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`Classical music is a 24/7 job'

PHOTO: S. THANTHONI

It was one of those rare occasions, when the cheerful Ganesh (of the well-known violin duo Ganesh-Kumaresh) walked into the Verandah at the Taj Connemera, Chennai, minus his younger brother Kumaresh for a Take Two with the six-foot, shy and twenty-something Carnatic vocalist Sikkil Gurucharan. What do they have in common?

Besides the letter `G' in their names, they hail from musically inclined families, started their lessons very young and have creative zeal. While Gurucharan with his systematic training, a lineage to boast of and refreshing voice is on the threshold of fame, Ganesh has been around for more than 30 years and done a lot. He is an `A' grade vocalist, has accompanied Carnatic stalwarts, collaborated with Zakir Hussain, John Mclaughlin, Steve Thornton and Nadaka, released several albums and criss-crosses the globe playing his instrumental raga-based compositions.

The awkwardness of the first meeting vanished in seconds once Ganesh and Gurucharan took off on ragas, reaching out and receptivity.

Chitra Swaminathan tuned in to the conversation.

Gurucharan: Were you prepared for tomatoes (read criticism) when you started your innovative exercises?

Ganesh (bursts out laughing): If they were fresh, yes. I have always felt that instrumental music should have a distinct identity.

We need to present or package it in such a way that it appears an integral part of the whole. I remember one of our concerts at the Narada Gana Sabha. I began by playing something in Chakravaham. The composition sounded a little offbeat unlike the usual classical piece.

Also, till then we had not attempted anything like that. But to our delight, it got a huge round of applause.

That gave us the confidence to continue our creative search.

Gurucharan: What did you tell those who disapproved?

Ganesh: Hear us some more. (laughs) They didn't come to us directly. So why bother? We have been performing from age seven and five.

By the time we reached our twenties we felt like doing something more than restricting ourselves to the repertoire.

In the early 1990s, we began collaborating with artistes of various genres, particularly western, besides coming up with exclusive ragam-based instrumental compositions called "Ragapravaham".

Gurucharan: And they would have fitted well into fusion music.

Ganesh: Not fusion. I would prefer to call them contemporary Carnatic. The sound is purely classical.

We have only tried to adopt a distinct structure and technique to make instrumental concerts more exciting and full of energy. And believe me there are endless permutations and combinations available within the system.

We just need to look inwards to get hold of the treasure. Tell me, coming from a family of accomplished instrumentalists (grandson of veteran flautist Kunjumani, one of the Sikkil Sisters) how come you took to vocal music?

Gurucharan: The family was instrumental (with a mischievous smile). In my family, the moment they spot a musical streak in a child, he or she is taught to play the flute (laughs). In my case, my grandmother thought differently when she heard me sing a film song. I must have been three or four years old then. She was so impressed that she decided I should undergo serious training in vocal music. My guru, Vaigai S. Gnanaskandan, is in his seventies but continues to guide me.

Ganesh: What about your studies? Were you able to handle both?

Gurucharan: That was quite a task. When the practice started eating into my study time, I became a bit worried as I was doing quite well in academics. After graduation, I did my PG through correspondence. I realised the time had come for me to take the crucial decision. I was confused seeing my friends attending interviews and taking up jobs. I too applied to some companies for a job. When I got a call from one of them, my father asked me whether I was doing the right thing. I went ahead and attended the interview, which was over in a minute. They asked me if I could do night shifts and I opted out because that would have affected my singing. When I came home, my father said, `Make music your future'. My mother, who works as a lecturer at the Music College, is also my guru.

Ganesh: Family support is crucial when you choose an unconventional career.

Gurucharan: I realised you cannot two-time with classical music. It is a 24x7 job.

Ganesh: For Kumaresh and me it has always been music since our pre-school days. There was no room for any other thought. The late MGR, when he was the chief minister, once watched our performance on television. He was moved and wrote a note of appreciation to us. Subsequently, he made us State artistes. We started our career by accompanying legends such as Semmangudi Srinivasa Iyer, Maharajapuram Santhanam, Balamuralikrishna...

Gurucharan: I think cross-genre and cross-cultural collaborations have opened up the world for instrumentalists.

Ganesh: It sure has. So much that each instrument has found a space of its own on the world stage.

Gurucharan: I believe you have acted in films?

Ganesh: Just two. One was NTR's Brahmarishi Vishwamitra. And the second was K. Balachander's Oru Veedu Iru Vaasal. Recently, I scored the music for the film Dance Like A Man. All these, just for the fun of doing something different. Performing a creatively stimulating recital in sabhas before liberal and knowledgeable Chennai rasikas is the ultimate satisfaction.

Gurucharan: Particularly, the Margazhi festival. I think it has no equivalent the world over. Today, youngsters in the field have a lot to cheer about — technological support, wide exposure, ample opportunities and enough money. All they need to do is dedicated sadakam.

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