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Photo: M. Srinath

Divine Speaking through instrument

If man symbolises divinity, veena symbolises mankind — the six ‘chakras’ that start from the spinal cord. She shows a few numbers to reveal a striking similarity between veena and the human body. Twenty-six frets in veena represent the vertebrae. The vertebrae begin with broad spaces between each other, getting narrower towards the end. Similarly, the divisions of the veena taper off in geometric progression.

If this sounds fascinating, there is more. Veena, unlike other instruments, demands relentless breath control. “Amazingly, this happens even without the knowledge of the instrumentalists. That’s pranayama,” she says.

There is a unique quality of veena that binds the player with the instrument. “Even if you play the veena for 120 hours, intermittently, the ‘prana’ settles in the ‘kudam’ and reflects in the performance. Even amateur musicians can correlate the sound with the player. Give me a veena for 120 hours and I’ll make it sound like me,” she challenges.

“It is a divine happening. I happened to get hold of a book ‘Veena Rahaysa,’ which was never published, and another book written by Abraham Pandithar. Vedas are also abundant with information on veena.”

The versatile string instruments can spice up film music and jazz too. “Any kind of music can be played on the veena. But it is better to retain its purity with a Carnatic recital.”

Gayathri’s musical saga began when she was six. Her father, Ashwathama, a noted Telugu film director, and mother Kamala led her to the world of veena. Despite the pouring offers, Gayathri restricted the concerts to learn more about divine revelations of veena. “Veena kindles the ‘satvik’ trait. The instrument, according to Vedas, helps in attaining the ultimate truth of mankind.”

Six thousand solo concerts are far from the reach of many instrumentalists. But she is not in awe of her feat. “It’s sometimes difficult to accept too many concerts. ‘Kutcheries’ bring popularity. But satisfaction is derived from learning more about veena. In fact, I’m at ease while performing in temples than at grand concerts.”

Most of the solo concerts have been interspersed with discourses on veena. “I always want my audience to know the divine richness of veena and brief them accordingly. It peps up the interest while listening to the recital.”

Success, initially, was not easy on her. Criticisms and hurdles were aplenty when she began. But Gayathri was too determined to be fazed by challenges. “It doesn’t affect me because I’m never enamoured of publicity. I was pushed on to the stage. If given a choice, I’d rather prefer playing veena in an isolated place. It’s a penance and gives a heavenly satisfaction.”

There is a perceptible tinge of excitement when she talks about her most memorable experience. “I was performing before Chandrasekara Swamigal of Kanchi mutt. When I was half way through the performance, he stopped me and gave me a sandalwood crown with ‘Om’ engraved on it. I continued my concert with the crown on. I still cherish the circlet,” she grins.

Gayathri’s popularity gained momentum right from her solo concerts. The tonal modulation in frets that she traces through her fingers and effortless transition of pitch make her concerts memorable to any listener. The raga alapanas in her concerts are well known for measured oscillations of octave scales, which makes the instrument recite ‘sahityam’ in pristine purity.

The popular ‘Thanjavur’ or ‘Karaikudi’ ‘baani’ or style isn’t something Gayathri has practised. “It restricts our approach. While it is good to have a ‘baani’ at the start, following vocal style would help the instrumentalist evolve a pure style,” she suggests.

For her, taking to veena requires a basic interest to start with. “Parents shouldn’t push their children into it. It can’t work that way, when it comes to veena. One needs an obsessive streak to churn out quality music and derive satisfaction.”

What would she like to tell the interested lot? “Music is beyond kutcheries. Learn music for the sake of music.”

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