Shashank Subramanyam, the Carnatic musician, was just nine months old when his family noticed that he was extremely responsive to music. By the time he was two-and-a-half, he could identify all the 72 melakarta ragas. His father, a musician himself, acknowledged his son’s interest and trained him. Music was taught as a language and, at the age of six, he was performing on stage.
The artist, who was in the city to conduct a lecture-demonstration organised by SPICMACAY for students of PSG Institute of Management, wove both popular and classical numbers to explain the nuances of Carnatic music.
Today’s generation has a rich exposure to different genres. It is both an advantage and a disadvantage, he says. “They are not solid on any one art form. My father never exposed me to other genres. I feel that was an advantage because my music was devoid of external influences. One has to be a master of one art form, so that you can experiment with others.”
The early years of training were extremely rigorous, recalls Shashank. “I used to practise for hours. Does he regret having missed out on his childhood? “I am happy that I got that intense training before my teenage years. That experience gave me a certain kind of ease and effortlessness in my performance.”
The world of Carnatic music welcomed the prodigy with open arms. The Karnataka government offered the four-year-old a scholarship meant for teenagers. Twelve-year-old Shashank was the youngest artist to perform at the Music Academy’s Sadas concert. He was awarded the Kalaimamani and was one of the youngest recipients of the “A Top” ranking in All India Radio and TV.
There is no dearth of young talent, says Shashank. “The urge to learn should be interlinked with right opportunities so that you can execute what you learn. There are so many talented musicians. But you need to mould these talents so that they reach their logical end. You need that right guru who can identify your talent.”
Shashank’s passion for music extended to Hindustani music, and he began to take lessons from Pandit Jasraj and accompany the maestro in his concerts. In 1983, Jasraj presented Shashank to the audience. “I became a fan of Hindustani music. I used to listen to Bhimsen Joshi.
During the initial days of my career, I have interacted with North Indian musicians for jugalbandis. I realised it was such a refined system of music and so different from Carnatic music,” says the artist. Shashank’s international collaborations with musicians across the world helped Carnatic instrumental music gain global attention. Shashank has worked with renowned artistes such as Zakir Hussain, Ustad Sultan Khan, Pt. Vishwa Mohan Bhatt and Pt. Ajoy Chakraborthy. He worked with the New Jungle Orchestra at Copenhagen Jazz Festival and guitarist legend John McLaughlin for ‘Floating Point,’ and he was nominated for a Grammy. “Versatility is very important for an artist. I can swing both ways. When you are a purist, you tend to stagnate and limit yourself with few options.”
There should be more experimentation in Carnatic music, within its aesthetic boundaries, feels Shashank. “It’s been way too long since we have been singing the same kritis . I have played ‘Vatapi’ a billion times. I wish musicians could come up with contemporary pieces, using classical ragas. Why can’t a Tyagaraja kriti be played using a drum set? Let’s bring diverse forms of music together, without compromising on the music.”
And instrumentalists must be given equal priority as vocalists. “Instrumentalists are true ambassadors of an art form. We take classical music to all nooks and corners of the world, maybe more than a vocalist. Unfortunately when the world looks at Carnatic music, they only see the faces of the vocalists. This has to be evened out.”
Sounds of music
The students of PSG Institute of Management applaud, as Shashank Subramanyam plays ‘Nagumo’ on his flute. The mridangam player joins him and the mood shifts from a mellow to a pulsating one. The students watch in awe as Sashank uses his flute as a percussion instrument. Shashank is accompanied by Akkarai S. Subhalakshmi on the violin and Delhi Sairam on the mridangam. He explains the differences between Hindustani and Carnatic music. “Both are born out of the seven notes in the universe. But, why are they segregated into different genres of music?” Shashank demonstrates how the same raga sounds different in Carnatic and in Hindustani. Heads sway as he performs ‘Chinnachiru Kiliye’, a Subramanya Bharathi song and ‘Vande Mataram’ on his pullankuzhal.
During the question-and-answer session, he explains the concept of raga alapana. “It is similar to building up an essay. In Carnatic music concert, you can improvise on any raga. The kutcheri team can instantly communicate and present a performance, without a rehearsal. Music is like a language we already know.”
“What is the difference between Western and classical music?” a student asks. “Western music is a very broad term, and includes many branches such as jazz, rock and classical music. The Western classical music consists of pre-composed pieces. There is little room for creativity for the musicians,” Shashank replies.
However, in Indian classical music, what precedes and follows a composition is totally extempore. “The rhythm system is like a train. You can jump off and run at your pace, and hop back to continue with the same speed. There are rules within the aesthetic boundary, but within it you are allowed to make combinations. You have the freedom to interpret a composition in your way.”
This is the first event organised by the newly formed Coimbatore chapter of SPICMACAY. Says K. Sriram, the convener: “Our events are different from normal sabha kutcheris. And, we are trying to rope in top-notch artists. We need more support from the educational institutions in the city.”
For details about events and volunteer support, email ksriram1949@yahoo.co.in
