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).Pranesh (2003), pix in author's noteKamath (2001), p282 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.Kamath (2001), p282Pranesh (2003), pxiii in author's note
The instruments normally used to play compositions were the veena, the rudra veena, the violin, the tambura, the ghatam, the flute, the mridangam, the nagaswaram, and the Swarabat. Instruments such as the harmonium, the sitar and the jaltarang, though uncommon to the southern region, came into use and British influence popularised the saxophone and the piano. The royalty of this dynasty were noted composers and proficient in playing musical instruments both solo and in concert with others.Pranesh (2003), p54-55, p92, p162-163, p225-226 The different styles of compositions included jati swara, swara jati, varna, kriti, javali (a light lyric), tillana and pallavi. It was not unusual for the composers and the kings who patronised them to be experts at instrumental music as well. So proficient were the musicians at their chosen instrument(s) that the name of the instrument became a part of the musician's name, examples being Veena Subbanna and Veena Sheshanna, Veena (or Veene as it is known in South India) being their instrument.Pranesh (2003), p108 During these times, Tanjore in modern Tamil Nadu and Mysore in modern Karnataka were the centres of Carnatic music. Mysore developed a distinct school of music which gave importance to the raga and the bhava.Kamath (2001), p283 Though many of the musicians in the courts were natives of the Mysore kingdom, artists from other parts of South India were also patronised. Another important development of this period was the growth of drama. These dramas, original or translated from English and Sanskrit classics, contained many melodious songs and were brought to the stage through the various drama schools established by royalty.Kamath (2001), p281
King Krishnaraja Wodeyar III (1794–1868) (1638–1947)Vaikunta Dasaru 1680Veena Venkata Subbiah 1750 Shunti Venkataramaniah 1780Mysore Sadashiva Rao 1790Krishnaraja Wodeyar III 1799–1868Aliya Lingaraja Urs 1823–1874Chikka Lakshminaranappa Pedda Lakshminaranappa Devalapurada Nanjunda Veena Shamanna 1832–1908Veena Padmanabiah 1842–1900Veena Sheshanna 1852–1926Mysore Karigiri Rao 1853–1927Sosale Ayya Shastry 1854–1934Veena Subbanna 1861–1939Mysore Vasudevachar 1865-1961Bidaram Krishnappa 1866–1931T. Pattabhiramiah 1863Jayarayacharya 1846-1906Giribhattara Tammayya 1865–1920Nanjangud Subba Shastry 1834–1906Chandrashekara Shastry Chinniah 1902Veena Subramanya Iyer 1864–1919Muthiah Bhagavatar 1877–1945Veena Shivaramiah 1886–1946Veena Venkatagiriappa 1887–1952Srinivasa Iyengar 1888–1952Chikka Ramarao 1891–1945T. Chowdiah 1894–1967Jayachamaraja Wodeyar 1919–1974Dr. B. Devendrappa 1899–1986G. Narayana Iyengar 1903–1959T. Subramanya Iyer Anavatti Rama Rao 1860Tiger Varadachariar 1876–1950Chennakeshaviah 1895–1986T. Krishna Iyengar 1902–1997S. N. Mariappa 1914–1986C. Ramchandra Rao 1916–1985R. N. Doreswamy 1916–2002Dr. V. Doraiswamy Iyengar1920–1997Vaidyalinga 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 mudra (pen name) "'Chamundi'" or "'Chamundeshwari'". He composed many philosophically themed javali (light lyric) and devotional songs in the Kannada language under the title Anubhava pancharatna. Javali in Carnatic music have their roots in Mysore and are first mentioned in the king's writings as javadi.Pranesh (2003), p54 His scholarship in Kannada is acclaimed and his compositions are seen as parallels to the vachana poems of the Virashaiva poets and to the devotional songs (pada) of the Haridasas of Karnataka.Pranesh (2003), p54-55 Mysore Sadashiva Rao was born in Greemspet in the Chittoor district of modern Andhra Pradesh to a Maharashtrian family. He came to Mysore between 1825 and 1835 and served as a court musician to the incumbent king for nearly fifty years. His compositions are said to have been in the hundreds, though only about one hundred, written in Sanskrit and Telugu under the pen name "Sadashiva", still exist.Pranesh (2003), p61, p65 He is known as the reviver of Carnatic music in the Karnataka region.Kamath (2001), p282
Veena Venkatasubbiah came from a Mysorean family of famous veena artists ( or "vainika") of the time of King Haider Ali and belonged to the Badaganadu community. He was appointed music teacher to King Krishnaraja Wodeyar III by his minister (or "Dewan") Purniah, who wanted to make Mysore the cultural centre of south India just as Vijayanagara had been during the rule of the Vijayanagara Empire.Pranesh (2003), p77 His most famous composition is the Sapta taleshwari gite. Some historians claim the work was a combined effort by the king and the musician.Pranesh (2003), p75-76 The king's son-in-law, Aliya Lingraj Urs, was an authority and composer in both the Kannada and Sanskrit languages. A native of Heggadadevanakote (in modern Mysore district), he had several interests in the fine arts. He has over fifty works including compositions, dramas, and Yakshagana to his credit, all of which were written with a pen name beginning with "Linga", such as "Lingendra" or "Lingaraja". His most famous compositions in Kannada are titled "Chandravali jogi hadu", "Pancha vimshati leele" and "Amba kirtana", and in Sanskrit, the "Shringara lahari".Pranesh (2003), p78-79
Shunti Venkataramaniah was a musician from Tiruvayyar (modern Tamil Nadu) and an expert at playing the tambura.Pranesh (2003), p76 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.Pranesh (2003), p76-77
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 Muthuswamy Dikshitar. At the court of the king of Mysore, Chinniah created several compositions in praise of his patron king and the local deity Chamundeshwari. Famous among these compositions are Ninnu koriyunna, Vanajalochana, Nivanti, Chakkani na mohanaguni, Manavigai konarada and several javali.Pranesh (2003), p84-86
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.Pranesh (2003), p86 Well known visiting musicians to the court during this time included Pallavi Gopalayyar, Veena Kuppayyar, Tiruvattiyur Thyagayyar, Veena Krishnayya and Suryapurada Ananda Dasaru.Pranesh (2003), p88-90
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.Pranesh (2003), p92 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. 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.Pranesh (2003), p93 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.Pranesh (2003), p94 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.Pranesh (2003), p96
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 shloka in the musical treatise Sangeeta Ratnakara. Padmanabiah immediately pointed out this error, much to the discomfort of Sambayya, while the rest of the musicians dared not to, out of fear of incurring the senior musician's wrath.Pranesh (2003), p99 Years later, pleased by his talent, the king appointed him to the court and bestowed upon him the title "Mahatapi Khillat". Padmanabiah also served in the same capacity under the next king, Chamaraja Wodeyar IX. He was a music teacher at the "Mysore Maharanis High School", at the "Maharajas Sanskrit School", and he also tutored the royal family.Pranesh (2003), p100 He wrote many compositions in Sanskrit, Telugu and Kannada under the pen name "Padmanaba".Pranesh (2003), p101-108