SUDHARANI RAGHUPATHY AND U. SHRINIVAS ON GLOBAL MUSIC

`Applause is music to my ears'

I wonder if it's noticed. I am not a flamboyant personality — Shrinivas

"My students have been waiting to meet music's little master. To me, he is still a kid! He is less than half my age. But as an artiste, he is more than a veteran," said celebrated Bharatanatyam dancer Sudharani Raghupathy about the child prodigy-turned-mandolin wizard U. Shrinivas. Her candid compliment struck an emotional chord in the young vidwan. And in his characteristic down-to-earth manner, he acknowledged it with a humble bow and said, "Age has not withered you, it seems to be catching up with me fast."

Sudharani's persona is as striking as her dance movements. And when she talks art she is fervent. As for Shrinivas his greatness lies in being genuine and gentle in a go-getter world. The classical ambience at Bharatalaya [Sudharani's dance school] was perfect for a Take Two with the artistes.

Chitra Swaminathan took notes.

Sudharani: You were just eight years old when I first saw you performing at the Brahma Gana Sabha. Taken in by the divine music and amazed by your mastery over the mandolin, members of the sabha felt that you deserved much more than just a garland, and gifted you with a gold chain.

Shrinivas: I still cherish the moment and the gift. I have always fought shy of asking this question about dance and don't want to miss the opportunity today. Tell me, do dancers have to keep smiling throughout a recital?

(She laughs at his child-like curiosity.)

Sudharani: One should have a pleasant face, particularly when entering and exiting the stage. At other times, the abhinaya or facial expression has to match the mood and the meaning of the song. Even while performing nritta or pure dance you have to emote to give life to the movements.

Shrinivas: Which means you enjoy freedom of expression?

Sudharani: Not really, the choreography has to be relevant to what the song conveys. Of course, we can take liberty with interpreting the swaras. Anyway, not just dancers, artistes generally need to look pleasant while performing. The soft smile you sport during concerts quite suits you.

Shrinivas: I wonder whether it really stands out because I am far removed from modern day flamboyance. (You cannot miss that bashful look).

Demand for innovation

Sudharani: These days artistes, particularly dancers, are under constant pressure to present something new. There's an overkill when it comes to `innovation and experimentation'. As a new generation musician, do you feel such demands are justified? How do you cope with them?

Shrinivas: I don't think I can ever get bogged down by such demands. There's ample space to give play to your imagination within the classical realm. So much so, I could adapt a Western instrument and make it sound authentically Carnatic. My musical style is based on vidwan Rajaratnam Pillai's nadaswaram playing. He and the legendary flautist Mali have inspired me greatly.

Sudharani: That's an interesting mix — Indian influence and alien instrument. Sadly, dancers are even forced to deviate from the traditional margam or repertoire for a wider appeal. For instance, the elaborate varnam, which showcases a dancer's dexterity, is passe. Where's the time for a one-hour piece in today's short duration recitals?

(Shrinivas like an obedient shishya nods in agreement)

Shrinivas: There's no art without rasikas, but we cannot afford to please them at the cost of sacrificing sampradaya. Just look at the incredible variety when it comes to SaintTyagaraja's compositions. Even a lifetime is insufficient to learn them. For the sake of innovation, the least you can do is come up with your own compositions in traditional ragas. There's no question of meddling with the original works.

Sudharani: Looks like you have been able to resist change. But look at it this way, musicians can be heard any where and at any time. You cannot possibly watch a dance recital while driving a car! Without a platform and pakkavadyam, we would be jobless. So, our visibility is limited and our lifespan, shorter.

Shrinivas: Audience' applause has never failed to charge me up right from the days when I first took the stage. The deafening sound is melody to my ears.

Sudharani: It's easier for musicians to have the crowd eating out of their hands by playing vigorous rhythm. And when you reach a crescendo they literally are on the edge of their seats. What's more, by acceding to their requests to play compositions of their choice an instant rapport is created. We dancers miss out on all this. I remember just one instance when I got an emotional response. It was some time in the 1960s. I was doing a piece from the Ramayana, the scene where Hanuman first saw Sita. For a moment, the musicians, the rasikas and I were so moved that there was complete silence in the hall. Of course, such instances are rare in a dancer's life.

(Looks at Shrinivas for his reaction and he just flashes that familiar smile).

Global appeal

Shrinivas: But what's heartening is to see many young faces in the crowd. Most of us tend to think that the classical arts have taken a backseat these days. On the contrary, I feel it is enjoying a global appeal with the coming together of artistes and the fusing of styles.

Sudharani: Do you teach other string instruments, besides the mandolin, at the Shrinivas Institute of World Music?

Shrinivas: Right now it's only mandolin but I plan to take up other instruments eventually. Is fusion happening in dance too?

Sudharani: Actually such exercises

 are exciting and help you explore the world of art. The increasing demand for dance dramas in the past few years has paved the way for the integration of new techniques and styles. You can always see traces of the Greek, Egyptian and Truscan movements in my choreography. It is because of my exposure to world art.

In 1964 I went to the Randolph Macon's Women's College, Virginia on an international scholarship. And I majored in the world history of dance, studio arts, western music and the legendary ballerina Martha Graham's technique in modern dance.

Such diverse influences help you approach an ancient art with a fresh perspective and make it appealing even to this computer-controlled generation

Master of melodious strings

RUPA GOPAL

Child prodigy to maestro — `mandolin' Shrinivas has come a long way.

"I call the newspaper office (to speak to someone) and am put on hold, which is no hardship at all, as the melodic strains of the mandolin gently relax you. Not difficult to guess the artiste. It is Shrinivas, the child prodigy, who has gone on to make a mark in the field. Awards and accolades have been showered on him, the latest being the one conferred by the Tirupati Music Festival Committee held at Tirumala recently.

