Date: Mon, 24 Jul 95 09:43:07 -0500 From: Sridhar Desikan Subject: Info on Mysore Doreswamy IyengarHi! Venerable vainika of Mysore - by SVK The Hindu International Edition, December 17, '94, page 6. The royal atmosphere of the Mysore palace in which he was brought up in his formative years has contributed to Veena Doreswamy Iyengar's regal maturity in life and art as well. Very simple in dress but aristocratic in veena exposition, Doreswamy Iyengar recounted with enthusiasm his step-by-step development as a first class vainika. His facial expressions were more eloquent than his speech and in every word he uttered there was supreme satifaction that the Mysore school of veena has led him to prominence. "Veena playing runs in our family," Doreswamy Iyengar proudly said. "My father Venkatesa Iyengar was a vainika, a member of the Mysore Palace Vidwans orchestra. Later he learnt flute. So I had intimate association with the reputed asthana vidwans." "Your initiation in veena was at the hands of your father." "Yes, for a few years. He taught me the rudiments - sarali, alankaram in three kalams, gitas and swarajathis. I used to practise these lessons at least two hours a day." "Did you have an inclination for Carnatic music even while you were young?" "As a boy of six I attended a performance by Ariyakudi Ramanuja Iyengar accompanied by Chowdiah on the violin. That was the first cutcheri I listened to with my father. Being blessed with a taste for Carnatic music, listening to Ariyakudi only intensified my desire to hear more and more of it. Many vidwans would sing before the Maharajah during Dussera and I heard them." "Were you a disciple of your father throughout?" "No. no. My father was a disciple of Venkaragiriappa of the Mysore court. One day he asked my father, 'Does your son have any interest in Carnatic music and veena?' My father said that I was learning veena from him. Venkatagiriappa said, 'A son learning from his father will not be adequately disciplined. You send him to me. I shall train him.' Thus I became a disciple of Venkatagiriappa - for about eight to ten years." "Since your father was also a disciple of Venkatagiriappa, you would not have had the necessity to change techniques." "Venkatagiriappa taught me nearly 20 rare and time-honored varnams, some kirtanas and one or two Pancharatna kirtanas." "What was the method of training Venkatagiriappa adopted?" "I did not undergo gurukulavasam. Our house was very near to Venkatagiriappa's. I would go to my guru's house in the morning. He would teach and watch me as I played. If I committed any mistake, I had to repeat the portion at least 15 to 20 times till I could play perfectly. Unless he was satisfied he would not proceed further. He always said, 'you must get siddhi in playing.' In this way he taught me chitta tanam which Veena Seshanna had specially composed for vainikas to understand the method of playing tanam. They are studded with gamakas and that gave me excellent training in gamakaful tanam and also improvised tanams. Muthiah Bhagavathar was then the asthana vidwan. You know, Chamundeswari is the deity of the Royal house. Muthiah Bhagavathar has composed many kirtanas on Chamundeswari. Venkatagiriappa taught me several of those songs." "Was Venkatagiriappa old when you became his sishya?" "He was just 45. He was an excellent teacher and the foundation he laid stands me in good stead today." "Can you recall any memorable event during your tutelage under your guru?" "The Mysore Maharaja was very particular that the second line of vainikas, vocalists and others was prepared. So one day he asked my guru whether he had given training to young persons to take on his mantle. Then, along with me, Ranganayaki Parthasarathy and Nallar Rajalakshmi were also learning veena. The Maharaja asked my guru to bring his disciples one day to the Palace so that he could hear them. I remember I played for half an hour. The Maharaja heard me and asked my guru, 'Who is that boy?' pointing to me. 'He is our orchestra veena vidwan Venkatesa Iyengar's son.' The Maharaja told my guru, 'Train this boy well. He is full of promise.' I was pleasantly surprised when the Maharaja gave me Rs 50. In those days you can imaging the value of Rs. 50." Doreswamy Iyengar smiled and his eyes sparkled as he recounted this event. "That must have given you a shot in the arm." "Certainly. As word spread about this incident, many came forward to offer me chances. By about 16 or 17 years I was a complete vainika. I presented many cutcheris. I want to mention here a significant comment Venkatagiriappa made. As I was getting more offers to perform, my guru called my father and said, 'Do not expose him too much to the public. Let him practise more and more.' I remember those words even today and how meaningful was the guidance he gave my father." Doreswamy Iyengar stopped for a minute to recapitulate the scene of his guru speaking to his father. "Did your guru approve of your giving performances?" "Of course, but he was only