Issue Spotlight - Ganesh Kumaresh

In conversation with two of India's finest violinists - Ganesh Kumaresh, as they celebrate 50 years of performing classical music.

As a magazine that covers Indian culture, we find that we all have different definitions and understanding of it. What do you see as Indian culture, how would you define Indian Culture to anyone? Is it possible to put it into words?

Your question itself has the answer for the question. One destination - multiple ways. One is all - all is one. In the language of music, we can say = Shadjam. This one word defines our culture, our music and our life process.

What do you feel Carnatic Musicians can pick from Western Classical Musicians and Hindustani Musicians?

Sruti Shubham from Hindustani musicians and technical expertise from the western counter part.

You are entering the 50th year of playing Indian Classical Music. Looking back what would you tell your younger self who is just picking up the instrument? How has your relationship with Carnatic music evolved over these years?

Looking back at the journey, our understanding and commune is that we have found with Nada Music is that kind of an element which never makes you feel contented enough - it is never enough. You always want more. The essence is not about the performance, nor about the audience, the awards or accolades but the personal connect one has with the art. Though our work is in the public domain, the journey is a very personal one. The alone moment that we have with the sound is what is important.

There is no destination, only journey, there is no completeness, there is only the process. Music is already complete, it is the understanding of “that” which evolves in the sadhakas being. Music is truth like the divine and that understanding evolves the personality and the thought process of the Sadhaka. The journey of Nada Upasana to Nada Yoga to Nada Brahmma. For each one it is different, but the essence is the same.

To the next generation, what do we say? Enjoy the journey, take care of your music with in and it will take care of you. Finding your music is the key. Yes, one needs to work very hard but don’t make it a struggle. Get inspired, don’t get influenced. Try not to follow one path, there are many different ways , keep your mind open and receive as much as you possible can.

What makes for a successful collaboration with musicians from different parts of the world?

Friendship.

What can venue spaces and audiences do to enhance the beauty of a Carnatic Concert? How does this synergy take place?

The beauty of the music system is such that it has a varied presentation modules according to the venues and audiences. It is not uni dimensional like many other musical system and styles. In a temple scenario, the presentation is different, in a festival set up the music presented is different, in an auditorium it is different and so, the beauty, energy, dynamism and dimensions are all in built in the art form. The presentation differs according to the venue and audience.

We see many examples of siblings performing music together. How do you complement and differentiate from each other? Do you feel this bond between the artists adds to their musicality?

To have a sibling as a partner is a big advantage, since you know the person in and out and it is that much more easier to understand the personal and professional dynamics and this helps a lot in a practise and performance scenario. It is a blessing to have a sibling as a musical partner .

We don't see many new compositions come from carnatic musicians. What are the some of the reasons for musicians to not produce new compositions? Is there interest amongst musicians to introduce new kritis?

We don’t agree to this . Every musician is trying something new in each of his presentation . More than the compositions it is the presentation that is important . Ganesh Anna and myself have brought in a very new dimension in to Carnatic 1) As a magazine that covers Indian culture, we find that we all have different definitions and understanding of it. What do you see as Indian culture, how would you define Indian Culture to anyone? Is it possible to put it into words?

What innovation do you think is required to keep Carnatic music fresh and appealing to today's audience?

Each artiste is bringing in his or her own original content and hence there is this surge in appreciation of the art .. as long as it is happening , music will be fresh , appealing and of course divine.

Who have inspired you in your musical journey and how have they shaped your present?

Inspirations have come from many source - from our Father, from each other, from TN Rajaratnam Pillai, Karaikuruchi Arunchalam Pillai, Lalgudi Jayaraman Iyer, MS Gopalakrishna Iyer, Zakir Hussain ji, Ilayaraja and many more personalities like Sunil Gavaskar, Kapil Dev, Martina Navratilova but above all The Acharyas of Kanchi Kamakoti Peetam.

Each one of the above had something unique in them which inspired us. But from the Acharyas we Learnt the art of life and living. The awareness of channelising your energy and mind in one direction and to do the same thing again and again repeatedly no matter what, the commitment, the discipline, the compassion to the world at large, the purpose of life, the art of managing the multiple dimensions of life and yet be oneself. All unforgettable lessons in the journey of life. We are blessed that such great people exist and show us and guide us on the path of Dharma.

What makes a performance memorable for you? Any performances that you really fondly recollect?

It is difficult to pin point one element which makes the concert memorable. Every artiste wants to give his best on stage. What makes it memorable is the aura and energy that is built around the area of performance, which we call as divine experience. There is no particular reason for somebody to like or dislike the sound produced by the musician. The element that makes it memorable or not is the divine, and we call it out in multiple names .

What is some of the common feedback you receive from musicians outside the genre of Carnatic Music (how do noncarnatic musicians view carnatic music)?

The general perception is that, the music is very deep and intense. To be able to perform for a long period of time in one scale is a mystery to them, particularly to the western counter part. Our compositional structure and material is a big boon in terms of understanding different Ragas and Talas and this is an inspiration to many. But universally, music is the same - 7 notes and 12 positions. It is our mind that differentiates and divides music as this and that.

What is the source of the divinity in music - is it the lyrics which are tied to a language, is it the composition? What do different devotional musicians (sufi's, gospel musicians) have in common?

Music is the source of divine. It is the reflection of truth. We can even go to the extent of calling it the truth. There are 3 dimensions to music - Visual, Aural and Silence.

Visual dimension includes music understood through lyrics, Aural denotes Music understood as sound - Naada. Silence is the stage in which we dissolve in to Nada - state of Samadhi - Nada Brahma.

All these dimensions are the source of divine, progressing to a higher level of understanding as one transcends from one stage to another.