Music must have soul
By: Narendra Kusnur
December 24,2001
Vocalist Kishori Amonkar is impressed with the packaging of her latest album Sampradaya, specially the accompanying booklet. For her, it’s a very special album because it pays tribute to her mother and guru Mogubai Kurdikar, who passed away in February.
The album, recorded at a concert in London last year, has been released by Sony Nad Navras. It contains the morning raags Alhaiya Bilawal and Jeevanpuri, besides a 15-minute composition in Bhairavi.
The singer will be performing at Juhu’s Iskcon Auditorium tomorrow morning (25.12.2001). Three days before the concert, she talks about her music, her mother and her latest project. Excerpts:
In what specific areas did your mother affect your musical thought?
She taught me how to look at this art, and she told me I was not in the field of entertainment. Rather, she told me this is the art where one can find divinity. I look at this art as a path towards peace.
Though you use the Jaipur-Atrauli gharana as your base, what made you imbibe features of other schools?
I have only widened the premises of the Jaipur gharana. As I continued learning, I realised that this art is emotive. Each raag has a feeling, and I tried to bring this out. To bring more soul into my singing, I introduced new elements. Music has to have soul, because that is the real feeling. I also believe in the universality of music. That’s why I would think beyond one gharana. But my base remains the Jaipur gharana.
Your style is characterised by the use of various kinds of taans like bol-taans and akaar-taans. But what do you feel about the practise of singing sargams, which many other musicians follow?
Indian classical music is not a show of technique. It strictly deals with the world of notes. While singing, one should know what notes one is singing without naming them. Does that answer your question?
A lot of classical music has become gimmicky of late. What’s the reason for that?
Many musicians are thinking of technique more than purpose. And to show their technique, they resort to gimmicks. But a certain mood has to be conveyed in each raag, and by getting gimmicky, one can’t convey that mood.
What factors do you keep in mind while choosing a raag for a concert?
It usually takes me 15 or 20 days to get into focus before a concert. But I have to be in the correct frame of mind. The raag is chosen on the basis of the mood I want to portray, because it’s a challenge to express that mood.
At some concerts, you also render raags like Kukubh Bilawal, Hansakankani and Bhinna Shadja, which many contemporary singers don’t present…
They are known raags, and I don’t know why others aren’t singing them too often. I like them because they are very aesthetic.
Why have you been increasingly using a violin in your concerts?
The person who plays the violin (Milind Raikar) is learning from me and is well-versed with my style. Since he knows what I want, I am happy using it.
Finally, there’s been a lot of talk about how to promote classical music among the younger generation. What are your views on this subject?
I wonder why we have reached a stage where we should promote something beautiful, divine and which gives you peace.