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Time
and again we have seen that when a foreign scholar or artist takes interest
in one of our national assets, we look at it with new appreciation and
realize its worth. Max Mueller the great Indologist was an example of
someone who did more for the study of ancient India than any indigenous
scholar. Similarly, it took an Annie Besant to interpret the Bhagavad
Gita, and a Romain Rolland to write about Ramakrishna Paramahamsa and
Swami Vivekananda. The instances of our talented artists being ignored
in India till they make it big in the West are many. In this context I
remember writing in these columns some years ago in a review of GS Rajan's
musical presentation, that if this Carnatic flutist and composer had been
born in the West, his talent would have been nurtured and encouraged and
he would have become a great composer.
Last
month, when he went on a tour of several countries in Europe, sponsored
by the Indian Council for Cultural Relations, he seems to have got some
of this kind of recognition from the West. To accompany his flute recitals,
he took along with him a mridangist and a guitarist. This just goes to
show that with all his training in chaste Carnatic music, being the son
of Carnatic musicians Gayathri and Guruvayoor Srikrishnan, as well as
a product of Rukmini Devi's Kalakshetra, Rajan cannot resist the urge
to do something "risky" and experimental!
That
he was successful was made clear to him when the public responded to his
music with loud ovations and when a maestro like Zubin Mehta, who was
the Guest of Honour in one of Rajan's concerts in Munich, remarked, "It
gave me great pleasure to hear Mr. GS RAJAN on the occasion of India's
Republic day in Munich. Mr. Rajan creates a beautiful sound and is most
imaginative in his way of developing the raga he has chosen to interpret.
I know that he will have a life full of beautiful music and I wish him
all the best."
Rajan
began his European tour with a concert in Budapest's prestigious auditorium,
Pesti Vigado, which was packed. He also performed in Gyor, Berlin, Dessau,
Frankfurt, Brussels, Luxembourg, Marseilles, London, Alicante and Valladoid.
'It
was a memorable experience when a group of European musicians presented
my orchestral compositions which I call Raga Symphony, in Brussels' 'Espace
Sanghor'. Not only the audience appreciated my Western score based on
Indian ragas, but even the musicians were happy to have played something
new, and we made some good friends,' says Rajan.
On
why he took a guitar player as his accompanist instead of a violinist,
he says, 'It is not really a new concept as the Carnatic music system
has always made use of instruments from other genres. Once even the violin
was considered foreign to Carnatic music. Now we are used to the Violin,
Mandolin, Clarinet, Saxophone, Santoor, and even Keyboards playing Carnatic
ragas. This is why I thought of taking Shri Joy Vincent who plays Carnatic
music on the Guitar banjo, as one of my accompanists on this tour. And
the audience and Western musicians were astonished to see the gamakas
coming from a Guitar banjo.'
Rajan
is all praise for some of the organizations that presented his recitals
in the various cities he visited. 'In the absence of an organization like
the ICCR in many countries, the Indian Embassy identified a reputed organization
that was interested in hosting groups from India. Such arrangements in
fact bring about closer ties between India and lovers of Indian art abroad.'
Not
that all such arrangements are perfect. At one venue, where an Indian
Association was playing host, it turned out that the hosts wanted to share
the stage with the guests, by sandwiching Rajan's recital between the
amateur performances of their talented tiny tots! But such episodes can
be set right with proper monitoring by the Indian Missions, feels Rajan.
'The
success of presentations abroad also depends on the interest taken by
the officials of the Indian Missions. I met a couple of dedicated officers
in Brussels and Madrid. The Minister in the Indian Embassy at Brussels,
Mr. S Chakravarti is not only an enthusiastic official but also a music
lover with a great knowledge of Indian traditional and regional music.
This made our visit to Brussels even more enjoyable. In Madrid too, we
were really well looked after thanks to Mr. Sanjeeva Babu who takes a
special interest in Indian artists. The ICCR needs such people in the
Indian Missions, since these missions are the ICCR's mouth and ears outside
the country.'
Meeting
Spanish artists engaged in the Indian arts was an eye opener for Rajan.
'In Valladoid, I was surprised to meet a couple who had undergone training
in Bharata Natyam and Kathakali at Kalakshetra, Chennai and Kerala Kalamandalam,
respectively. There are many young musicians interested in learning Carnatic
music. I understand that the ICCR is coming up with a center in Spain
soon. In fact I feel the ICCR should consider such a center in Dessau,
Germany, too, where there are a lot of people interested in Indian music,
especially since it is the birthplace of Max Mueller.'
With
his background of working in the Sangeet Natak Akademi, he would even
be an ideal candidate to work at such a center, and the idea of working
in one of the cultural capitals of Europe appeals to him. 'With my fourteen
years of experience working at the Sangeet Natak Akademi, I am positive
that I will be able to not only teach music but also help in art administration,'
says this versatile musician, who has also learnt vocal music under the
late MD Ramanathan.
For
talented Carnatic musicians, Chennai is considered the place to be. But
Rajan has not been seen rushing to this musicians' Mecca for the Madras
Season. 'It is not that I do not want to perform there. But my ego will
not permit me to join the crowds knocking on every Sabha Secretary's door
for a chance. Also, my approach to music is different. I cannot drive
my music on the Carnatic Highway!'
Now
that 2002 has started on a globetrotting note for Rajan, he plans to 'stay
home for some time and practice my flute as well as try out some new compositions
before taking up new projects or assignments.
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