Tag Archives: Hindustani classical music

The Light Side of Music

‘Looking for Miss Sargam: Stories of Music and Misadventure’ (Speaking Tiger Books, 2019) is Hindustani classical musician Shubha Mudgal’s first attempt at fiction. The book is a collection of seven heartwarming stories about Indian classical music set against a contemporary backdrop. In the acknowledgements, Mudgal summarizes that “humor camouflages the inevitable sadness that often casts a shadow over the lives of artists.”

While the stories talk about the music business from the perspective of the media, diplomacy and the diaspora, it also addresses it from the country’s heartland—its small towns and villages. The stories subtly delve into how classical music in India has evolved over the years due to various external influences and the struggle among its practitioners of  traditional and modern schools of thought. 

The following is a short summary of five of the vignettes from ‘Looking for Miss Sargam: Stories of Music and Misadventure’.

‘Aman Bol’ is a spoof on The Times of India’s real-life 2010 campaign with The Jang Group. This story involves musical collaborations between artists from two neighboring countries. The story presents a humorous side to all that went on behind the scenes to put together this publicity stunt–a ‘concert of peace.’ 

‘Foreign Returned’, on the politics of foreign tours in the music industry, shows how Indians living in the US perceive Hindustani classical music. The story also touches on some delicate, modern-day challenges that the art is facing, such as clashes between gurus and their shishyas. 

‘Taan Kaptaan’ focuses on a small-town musician who gets into the big, bad world of showbiz once he enters a partnership with a big businessman during a musical talent hunt. When he is duped, he has to, literally, ‘face the music’. 

‘A Farewell to Music’ is about a music label looking to reestablish itself as the country’s number one label. The story highlights how Hindustani classical music is being distorted in the present day, due to a conflict in ideologies between the traditionalists and young musicians, who are experimenting with music and altering it to fit the tastes of current listeners. 

‘Manzoor Rehmati’ is a story revolving around an average harmonium player who meets an influential Ustad in a quest to receive a Padma Shri award. The story sheds light on the prevailing lobbies that act to push for the prestigious national honor. 

While reading the book, it is evident that Mudgal is writing about so many people whom she may have possibly encountered and worked with during her long and illustrious career as a Hindustani classical musician. They all come together and make up an interesting cast of characters in this witty book that could even make for a fun Bollywood potboiler!

Neha Kirpal is a freelance writer based in New Delhi. She is the author of ‘Wanderlust for the Soul,’ an e-book collection of short stories based on travel in different parts of the world. 

“I See God in My Audience:” Sangeeta Katti Kulkarni

Sangeeta Katti Kulkarni – the name is synonymous with Hindustani Classical music. Various aspects of her life, starting with her auspicious birth on the day of Saraswathi Puja; the many titles and accolades she has received in the field of music, and her vibrant musical virtuosity have been feted, discussed and celebrated over the years. She is a Senior Artist in All India Radio and Doordarshan and serves on the faculty of Hindustani Vocal Music at the Bharathiya Vidya Bhavan, Bangalore.

Initially taught by her father, Dr. H.A Katti, she has been blessed to receive training under well known singers like Sheshagiri Dandapur, Chandrashekhar Puranikmath, Basavaraj Rajguru and Kishori Amonkar.

The recipient of the Suvarna Karnataka Rajyotsava award by the Karnataka state Govt, she has over 2,500 concerts to her credit, both in India and the world over.

India Currents caught up with Sangeeta Katti Kulkarni as she prepares to embark upon a 2019 tour of the U.S, with the opening concert on May 5th, 2019 at the Shirdi Sai Parivaar, Milpitas, California. 

IC: Your musical star first arose as a child of 4. It has been quite a journey! What motivates you as an artiste today?

SKK: The parampara or tradition of music is my primary motivation. Through my singing I can return Nature’s most beautiful gift of music back to where it originates. And of course the blessings of my revered Gurus under whose nurturing care I have been able to pursue my passion is a priceless motivation.