against over-exposure. I had to attend to my general education too. I am a graduate of the Mysore University. My father was very particular that I should get a degree, thought my guru often advised my father not to push me too much towards a degree. Today, I feel my university degree has bought me great benefits - made me cultured, taught me to behave well with people and my professional fraternity, and given me the capacity to analyse and come to the right conclusions. Education is a must, I feel." "When was your first major performance?" "At the Bangalore Gayana Samaj in 1943, accompanied by the asthana vidwan, D. Seshappa, on the tabla." "On the tabla and not on the mridangam?" "Yes, tabla accompaniment. After th performance, my guru asked me how played and what items I presented in the programme. I kept quiet, but my guru came to know about the standard of my performance from the reviews in newspapers which had given me a good chit. I was offered many chances both at Bangalore, Mysore and other places in Karnataka." "When was your debut in Madras?" "The Rasika Ranjani Sabha gave me a chance in 1944. I was accompanied on the mridangam by Madras A. Kannan. In 1945, I played in the December season of the Music Academy in the 3.30 p.m. slot. In the year Karaikudi Sambasiva Iyer presided over the Academy festival I was upgraded to the night programme. I was also conferred the title of Sangita Kalanidhi in 1984." "Can you remember any special kirtana that Venkatagiriappa taught you in your early years?" Doreswamy Iyengar lapsed into silence for a while trying to identify the song. "Yes. 'Koluvamaragada' in Todi. Veena Seshanna had added many sangatis to this song specially meant for the vainikas. My guru taught me this piece and I practised it many times." "Now that you mention Veena Seshanna, could you explain the characteristics of the Mysore bhani of veena play?" "Seshanna and my guru have told me that pulling the strings is only one aspect of ten ways of gamakas mentioned in the Sastras. Confining the veeena to the vocal regimen limits the scope of the instrument. Playing notes separating the fingers is also one way of achieving gamaka and this enhances tonal excellence of the veena." "Have you played with your guru as a second veena." "Oh, yes." He laughed. He did not wait for me to ask what provoked his laughter. "I played with my guru in the Rama Mandir Rama Navami celebrations conducted by Bidaram Krishnappa. Chembai Vaidyanatha Bagavathar, Chowdiah and others were present. My guru asked me to play Chenchurutti. While expanding it, I introduced the sadharana gandharam. My guru flew into a rage, because he disapproved of its usage. In a sarcastic way, he commented, 'you have become a big vidwan.' After the performance, when the listeners had left, Chowdiah asked my guru, 'Why did you snub this boy? He is the one who is going to perpetuate your style.' That is a memorable event. Many top accompanists - Palghat Mani Iyer, Chowdiah, Lalgudi Jayaraman, M.S. Gopalakrishnan, T.N. Krishnan - have played for me. Though I do not personally prefer jugalbandis, I have played once or twice with Ali Akbar Khan and Amjad Ali Khan." "You don't use the contact mike." "My firm opinion is that there is an exaggeration of the veena sound although it reaches many. I feel the natural tone of the veena is lost when the contact mike is used." "You said, you had close association with the vidwans who came to participate in the Dussera Festival. Do you remember any memorable performance by any vainika?" "Once the Karaikudi brothers played before the Maharaja. They rendered 'Sarasa Samadana', 'Sankarai Neeve', and 'Padavini Sadbhakthi' in Salaka Bhairavi. The Maharaja was so pleased with the music of the vainika brothers, particularly their padanthara, that he asked my guru to learn the Salaka Bhairavi song. We went to the place where they stayed. Sambasiva Iyer played for us and I took down the notation, I remember this incident well." "You have also taken part in the Festival of Indian programmes." "Yes. I conducted the pancha veena group music at Leningrad which was well appreciated by the Russians. The next day, I was taking a walk with the Russian guide. A Russian walking along the street stood before me and asked, 'Are you the veena artiste who played yesterday?' My guide said 'yes.' and immediately the Russian pulled out a ring from his finger and gave it to me. 'My guide said, 'don't refuse. He will feel hurt.' I still keep it as a memento. In 1990, I took part in the Festival of India in Germany." "After your tutelage for 10 years under Venkatagiriappa you have developed on your own." "Yes. Even today, I practise for two hours. I firmly believe that veena music has to be reposeful. That is the true purpose of Carnatic music, isn't it?" Veena Doreswamy Iyengar will be conferred the title of Sangeetha Kala Sikamani during the annual festival of the Indian Fine Arts Society. ------------------------------------------------------------------------------