Her petite frame and affability belies the iron determination that has propelled her to the top, mastering one of the most difficult instruments, the Saraswati veena. Jayanthi Kumaresh is truly a master; not yet 50, and yet one of the most expressive and adept veena players in the country. Being a 6th generation musician, Jayanthi has music in her blood. With an intellectual depth to match, she has done her doctorate in music from Mysore University, researching on the instrument she loves so much. One recently met her at the Bharatiya Vidya Bhavan’s annual festival in New Delhi and Kesarbai Kerkar Music Festival in Goa.
Excerpts:
Tell us about your gurus
My aunt is my main Guru, she is Vidwan Lalgudi Jayaraman’s sister. I have learnt from her for more than 20 years, I went to live with her in Chennai when I was in the 8th standard. She used to wake me up at 4 a.m. to practice; that continued for years.
Afterwards, I learnt from Vidwan S Balachander. He was truly an artist – he used to play the sitar, the dilruba, he was a chess player too, made films, wrote – he was so artistic, he found expression through so many different mediums. Finally, late in life he picked up the veena which fulfilled the artist in him in every way. He used to say the veena found him.
You too have said the veena found you….
Yes it’s true! My mother’s family were all violin players. So yes, the veena did find me.
I have heard in Carnatic music, you learn music through the compositions. Was this true for you too?
As far as I was taught, for me it was knowing the raga, then learning compositions in it. When you are born in a musically aware family, you identify the raga, you hear compositions in the raga over a period of time and then you learn the composition. Usually, in the South you learn the composition first and then learn the raga, probably in my case as I heard so much music growing up, I would hear the raga and ask my Guru, for example, please teach me raga Ranjani. I did not need to be introduced to the raga only through the composition.
When you come from a family of musicians, the music is in your genes. It’s like you have come with the hardware already in place. You only have to activate the machine, and input some software. A lot of things are already in you, in place. Yes you need to practice, but you are in that atmosphere of music, so you automatically practice and hone your skills.
Does this mean that only existing compositions are performed?
Not really. Instrumentalists do compose their own compositions. It’s not the same for vocalists, of course, who usually sing only existing compositions. But in instrumental music, since there are no lyrics, one can, and does make compositions.
WithHindustani Rudra veena, there is a superstition attached to the instrument that unless you lead a pure life, you will not be able to play this instrument, your life will be spoilt. Any such superstitions associated with the Saraswati veena?
No, not at all. In South India in every cultivated, culturally alive family, the girl was expected to learn music, learn the veena, if she wanted to get married well. In a lighter vein, it was almost like, you learn to stitch, you learn to cook, you learn the veena! It is an auspicious instrument, visible in most homes, associated with the Goddess.
I wonder why the Saraswati veena is held differently to the Rudra veena?
Around 100 years ago, I hear the Saraswati veena was held differently, like the Rudra veena. After that it seems to have changed. In the Sri Rangam Temple at Trichy, there are still players who tie the instrument to their body and the hold is more similar to the Rudra veena. I have photos of players.
Your music shows heavy influence of Hindustani music...
For over 20 years, I have listened to a lot of Hindustani music, I have interacted with a lot of Hindustani artists, played in concerts with them. I feel our music today is a confluence of different experiences, exposures and influences that we have had during our journey as musicians. I am sure, along the way, when we play in different cities, with different musicians, these influences have to rub off on one. Unconsciously, I am sure I have absorbed a lot. I do listen a lot too. If there is a Hindustani music influence in my music today, it’s because of this subconscious absorption.
Do you have different styles of veena playing, what we call “baaj”?
Region wise, I would say there are four styles - Thanjavur style, Mysore style, Andhra style and Kerala style. In the Thanjavur style, there are more “gamakas”, the wood used in the veena is thicker, it's jackfruit tree wood. Kerala style is quite similar to the Thanjavur. In the Mysore style, rosewood, which is a thinner wood is used in the construction of the veena, there is a higher pitch of sound, more “tantrakaari” techniques are used, there is more emphasis on the right hand techniques. Andhra veenas have a very sweet tone, earlier sometimes no mizrab was used, only the nails were used to pluck the wire. Again a very “tantrakaari” style. I myself started learning in the Thanjavur style, but have adapted so many things. Of course, one can make out where a person has learnt from.
Since it’s such a difficult instrument, do you have many students?
I have quite a few students, both vocal and veena. Some of my students in London are playing at concerts as well.
You perform in North India quite a lot, also in jugalbandis with Hindustani artists. How do you find the audiences?
Jugalbandis have to be a mutual collaboration, we learn each other’s compositions, there has to be give and take. Audiences in the North hear quite a lot of classical music I feel, even if it’s not Carnatic music. I feel North Indian audiences appreciate the veena a lot, people always come up to me and say we love your music.
(Dr Jayanthi Kumaresh will be performing in Kolkata on 7th January, 2018 at the Behala Music Festival)
