Do gamakas come in the way of clear rendering of sahitya?
Nagore V. Sankararaman
Gamakas do not come in the way of clear rendering of sahitya. It is possible to intertwine both and retain the aesthetics of the music and the lyrics. Seniors have done it with ease.
Will you be ready to teach music to poor and destitute children free of cost?
V. Sankarlal
Why not? If it is about teaching to appreciate music… anybody, anytime, anywhere. To teach someone to sing, talent, passion and seriousness are expected.
Most senior artists do not attend concerts of their contemporaries most of the time. Comment.
Lalitha .D, Chennai
True, but quite erroneous to assign negative reasons. After a certain stage, external inspiration will slowly give way to internal, and attending concerts becomes more for the concert going experience or to express solidarity. Inspirational nourishment can come from associated arts as well.
You do not sing many of the songs popularised by your Guru DKJ – like ‘Mahadeva Siva Sambo’ or ‘Nambikkettavar Evarayya’? What is your yardstick for choosing a composition for a concert?
Janani, Chennai
Compositions are not mere creations. They are vehicles that carry spiritual potency of the composer and percolate into the minds and lives of the singer and the listener. Hence, it becomes my responsibility to deliver only those kritis with high spiritual energy, which was exactly what my Guru set for me - ‘Sing the compositions of the Great.’ He probably set something different for himself. Earlier, my attempts to fuse this into a regular course of action found modern compositions taking a back seat and those composed before 20th century dominating the concert list. Certain popular ones got missed out in the process but the gain was conspicuous both on the professional and domestic front.
Who or what is your inspiration/pole star? Where do you aspire to reach as an artist?
Sridevi, Chennai
Several people, ranging from Valmiki to tennis legend Pete Sampras, inspire me but the select few shall be venerably kept within, undisclosed. Music lies sandwiched between speech and silence. My final destination, as I dream today, is to reach the state of silence - no speech, no music, just joy.
I have been learning music off and on for nearly 20 years. I have been fortunate to have some remarkable teachers. However, sooner or later, the question of giving performances comes up. I don't enjoy performing. I like singing because I like losing myself in the music - something I find difficult in front of an audience. I want to understand the nuances -- the mood of a ragam, the reason why a particular sangati comes at a particular point in the sahitya. Yet, if I admit that I am not interested in performing, the frequency of classes comes down. The teachers suddenly become much busier than they were before. And Is there a solution to this?
Poorna
I must confess bewilderment! I’ve only heard of teachers complaining about students who are over anxious to perform! Maybe it was your tough luck to be under ‘differently’ minded teachers. Speak to them and sort it out or pray for lady luck to smile on you! If you want to enjoy your music as you have mentioned, leaf through music related books and websites, and attend lec-dems and satsangs.
How to deal with the cracking voice of a 14 year-old boy? Is there any treatment required or change in style?
Padma Hariharan, Chennai
No change in style is required. Repeatedly assure him that this is a natural phase of struggle and will not recur. And not to feel disturbed by its erratic behaviour. He needs to sing only with traditional tambura; if possible with a mirror before him. And he can sing whenever he feels like, preferably during early hours and for as long as possible without getting tired. And in any sruti he feels comfortable with on a given day.
It is said that artists are not born but made. How does it apply to Carnatic music?
V.N. Mukundarajan, Thiruvananthapuram
It’s true. Also family tradition matters. But we can more than compensate for the lack of it with hard work and prayer.
We hold the veena in high esteem as the instrument from the Vedic age. The violin has been adapted to Carnatic style only about 150 or 200 years ago. Why is it then we don’t see the veena in the concert circuit as an accompanying instrument. If it becomes a regular feature in every concert, will it not boost the interest of youngsters in taking to the veena?
Purva Dhanashree, Chennai
Simply because the violin has proved to be the closest to the human voice, it has overpowered the veena as an accompanying instrument. But the veena needs to be celebrated more as a lot of values rest in it. However much we prove that violin is a modified Indian instrument, we still use the veena during a seemantham or religious offerings as its sanctity remains a cut above the violin.
(This is the second set of questions which Carnatic vocalist N. VIJAY SIVA has answered.)
(To be continued)
