Jayachamaraja Odeyar (Mysore Maharajah) - Part II

Carnatic composers (other than performing vidwans)
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vs_manjunath
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#1251

Post by vs_manjunath » 03 Oct 2008, 21:01

kmrasika- Thanks for these links.
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SSK
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#1252

Post by SSK » 07 Oct 2008, 23:02

I believe sri S. R. Krishnamurthy (Grandson of Sangeetha Shastra Vishardha Sri Vasudevachar), is leading this effort.
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coolkarni
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#1253

Post by coolkarni » 24 Jun 2009, 07:30

..
Last edited by coolkarni on 23 Nov 2009, 20:54, edited 1 time in total.
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vs_manjunath
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#1254

Post by vs_manjunath » 24 Jun 2009, 09:02

Coolji- Thanks for this info & Invitation.
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coolkarni
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#1255

Post by coolkarni » 24 Jun 2009, 09:08

..
Last edited by coolkarni on 27 Nov 2009, 07:21, edited 1 time in total.
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vs_manjunath
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#1256

Post by vs_manjunath » 24 Jun 2009, 11:24

I'm sure rasikas would love to attend this festival.........
Attendees are in for a Special Gift- A book containing 95 compositions of HH JW along with a statue too. I was keen to possess a book having HH's compositions.
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svkashyap
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#1257

Post by svkashyap » 09 Jul 2009, 15:43

Amrutavarshini (FM - 100.1MHz) is broadcasting ShreeVidya Darshana featuring compositions of H.H Jayachamarajendra Wodeyar every Firday at 9pm.
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arasi
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#1258

Post by arasi » 09 Jul 2009, 20:33

svk,
Thank you. Hope this continues and I can get to hear it at the end of the year.

Cool's post says 8th July is the date for JCW's birthday celebrations in Mysore. Hope a few rasikAs attend and report it on the forum too.
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sriucl
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#1259

Post by sriucl » 02 Sep 2009, 09:49

Hi all,

Could anybody help with and re-post the recording of JCW's Narayana Desakshi krithi (O Jagadamba) and Madhyamavthi krithi (not sure of the pallavi) ? I missed to download it during discussions...

Thanks a bunch...

Sri
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S Sankaranarayanan
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#1260

Post by S Sankaranarayanan » 03 Dec 2009, 16:43

Regarding the date of Adhisankara as told by Kanchi math. Kanchi math records say that Adhisankara flourished from BC 509 to 477. But Sankara and his contemporary disciple Sureswara refer the Buddhist scholar Dharmakeerthi by name. Dharmakeerthi has been placed in AD7/8th century by Historians. He is referred in Tibet as a contemporary of Tibet king Strang-nbo who ruled in 8th century AD. So Sankara, who quotes Dharmakeerthi, could haved lived only after him, ie. in 8th Century AD. This completely strikes the Kanchi Math acharyas' list at its bottom.
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bkishore
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#1261 Re: Jayachamaraja Odeyar (Mysore Maharajah) - Part II

Post by bkishore » 17 Jan 2011, 21:14

sir,

Pl reupload the links or share it on another link(mediafire)
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bkishore
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#1262 Re: Jayachamaraja Odeyar (Mysore Maharajah) - Part II

Post by bkishore » 17 Jan 2011, 21:17

Sirs,

Pl reupload all the wodeyar kritis.it will be useful to many rasikas like me.kindly use another link if error perisist.
[email protected]
i'm in deperate need of all those kritis
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bkishore
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#1263 Re: Jayachamaraja Odeyar (Mysore Maharajah) - Part II

Post by bkishore » 18 Jan 2011, 10:03

Pl reupload the files from rapidshare. Or pl upload in mediafire or so.
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venkatakailasam
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#1264 Re: Jayachamaraja Odeyar (Mysore Maharajah) - Part II

Post by venkatakailasam » 20 Jan 2011, 06:11

bkishore wrote:Sirs,

Pl reupload all the wodeyar kritis.it will be useful to many rasikas like me.kindly use another link if error perisist.
[email protected]
i'm in deperate need of all those kritis
I suggest that you can visit my blog 'E-SWARA at at http://myblogkumara.blogspot.com/. In the side bar there are links to my Media fire account. You can choose Audio I. You can go in there and if you browse you can find a few of Wodayar's compositions which you can download.

venkatakailasam
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bkishore
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#1265 Re: Jayachamaraja Odeyar (Mysore Maharajah) - Part II

Post by bkishore » 20 Jan 2011, 09:33

thank u sir, i will scout for it sir
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mohan
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#1266 Re: Jayachamaraja Odeyar (Mysore Maharajah) - Part II

Post by mohan » 12 Jul 2011, 06:16

Book on Mysore Maharajah's compositions is to be released:

http://www.deccanherald.com/content/175 ... osers.html
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mohan
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#1267 Re: Jayachamaraja Odeyar (Mysore Maharajah) - Part II

