Vocalist AISHWARYA VIDHYA RAGHUNATH, who performed at HCL Concert’s Baithak, speaks with SHALINI SAKSENA about her experience of performing online and where Carnatic music stands today
What were the ragas performed?
The ragas rendered were Nattai, Nattaikurinji, Dhanyasi (elaborated), Manjari, Kambhoji (elaborated), Varali and Yamunakalyani. But in particular there were two main ragas — Dhanyasi and Kambhoji.
What was the reason why you chose these two?
In Carnatic music there are a bunch of legendary musicians — the Trinity; they are called the Tyagaraja, Muthuswami Dikshitar and Syama Sastri. The important thing for me while presenting a concert is to give representation to each of their compositions. I did this through Dhanyasi, a composition by Syama Sastri’s Meenalochna Brova and for Kambhoji it was Tyagaraja’s Evari Mata. These two ragas are close to my heart. They are very dynamic and the mood portrayed by these two are different as well. Dhanyasi is meditative and soul-stirring. Kambhoji is spirited and dynamic. I wanted to show the contrast of both.
How did you come onboard for this performance?
It was HCL Concerts who contacted me. I have, in the past, performed for them under the auspices of Madras Music Academy. This interaction for Baithak was the first of its kind.
How was your experience performing on a virtual platform?
For all the musicians, the last year — the lockdown and the pandemic — all of us have learnt how to embrace the new normal. Initially, it was different. A lot of us were performing over our smartphones and figuring out audio, network and bandwidth. There are so many things that come into play for the music to come across. But later, when studios opened, it became easy due to better quality sound. It is good to perform in a studio and be able to reach out to so many people. Music has a strong magic that keeps people together.
Were there any apprehensions?
None at all. I was happy to be part of this concert. It was great to perform with violinist Charulatha Ramanujam and BC Manjunath on mridangam. Both are exemplary musicians. It was wonderful to collaborate and be part of Baithak. We were excited to be part of it and perform together.
How did your life journey as a vocalist begin?
I grew up listening to music. My paternal and maternal grandmothers were instrumental in my interest. I was put to sleep with music; I was fed music. A lot of music was running the household all the time. When I was three, they took me to a guru. When I began learning, I had yet to learn how to read. My guru told me that my lessons would be oral. My ears were trained to grasp nuances and intricacies which, sometimes the book can’t convey. I was taken to lots of concerts. Listening was an integral part of my growing up days. Understanding musicians’ chemistry; their communication on stage and understanding people’s perception, all this shaped me. Also, gurus were gracious. I accompanied them on stage as early as when I was seven. Sangeetha Kalaratna Seethalakshmi Venkatesan, Padma Bhushan PS Narayanaswamy, Vegavahini Vijayaraghavan and RK Shriramkumar shaped me what I am today.
Do you think you have an edge and you don’t have just book knowledge?
I don’t know if I am a better musician. But in terms of skillsets that I have acquired, the ability to pay more attention to details, intricacies and look beyond just the notations since music can’t be imitated or copied, my ability to appreciate music more has shaped me better.
Where does Carnatic music stand today?
Yes, the music is looking up. There are a lot of people interested in Carnatic music. Globally people are able to learn from the comforts of their homes. This is the reason why this has managed to reach every corner of the world. People can now learn it via WhatsApp, Skype or even FaceTime. The advantage is that they are able to learn from wherever they are from the guru of their choice. A lot more people are looking at the technical and grammatical intricacies of this music and trying to understand this music.