On the strings of melody
A. SANGAMESWARAN
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Veena maestro A. Ananthapadmanabhan says kelvignanam and dedication are essential for a good musician.
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Certain ragas like Begada and Poorvikalyani have been beautifully etched in some film music.
ENCHANTED BY RAGAS: A. Ananthapadmanabhan.
Veena maestro A. Ananthapadmanabhan has been selected for the Sangeeta Nataka Akademi Award recently. In a freewheeling interview, this simple, soft-spoken musician talks about himself and his views on music. Excerpts
Initial training?
I have not received any systematic training. My father, T.S. Ananthakrishna Iyer, a professor at College of Engineering, Thiruvananthapuram, was a vainika and disciple of Karamana Parameswara Bhagavathar of Manjapra school. He taught me the basics and my sister Gomathy Chidambaram, also a vainika, would guide me. I started playing the veena as a hobby and then I used to spent hours playing the veena. It became my profession when I joined AIR in 1975.
Who has inspired you the most?
As a rasika, I have heard many stalwarts, but I was inspired by the technique of S. Balachander. I think that was a turning point in my career. Even then, I try to imbibe the best from all the different kinds of music I hear.
About your style or Bani
I have evolved my own fingering style and try to produce gamakas by pulling the strings rather than gliding, which needs a thorough knowledge of the position of the notes as swarasancharas are created by variation in the tension of the strings. My proficiency in playing the sitar has helped me in gaining speed and in plucking the strings. I do not use artificial nails.
Is there a lack of vainikas from musical institutions?
The veena is a comparatively tough instrument to handle but once mastered, it is the best. The present syllabus in music colleges, I think, creates a sort of disinterest amongst the students and a restructuring might help. One should have sufficient kelvignanam, which is on the decline. Above all, there is no alternative to dedication.
Most cherished moment
Performing at Thiruvananthapuram Navarathri Mandapam. I never dreamt that one day I would perform at this venue where the titans once reigned.
About your passion for lighter ragas than major ragas ?
There is nothing like lighter or heavier ragas. Each and every raga has its own identity, charm and structure. In fact, those who criticise me are also repeating the same Kalyani, Kamboji and so on.
Your interest in other streams of music
I appreciate the ragam in every form of music. Certain ragas like Begada and Poorvikalyani have been beautifully etched in some film music. We should not be indifferent towards it. I have performed jugalbandhi with Hindustani musicians. Awards, achievements...
I received Ganakalathilaka from Goa Carnatic Music Society. I performed for the Golden Jubilee of UNESCO in Paris. I scored the background music for the award winning film `Aswatthama' and also for `Veenapoovu' and `Aparna.' I received the national award for the musical feature `Sayoojyam' in 1996.
Your outlook on music
Music is eternal. But it is quite disheartening to note that serious rasikas who can appreciate subtle sancharas are dwindling and also good performers.
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