Post by mohan » 14 Jul 2011, 04:49

Text of 97 Jayachamaraja Odeyar compositions has been compiled in Sanskrit and English script with diacriticals by Dr PP Narayanaswami and is available at
http://www.musicresearch.in/categorydet ... ?imgid=161
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Lakshman
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#1268 Re: Jayachamaraja Odeyar (Mysore Maharajah) - Part II

Post by Lakshman » 21 Jul 2011, 02:44

To add to Mohan's posts:

http://www.thehindu.com/todays-paper/tp ... 237009.ece

Book is in Kannada and is available with Prism Book House, Banaglore. ([email protected])
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Rsachi
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#1269 An Adept King Composer – Jayachamaraja Wodeyar

Post by Rsachi » 24 Nov 2012, 12:36

Dear Rasikas,
Two days ago, I got a few minutes with a lovely book of essays, "Sangeeta Samaya" by Vidwan S.Krishnamurthy (grandson of Mysore Vasudevacharya). I was very happy to read the chapter on Wodeyar's compositions. I decided to share excerpts with you all, and so here goes my attempt at translation. I of course link the original Kannada text I scanned, here:
https://www.dropbox.com/s/gdwf0vp02i9ui ... itions.pdf

I will do the translation in three parts. First Part:
A Time for Music
Author: S. Krishnamurthy
Publisher: DVK Murthy, Mysore 2002
An Adept King Composer – Jayachamaraja Wodeyar
What inspired the king to get into composing was a confluence of several qualities in him – his incomparable devotion, his special love for Sanskrit, knowledge of Tantrashastra, Mantrashastra, a keen interest in subjects of Vedanta, extensive competency in music, and an attitude of service without recompense. One day, after seeking the blessings of my grandfather (Mysore Vasudevacharya, his guru), he began this mammoth task. Once the sahitya or lyric of the composition would be ready, there would be a discussion of what raga would best bring out the mood and feeling of the lyric, which tala would be appropriate, what should be the musical idiom/syntax, how should the nade (rhythmical progression) be- a discussion that he would hold with my grandfather. As was the practice, I would notate the swaras of the song in Western notation and present it to him. The king would then play and study the song on the piano with that notation. By this time, the king was also quite familiar with the Carnatic system of swara notation and so I would present the song in that form as well. He would then ask me to sing the song and listen to it. He would then discuss his reactions with grandfather. Thus would the song be finalised and then be passed on to musicians.
As per tradition, the task of Maharaja’s compositions began with the prayer to Vighneshwara (Ganesha). “SrimahAgaNapatiM bhajEhaM” in Athana raga took shape on 17th August 1945. From then, the compositional exercise continued till 19 Dec. 1947 and the song that took shape that day was “SriranganAtha pAhimAM kRupAlaya” in Kalyanavasantha. All together 94 compositions with the mudra “srIvidyA” were created by the Maharaja.
Wodeyar was a SrIvidyA upAsaka(follower/practitioner). Hence his mudra “srIvidyA””. The tradition of SrIvidyA worship is very ancient. The yantra (mystic design) of “SrIchakra”, Panchadashi or Shodashi mantra (mystic prayer), the rituals connected with “srIvidyA”, are the three components of this worship. “srIvidyA” practitioners are rare. But those who have faith in “SrIchakra” are many. They have faith that having even one “SrIchakra” symbol in the house would confer wish fulfilment, even if it is not worshipped with discipline. There is traditional belief that Adi Shankara installed the SrIchakra in Tirupati temple and hence its effect has made the goddess Lakshmi reign with such flourish there.
SrIchakra has 9 triangles, and hence is called ‘navayonatmaka” symbol. Of these, four are Shiva chakras, five are Shakti chakras. The mystic union of Shiva and Shakti is the inner truth, the core of “srIvidyA” worship. These nine trangles/chakras symbolise the cosmic processes of creation, sustenance, and destruction. The compositions of Wodeyar contain in full measure the details of “srIvidyA” and “SrIchakra” worship and rituals.
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rshankar
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#1270 Re: An Adept King Composer – Jayachamaraja Wodeyar

Post by rshankar » 24 Nov 2012, 19:53

Rsachi - we had a very extensive discussion on 'oDeyaru' a few years back...
Mods: Can you merge this with that older thread?
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rajeshnat
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#1271 Re: An Adept King Composer – Jayachamaraja Wodeyar

Post by rajeshnat » 24 Nov 2012, 21:11

rshankar wrote:Rsachi - we had a very extensive discussion on 'oDeyaru' a few years back...
Mods: Can you merge this with that older thread?
Yes indeed it had two sets of posts in two threads I and II
Mods - Please merge this post with Part II of the thread in the url
http://www.rasikas.org/forums/viewtopic. ... start=1250
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vasanthakokilam
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#1272 Re: Jayachamaraja Odeyar (Mysore Maharajah) - Part II

Post by vasanthakokilam » 24 Nov 2012, 23:05

Merged. Thanks Rsachi, rshankar and rajeshnat. Please continue here.
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Rsachi
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#1273 Re: Jayachamaraja Odeyar (Mysore Maharajah) - Part II

