Shashank Subramanyam and Rakesh Chaurasia, both accomplished flautists in their own right, were in the city to perform at the Idea Jalsa concert recently. While being individual
performers for the most part, they have also collaborated often on several international tours and albums. In a freewheeling chat with Monalisa Patsani, the duo gives insights into their work and what it took to get to the top of the classical music scene in the country.
Rakesh, you were hailed as a child prodigy. When did you decide to become a flautist?
The environment in my home was such that anybody would automatically develop a calling for music. My uncle would rehearse everyday for long hours, which as a child greatly motivated me and inspired me to follow his footsteps.
You are among Pt Hariprasad Chaurasia’s most accomplished disciples. What is it like to have an uncle like him?
I share a dual relationship with him – that of a student and a nephew. He is my Lord Krishna, a source of inspiration who has always motivated me to give my best in the form of music. He is a legend and I’m fortunate to be his nephew.
Was there any pressure to live up to the Chaurasia name?
Being related to a legend like him obviously puts you under a lot of pressure. People expect you to be very, very good. Those who have listened to my uncle’s music will always compare me to him, so there’s always a fear of appearing pale in comparison. I always have to be on top of my game, so I prepare well for every programme and try and give my best. So far, it has been a great journey, but it gives me a lot of happiness to have achieved something. There are still many more miles to go.
You have performed in many live concerts across the country as well as abroad. How are the audiences different?
Well, performing in India and abroad is like chalk and cheese, totally different experiences. Both audiences are highly discerning music lovers, but what essentially separates Indian audiences from Western ones is the knowledge of Raag, Taal and the intricacies of classical music. While Indian audiences would quietly clap several times in the course of the performance in appreciation of a delicate manouevre of a complex piece, Western audiences would applaud at the end. Indian audiences are more involved in the performance due to their knowledge of Indian classical music.
The younger generation is in awe of Western and Bollywood music. Do you think this trend poses a threat to classical music?
Not at all. Most of the likes that I get on YouTube are from youngsters. Classical music offers an experience that is unrivalled and can be listened at any time, and I believe most people who are true music lovers have an ear for classical music.
Music composers in Bollywood are again coming back to Hindustani-based and folk-based music. Is this a recurring trend?
Yes, it is like a cycle. When audiences get tired of listening to loud, peppy songs, a refreshing dose of classical-based music is just what’s needed and composers know that. Just like fashion, music trends follow a cycle.
Shashank, you started performing at the age of six. How has this journey been?
It has been an amazing roller-coaster of a ride. I was very enthusiastic about music from a young age and performing in front of huge audiences used to fascinate me. I’ve been in this field for 31 years now and I’ve loved every single moment of it. It’s still a learning process though.
You’ve collaborated with musicians like John McLaughlin, Paco de Lucia and many famous Indian classical musicians. How was the experience?
It was a superb experience of working with all of them. They are all legends and their music has inspired me a lot. They are all pioneers and it’s been a wonderful learning experience for me.
Tell us about your nomination for a Grammy award?
I was nominated for a Grammy in 2009 for my album ‘Floating Point’. I collaborated on it with guitar legend John McLaughlin. The album had some of the best Indian musicians working on it, and was essentially fusion-based music, exploring the beauty of Indian classical music with a Western touch.
What were your formative years like?
My father Subramanyam was a biochemistry professor and playing the flute was his hobby. It was he who trained me to play on the flute. He taught me music and nurtured my skills. Whatever I am today is because of his training. Later, I trained under RK Srikantan, Pt Jasraj and KV Narayanaswami for vocal.
You and Rakesh Chaurasia have performed together in many concerts. Both of you are from different classical schools. How did the idea to combine Hindustani and Carnatic forms of music come about?
– Well, it is certainly not a modern idea, and is an age-old practice by musicians from different parts of the country. Since both Rakesh and I play the flute, it was natural that we got together to collaborate at some point. Also, the fusion of Hindustani and Carnatic has always been a wonderful combo which has been widely appreciated.
You perform a range of genres such as jazz, classical and crossover. Which is the closest to your heart?
It is tough to choose but what I like the most is a blend of all of them, something which is synonymous with my brand of music. I attempt to incorporate patterns of improvisations from both Hindustani and Carnatic and I hope it is liked by audiences.
What do you think of Orissa’s music scene?
I have been here several times and have performed at various festivals but I admit to not being acquainted much with the music of the state. I’m looking to brush up on that.
