The Brilliance of venerable Vainikas- Classical Music

Veena Sheshanna (1852—1926)

Sheshanna was a concert musician at the court of the princely state of Mysore. He was the first veena artiste to play the Saraswati Veena in a horizontal position, breaking from the traditional vertical hold. Believed to be the originator of the Mysore style of rendition, Sheshanna was an exceptional composer. His profound knowledge of North Indian classical music is evident in his Tillanas.

Dhanammal (1867–1938)

Dhanammal was a highly accomplished vocalist and soloist performer on the Saraswati Veena, unanimously known as Veenai Dhanammal. The prefix "Veenai" in her name reflects her mastery and legacy. Her systematic raga elaboration remains unparalleled, and her style of veena rendition is still regarded as the benchmark for tradition and depth of expression. Her mastery over Tanams (elaboration of a musical mode set to a non-metric rhythmic pulse) is celebrated for its grandeur, perfect proportion, and refinement.

Karaikudi Subbarama Iyer (1883–1936) & Karaikudi Sambasiva Iyer (1888–1958)

This brother duo, the seventh generation of the distinguished Karaikudi tradition, were renowned for their stage presence and the brilliant tone of their Saraswati Veena. Subbarama Iyer played the veena vertically, while Sambasiva Iyer held it horizontally. Subbarama Iyer was known for his distinct melodic improvisations within the structure of compositions and exceptional control over tempo. Sambasiva Iyer was celebrated for his outstanding exposition of Tanams.

Mysore Venkatesha Doraiswamy Iyengar (1920–1997)

One of the greatest Saraswati veena exponents of modern India, Doraiswamy Iyengar was born into a lineage of vainikas and raised in the royal atmosphere of the Mysore palace. Praised for his tonal purity and impeccable raga expanse, he remained a purist, adhering to the acoustic Veena and avoiding contact microphones to preserve its natural tone. He is acknowledged as a notable representative of the unique "Mysore style" of veena rendition.

Emani Sankara Sastri (1922–1987)

This creative genius and integrationist hailed from a family of celebrated vainikas. His exposure to North Indian classical and Western classical music influenced his personal style. Sankara Sastri performed duets with eminent Hindustani instrumentalists and illustrated versatile expressions on the third and fourth strings of the Veena. He explored the instrument to create a range of sounds, including those resembling wind instruments. His Gamakas (integral ornaments) and Tanams were demonstrated with ingenuity and virtuosity.

Chitti Babu (1936–1996)

Arguably one of the greatest vainikas, Chitti Babu became a legend in his own lifetime. Continuing the principles of his mentor, Emani Shankara Sastri, he evolved a distinctive identity entirely his own. The hallmarks of his rendition style include tonal quality and versatility, ranging from syllables resembling Vedic hymns to the mellifluous voice of a cuckoo and even Western classical influences. Audiences found his concerts emotionally moving.