The Score Magazine August 2021 issue | Page 23

THE BRILLIANCE OF VENERABLE VAINIKAS

Written by : Dr . Tara Rajendran , MBBS MFA
Biography : Tara Rajendran is a medical doctor-musician and the founder of ' Oncology and Strings ,' the leading advocacy program for inculcating music into Indian palliative oncology infrastructure .
Veena Sheshanna ( 1852 — 1926 )
Sheshanna was a concert musician at the court of the princely state of Mysore . Back in the days veena artistes played the Saraswati Veena holding it vertically and it was Sheshanna who played it holding it in the horizontal position for the first time . It is believed that , Sheshanna was perhaps the originator of the Mysore style of rendition . He was an exceptional composer and his profound knowledge in north Indian classical music is striking in his Tillanas .
Dhanammal ( 1867 – 1938 )
Dhanammal was a highly accomplished , vocalist and a soloist performer on the Saraswati veena . She is unanimously known as Veenai Dhanammal and the prefix Veenai in her name speaks volumes about her mastery and legacy . Her systematic raga elaboration is unparalleled . Dhanammal ’ s style of veena rendition , is still regarded as a yardstick for tradition and depth of expression . Her supreme mastery over ‘ Tanams ’ ( Elaboration of a musical mode set to a non-metric rhythmic pulse ) is remarkable for its grandeur , perfect proportion , and refinement .
Karaikudi Subbarama Iyer ( 1883-1936 ) Karaikudi Sambasiva Iyer ( 1888 - 1958 )
Brother duos , the seventh generation to carry the distinguished Karaikudi tradition , they were known for their stage presence , and brilliant tone of their Saraswati Veena . While Subbarama Iyer held his veena vertically and Sambasiva Iyer held his Veena horizontally . Subbarama Iyer was known for illustrating of distinct melodic improvisations on a line of text within the structure of the composition . His control over tempo was exceptional . Sambasiva Iyer was known for his outstanding exposition of Tanams .
Mysore Venkatesha Doraiswamy Iyengar ( 1920-1997 )
One of the greatest Saraswati veena exponents of modern India . Born into a lineage of vainikas , Doraiswamy Iyengar was brought up in the royal atmosphere of Mysore palace . He is praised for his tonal purity along with his impeccable raga expanse . Doraiswamy remained a purist and stuck to the ‘ acoustic ’ Veena and stayed away from contact microphone . He cites , the natural tone of the Veena is lost while using a contact microphone albeit the exaggeration of the sound . Maestero is acknowledged as a notable representative of a unique “ Mysore style ” of veena rendition .
Emani Sankara Sastri ( 1922-1987 )
This creative genius and integrationist hails from a family of celebrated Vainikas . His exposure to classical north Indian and classical western music has influenced his personal style . He performed duets with eminent Hindustani intrumentalists . Shankara shastri illustrated versatile expressions on the third and fourth strings of the Veena . Furthermore , he explored the Veena to create a range of sounds , including something that resembled wind instruments . His Gamakas ( integral ornaments ) and Tanams illustrated with ingenuity and virtuosity .
Chitti Babu ( 1936 – 1996 )
Arguably one of the greatest Vainikas , who became a legend in his own lifetime . Continuing with the principles of his mentor ’ s ( Emani Shankara Shastri ), Chitti Babu , evolved a distinguishing identity , which is in all respects his own . The hallmarks of his unique rendition style are tonal quality and versatility . From syllables that resemble vedic hymns to mellifluous Cuckoo ' s voice and even classical western . Audience finds his concerts emotionally moving .
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