Vid. M.J. Sreenivasa Iyengar (MJS) was one of the prominent vainikas of Mysuru. He was also one of the senior disciples of Vid. Veena Venkatagiriyappa, a direct Shishya of Veene Seshanna. MJS has produced a number of worthy students who fondly remember his ways of teaching and his affection towards them. Each year, they all flock together to celebrate his day by arranging Veena recitals.

This year too, they had arranged two wonderful Veena recitals under the aegis of Ganabharathi. MJS’ senior disciple Vidu. Mysore S. Rajalakshmi and Vidu. Sujana Vadlamani from Chennai performed on Feb. 28 and Mar. 1 at Veene Seshanna Bhavana in Kuvempunagar, Mysuru. These two recitals were a testimony for a heartful and inspiring veena playing.

Mysore Rajalakshmi performed on Feb. 28 accompanied by Vid. K.U. Jayachandra Rao on mridanga and Vid. Sharath Kaushik on ghata. Rajalakshmi is an established Veena player, known for her typical Mysuru style of playing. Rich raga bhava, adorned with deep gamakas, plucking that follows the lyrics and an appropriate tempo throughout marks her playing. She began her concert with ‘Jaya Janakikaantha,’ a composition of Purandaradasa in the raga Naata. She paid obeisance to Lord Vighneshwara after a short sketch of Raga Bahudhari, in ‘Bhajamanasa,’ a composition of Tulaseevanam. The Kalpana swaras that followed contained permutations and combinations that were typical for Veena.

Be it alapana, Keerthana or Swara Kalpana, what marks Rajalakshmi’s playing is the serenity. Her involvement naturally transforms her listeners too. Both Janaranjani and Reethigowla flowed with this fervour. ‘Paahimam Shree Rajarajeshwari’ and ‘Janani ninuvina’ were filled with bhakthi bhava. Before taking up the main raga of the day, she played ‘Chalamelara’ in Marga hindola by Tyagaraja and ‘Samayamide’ in Kedara by Patnam Subramania Iyer. Hemavathi is the 58th Melakarta Raga, so charming and elegant.

Rajalakshmi elaborated in an unhurried manner, unveiling all its nuances and subtle beauty. It was only a feast to our ears. Muthuswami Dikshitar’s gem ‘Sree Kanthimatheem’ was another extension of ragabhava. Her imagination in Kalpana Swaras blossomed fully, encouraged by the soft strokes by Jayachandra Rao. The Thani avarthana by him and Sharath Kaushik too was enjoyable. Their percussive support is worth mentioning. Rajalakshmi concluded her concert with an ashtapadi ‘Natha hare’(Darbari Kanada) and ‘Bhagyada Lakshmi’ (Shuddha Saveri).

Vidu. Sujana Vadlamani hails from a musicians family. Her grandfather was the guru who taught music to legendary Dr. M. Balamuralikrishna. Sujana naturally was initiated to music at a very young age. Settled in Chennai, she has performed at various platforms and has carved a niche for herself. It is heartening to know that she is not attracted towards performing gimmicks on this sacred instrument. She treated the audience to a melodious veena performance. She was accompanied by Vid. G.S. Ramanujam on mridanga and Vid. S. Manjunath on ghata.

Sujana had chosen different composer’s compositions for the concert. Sri Jayachamaraja Wadiyar, Muthiah Bhagavatar and K. Vasudevacharya from Mysuru composers, as well as Muthuswami Dikshitar, Tyagaraja’s Keerthanas were included. Good ‘Naada Soukhya’ flows flawlessly  from her veena that gives the rasikas a soothing effect. Soft plucking contributes to it. ‘Sri Mahaganapathim Bhajeham’ in the raga Athana had a frill of Kalpana Swaras. Her delineation of the raga Lalitha though short and sweet, was emotionally charged. An interesting neraval at ‘Geetha vadya vinodini’ enhanced the beauty of the sahitya. Crisp Kalpana Swaras followed. Tyagarajas ‘Anathudunuganu’ in the raga Jingla and ‘Devadi deva’ by K. Vasudevacharya were lively.

There is some freshness in her approach to a raga. She explores it in an unhurried manner, focusing on unveiling its subtle sancharas. The Kalpana Swaras has big chunk of Sarva laghu patterns making them brisk and attractive. After ‘Sarasa saama dana’ by Tyagaraja in Kaapinarayani, she played ‘Sharanam Vijaya Saraswathi Maaye’ by Muthiah Bhagavatar in the rare raga Vijaya Sarswathi. This raga owes its existence to Muthiah Bhagavatar who popularised it with his composition. The main raga taken for a detailed alapana was Todi. This age old raga is filled with gamakas for its embellishment.  Sujana handled it with lot of confidence and ease. Every phrase carried the essence of the raga. She also played an attractive Taana before the wonderful kruthi of Tyagaraja ‘Koluvamare gada Kodandapani.’

Grand Kalpana Swaras and a lively Tani avartana by G.S. Ramanujam and S. Manjunath enthralled the audience. The Tukdas included ‘Srimannarayana’, ‘Venkatachala nilayam’ and a Thillana of Lalgudi Jayaraman in Hindola. On the whole, these two veena concerts turned out to be a befitting offering to the Veena Maestro.

—Dr. Rama V. Bennur