Born in Palakol, Andhra Pradesh, on February 28, 1969, Shrinivas grew up in an atmosphere soaked in music. His father Satyanarayana was a music teacher. In typical polite fashion he settles for a conversation.

``My father wanted me to study well, he thought education would secure my future. But I happened to have an ear for music. I used to just pick up the mandolin at home, and play it. My father's friends began telling him to teach me music. At the age of five I began learning varnams, and then was put under Subburaju, my guru, who had also been my father's guru. He was a vocalist, and I had to listen to his singing, and then play the same on the mandolin. It was he who brought us to Madras," reminisces Shrinivas.

Coming to Madras opened the proverbial floodgates. Concert opportunities began pouring in, and senior accompanists had no hesitation in playing for the young prodigy, such was the quality of his music. Already armed with a rich repertoire, Shrinivas lost no time in adding to it. His idols were T. N. Rajaratnam Pillai, GNB, MLV and Flute Mali. His eyes and face light up at the mention of these names.

`I used to find Todi difficult in the early days. I honed it by listening to TNR again and again.

Continuing in the nostalgic vein, Shrinivas says, ``It was my dream to meet Mali. When he had a fracture and was in a hospital near my home, I rushed to see him. He hugged me and cried, saying he had heard a lot about me, and told my father to take good care of me. I also went to see Mali in the green room of Krishna Gana Sabha, before he played his last concert. He scolded me for coming, instead of practising at home."

Music has brought fame, and with it came travel. So he must have developed a special affinity for some places?

Shrinivas loves walking in New York, and also likes London, Paris and Singapore. And back home? ``Thanjavur," comes the reply. ``I love playing at Tiruvaiyaru," he says.

Shrinivas loves Italy for two reasons. He was enchanted by Venice's beauty, while on a day trip with Michael Nyman, a composer with whom he had made the album, ``Sangam," for Warner Bros., and set a piece in the raga Suddha Saveri. The second is more mundane — food!

Gourmet

"I love pizza, pasta, spaghetti and also Mexican food. Punjabi dhaba (not spicy please) food also tempts me. But above all, Pulihorai is my favourite, as also simple vatha kuzhambu and roasted papad," says this gourmet.

What does he do, apart from music? Shrinivas's hobbies are seeing movies and window-shopping. Of late, he has developed a passion for driving. A fan of MGR and Amitabh Bachchan, he recalls how MGR after listening to him on television, found his address and sent home his best wishes. ``I was just a small boy then, and was so impressed by his greatness, and spontaneity," he says. Shrinivas attributes his success first to hard work, and then to God's grace. He has a penchant for playing rare ragas, while also being traditional in his fare. He respects rasikas more than anything, as good listeners are essential to the growth of music.

Fusion music too is beautiful, he feels, and a part of the quintet of his Shakti Group is the versatile Shankar Mahadevan. Guitarist John Mclaughlin adds to the talent of this group.

No less a person than Beatle George Harrison had been moved by Shrinivas' music, in London. He came backstage to meet him, during a concert.

Shrinivas's younger brother Rajesh too is now an adept performer, initially taught by the father. Duet concerts by the two brothers have now become popular.

With Sai Baba and Paramacharya as his guiding lights, it is Shrinivas's ambition to set up a World Institute of Music, and train students, sometime in the future. One hopes his dream comes true.

By Shanti Murali

SINGAPORE, APRIL 14. There were accolades aplenty heard from the audience as the mandolin duo of U. Shrinivas and U. Rajesh performed in a charity event here on April 10. The event, held in aid of the Dyslexia Association of Singapore, was organised by Arte Compass.

U.Shrinivas at the concert in Singapore

Mandolin Shrinivas' multi-cultural and cosmopolitan experience showed in the selection of the right compositions to suit the tastes of all the races and cultures present. Without deviating from the classical tradition, he started the recital with the brisk Charukesi varnam, a composition of Lalgudi G. Jayaraman, the violinist. Then came the piece Mahaganapathim in Nattai. Shrinivas brought the spirit out among the audience by rendering swarams in Mahakavya Natakadhi Priyam. Evergreen hits such as Ninnuvena (Navarasa Kannada), Nagumomu in Abheri, Brahmamokkate, Sai Bhajans, Chinanjiru Kiliye (Bharatiar's compositions) brought a glow on the faces in the audience.

While keeping within the boundaries of the traditional classical pantha, Shrinivas did not fail to provide a pleasurable rendering of ragam, thanam, pallavi to the serious rasikas. However, one would have expected a maestro of such high calibre and steeped in tradition to have chosen a more difficult thala pattern. The pallavi was Sama Yedupu in ragam Simhendra Madhyamam in adi thalam. But, even before one could realise this, Shrinivas and his equally talented brother, Rajesh, mesmerised the audience with ragamaligai in pallavi with melodious ragas such as Kannada, Sivaranjani and Hamsanandi. This more than compensated for the missing alapanas in the earlier items. Shrinivas concluded the concert by conceding a request from the audience to play a thillana in Maand. Special mention has to be made of the young and talented U. Rajesh, who contributed significantly in adding colour and exhibiting his prowess with typical modesty. U. Shrinivas was ably supported on the violin by S.D. Sridhar, on the mridangam by Tanjore Murugabhoopathy and on the ghatam by S.V. Ramani. Thaniavartanam was enjoyable and was appreciated by the audience.

U.Rajesh at the concert in Singapore

Reduction of acoustic volume in the concert hall, however, would perhaps have enhanced the quality of the programme.

Arte Compass did well in organising such a fine concert