(post by Madhavi Ramkumar)
Reams have
been written about Dr.R.K.Srikantan, the man and the musician, a legend in the
field of Carnatic Music who passed away recently. The bell like clarity and
strength of his voice, his scrupulous adherence to tradition, his reverence for
his illustrious forebears and his greatness as a guru have been a source of
wonder and admiration. Above all, his approach to Carnatic music, and its
purpose as perceived by him, should serve a guiding light to practitioners and
connoisseurs alike.
This writer
had the great privilege of interviewing him in early 2010, when he celebrated
his 90th birthday. A recipient of innumerable awards, critical acclaim,
and the adulation of scores of disciples and of the music loving public, his
punctuality, patience, graciousness and hospitality were truly remarkable.
Answering questions with sincerity and equanimity, he seemed entirely unmindful
of the exalted position he occupied in the musical firmament.
Moderation
in all things appeared to be the dictum that he followed in music and in life,
a golden mean, be it in the usage of brigas, rhythmic variations, sruthi bheda,
or in personal daily routine. Dr.Srikantan’s physical presence is
no more with us and will be missed sorely. But the many splendoured legacy he
has left behind will continue to guide and inspire generations to come.
Excerpts
from the interview, an edited version of which was published in The Hindu,
Friday Review, January 22nd, 2010, are appended below.
The present approach to music,
Dr.R.K.Srikantan feels, is very different form that of earlier years, when
there was complete devotion and dedication to the art. Technical correctness
has now taken precedence over bhakthi, the basis of our music.
Spontaneity and improvisation are
integral parts of Indian music, but Dr.Srikantan asserts that planning can
ensure variety in ragas, compositions, talas, and composers, and without it the
concert can at best be a random one, adding categorically that he always plans
his concerts.
“I don’t approve of raga alapana
in a tearing speed,” he says,on the role of brigas in raga alapana.
“Conventionally, the raga alapana should be in the vilamba kala, and then
brigas should be introduced, but that paddhathi has now gone out of vogue. Now
we sing raga alpana in a samashti way, that is, totally, including brigas,
vilambit etc.”
As for sruthi bheda exercises
during raga alapana, Dr.Srikantan is of the view that “partially it adds
colour, but at times even the original raga is forgotten. Sruthi bheda shows
your swara jnana, and once in a way it can be done and that too, just one or
two sancharas”.
Also, he observes that “more
importance is now given to rhythmic permutations and combinations in the
singing of kalpana swaras. It is in fact a challenge for the mridangam vidwan.
Every student wants to learn laya vyavahara and some even compel their teachers
to teach it. But I don’t approve of so much of laya vyavahara – learn and
understand all types of laya vyavahara, but while singing, let there be
proportion.”
Dr.Srikantan avers that in modern
times “the guru sishya relationship has become more commercial, though there
are instances of genuine ‘guru bhakthi’. It was different in the olden days –
the student stayed with the guru, served him, and as and when the guru taught,
he would learn. It is impossible to bring back the gurukula system, but the
student can still have complete guru bhakthi and earnestness.”
For preservation of voice quality
and stamina, he advises: “First of all, maintain very good health, and that will
give you more stamina. Keep away from bad practices, bad habits, and bad
company. Be with great masters always and have only positive thoughts. Do your
sadhakam every day. Have ‘sathvik aharam’, good food which is beneficial to
your health. Don’t drink, chew tobacco, use snuff, or smoke, and don’t eat
wayside food stuff. You
should maintain mental health and peace of mind. And meditate everyday. If you
follow all this you can maintain your health, your voice, and you can give good
performances as long as you live.”
Modern technological advances, in
his opinion, are partially a blessing and partially a bane. The electronic
tambura, for instance is very handy, but extensive usage has resulted in many
musicians not knowing how to tune and use a traditional tambura. Internet
lessons could be useful for a student who has already acquired swara janana,
thala jnana, etc., but a beginner should sit before a guru and learn.
The future of Carnatic Music, he
feels, is bright, as there are many good artistes, “but let them maintain
tradition and not do unnecessary things in the name of creativity. Respect the
audience and don’t take them for granted.” The ultimate purpose of music,
according to him includes aesthetic, emotional and intellectual enjoyment as
well as spiritual upliftment, for all of which Carnatic Music is the perfect
medium.
