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arts JOURNAL

7 June 2012 Thursday - Thrissur

www.cityjournal.in

Custodian of majestic schools of music

ne of the leading musicians among the youngsters of the Carnatic Music industry, Ramakrishnan Murthy is very optimistic on the future of the genre. He revealed some of his perspectives in moulding an artiste.
Excerpts from the interview. Can you share some of your experiences from the yester years of your tutelage? I had my initial training under Smt. Padma Kutty at Irvin. Then I advanced under Delhi P. Sunderrajan. Simultaneously, from Late Chengalpettu Ranganathan who is known for his proficiency in Ragam Tanam Pallavi. I imbibed great technicalities of Niraval singing for both composition and intricate pallavis. From Vairamangalam Lakshminarayanan I was fortunate to acquire well established disciplines of lessons in Carnatic music. Pala C.K. Ramachandran transmitted the unique Semmangudi School for my instinct. As a graduate in computer science from University of California at what point of your life do you think you decided to take up music seriously as your profession?

By Aasish Venugopal

I didnt decide at any point, it was just happening. My mother kept me under strict disciplines of rigorous practice sessions during school days. And thats what, I think, made me capable of singing concerts without any planning. Performing more and more concerts puts you in a pit of evolution which makes you aware of the momentum of the concert on stage. I sing for myself. Only when I enjoy what I work out, the audience receives it with the equivalents. Practicing, performing and learning must happen together for a musician. Is that so? Of course! I would add one more teaching. My well wishers insist upon teaching. Some day I will. Favorite composer? Trinity. I would never leave my repertoire without a composition of theirs unless it is a thematic concert. It is the beauty of the poetry which finds its sure footing in spirituality and philosophy that makes every one glued to their seats. What is your viewpoint of the camaraderie of artistes on stage? Sometimes the wavelengths match. Otherwise its management. During those days of legendary musicians there

were practice rendezvous at their homes. Whatever you do on stage, apart from the musical workings nothing should go to audience. Though practice is not feasible as far as Carnatic music concerts are concerned every performance is a practice. How do you see the future of Carnatic music? Its safe. Culture has everything to do with the evolution and growth of every art. Society should be aware of the precincts of arts to have a close proximity with them and mutually. Please mention some of your memorable performances, the experience of which you cherish. A concert of Eighth Crosses Ganesha Festival of Mysore. It was just in the middle of the road with temporary sheds around and with an idol of Lord Ganesha in the backdrop. And indeed, the one at the Music Academy, Chennai which happened to win the acclaims of connoisseurs. The writer can be contacted at: aasishvenugopal@gmail.com