Abstract

The main feature contributing to the richness of Karnataka classical music is its vast repertoire of compositions. The trinity- Tyagaraja, Muthuswamy Dikshitar and Shyama Shastry have contributed greatly to this repository through their compositions in various formats. Their works are exemplary in all the aspects and represent the lexical and aesthetic values expected of a high-quality composition. Mysuru as one of the centres of Karnataka music has produced many composers who have enriched the repository with their valuable compositions. Generally, they have also followed the path of the trinity, but human desire of creativity has led for invention of new formats, ragas, talas and many ornamental aspects, usage of language etc., here and there. This article explores some of the similarities and differences in the compositions of trinity and a few significant Mysuru composers of 19th to early 20th centuries. They are Mysuru Sadashivarao, Veena Padmanabhaiah, Veene Sheshanna, Mysuru Vasudevacharya, Veena Shivaramaiah, Veena Venkatagiriyappa, C. Rangaiah, H.Yoganarasimham, Ra. Chandrashekaraiah, R.N. Doreswamy and Jayachamaraja Wodeyar. It is worth to note that, despite the strong influence of the trinity, each of these composers have left a mark of uniqueness in their works.