Sri. M J Sreenivas Iyengar had his initial Veena education directly from his father and later studied under the tutelage of Sri. V Venkatagiriappa. He spent many years in Mysore and served as a Veena lecturer in Ayyanar College, Bhagini Seva Samaja, T Chowdiah Memorial College to name a few. His performances have led to his touring the country extensively.

He has been giving performances at AIR, Chennai, Bangalore, Mysore and Delhi since 1944, and is an 'A' grade Veena artist at All India Radio. He has been a member of the audition board at AIR, and an examiner for various disciplines of study under fine arts. His impressive list of felicitations include the titles of' 'Ganakala Bhushana' ' Karnataka Kala Tilaka', and the 'Karnataka State Rajyothsava Award'.

His forte lies in a style of Veena playing which bears a great deal of likeness to the actual vocal rendition of pieces. This hints at a complex repertoire of skills achieved through unstinting practice and untold love for his art. Read on to know more about this reticent musical genius.

Could you expound on the different styles of playing the Veena?

Well, originally there were 4 distinct styles of Veena playing, but over the years they have changed, acquiring subtle influences. The schools are Tanjore, Kerala, Andhra and Mysore Bani. I play Veena in the Mysore style, which mirrors the vocal effect to a very large extent. The styles differ in the frequency of fingering, tempo and pull on strings, etc. Some styles advocate the instrumental effect. Though the basic components of all styles are essentially the same, choosing to highlight particular features brings about the difference.

What is the ideal age for those seeking to learn Veena playing and what are the different stages of training?

Veena playing is best learnt at a very young and impressionable age, say at 5 years of age.The student is introduced to the basics of classical music with sarale, twin swaras, alankara, geetam slowly proceeding to the varana stages. Later kruti's and javali and devernamas are all taught. As one proceeds to later stages such as keerthana, padam, thillana, they also acquire expertise in the various facets of music like talas or keeping time, and ragas that are an integral part of any kind of classical music. Though the best display of ones hard won accomplishment is through a Pallavi that requires flawless finesse.

All the knowledge of music was passed on by word of mouth alone in true Gurukul tradition, but that is a thing of the past. Music is a storehouse of untold cultural treasures in the form of a mélange of ancient Sanskrit and Kannada influences, which needs to be preserved and nurtured.

Do you think that Veena playing is an innate skill or can it be acquired through practice?

Veena playing requires a genuine love for music and a different bent of mind. An inherent skill to grasp the finer technicalities is necessary. The basic elements of talent, concentration and memory can be honed only through dedicated practice.

Veena playing cannot be learnt passively by listening to recordings. Rather, it is best learnt under the tutelage of a guru. It takes more than ten years to master the art of playing a Veena. In the initial years, one has to doggedly follow the established precepts. Once expertise is cultivated, they can develop a distinctive style of playing. Having reached a certain plane in the field, there is a liberty to experiment and acquire an instantly identifiable signature style.

What are the different kinds of veena?

Well, there are the two kinds of Veena, the Hindustani Veena and the Saraswati Veena. I play the latter. Other than this, there are a lot of similar instruments, like the Rudra Veena and the Chitra Veena. The Veena is always the mainstay in any concert and is usually accompanied by the Mrudangam, Ghatam or Morching. The Mrudangam is toned down to complement the Veena playing. Also, the use of natural nails to string the veena gives rise to a smoother sound, a mark of refined playing.

What are the important factors that go into any performance?

To begin with there has to be perfect synchronization and understanding among the various artistes, for presenting a superlative performance. Further, the selection of pieces for any concert has to be made with care, keeping in mind the audience and their tastes. I am personally very inclined to play the 'Panchveena', which involves 5 artists playing simultaneously to produce a concert unmatched in harmony. Other similar variations involve a Veena Duet, trio, etc.

A mere knowledge of Veena playing is insufficient. Rather, artists need to improvise and this is where the true contribution of an artist's "Manodharma" comes in, i.e. his skill to subtly build on the basic frame that the Sahitya or literature of music offers and embellish it with his unique elements.

What have been some of your most memorable performances to date?

I have toured all parts of India, including Kanpur, Jamshedpur, Tirupathi, Belgaum, and Delhi. I have spent a major part of my life in Mysore and one of my most noteworthy performances has been the Dasara cultural programme at the Mysore Palace in 1983.

Rendering a performance for the national programme of music and various other performances well received by discerning audiences make for good memories. Also, I feel very rewarded when young children play well; it is nice to see music kept alive by youth with a passion for music. My students have also gone a long way in keeping the spirit of Veena playing alive; a few of them are A.S.Padma, M.K.Saraswati, M.S.Rajalakshmi.

How does it feel to receive awards and accolades from those in the music community?

It is a great honour and source of joy for any artist to be acknowledged by his peers and his audience. I am grateful for all the love and respect that has been showered on me. It goes a long way in encouraging upcoming artists also.

What measures can be taken to keep the spirit of Veena alive?

Music forums and awards constituted by the government are all welcome measures in keeping our musical culture alive. There should be an influx of young talent to improve matters. Music reviews and publicity also help upcoming talent. Music needs to get a wider platform so as to reach more people. All these, coupled with a true thirst of all the knowledge and beauty that music offers, will go a long way in preserving this art.

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By Preeti Prakash

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