IC: Tell us of your association with the famous composer and music director Naushad Ali sahab?

SKK: I was extremely fortunate to have met Naushad sahab when I was 4 years old, and I rendered the evergreen melody “Avaaz de kahaan hai” which was made famous by the legendary Noorjahan. When he encouraged me to sing some more, I sang his masterpieces from several movies like Mughal-e-Azam, Aan, Udan Khatola etc, recognizing the ragas they were based upon as well. Naushad sahab was thrilled and blessed me! He told my father to make sure that I received training in classical music from a good Guru. “Desh ki bahut badi gaayika banegi yeh ladki (This girl will become a great singer),” he said.

I kept in touch with him, updating him of my progress from time to time. He used to recall and narrate wonderful incidents about Lataji, Rafi sahab and other great musicians and artists. Since his blessings marked the beginning of my journey with classical music, I consider him my very first Guru.

IC: What is your favorite aspect of being a performer?

SKK: A performer creates a beautiful bond with the audience and has the ability to build a bridge between him/herself and the Divine with the help of the “shrota” -the listener. A good performer can explore the techniques and nuances of the notes, getting into the details of the Raag/Raagini paddhati or tradition with years of training and rigorous practice. When the beauty of the Raga finally unfolds seamlessly, that is the ultimate bliss! The energy of music transcends through the listener to the Almighty. This I firmly believe. So, to me, as a performer, I see God in the audience.

IC: Which piece do you enjoy performing in a concert setting?

SKK: Raag Aalaapi in its purest form with Gamak! No second thoughts.

IC: There have been women artists in the classical arts arena over the years. As one yourself, do you see the challenges women artists face today?

SKK: Ours is a male dominated society and however rigorous their “sadhana” or practice, women artists still face struggles claiming their rightful dues, with the exception of a few stalwarts like Kishoritai Amonkar, of course! Most of us have to juggle between family obligations and our performing careers which is a definite challenge. Many singers have lost to this struggle, which is a sad fact.

Women who have the passion, and drive to succeed at all costs should never give up. There are many more opportunities for women artistes in the classical arts fields in today’s world. With self confidence and the blessings of our Gurus, I pray we will be able to face those challenges and pursue our passion.

IC: Who do you look up to as inspiration in the field of music?

SKK: My Guru – Kishoritai Amonkar, Begum Akhtar, Lata Mangeshkar, Mehdi Hassan, Jagjit Singh, Kishore Kumar, R.D Burman, Madan Mohan, C. Ashwath, Ilayaraja… and Naushad Sahab of course! There are so many.

IC: You are a singer who straddles different musical genres: classical, contemporary, folk music / janapada sangeet, bhav geet /light music, film music, etc. Several of these genres are intersecting in today’s world. What are your thoughts about this trend from the point of view of a classical musician?

SKK: As the scriptures state, “Samyaka geetham iti Sangeetam” – a beautiful melody becomes music. There is no need to find fault with any particular style of music. A cuckoo’s kuhu kuhu call is pleasant to the ears… does it have any words? But we still enjoy it. Music is beyond language.

My junoon – passion or madness (if you will) is Indian classical, traditional music. But I have great interest in light, folk and film genres as well. I also enjoy Jazz and Arabic music. Fortunately my Gurus have encouraged me to balance and nurture all the nuances of the musical form.

Over the years, music has evolved to a greater dimension. This is true especially of Instrumental music due to innovative concepts like Fusion, Desi and International flavors. They have gained global recognition because of technology. Audiences get plugged in to the latest trends in music. So naturally the various genres will intersect and intermingle.

As far as keeping the “purity” of styles intact, it is up to the singer or musician and their individual experiences. As a responsible musician, if I am able to convey the feel of any style of music, without inhibitions, then my mission is achieved.

IC: What do you see as the future of the Hindustani musical tradition?

SKK: Music is the universal language of mankind. Music is Divine. I do not have any prejudices about the styles of music because it is a world with 7 notes, with a universal appeal.

