The grand Narada Gana Sabha Main Hall recently transformed into a breathtaking spectacle. Over a hundred veena artists, from eager 10-year-olds to revered septuagenarians, sat in perfect harmony. A soft, shimmering sound of tuning strings filled the air, hinting at the musical journey to come—the magnificent 108 Veena Nadanjali. Guiding this impressive assembly, veena maestro Kannan Balakrishnan stood with quiet focus, ready to lead the performance to its exquisite start.
This monumental ensemble featured an array of celebrated talents, including Prof. R.S. Jayalakshmi, Mudicondan Ramesh, S. Sundar, Jayalakshmi Sekar, Shobana Swaminathan, GRS Murthy, Karukurichi Ravi, T.T. Narendran, Emani Lalitha Krishna, and Baradwaj Raman. They were joined by rising young stars such as Veena Venkatramani, Charulatha Chandrasekar, B. Sai Harini, and N. Haripriya. Providing a vibrant rhythmic foundation were Aswini Srinivasan on mridangam and Shrisainath on ghatam.
The 108 Veena Nadanjali was the grand finale of the 13-day Veena Mahotsavam. This extensive festival, which boasted 77 concerts, 100 main artists, and 36 accompanists, was expertly curated by Kannan Balakrishnan. It was a collaborative effort, brought to life by the Bharata Ilango Foundation, Narada Gana Sabha Trust, and Kalakendra.com.
The evening commenced with a sacred and inspiring rendition of ‘Saraswathi Ashtottara Sata Namavali.’ As Kannan chanted, the veenas and voices intertwined, creating a prayerful atmosphere. The program continued with a selection of exquisite kritis: ‘Gam ganapathe’ (Hamsadhwani, Adi – tisra nadai, Muthiah Bhagavatar), ‘Sri saraswathi’ (Arabhi, Rupakam, Dikshitar), ‘Akhilandeswari’ (Dwijavanti, Adi, Dikshitar), ‘Paratpara’ (Vachaspathi, Adi, Papanasam Sivan), ‘Darini telusukonti’ (Suddhasaveri, Adi, Tyagaraja), ‘Raghuvamsa sudhambudhi’ (Kathanakuthuhalam, Adi, Patnam Subramania Iyer), ‘Kanchadalayatakshi’ (Kamalamanohari, Adi, Dikshitar), and ‘Brahmam okate’ (Bowli, Eka, Annamacharya). The performance concluded with ‘Vande mataram’ and ‘Maithreem bhajata,’ filling the hall with a profound sense of devotion. The collective sound of one hundred veenas playing in perfect unison was truly awe-inspiring.
To prevent any hint of monotony and to introduce distinct character, each kriti was preceded by a concise raga exposition delivered by a leading artist. This innovative approach beautifully infused the performance with color and individuality. The most remarkable aspect of the entire offering was the flawless blending of diverse musical schools, styles, and ‘patantarams’ (traditional renderings) into a single, cohesive, and nearly perfect sonic tapestry. Every ‘meettu’ (pluck) and every note resonated in impeccable synchrony, creating a vibrant manifestation of harmony. The kriti ‘Darini telusukonti’ proved to be a particularly intriguing choice for such a large instrumental ensemble. Its complex ‘sangatis’ (melodic phrases) in the pallavi section posed a significant challenge to maintain perfect concordance. Yet, the artists navigated this intricate ‘tight-string’ walk with impressive skill. The lively rhythm of ‘Gam ganapathe,’ the serene beauty of ‘Akhilandeswari,’ and the enchanting ‘chittaswaram’ (melodic passages) of ‘Raghuvamsa sudhambudhi’ also captivated the audience.
While the selection of songs thoughtfully covered a wide range of composers within the event’s structure, the absence of a kriti by Syama Sastri was notable. Although a typical slow-paced ‘chowka kalam’ composition might not be ideal for a large ensemble, a moderately paced piece from him could have certainly been included. The inclusion of three compositions by Dikshitar, who was both a veena player and a vocalist, fittingly celebrated the Nadajyoti’s 250th birth anniversary this year.
Beginning humbly in 2009 as ‘Veena Utsav’ with just 30 concerts, this annual celebration has since blossomed into a highly anticipated musical carnival, beloved by both performers and ardent fans. Kannan Balakrishnan recalled how, not so long ago, veena playing was often regretfully described as a dying art form with an uncertain future. Today, 17 years later, he proudly points to the veena’s remarkable revival, evidenced by the increasing number of students taking up the instrument and the growing sales, as confirmed by teachers and instrument makers/dealers alike.
Kannan dedicated this extraordinary event to the pursuit of global peace, a future free from war, and honored our armed forces. In that powerful moment, the veena transcended its role as merely a source of beautiful sound; it became a profound vessel of collective prayer and hope.