Carnatic music, rooted in the Vedic era, is a classical art form blending melody, rhythm, and devotion, celebrated for its spiritual depth and rich heritage.
Carnatic music, with its roots in the Vedic period, holds a divine essence that has been nurtured through centuries by saints and composers. The veena, regarded as a divine instrument, is deeply embedded in its tradition. Mythologically, the veena has many forms: Kachchapi held by Goddess Saraswathi, Rudra-veena by Lord Shiva, Mahathi by Narada, and Brahma-veena by Brahma. Even the Ramayana mentions Lava and Kusha playing the veena while singing verses taught by Maharishi Valmiki.
Ancient texts, like the Yagnavalkya Smriti, extol the veena’s greatness:
“विणा वादन तत्वज्ञः श्रुतिजातिविशारदः। तालज्ञश्चाप्रयासेन मोक्षमार्गं नियच्छति॥”
Translation: “The one who masters the veena, understands the nuances of Sruthi (pitch) and Tala (rhythm), attains the path to liberation effortlessly.”
If the instrument is so divine, its practitioners, or upasakas, elevate it further. Among them, Veena Subbanna stands out as a beacon in the ocean of Carnatic music.
Veena Subbanna was born in 1861 into a wealthy vainika family in Mysore, blessed by saints from the Kukke Subramanya temple. His grandfather was Veena Venkatagiriyappa, and his father was Dodda Sheshanna. Subbanna grew up in privilege, attending the Royal School with his classmate Sri Jayachamarajendra Wodeyar, the future Maharaja of Mysore.
Carnatic Musician Subbanna’s initial veena education was under Guru Chikkaramanna from Tanjore, a relative and renowned vainika. He also received Carnatic vocal training from Sadashivaraya, a descendant of Saint Tyagaraja’s lineage. Subbanna and his contemporary Veena Sheshanna, both students of Chikkaramanna, shared a sibling-like bond and frequently performed together.
There was no day without practise of music. From early morning till late midnight, Subbanna and Sheshanna used to practise music for more than four hours at a stretch. 6 varnas, 25 kriti, ghanaraga, thana and Pallavi. was compulsory in their list for practise. They used to have their own schedule for practising the instrument. Practice for sadhana or sadhana for practice was the way of life for both of them. In the beginning both used to play together in many concerts.
One memorable performance took place at the Thanjavur court, where Kalyani Krishna Bhagavathar, a celebrated musician, was known for his expertise in Kalyani raga. Despite warnings, Subbanna and Sheshanna chose to perform the same raga. Their rendition left the audience in awe, with the Maharaja commending their boldness and skill.
Subbanna’s compassion and humility were equally remarkable. He traveled with a treasure chest of gifts to honor fellow musicians. Eminent artists like Kalyani Krishna Bhagavatar, Ramachandra Bhagavatar, and Mahavaidyanatha Iyer were among those he revered and celebrated.
Subbanna’s generosity extended to his disciples, whom he treated like family. Prominent students included Talabrahma Chikkaramaraya, Belakavadi Srinivasa Iyengar, Swara Murthy V.N. Rao, and Asthana Vidwan R.S. Keshavamurthy. Subbanna’s compositions in ragas like Kambhoji, Keeravani, and Karnataka Kapi continue to resonate in the Carnatic music world. His Pallavi renditions, often sung in a high pitch while accompanying himself on the veena, remain iconic.
Subbanna hosted concerts at his residence to encourage budding talent and often used his royal rewards to honor young musicians. The Carnatic music fraternity lost this jewel in 1938, but his legacy thrives through annual commemorative concerts by his shishya-parampara.
Veena Subbanna’s life epitomized dedication, generosity, and excellence in Carnatic music. As a practitioner of Nadopasana, he harmonized Bhakti, Karma, and Jnana, inspiring future generations to uphold and enrich this divine art form. In today’s world, his life serves as a reminder of the cultural and spiritual depth that Carnatic music embodies.