No matter what the styles evolve and transition into, I am positive that they will all eventually return to their roots. Because I firmly believe that Classical music has all the answers.

“Maa Saraswathi sabko sambhalti hai”! (Mother Saraswathi takes cares of all)!

Smt. Sangeeta Katti begins her 2019 tour of the U.S with a performance in the San Francisco Bay Area at the Shirdi Sai Parivaar, Milpitas – on May 5th, 2019; from 3:30 – 6:30pm.


Sarod Maestro Rajeev Taranath Interview

One of India’s foremost classical musicians, Rajeev Taranath is a master of the sarod. His career spanning over four decades, has drawn accolades from critics and audiences throughout the world.

A distinguished disciple of the late legendary maestro Ustad Ali Akbar Khan, he also received guidance from the great sitarists Ravi Shankar and Shrimati Annapurna Devi . Rajeev Taranath is the recipient of many honors including India’s highest government award in the arts, the esteemed Sangeet Natak Akademi Award in 2000.  He has received critical acclaim for his deep introspective style that melds imagination and emotional range combined with technical skill, and a highly disciplined approach to the development of a raga. “Rajeev Taranath’s sarod improvisations mixed the spiritual and the spirited…the raga began with introspective meditation and proceeded into an exuberant rhythmic celebration.” said critic Edward Rothstein of The New York Times   A noted linguist, he speaks eight languages fluently. From 1995 to 2005, Taranath served on the music faculty of the California Institute of the Arts in Los Angeles. Currently living in Mysore, India, Rajeev Taranath travels worldwide teaching and performing.  Given below is an interview with this esteemed musician. 

Did you grow up in a musical family?

My father was deeply interested in music. He used to sing and play the tabla. Although he was not a professional musician, I grew up with a lot of music around me. He started teaching me very easy songs. When I was around 3 years old, he made me listen to a lot of classical and vocal records and performances. I soon started singing and gave my first public performance at 10.

So, how did you leave singing for the sarod?

The most vivid moment in music I remember is the first experience of hearing Ustad Ali Akbar Khan, it was electrifying. I was and am a great admirer of Ravi Shankar’s music, so I used to attend every performance of his when he came to Bangalore, the city in which I lived. That particular time, he came with Ali Akbar Khan, who said that he would play the sarod along with him. Before that, I had heard very little of the sarod being played and definitely I had not heard Ali Akbar Khan play. It was a life-changing experience when he played his first movement on the sarod. That was my moment of epiphany, a moment of total grace.  As I was listening, my life changed. Music moved to the centre of the universe.  I was hooked and never looked back.

 Can you explain why it spoke to you so much?

Well, you know, it’s like falling in love. How can you explain it?

So, one performance changed your life?

My life changed direction after that point. After I heard Ustad Ali Akbar Khan for the first time, it was a year and a half or more before I got introduced to him. I was just past 20 when I went to him and he soon accepted me as a disciple.

Please describe the training.

It was daily, sometimes twice a day, but then there would be periods with no lessons for a month or more, because he would be away, performing. By the time I went to him, the demand for his public performances was very high. I started practicing one hour, two hours. Then, for some time, it went on for up to 12 hours a day.

How do you work when you’re practicing music for 12 hours a day?

At that point, I was a beggar. I couldn’t find a job, but there was a benefactor Mr. P.K. Das of Kolkata. This man had nothing to do with music, but he gave me a room, and not very much later, he and his wife insisted I should have my meals with them. I had some sort of job afterward to keep me going, but they took care of me for six more years. That gave me an opportunity for which I am profoundly grateful, to practice many, many hours a day.

You had a very successful career as a vocalist when you were young. You were even described as a child prodigy. I have heard that you were and are profoundly moved when listening to the great vocalist Abdul Karim Khan. Why did you decide to switch to sarod? Many people say that the voice is the ultimate instrument for Indian music.

