Entertainment Music 21 Oct 2017 Recorded music won&r ...

Recorded music won’t help in revealing bhava of composition: P S Narayanaswamy

DECCAN CHRONICLE. | NARAYANA VISHWANATH
Published Oct 21, 2017, 7:31 am IST
Updated Oct 21, 2017, 7:31 am IST
P.S. Narayanaswamy spoke to DC with the refined sensibility of a consummate Carnatic vidwan.
P.S. Narayanaswamy
 P.S. Narayanaswamy

A winner of many awards and titles, including the Padma Bhushan, and Kalaimamani from the TN government, vidwan P.S. Narayanaswamy is certainly a torchbearer of the Semmangudi  tradition, evolving a style of his own with manodharma sangeetham. He spoke to Deccan Chronicle with the refined sensibility of a consummate Carnatic vidwan.

PRESENT DAY FESTIVAL: Most welcome a trend.  The participation of many young musicians is a delight.  Sponsorship for the concert is essential these days, taking into count the economic considerations.  But yet, I am sad that “influence” plays a major role in accommodating them in the season, in which many deserving candidates are left out for want  of “public relations”.

 

Manodharma sangeetham: It will never become shallow.  The nirval nowadays, mostly seem to be a mere repetition of the sahitya in different octaves.  The manodharma sangeetham cannot be taught, but could be acquired only through intent listening. Over the years, manodharma has become a casualty.  Earlier, we used to learn only through gurukulavsam.  This doesn’t mean that they should stay with the guru, but the focus should be on the absorption of the intricacies and acquisition of music knowledge.  I had the good fortune of staying with my guru, Semmangudi mama and learning the intricacies through the process of perseverance.

 

Present day mode of learning: Now, life has become fast-paced, and by learning through “recorded music”,  the vidyarthis may not be able to comprehend a composition and understand the intent of the composer, which is required for revealing the “jeevan”  (bhava) of the composition.

Knowledge of  musicology: What is important is to understand lakshna, , krama and bhava before singing, but yet digging too deep may stunt the imagination.  The presentation should be a fine ideal of blending of akshaya and  lakshna.  The creative instinct of a musician should never be curbed.

 

Extemporisation on stage: On extemporisation on stage, though we call it alapana, kalpana swaras  as “manodharma’, most of it is already in our mind, as traditional phrases.  Each time we sing, we add only a few phrases.  If one tries to discover, a raga under the garb of manodharma”, it may spell disaster.

My goal: I will dedicate the rest of my life to training aspiring students in chaste classical music.

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