Post by Rsachi » 24 Nov 2012, 23:31

sure. I will also read the first 50 pages of this thread before posting parts 2 and 3 of the article.
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Rsachi
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#1274 Re: Jayachamaraja Odeyar (Mysore Maharajah) - Part II

Post by Rsachi » 25 Nov 2012, 12:38

A Time for Music
Author: S. Krishnamurthy
Publisher: DVK Murthy, Mysore 2002
An Adept King Composer – Jayachamaraja Wodeyar
Part II of the essay continued from post #1269

Wodeyar did not foray into compositional forms of varna, tillana and so on, apart from kirtanas. His principal intent was to compose offerings of prayer and praise of the Lord in a submission of gratitude.
Among the Maharaja’s compositions, around thirty are In janaka (mela) ragas : Charukeshi, Gowrimanohari, Hemavati, Dharmavati, Vishwambhari, Hatakaambari, Lathangi, Simhendramandhyama, Shankarabharana, Kalyani, Suryakanta, Ramapriya, Rishabhapriya, Shanmukhapriya, Vagadheeshwari, Ragavardhini, Shadvidhamargini and so on. The rest have been set by him to unusual janya ragas. And remember, there are so many janyas of the 29th melakarta Dheerashankarabharana itself!
Nagadhwani, Suranandini, Kokilabhashini, Hamsavinodini, Narayana Desakshi, Durvanki etc.
In the same way, credit is due to Wodeyar for adeptly employing and making popular many other rare ragas such as Bhupala panchama, Bhogavasantha, Balachandrika, Bhanuchandrika, Hamsanatani, Nilaveni, and Shivakambodhi.
Among Wodeyar’s compositions, thirty three are in Adi Tala. The other compositions have been set to Sankirna Triputa, Chaturashra Dhruva, Chaturashra Mathya, Mishra Jhampa, Khanda Triputa and so on.
In keeping with the style of Sri Muthuswami Dikshitar, the king has woven the names of ragas appropriately and meaningfully in the right places in his songs. For example, the song in Jaganmohini begins with the words, “jaganmOhinIM haramOhinIM”. The kirtana in Kokilapanchama has the line in the Anupallavi, “nArAyaNIM kOkila panchamarAgiNIM”. “nAgarAjAdi bhakta SankarAbharaNayutaM” is another instance. With a few exceptions, the raga names have all been beautifully incorporated into the lyrics of the compositions.
Wodeyar’s compositions are not simple lyrics. They are not a mere string of the Lord’s praises. Pronunciation is difficult. The use of atheeta and anaagata grahas is quite frequent. In short one can say that Wodeyar’s compositions do not yield themselves to easy mastery. They call for great application and massive effort is a must.
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Rsachi
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#1275 Re: Jayachamaraja Odeyar (Mysore Maharajah) - Part II

Post by Rsachi » 28 Nov 2012, 11:49

Third and final part continued from #1274
A Time for Music
Author: S. Krishnamurthy
Publisher: DVK Murthy, Mysore 2002
An Adept King Composer – Jayachamaraja Wodeyar
Part III of the essay continued from post #1274

As soon as the compositions saw the light of day, vidwans and musicologists readily hailed them as compositions that would stand alongside Dikshitar’s compositions. Many of these compositions have become famous nowadays and entered the mainstream repertoire all over south India.
An episode: Vid. Semmangudi was giving a vocal recital in Malleshwaram Sangeeta Sabha. He sang the Maharaja’s composition in Nadanamakriya, “Siva Siva Siva bhO mahAdEva” in a magnificent manner. There was a deluge of applause. “Whose composition could this be?” was the curious question on everyone’s mind in the audience. Semmangudi answered, folding his hands, “this composition is the gracious gift of your own Maharaja!” There was no limit to the joy and pride in the hearts of the listeners.
In another instance, Vid. Ariyakudi Ramanuja Iyengar cast a spell on the audience with the Wodeyar composition, “SrIjAlandhara”in Gambhira Nata. He sang the sarvalaghu chittaswaras in that song in an incomparable manner. The beauty of his singing was enhanced by the majesty of mridangam accompaniment of another great, Vid. Palghat Mani Iyer. It was as if a golden flower cast an ethereal fragrance. It was a stunning, mesmerising moment for everyone in the assembly.
The nightingale of Carnatic music, Vid. Subbulakshmi rendered the Nadanamakriya composition of Wodeyar in the United Nations and made him a world famous composer indeed.
It is indeed a wonder how the Maharaja was able to find the time to engage in pursuit of classical music and then venture into composition-making, in the midst of all his busy activities of administration and kingship. On occasion, we would have to wait for the session owing to his pressing engagements. But that time would then be used to engage in fruitful interactions with Maharaja’s close associates like Muddaraje Urs, K. Gurudutt, Captain Krishna, Gangadhara Shastri and other notables. That would be a great opportunity to discover more stories concerning the Maharaja’s large- heartedness, religious devotion, love of his subjects and high scholarship. And I would gladly listen to those stories, all ears!
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