There is no doubt that vocals are at the center of our music. But Ali Akbar Khan is for me the paradigmatic example of excellence. I would say that in his sarod playing there is a kind of vocalism. He has a flexibility and versatility to his imagination, all of which have vocal sources. It’s not that he actually plays vocal bandishes. There are sarod players that do that, but he is not one of them. Vocalism is for him an abstract, silent, but immediate storehouse for the movements of the raga. It’s the thing that makes a raga more than a scale. I can almost say that given two very good instrumentalists, the person who is the better vocalist—in this special metaphorical sense—is the one whose music will have more “juice.” He might not be the fastest, but that’s because he would have no need to be the fastest.

Has Hindustani music changed over the years?

To answer that question, I think it’s helpful to compare music to both language and physics. If you compare the English of Shakespeare’s time to modern English, you can see that it’s essentially the same. There are noticeable differences, but we can still understand Shakespeare. The physics of Shakespeare’s time, however, has been completely replaced by modern science. Throughout the history of Hindustani music, there’s been the same kind of growth and change that you can see in a language. But you don’t have the new completely replacing the old, as is the norm with scientific progress. For example, Ali Akbar Khan made profound changes in the sarod. Before him, the instrument sounded quick and staccato, with lots of trills. Khansahib still uses those trills, but his innovative playing gives the instrument a new profundity and depth.

What do you think is the biggest challenge in playing Hindustani music?

First, of course, you must practice and study diligently. If you do that, you will become either a competent or an incompetent player, and you will get to know which very soon. But once you have crossed the bar of competence, in about three or four years, what do you do then? You know how to play the raga correctly, but then what? At that point, playing the raga is rather like spreading butter on bread. You’ve got to see how well you can spread it, and how widely you can spread it. You must push at the frontiers of the raga, and yet see that it doesn’t break. If the raga breaks, you are in a kind of melodic anonymity, which ultimately breaks you as a musician.

Have you managed to stretch the borders of any of the ragas you play?

I try. When I play Patdeep, it’s difficult to make it long. You can feel very comfortable playing Yaman long, because
it’s quite spacious and flexible. So is Bhairavi. But Patdeep is very brittle, and can’t be stretched easily. The rules for Patdeep are very strict, which is why it makes such an immediate effect. Once you’ve heard the identifying phrases, you know exactly what it is. But that’s a double-edged sword, because the audience is immediately “Patdeeped,” and it seems to be near closing time right away. Then you’re left with the challenge of where to go from there. For Patdeep, I try to unfold the scale of the raga a little bit at a time, so you can hear every nuance. You have to hold the raga back, stop it from exploding through you. That enables me to stay inside the raga, and not let the raga go, even when I’m playing for a long period of time.

Last month I did a concert in which I played Patdeep for the alap-jor-jhala, and then switched to Madhuvanti for the gat. Madhuvanti has almost the same notes as Patdeep, and many of the same note arrangements. But Madhuvanti has tivra ma (raised fourth) and Patdeep doesn’t. Even though the notes are similar, the mood is very different, and these differences have to be kept. I wanted to create a natural change in mood, while still maintaining a sense of unity in the performance.

When you play two ragas together, how do you decide which ragas to combine?

There’s a kind of dialectic involved between a technical closeness, and yet the need and challenge to keep the moods different while playing in very similar scales. There are also other factors not as capable of tidy articulation. You might combine a raga that has a certain kind of gravitas with something that is not quite so serious—moods that are contrasting, yet still very close.

Can you speak about your approach to developing a raga throughout the many years of riyaz?  

There’s a kind of patience that you learn to take with you to the raga. If you’re patient, the raga will speak to you eventually.

Can you discuss the ideas you have regarding teaching Indian classical music?

 When it comes to teaching of music, there is a trio – a teacher, a learner and an instrument. The teacher demonstrates how he has put the instrument to use and what he has been able to achieve. The attempt here is a give and take of such experience. This exploration of possibilities, initially in the form of bits and pieces, as alankaras or tabla bols or whatever, later on turns into an exercise in bringing together these little experiences to construct a creative whole. Further on, it is a kind of invitation to the learner to live with the teacher in the common world of music and in this journey together, the learner may even reach beyond. Each one’s style of playing is guided by one’s own possibilities, difficulties and impossibilities.

