Sunday, November 28, 2010

The Chennai Season

First published im The Bengal Post

The veteran violinist on stage is a picture of composure. He coaxes the most transcendental sounds out of his ancient violin. His opening salvo stirs the soul as only a great raga at the hands of a great master can. The concert is not all about total surrender in the best bhakti mode. It offers joy and playfulness as well, when the artist moves from worshipping at the altar of an omnipresent, compassionate god to marvel at the pranks of the little blue god, playing the perennial favourite, Krishna nee begane baro. As the concert progresses, you seen realise it is a master class for aspiring musicians.

The reverie is unfortunately broken by a cellphone going off in the second row. Soon a middle-aged man is engaged in loud conversation on his cellphone. You try to give him a dirty look and shame him, but he closes his eyes and continues his conversation. Another cellphone rings two rows from you. A couple have an equally loud conversation about the concert, with the man getting a free lesson in raga-identification.

At another venue, the same evening, a young woman is playing the flute with the mastery of someone years senior to her. Ten minutes into the concert, a young man walks in and occupies a seat in the front row. Seasoned listeners can identify him as the husband of the flautist on stage. Now what does he do to encourage his wife? He stretches his legs, leans back and spreads out the afternoon issue of Kutcheri Buzz--the tabloid avidly consumed by the hordes of music lovers who throng the auditoria during the famed Chennai music season, now covering almost all of November and December.

People constantly walk in and walk out. Videographers and photographers occupy vantage positions, unmindful of the people whose views they are blocking. Children wail. Mothers run out in panic.

The Chennai Season has arrived. People, who never so much as peep into an auditorium during the rest of the year, now invade all the well known halls of Chennai. Banners and hoardings mar the aesthetics of the concerts as much as the loud and often erratic amplification. When the musicians are not asking the mikemen to increase the volume of the “feedback”–invariably taken to be a signal to raise the decibellage of the speakers aimed at the audience—the senior citizens in the front rows shout “Not audible” in a chorus.

This is the time local Carnatic music buffs as well as the NRIs who descend on Chennai every winter go from concert hall to concert hall to take in one or more of the thousands of “cutcheris” organised in a marvel of logistics and time management. Various sabhas, a ubiquitous, uniquely Tamil Nadu institution, vie with one another to bring the best of Carnatic music to the city’s audiences in a frenzy of programming. Lecture demonstrations and concerts are held throughout the day, starting as early as 7.30 a.m. and ending around 10 p.m. for two weeks. Because each sabha starts its festival on a different date, the whole frenetic schedule nowadays stretches to a couple of months.

Kitchens are closed at countless homes, as there’s no time to cook and clean or even stop over between concerts. Delicious ‘tiffin’ and aromatic ‘full meals’ in the temporary eateries specially put up for the season draw rasikas from all parts of the city, but those who are there for the food alone and not the music far outnumber the music-lovers.

The unique atmosphere of the season has to be seen to be believed. All the great and aspiring artists of Carnatic music perform at different venues. Many of them overdo it, accepting literally every invitation to perform for fear of offending the sabha secretaries, their lifeline to a successful career in music. This season, some of the stars have decided to limit their appearances in order to preserve their voices (or instruments) and retain the freshness of their music. (One hugely popular star has gone on record saying she is really taking it easy, she is only doing 15 concerts during the season)!

Every newspaper brings out special supplements on the season. Some TV channels even conduct their own festivals. Critics damn or praise the musicians, but today’s musicians are often well educated and extremely tech-savvy, perfectly capable of striking back at the pen pushers.

“Carnatic music is alive and well”, seems to be the verdict of most critics, but old timers predictably lament the inability of today’s practitioners to equal the class of the stalwarts of the past.

Among the musicians themselves, opinions vary as to the state of Carnatic music today. Some say, ‘Those were the days when the rasika-s were really serious about attending season concerts and it was not just a fad. Today, we miss the serious rasika.’

Others say, “The audience is more demanding now. It inspires us through the year to do well, give of our best.”

Everyone who has ever been a part of the Chennai Season will however agree on one thing: There is nothing in the national music calendar to beat it for sheer excitement.


Radhi said...

I remember reading this some years ago--but did not fully grasp it until I attended Lalgudi Krishnan and Viji's concert in Singapore. Nobody stirred, cell-phones were off --(we can't enter the auditorium with it on anyway-the esplanade staff ensure that) and no one chit-chatted. At the end of the concert Mr. Krishnan was all praise for us, the audience. The mridangam player appreciated us for not getting up and going out during the tani-a-vartanam.
Now I understand.

Radhi said...

Also want to add--though needless to say--we all enjoyed the concert. I am no good at identifying ragas--- he helped by announcing them before playing each piece (much appreciated)--it inspired me to listen to more such music and increase my appreciation of it.

Ramnarayan said...

Thank you for your comments, Radhi. Welcome as always.

durga said...

just linked this article on my facebook account. it’s a very interesting article for all.

Timers chennai