may be given examples of his compositions.

T. Chowdiah (1894-1967) of Tirumakuta village, was primarily a violinist and was a popular musician. His compositions include kritis and tillanas in Sanskrit, Telugu and Kannada. Two of his compositions “Sri Venugopala (Kamboji) and “Devi purna mangala” (Dhanyasi) are mentioned.

Jaya Chamaraja Wodeyar (1919-1974) was the last ruler of the Wodeyar dynasty of Mysore Kingdom. His compositions are in Sanskrit exclusively and his style of composing is reminiscent of Muthuswamy Dikshitar. Some uncommon ragas plus the common ragas are featured in his kritis. His kritis like “Sri Mahaganapatim” (Athana) and “Durga devi” (Dharmavati) are heard often.

N.Chennakeshavaiah (1895-1986) of Mandya Dt was a disciple of veena Shivaramaiah and Mysore Vasudevacharya. He has composed jatiswaram, varnams, kritis, ragamalikas and tillanas in Sanskrit and Kannada. He has authored books on Haridasa compositions and Ragam.Tanam. Pallavis with notations. “Bhaja manasa” (Kharaharapriya) and “Keshavardhangi” (Kalyani) are given here.

R. N.Doreswamy (1916-2002) of Rudrapatnam has composed jatiswarams, swara jathis, varnams,kritis, ragamalikas and tillanas in Sanskrit, Kannada and Telugu.Two kritis-“Gaja mukha ninage” (Shanmukhapriya) and “Sharade varade” (Saraswathi) are two kritis mentioned.

C. Rangaiah (1901-1984) of Mysore was a disciple of Veena Subba Rao and Mysore Vasudevacharya. He has composed several varnams, kritis etc. He has also composed 72 mela raga kritis and operas. “Seshachalanilayam” (Nata) and “Palanigiri “ (Hamsadhwani) are two of his creations. His compositions are set in some rare ragas too.

H. Yoganarasimham (1897-1971) was a student of Mysore Vasudevacharya. He has made several varnams, kritis etc both in Sanskrit, Kannada and Telugu. “Kapadade” (Gagana-mohini) and “Sada saranga nayane” (Ranjani) are two of his kritis mentioned.

R. Vishweshwaran (1931- ) born in Birur is a self taught musician. He became an expert veena vidwan also an expert on gottuvadyam. He was on the faculty of the University of Mysore. He has composed varnams, kritis and tillanas.

Bangalore S. Mukund (1938--) a precocious musicologist and a prolific composer. He has composed close to 4500 compositions – varnams, kritis, raga and tala malikas with chittaswaram, padams and javalis. He has used Sanskrit,Tamil, Kannada,Telugu and Hindi as the media for his compositions. He has to his credit 75 dance dramas and 2 sets of 72 melakartha kritis. He has developed the Melakartha chart which is useful to predict swarasthanams of any Mela ragam. Two of his compositions,“Muddu Krishna” (Abhogi) and “Lakshmana vandite” (Athana) are mentioned here.

Lalitha Navile (1940--) of Bangalore has composed 3000 compositions like varnams, kritis,tillanas etc. She has also brought out a set of tillanas in Kannada

Many other composers from Karnataka state who are responsible for enriching music.They are B.Devendrappa, Narayana Iyengar, Mysore Padmanabha Rao, Tiruvaiyar Subramanya Iyer (not a contemporary of Patnam Subramanya Iyer), Anavatti Rama Rao, Titte Krishna Iyengar, SN.Mariappa, Chintalapalli Ramachandra Rao, V.Ramaratnam, HM.Vaidyalinga Bhagavatar, Bangalore Ramamurthy, Sukanya Prabhakar,TS.Satyavathi, Geeta Sitaram, Nagamani Srinath, Nagavalli Nagaraj, Vasantha Madhavi, Amba Bai, RN.Sreelatha, Harapanhalli Bhimavva and Srikanth Murthy and others.

Interestingly, composers from Tamil nadu like Neelakanta Sivan, Gopala Krishna Bharathi, Papanasam Sivan, Koteeswara Iyer, Perisami Tooran and others took upon to composing only in Tamil. With Kerala composers, they have adopted Malayalam as the medium for some of their compositions in addition to other languages also.

In Kerala also, several composers-  Swati Tirunal, Iriyamman Thambi, KuttiThangachi, Parameshwara Bhagavatar, Mambazha Kavirayar, Kesavan Pillai, Lakshmanan Pillai, Trivandrum Kshirabdi Sastri, Tulasivanam etc.  have used Malayalam as the medium for their creations. Of course, some of their compositions are set in other languages also.

In fact, Neelakanta Sivan was living all his life in Kerala but he composed in Tamil and a few in Sanskrit.

Amongst the composers from Andhra Pradesh, many have used Telugu and Sanskrit for their compositions. Earlier composers like the Talapakkam composers and Bhadrachala Ramadasa and others have created keerthanas most often in Telugu. Of course, we do come across compositions in Sanskrit from the Talapakkam composers.

A few composers like Basavanna, Akka Mahadevi and others from Karnataka have made ‘vachanas'’ in Kannada. These cannot be termed classical compositions.

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[Editor’s note: The author of this article, Sri Ashok Madhav, is also a composer of merit. Based in USA, he is a native of Karnataka who has hundreds of compositions to his credit including kritis, varnams and tillanas. He has kritis in all the 72 melakartha ragas. He has used Telugu, Sanskrit, Kannada and Tamil. Many of his compositions have been published in book form and they have been sung by leading performers.. His mudhra is ‘bharani’. Ashok Madhav is also credited with the creation of raga Hamsakalyani]