padmanabha
28th September 2006, 09:45 PM
[tscii:afab12e2a3]“Believe it-my master never touched the veena while teaching. He would sing and we have to play it on the veena. We have to rake our brain to find out the notation. Initially we felt it tough and tiresome, now I feel it is the best teaching method” feels Bhagyalekshmi Chandrasekhar a Bangalore based vainika, who was in the city to participate in a two day program-K S Narayanaswami memorial Veena Sangeethotsav organized by Veena Sangeetha Sangh.
Bhagyalekshmi belongs to a family of music lovers. Her mother Saraswathi and her aunt Parvathavardhini inspired little Bhagya to learn music systematically. “I remember, a veena of Dhanammal (mother of M S) was in our house. How I do not know. I have heard my uncle referring to this veena, when I was a child” said Bahgyalekshmi. She started learning vocal music at the age of three. Frequent tonsils menace made her teacher think in a different line. One day he presented her a veena and taught her. She did her Graduation in Music. “I never took it seriously, aiming at stage performance. Mudikondan Narayanaswami was my master for advance training. His unique method of teaching now helps me in playing Gujgalbandi. Whatever they play I can reproduce in the veena.” She said.
Bhagyalekshmi is a great fan of Emani Sankarasastri, a great vainika, a researcher, a composer, a conductor and a teacher. According to him all types of music can be played on the vena. Once rapport with the instrument is established it responses to the players touch.
“I love playing on double strings and triple strings, to aid the interpretation of saahitya. It also furnishes a piano forte effect. If your rendition is sruthi suddam, playing in double strings sounds magical. Mine is the gayaki approach. The playing of gamakas (grace notes) are not simple oscillations of the strings. They are characterized by the degree of sharpness, intimating beautiful nuances and artistic curves which make the instrument sing” she explained.
Bhagyalekshmi makes it a ppoint to practice the basic lessons of music (like sarali varisai, janda varisai, and alankaram) daily at least for half an hour. She has accompanied Mohiniyattom, Bharatanatyam kuchupidi and Kathak dancers.
“I am a native of Myapuram in Tanjavur. I am 53 years now. I have performed in all major sabhas except in Madras. They have never invited me. My application to perform at Thiruvayaru for the Tyagaraja Aaraadhana was rejected twice. In Madras, music season begins in December. Out of nearly 1500 performance there will be only four or five veena concerts. The instrument is being sidelined. I admire the way in which the Chembai festival at Guruvayur is conducted. I regularly perform there.” She said.
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Bhagyalekshmi belongs to a family of music lovers. Her mother Saraswathi and her aunt Parvathavardhini inspired little Bhagya to learn music systematically. “I remember, a veena of Dhanammal (mother of M S) was in our house. How I do not know. I have heard my uncle referring to this veena, when I was a child” said Bahgyalekshmi. She started learning vocal music at the age of three. Frequent tonsils menace made her teacher think in a different line. One day he presented her a veena and taught her. She did her Graduation in Music. “I never took it seriously, aiming at stage performance. Mudikondan Narayanaswami was my master for advance training. His unique method of teaching now helps me in playing Gujgalbandi. Whatever they play I can reproduce in the veena.” She said.
Bhagyalekshmi is a great fan of Emani Sankarasastri, a great vainika, a researcher, a composer, a conductor and a teacher. According to him all types of music can be played on the vena. Once rapport with the instrument is established it responses to the players touch.
“I love playing on double strings and triple strings, to aid the interpretation of saahitya. It also furnishes a piano forte effect. If your rendition is sruthi suddam, playing in double strings sounds magical. Mine is the gayaki approach. The playing of gamakas (grace notes) are not simple oscillations of the strings. They are characterized by the degree of sharpness, intimating beautiful nuances and artistic curves which make the instrument sing” she explained.
Bhagyalekshmi makes it a ppoint to practice the basic lessons of music (like sarali varisai, janda varisai, and alankaram) daily at least for half an hour. She has accompanied Mohiniyattom, Bharatanatyam kuchupidi and Kathak dancers.
“I am a native of Myapuram in Tanjavur. I am 53 years now. I have performed in all major sabhas except in Madras. They have never invited me. My application to perform at Thiruvayaru for the Tyagaraja Aaraadhana was rejected twice. In Madras, music season begins in December. Out of nearly 1500 performance there will be only four or five veena concerts. The instrument is being sidelined. I admire the way in which the Chembai festival at Guruvayur is conducted. I regularly perform there.” She said.
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