Vidya Shankar:

She answered to the question that she used to listen to Vinjamuri's music when he lived in 78, VM Street, a couple of houses away from her house:

Whatever raga he sang, be it a difficult raga like Varali or Bhavapriya or any small Varja raga, or all common ragas like Kambhodi, Shankarabharana or Karaharapriya; all that were handled with ease and crispness. It was very impressive. Very elusive style he had. It may not be elaborate. But, you could see how he has taken the essence of all that (the raga) by constant devotion and his involvement in music. Being the disciple of Tiger, you could see his way of Swarakalpana. But even in that, I used to tell my students, see he does not mimic it, but has the style of his own, by taking the views of the masters. That is what one should learn from musicians, from accomplished musicians like Vinjamuri, I used to tell them.

Answer to the question whether she met Vinjamuri:

I met him once or twice, not very closely. But I had been hearing his music so often, practically every day, for the five years or so that he lived here. But, my questions would have gone to his ears through his students and he would reply something to his students, like that I had some contacts with him, because he was too busy and I too was busy those days.

To the question that Vidhya Shankar's father was involved in Vinjamuri's Music:

Yes, because he (her father) was one of the founder members of the Music Academy. I think in 1935 or so your father was in the competition and he was given the gold medal. My father would always listen to these youngsters. He said that this boy has such clarity in his voice so I think I should also give him a gold medal. That was such a great honour for the student, I should say, in those days. And, a great blessing for Mr. Iyengar.

To the question that Vinjamuri was involved in the books that she (and her father) wrote and the composition contribution:

My father was writing every day about Sruthis and compositions of Thyagaraja. He had compiled two volumes. Apart from Thyagaraja's Kritis, once for Mohana, when they were discussing, Mr. Iyengar was talking about one kriti of Deekshatar, Nagalingam; it was such a wonderful Kriti. I was taken by that so much, but I did not have the guts to ask him to teach me. I learnt it from the book and then I heard him sing once. It was such a great experience for me to learn that way from a musician.

He was a very simple man, I was told and with very sensitive feelings about it (Music). He could see where good things were and he could learn from them. He did not have airs about saying that Oh! I don't want to learn from this person or that person. But, wherever he found good things to be brought from for classical music, for promoting of the classical music, he had done a great service by doing this sort of learning and teaching.

It is a wonderful thing you are doing, Sandhya, I think your work will be a great asset to the posterity so that they will know the value of musicians who had great respect and regard and their true attitude towards classical music.