The Ongoing Mystery of Swathi Thirunal’s Music: A Look into Carnatic Heritage

In the heart of Kerala University’s Karyavattom campus in Thiruvananthapuram, a treasure trove of history resides within the Oriental Research Institute and Manuscripts Library. Protected with lemongrass oil and isopropanol, these invaluable ancient manuscripts climb high towards the ceiling. But it is one collection that captures special attention, nestled in a low, glass-fronted cupboard, adorned with a brass lamp.

Inside this unique display are around 12 palm-leaf manuscripts and 23 timeworn notebooks, their faded green velvet covers embossed with titles in silver thread. These notebooks, dating back to between 1837 and 1846, bear the marks of London stationers. What they hold is astonishing—compositions in old Malayalam and occasionally Devanagari, revealing music compositions, essays, and even a history of the Padmanabha temple. This collection encompasses various forms of Carnatic music, such as varnams, padams, keertanams, and festive songs, including Kabir’s dohas represented in Malayalam script.

At the centre of a heated debate in the Carnatic music community is the legendary figure of Swathi Thirunal, the 19th-century composer-king of Travancore. His life, albeit short at just 34 years, was filled with exceptional achievements. He is reputed to have composed over 300 musical pieces in five different languages, predominantly within the Carnatic tradition while also dabbling in Hindustani music. His contributions pushed Kerala into the limelight for Carnatic music, overshadowing its native style, the sopanam.

Yet, questions regarding the authenticity of his compositions have stirred controversies since the late 20th century. Did Swathi Thirunal truly write these pieces? Or did he merely pen the lyrics, leaving the music to his skilled court musicians? Were royal influences at play, exaggerating his genius in the early 1900s? How does he compare to celebrated contemporaries of the Carnatic Trinity? And most controversially, is there a possibility that he might not have existed at all?

The skepticism surrounding Swathi Thirunal’s legacy ignited outrage and led to passionate debates. Then, a glimmer of hope appeared in the form of A. Achuthsankar Nair—a computer scientist, academic, and musician—who dedicated 40 years to mapping out a scholarly response through diligent research.

Nair explains, “As a king, every event in Swathi Thirunal’s life was documented by British authorities, travelers, and institutions. This meticulous research can provide clarity.” His extensive studies culminated in a PhD and an intriguing book titled “Swathi Thirunal: A Composer Born To A Mother.” Recently, Nair relaunched a state-run website that serves as a digital repository of the composer’s works, now backed by the Vyloppilli Samskrithi Bhavan, a crucial cultural centre in Kerala.

Swathi Thirunal’s life was complex, marked by personal tragedies and profound artistic creativity. Despite being a king, he experienced the sorrow of losing loved ones, including two wives and a cherished dancer. Yet, he became an exceptional artist, described by musician and vocalist Rama Varma as one with a “creative spirit that never begged for divine mercy.”

Influenced by his uncle, the talented poet-composer Irayimman Thampi, and later by the renowned Thanjavur Quartet, Swathi Thirunal embraced various musical genres. He blended dance and literature into his composition, showing immense appreciation for other artistic expressions.

“Swathi Thirunal was an extraordinary composer for his era,” Nair notes. “He reached out to musicians from various regions and understood the importance of relating to a broader audience over 250 years ago.” Despite his illustrious contributions, it wasn’t until the rise of Chennai sabhas and broadcast technologies like radio and gramophone that Swathi Thirunal’s music gained wider recognition.

His fame peaked in the 1930s, when he began to be celebrated alongside his revered contemporaries. However, this rising popularity also attracted controversy. Some claimed that the royal family orchestrated a campaign to inflate his reputation, with claims asserting that the Thanjavur Quartet had composed the works attributed to him.

The conflict ignited fresh debates in the 1980s, spurred by vocal critiques from musicians like S. Balachander. They questioned Swathi Thirunal’s authenticity and even claimed he was a fictitious creation crafted by political motives. The fallout was so significant that it attracted national attention, even reaching the desks of the Prime Minister and President.

But Nair’s ongoing research provides a way forward. He has unearthed manuscripts and books that credit Swathi Thirunal with numerous works from as early as 1853, affirming that he has always been recognized as a legitimate composer. By employing stylometry—a scientific technique to analyze writing styles—he aims to resolve questions of authorship.

As Nair remarks, “While not foolproof, our analysis shows the authenticity of the majority of his compositions being unquestionable.” This research brings the discourse back to the music and ensures that Swathi Thirunal’s artistic contributions will be celebrated—and debated—for generations to come.

Ultimately, the legacy of Swathi Thirunal remains a rich tapestry woven with threads of skepticism, artistry, and historical inquiry, making it a fascinating chapter in the world of Carnatic music.

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Original Text – https://scroll.in/magazine/1090295/why-a-19th-century-kings-music-still-provokes-doubt-and-dispute-in-the-carnatic-world?utm_source=rss&utm_medium=public