presence. Musical style In those days many Vainikas played Veene holding it vertically, not unlike the sitar, with the gourd kept in the lap of the player sitting cross-legged. Sheshanna played it holding it in the horizontal position, which is the way it is now played. He was perhaps the originator of what is now the known as the Mysore style of playing. This style is characterised by the two fingers being used alternately to press the string to the frets. They are kept separated from each other most of the time. Contributions Sheshanna composed 53 compositions, including Swarajatis, Padas, Javalis and many Tillanas. He had a deep understanding of Hindustani music. His thillanas in the ragas Behag and Darbari Kannada are proof of this. The composers Mysore Vasudevacharya and Rallapalli Anantha Krishna Sharma, among others, have showered liberal praise on Sheshanna's technical virtuosity. His fame spread far and wide, yet he always retained his humility. He is reputed to have often exclaimed, "One can play the Veena according to one's own abilities. Where can you find the musician who can play it to its full potential?" Sheshanna used to give public music concerts during the annual Ramanavami and Krishnashthami festivals. These concerts were organised on the roof of his own house and all were welcome to attend them. They were held for ten days each at the time of these two festivals. This brought music from the king’s court and the rich man’s mansion to the doorstep of the common man. Visitors can see a Veena played by Sheshanna at the historical artefacts museum at Dharmasthala, Karnataka. References External links Veene Sheshanna (1852-1926) at musicalnirvana.com 1852 births 1926 deaths Saraswati veena players Musicians from Mysore 20th-century Indian musicians 19th-century Indian musicians Madhva Brahmins