What is special about your gharana?

Unlike other gharanas which for many years remained closed-door, teaching freely with openness is a major preoccupation with the Maihar. Allauddin Khan, the Paramahamsa-like saint-musician took to vigorous teaching. This can perhaps be traced to the difficulty he encountered in learning and the fact that Allauddin was compelled to choose the sarod in a veena-dominated tradition which confined its veena–teaching to its kin alone. But his ingenuity incorporated the possibilities of veena into the sarod, remodelling it for the purpose. Several nuances of the veena came into sarod-baaj and later years saw the promotion of sitar, sur-bahar and sur-singar.

The Maihar-Senia gharana, which traces its lineage to Tansen in the 16th century, was one of the few schools that taught women music and we find historically the presence of many distinguished women instrumental performers within it from Saraswati, Tansen’s daughter, to Annapurna Devi, the daughter of the legendary Allauddin Khan.

In the context of our guru-sishya parampara and the oral/aural tradition, you once mentioned the ‘mediation of the eye’ in western classical music. Don’t you think a guru’s role is equally vital there in guiding….?

Mediation of the eye is important in Western classical music because of the reliance on the system of notation. The journey is from note to note but nothing as much may happens between the gaps. It is in the movement between notes that one’s culture operates. Mimesis is the basis of our music-teaching. Our music fills up with meends, gamaks, bols and these cannot be written down. We clutch the guru’s imagination, his mind that is so private. A guru gives good active seeds… but can one teach creativity?’ The artist or maestro, as T.S. Eliot says, lives at a conscious point where past and future are gathered. He has all the richness of the past, waiting to pass it on to the future, for his students to gather it all.  So I try to teach, but a problem which I have repeatedly faced is this: I can transfer musical information but I don’t know yet, how to transfer the sense of relish. This is important in the kind of music we play and teach because the given is so tenuous.    

Can you explain the artist’s process or desire for mastery?

To make better music– there is a desire, which is a life-long process- to create a match – to bring the thought and performance nearer and nearer.  Actually it is the desire to translate what is happening in your mind into your fingers – even without that gap. The finger itself becomes imagination.  But curiously the more you master, the more your imagination becomes active. Because what strikes you or me is seriously limited by what we can execute in singing or playing.  And as that capacity improves, your imagination improves. The more you go toward mastery the more you see, the more you climb, the more you see. So there is no end to that – they feed on each other.  Because you see, you want to climb more. Because you climb more you see much more. And so it goes on.  And that act itself is a matter of very profound satisfaction – a  fullness, which I suppose is why you are really after this exploration of mastery.   In music it is more obvious perhaps, but it is there in everything.

In the education of a performing art, there is the finding of greater and greater satisfaction in the possession of the knowledge you are seeking. The same art can be treated as a discipline or can be treated more casually, mechanically as a subject.  When music becomes a discipline, that’s your life, when music is a minor subject, it’s very different.  If anything becomes a discipline, you seek a fuller kind of satisfaction.  Simply being well- trained in something is not enough.  Often many are well-trained for a purpose which quite often lies outside the central subject.  Their own interests are elsewhere.    When something becomes a discipline, that becomes a center of interest.  If it isn’t, it shows.  And in some artists it becomes obsessive.  And when it isn’t obsessive or the central interest you can make out at some stage.  

How would you describe mastery in this art form?

If given more time, I will go more and more toward radiant simplicities. Those simplicities are the product of a lifetime. Any durable experience has to arrive into a state of simplicity. Courtship is complex, a durable marriage is simple.

This article was compiled from several interviews by Leslie Schneider and is reprinted with permission from the Canadian South Asian magazine, “AAJ” (Oct 2016).