Jeyaraaj Krishnan and Jaysri Jeyaraaj Krishnan (popularly known as Jeyaraaj and Jaysri) belong to the direct Shishya Parampara of Nadajyoti Sri Muthuswamy Dikshitar - who is one among the famous Trinity of composers of Carnatic Music.
Jeyaraaj and Jaysri started their intensive training in vocal and veena music at a very tender age with Vainika Vidwan Late A. Anantharama Iyer and his sister Late A. Champakavalli whose father Brahmasri Ananthakrishna Iyer, was a direct disciple of Ambi Dikshitar, the great grand nephew of Muthuswamy Dikshitar. Jeyaraaj and Jaysri are also being guided in their musical quest by esteemed Carnatic Music Exponent, Sangeetha Acharya, Vidwan Shri Chingleput Ranganathan. "A" grade veena artistes of AIR Chennai, this husband and wife team has regaled audiences in India and abroad.
They are passionate Vainikas who believe that Veena holds a revered place in Carnatic Music and have dedicated themselves towards preserving and propagating the "Gayaki" style of playing the Veena.
The couple has started an organization called "VEENAVAADHINI", where they teach keen students the art of veena playing; conduct chamber concerts to provide an accessible platform for musicians; retrace Muthuswamy Dikshitar's pilgrimage and sing kritis that he has composed on various deities. They are now undertaking a mammoth project of playing on the veena, 1000 compositions and 100 raga alapanas and archiving these as recordings.
This far-sighted couple has been using the electronic veena Sunadavinodini for many of their concerts. We interviewed them to ascertain their views on the electronic veena as well as the status of the veena today.
Exclusive interview with Jaisri & Jeyaraaj Krishnan
1. What are the features of the Sunadavinodini that persuaded you to use it for your concerts?
Ease of portability, fullness of sound (with adjustment features), sound does not die down while playing elongated phrases, volume is good for a larger audience, easier maintenance due to absence of wax, inbuilt mikes and speakers obviating the need for carrying them separately, inbuilt high quality electronic tambura. Accompanying artists on the mridangam or upapakavadyam need not tone down their style of play to almost inaudible levels for fear that their sound may overshadow that of the veena.
2. Did you have to make adjustments in your gamaka-laden style of playing, or alter / compromise your style to adjust to the Sunadavinodini?
We did not have to make any adjustments.
3. How comfortable are you with the Sunadavinodini?
Very comfortable, quite at home with it.
4. In terms of audience appreciation of your concerts, what is your opinion - have they been better able to appreciate your playing, after your adoption of the Sunadavinodini? Or have you received negative reactions?
The audience has experienced a significant difference in terms of hearing ease. They do not have to strain their ears to catch the nuances. More importantly the standardized manufacturing process
ensures uniform sound quality which is helpful in duets.
5. You are well known for your Muthuswamy Dikshitar Sishya parampara lineage, and your traditional paathaanthara. It is indeed surprising that you have accepted and adopted the electronic veena Sunadavinodini. Does the concept not go against your traditionalism?
We believe in traditional presentation of music and would like the instrument to be an enabler. We are traditional but not necessarily conservative. We adopt the benefits of technology improvement to help us in our endeavour to present the Gayaki style of playing veena.
6. What, in your opinion, is the concert status of the veena today, and what can be done to widen the audience for it?
There are lot of people wanting to hear classical music on the veena. What we need is organizational and technical support.
7. Can the acoustic veena and electronic veena co-exist side by side, and if so, what are the specific niche areas that each should occupy?
Sunadavinodini can be regarded as the electronic version of the acoustic veena. The Vadhya Dharma does not change, so one does not feel that one is not playing a "veena". So they can happily coexist and are inter changeable. One might want to play the acoustic veena in the quietitude of ones puja room, but for a sizable audience where one needs to sound to reach out to all corners of the auditorium, one can choose the electronic veena. The need today is to encourage innovation with a purpose that will help present and retain music in its classical form without compromising on its purity.
News Courtesy : RADEL INDIA
