L. Subramaniam, whose family's contribution to bringing the Carnatic violin to the limelight has been pivotal, is also known for his celebrated symphonies based on ragas of Indian classical music. Among the Indian pioneers of global music, which he began experimenting with before it was so named, his reputation for being a musical adventurer is at odds with his insistence that most of his concerts are of the traditional Carnatic kind. Recently he visited New Delhi with “Violins for Peace” as part of the Delhi tour of the annual Lakshminarayana Global Music Festival.
The group consisted of eminent musicians including American classical violinist/composer Mark O'Connor, the Russian gypsy band Loyko, Algerian violinist Kheir Eddine M'Kachiche, besides Catherine Chen from Norway, Hardanger fiddler Benedicte Maurseth, and the maestro himself along with his son Ambi. A highlight of the concert was a composition created by Subramaniam in which they all played, blending their diverse musical identities. In a chat later the violin virtuoso took a few questions on his music — past, present and continuous. Excerpts:
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This year is the centenary of my father (V. Lakshminarayana). He was born on January 11, 1911. He created a lot of techniques on the violin — bowing techniques, left hand techniques, etc. — to make it a solo instrument. He put the Indian violin on the world map, so I thought it would be nice to bring the world's violinists here. We had everybody playing the violin but in different tonality. I think this (his composition for the ensemble) is one of the best things I've done in my life.
Chennai audiences have a ‘conservative' reputation. As a primarily Carnatic musician, for you it is also home turf. Does the consciousness of this play on your mind when you perform, or plan, a concert in Chennai?
Probably I was the first to play the (violin for the) New Year's Eve or January 1 concerts at The Music Academy. This must have been in the late '80s. It was the first time, I was told, that the Carnatic violin was given that slot. Subsequently when I brought the symphony orchestras, and people like Yehudi Menhuin…I've had tremendous support from Chennai. In South India, whenever I did something classical there was a huge rush, and also for my fusion work.
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Unfortunately, whenever I do something other than Carnatic, people write so much about it, but I do 95 per cent of my tours in Indian classical music. People think I do 95 per cent fusion or orchestral music, but I don't. I recently did a 10-city tour of the U.S. with mridangam, ghatam, morsing, and nobody seems to know about it in India! I played in Nehru Park in Delhi, and in February I will be playing with Ambi in Jaipur at a big open-air venue.
Ambi is emerging as a regular associate. Do you get time to formally teach?
Definitely. The foundation has to be there. You can't escape practice, hard work and dedication. I am very happy he has chosen the violin, keeping up the family legacy.
What are your upcoming projects?
We are working on a 10-DVD collection. In India Sony is bringing it out. It features all my collaborations over the last 20 years. I also have two major commissions for orchestras.