by S.R. Krishna Murthy

Sangeetha Kalanidhi, Padma Bhushan V. Doreswamy Iyengar (1920-1997) was a well-known Vainika, who nurtured Mysore School of Veena Playing, known as Mysore Bani. He was initiated to music by his father Asthana Vidwan Venkatesha Iyengar. He later became a disciple of Mysore Venkata Giriyappa, who is believed to be the originator of Mysore Bani.

Doreswamy Iyengar was known for his chaste style of presentation. He had extensively travelled throughout the country and performed in most of the prestigious platforms. He had also participated in the International Music Festival at Shiraz, Iran (1969).

Many accolades have come to him in his musical journey. To cite only a few are — The Sangeeth Nataka Academy Award (1970), Padma Bhushana (1983), Sangeetha Kalanidhi (1984) etc. He was very simple in appearance, gentle in his behavior, but carried the great treasure of Music in his head.

With all the popularity, name and fame Doreswamy Iyengar had acquired, he had almost faded into obscurity from the memory of the public, but for the efforts of Nadabrahma Sangeetha Sabha. The Sabha under the leadership of Sangeetha Seva Ratna K.V. Murthy initiated a commemorative Veena concerts annually, on the doyen’s birthday. S. Rama Prasad, (former Editor of Encyclopedia, published by Prasaranga of UoM), donated substantially, with a sizable amount as a corpus fund.

The commemorative programme aptly named as ‘Vainika Vaibhava,’ started as an evening programme, has now become a day-long one. The morning session consists of the inaugural function and a veena concert, followed by lunch to all who attend the programme. There will be another Veena concert in the evening session, and bestowing a Title ‘Vainika Brahma’ to one of the prominent Vainika, who has made a significant contribution in the field of Music.

The fifth in the series of ’Vainika Vaibhava’ programmes, was held at Vasudevacharya Bhavana of Nadabrahma Sangeetha Sabha on Oct. 27. During the morning session, Sangeetha Vidya Nidhi Dr. Sampathkumaracharya was felicitated, as he has been honoured with ‘State Sangeetha Vidwan’ award, during the just concluded Dasara celebrations.

Vani Yadunanadan and Majula Surendra presented a Veena duet concert. Their concert consisted of an incredible selection of Mysore composers (except one of Purandara Dasa), some in very rare Ragas and some rare krutis. The duo was accompanied by A. Radhesh (mridanga) & S. Manjunath (ghata).

Synchronised rendering

The concert began with a Kedara Varna Sarasijakshi Vinave of Veene Sheshanna, in Atta Tala. A brief alapane by Manjula in Chakravaka led to Palinchina of Mysore Karigiri Rao. A very rare Raga Bhuvana Gandhari was the next with the Kruti Lalitambe Shri of Venkata Giriyappa. After a brief alapane by Manjula, Sri Jalandhara of Jayachamaraja Wadiyar was taken up. Incidentally, this Audhava Audhava Raga is a Janya of 36 Gambhira Nata. The same Swaras can be obtained from 29 Shankarabharana also. It is interesting to note that, Venkata Giriyappa (one Varna and one Kruti) and Karigiri Rao (one Kruti) have composed in this Raga and called it as Vedanda Gamana and attributed it to Shankarabharana.

The ever pleasing Raga Simhendra Madhyama was the next with alapane by Vani. Ninne Nammitinayya of Tyagaraja in Mishra Chapu was the Kruti. The Swara at Pannagendra Shayana was imaginative. Another rare raga Sharada Priya, a creation of Venkata Giriyappa was taken up before the main Raga and the Kruti was Sharade Shubha Shubhrahaare of Venkatagiriyappa.

The main raga was Saveri and the delineation in alapane was shared between the two efficiently. The Tana was a Raga Malika affair with the Ghana Panchaka Ragas, Nata, Gowla, Arabhi, Varali and Shree. Shri Kamakoti Peetha Sthite of Mysore Sadashiva Rao was rendered without any flaw, doing justice to both the Raga and the kruti. The duo concluded the concert with another three Kruthis, Bhuvaneshwariya (Mohana Kalyani-Adi-Muthaiah Bhagavathar), Jagadoddhaarana (Hindustani Kaapi-Adi-Purandara Dasa) and Salaga Bhairavi Tillana by Doreswamy Iyengar.

The duo have done good home work, right from selection of rare Kruthis to the fine tuned and synchronised practice.

Carrying on the torch further

D. Balakrishna, son and disciple of Veena Doreswamy Iyengar, an accomplished Vainika, gave a scintillating Veena recital in the evening session of Vainika Sambhrama programme. With his deft fingers and fingering techniques, he is one of the few Vainikas, carrying on the torch of Mysore Bani. His veena playing has an austere approach to ragas and Kruthis, which are rendered in Gayaki style. Balakrishna was accompanied by a formidable team consisting of Guru T.A.S. Mani, a mrudangist par excellece from Bangalore & Ranganath Chakravarthi on ghata.

Balakrishna laid a firm foundation to his concert with the Verna Era Napai (Thodi-Adi-Patnam Subramanya Iyer). He built up further with Marubalka (Sriranjini-Adi-Tyagaraja), prefixing it with a short alapane and suffixing with a Neraval at Daari Nerugi Santasilli, and a brief Swara. Though Veene Sheshanna was a great Vainika of his time and also a composer, his Kruthis are seldom used in concerts. Balakrishna took up one of his Kruthis Emani Delapudura Ee Mahilo in the melodious Raga Vachaspati (64), with a brief alapane and Swara. A slow and serene rendering of Nannu Brovu Lalitha (Lalitha-Mishra Chapu-Shama Shastri), bringing out the Bhakti Bhava of the composition. Whenever a musician opts to take up an alapane in Khamach, the first rection of a listener would that thekruti would be either Brochevarevarura (Mysore Vasudevacharya) or Seetapathe (Tyagaraja). But Balakrishna played a rare Kruti Upendram Ashrayami (Mysore Vasudevacharya-Adi).

The concert was interrupted here to felicitate Balakrishna and to bestow the title of Vainika Brahma. Balakrishna became very emotional after receiving the title.

Continuing the concert, Balakrishna, took up a very rare Kruti Samukhana Nilva Galguna (Kokila Varali-Adi-Tyagaraja), made famous in the yesteryears by Musuri. With a not so brief Alapane, Bhajare Manasa of Mysore Vasudevacharya in Abheri was a good choice.

The main raga of the evening ws Shankarabharana, the alapane of which was delineated with all the delicate, but ‘Bhava’ laden Swara contours. The fingers of Balakrishna appeared to be dancing on the frets of Veena, when executing some Gamakas. Tana, is an integral part of a Veena concert and this was no different. The Tana was so rhythmic, I tried to call the attention of Mani, the mrudangist to request him to join in. But, I could not draw his attention, as he too was enjoying the rhythmic beauty of the Tana. After a wonderful Tana, one of the beautiful compositions of Tyagaraja, Swara Raga Sudha was rendered with all its grace. It was noticeable both by the lucidity and uniform tonal quality. The sensitivity contained in the structure of the Kirtane could be felt. The Swara was interpreted with scholarship. The Guru Shishya duo, presented an excellent Tani Avartana after the Swara.

The concert ended with another three tail pieces, Kaliyugadali Hari Naamava Nenedare (Janjhuti-Adi-Purandara Dasa), Gayati Vanamala (Piloo-Adi-Sadashiva Bramhendra) and Krishna Nee Begane (Yaman-Khanda Chapu-Vyasa Rayaru).

source: http://www.starofmysore.com / Star of Mysore / Home> Feature Articles / November 03rd, 2013