The Score Magazine - Archive August 2009 Issue | Page 56

The Score Magazine | Classic Connection
Tradition is often confused with something that’s archaic, com-
plex, old fashioned, beyond comprehension of the ‘present’, and
definitely something that can be in sync with anything that is
modern. Music is no exception. On the one hand, Classical music
is often not associated with the masses, making it appear more
complex than it actually is. And on the other, music has also un-
leashed itself from this thought, transcending traditions and re-
incarnating itself through various new forms. It would not have
been possible but for that breed of musicians who have thought
beyond the conventional.
Rajhesh Vaidhya is one such musician, who has treaded this path,
boldly and successfully. And his instrument is the Veena; unar-
guably, one of the ancient and divine musical instruments that
approximates most to the human voice. Rajhesh, has taken this
pristine instrument to international music and has become a bea-
con for future veena aspirants.
Rajhesh Vaidhya on his music, performances and his participation
in the international project ‘Playing for Change’
Victim of the Veena
Music was a household member in our family. So performing mu-
sic came naturally. When the time came for to me get initiated
into music formally, the choice was between the Veena and the
Mridangam. My mother decided the former was better for me.
Under the tutelage of Sri Chitti Babu, I felt much closer to the
Veena and the journey started.
Performance Ponderings
First, to make my audience enjoy my music, I’ve to enjoy it myself.
Then it’s just a question of translating and transforming that feel-
ing to every rasika in the audience. Once I get the pulse of the
audience, I plan the rest of the concert accordingly. Starting with
Carnatic compositions I move onto devotional music, a few of my
own compositions and then wrap it up with film music.
Musings of a Musician
I’ve always strived to take the Veena to the next level and create
a niche for myself. It is considered an instrument which requires
a lot of patience, skill and hard work to master, which is why not
many youngsters take it up. Also, there is this misconception that
this music is predominantly at a slow tempo. S.Balachandar once
performed the Raghvamsa Sudha (4.30 minutes in its base tem-
po) during a recording and just when he realised there was about
a minute and a half he played the same song in totality within the
same time, without compromising on the quality or the length.
I’ve tried defining a wholly different tone for myself. I’ve experi-
mented with a lot of gadgets to bring out that tone. The credit
also goes to the team of people who perform with me on stage
and my acoustics team, who work on this and travel with me. My
team is like my family.
Tirade of the Traditionalists
There were people who totally dismissed the usage of technol-
ogy while playing the Veena. Tradition is something that was
brought about by people like us, which has been followed for the
fact that the idea has withstood time. I hope, down the ages, our
ideas could also be termed traditional.
Commercial Calling
I have performed for a lot of movie songs for various music direc-
tors. I’ve also scored the track for various tele-serials. The experi-
ence with Iyakkunar Sigaram K.Balachandar was an amazing one.
Global Soundscape
I once performed with Sir Elton John in Paris for a French ballet.
Staying, rehearsing, and performing with him was an unforget-
table experience. I’m also part of Bikram Ghosh’s band ‘Rhythms-
cape’, where I play with top musicians. The latest experience was
my participation in the international project ‘Playing for change’,
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