Hailed as one of the finest flute players in the world today, the talented Shashank Subramanyam presents Carnatic music in a most appealing way so even an ear not attuned to the Carnatic style finds it palatable. Having performed for more than 32 years (his first concert was at the tender age of 6), Shashank does not come from a family of musicians as is common to most maestros but has managed to excel in his field at a relatively young age. In 2009, he was nominated for a Grammy award. He is down to earth, intelligent and practical, apart from being an outstanding flautist.
Excerpts:
Tell us about your journey from Bangalore to Chennai?
Palghat K V Narayan Swami, one of the legends of Carnatic music was my guru. I started learning from him from a very early age, since 1986. When I started learning from him, he was located in Chennai, whilst I was in Bangalore. So I used to travel every Thursday from Bangalore to Chennai, to learn from him e. I would then travel back on Sunday. This continued for years! I remember seat confirmations were very rare so even though I was just an 8 or 9-year-old, I would lie on the floor of the compartment without a reserved seat, spreading a paper on the floor! I was quite happy doing this, I never felt like complaining. I believe that by travelling like this, we became battle-ready – we artists can function under any conditions.
From 2003, I have been learning from Pandit Jasraj as I have always enjoyed and admired North Indian classical music. I met him first in 1991 when I played at a festival in memory of his father, and remained in touch with him, until I formally started learning in 2003.
Tell us about the changes you have brought about in your flute playing
The innovations I brought in were incidental, more to translate what I acquired musically from different gurus. I found there were limitations in the playing of flute that did not allow me to do certain things, so I had to innovate. Over a period of time many new things have happened; I am not the only one doing this.
You have played jugalbandis with many North Indian maestros.
I have enjoyed played with many North Indian artists in jugalbandis – sarod Pandit Tejendra Narayan Mazumdar, on sitar Pandit Debu Chaudhari, Ustad Shujaat Khan, Ustad Nishat Khan, Ustad Sultan Khan on sarangi. Be it santoor, sarangi sitar or sarod – all are slightly different from each other but all jugalbandis have been extremely good and enjoyable.
How do you find North Indian music different?
My music has so much of the North Indian system. Actually, the treatment of ragas is similar in both systems; the format of presentation is different. I am able to play with tabla players quite easily as my music has so much of the North. A typical Carnatic music concert has so much more sharing by different artists on stage. Time theory of ragas (playing a raga only at a certain time) did exist in Carnatic music but now it is not followed. We can play any raga at any time. Note wise, some ragas in the South Indian system are totally different while some are very similar like Nat Bhairav and Raga Sarasangi (Raga Nat Bhairav was given its present shape by Pandit Ravi Shankar). Also, I feel in North Indian music, the instrumentalists have their own specialised techniques; in Carnatic music, the instruments follow the voice much more closely. I lament that Carnatic music is heard so sparingly in the major North Indian festivals – the audience is just not attuned to our style of presentation. The reverse is not really true and much more North Indian music is heard all over South India.
How do you see the role of state governments in promoting classical arts?
It’s easy to criticise, and the criticism can be valid in some cases. But in the context of the state government, it’s difficult to distinguish who to promote between the different genres. After all folk music also needs promotion. Even within the classical music genre do you promote dance more or established artists more or upcoming artists more. So, state governments have a tough time working out who to promote more. We are a country of over a billion people, there are so many fine artists all over – you have to make yourself visible. The onus is on the musician to be known and seen and heard. One can’t only blame the authorities. However, I do feel those in authority should be knowledgeable. At the Centre the organizations designated to promote culture I think could do more – the Sangeet Natak Akademi and ICCR. Also in the giving of the national awards, certain regions are ignored.
