New trend on Live Preview?
Ask a Hindustani classical musician what he or she will perform at a concert and most likely, you’ll get a lot of humming and hawing or a non-commital dekhenge, kyaa mood bantaa hai…. or something equally ambivalent. Which is what leads me to wonder how and what is leading classical musicians featured in the Live Preview section of Time Out Mumbai to disclose, possibly weeks in advance, what exactly they will render in a forthcoming concert. At times, the column mentions that the featured artiste is “likely to present” ragas such as this, that and the other. But most vocalists seem to have no problems mentioning names of ragas they are likely to present or have already decided to present. And so I am led to wonder whether we are witnessing a new trend in which performers are actually planning what to sing in advance?
You are so right. I have heard journos ask each other which ‘raga’ is being sung (or played) during concerts!
The write-up is excellent and informative.
Dear Madam,
After listening to your album Chahat, I have fallen in love with the compositions. Especially “Itne karib”,I’m interested to know the rag that it is based on.
All the compostion are just beautiful.
Eversince I heard this album of your I have made it a point to buy all your albums.
I hope you’ll let me know the Rag on which “Itne Karib” is based.
As regards the choice of rags to be performed in a particular performances.It should be extempore and be spontaneous,depending on the mood of the singer,audience and the “Mahol”
eeks! i meant repertoire.
Namaste Shubha ji,
Am a fan of yours. Just wanted to say Hi, something I could never do in the real World, coz I don’t go to concerts and all.
Best wishes,
Debashish
Journalism lost its true meaning many years back and now all that matters to the ‘writers’ is to provide enough material to stir the thinking of readers. Just enough to bring prejudice and age discrimination in this case. We the citizens of india are all trying our little best to keep traditions alive and safeguard our values to pass on to the next generation. Yet we have other citizens like ignorant journalists who think it is in the interest of common people to provide them with choices, which frankly do nothing but confuse. The question is, will these things alter our decisions? Because at the end of the day a journalist is trying to sell a story, and will use just about anything under the sun to do so. I believe Sangeet sadhna is an endless sea with unreachable depths and every ratna unique. If you have the interest, then go for a concert. 8 out of 10 times you will discover something new, very good odds, are they not? But if you’re having trouble deciding then you need to question your interest.
Thank you Shrimati Shubha.
Even down South, classical musicians are not forthcoming with their concert plans. However, the Madras Music Academy, for its annual season of concerts in December brings out a Souvenir that has the concert plans of all the performers almost a month in advance.
True, often musicians change plans. Some of them don’t even give their list to the Academy. But most do. And many adhere to those lists.
Interestingly, for the Hindustani concert that is held as a part of the festival, no repertoire is ever given.
hi tappi ,
how are you.
you were is &will be a joy ,beauty ,anand for ever.
asha
Mahodaya,
I work for Shruti Mandal in Jaipur as a volunteer, well I joined it earlier due to compulsion because I was working for Shri Prakash Surana at his showroom. One day he asked me to go to Ramchandra ji’s temple, where you performed for the Viraasat foundation. I was reluctant and told him that I am a layman and won’t understand but when I reached there and sat for once, I could not standup. I was engrossed in your singing with my eyes closed no worries nothing. especially that piece” hamno to ishq mastana” Beleive me if you can after you I listened to Pt. Channu Lal Mishra, Pt. Ajay Chakraborty, Pt. Hari Prasad ji and Pt. Jasraj ji. May I pleas know where can I get that composition’ Hamno to ishq mastana’ .
With all due respect I wanna say that you are solely responsible for making me lover of Indian Classical Music, correction The Greatest and Best Indian Classical Music.
Hi Shubhaji
Good to see you twittering and watching journalists with or without their lists of ragas. Often with Jazz and Western music Events a singer is expected to sing their signature song that has gained the reputation and popularity they need. Publicity material and previews often mention that song which made them as no doubt you are aware. This applies to all types of music. Some orchestras play the same theme all the time…. perhaps the listing of ragas in a preview is a poor copy of this pre promo work.. yet Hindustani singers who wish to popularise some of their best repertoires should be able to do it if they want to. I see no harm done. Ultimately what ever takes to get more people through the door. In western countries putting the name of the raga in a preview is meaningless as the name of Yaman or a Kannada derives no further interest. However previews as far as organisors are concerned is not only about the music, calibre, vidvath of the musicians but also about ‘the selling of an event’. Talking of accompanists I agree that accompanying artists should be recognized. I think that singers should also promote small time musicians who play the ‘more folky or ancient instruments’ such as Ektara, Moor Singh, Sarangi, Veena, Dholak etc if this is commercially sustainable that is. I was told about the Baajaa Gaajaa festival and recieved few emails but no video clips appear on You Tube yet. Love your voice and cannot wait to see you here in Sydney sometime. Would love to record an interview with you – Truly, Sumi Krishnan
Thanks for this thought-provoking article. The point about Dattatreya-ji or Kesarbai being meticulous about their preparation and selection (of raag-s) is praiseworthy. It is a fair hunch to presume that Ravi Shankar also does the same. There has to a discipline in the public portrayal of skillsets that are difficult to acquire. Which is perhaps why Sunil Gavaskar & Rahul Dravid have perhaps over achieved than some of their more narurally talented peers (both have admitted this fact). In fact, the eminent musicologist, Kumarprasad Mukherjee had once remarked to me (in a private meeting) that ‘there was something “western” about the way Kesarbai practised & propagated her art’. In another context, I remember about a concert, 30 years ago in a small industrial town in West Bengal (my home town). On a chilly Sunday evening, I, as a starry-eyed 13 year old, accompanied my father for an ‘all night concert’ that was to commence with Gadag Great & conclude with the San Rafael Sorcerer. Bheemsen Joshi, at 7 pm, unleased a stunning Puriya Dhanashree for an hour & a half & then wrapped up with Tilak Kamod (his Guru’s bandish-es) & the obvious Brahmanand-ji’s Bhairavi. Just as the next dance programme started, my father & I slipped out of the gathering to come home & catch up with Bhimsen Joshi sing for one hour in the (pre-recorded) National Programme Of Music from A.I.R.. Just as we reached on time & tune in, lo & behold, there was Bheemanna using his masterly vocal chords to embellish the bandish ‘paar karo araj suno’ & then precipitate the 30 min vilambit with a scintillating 7-min ‘bahot din beete’. 🙂 While this was more by accident than design, the feeling of deja vu refused to die down. Even a Puriya Kalyan or a Marwa would have been a huge consolation. 🙂 :).