The life of an accompanying musician is a thrilling adventure, a daily mystery that unfolds with each concert. Unlike solo artists who can plan their performances, accompanists must adapt on the fly, switching between musicians and musical styles seamlessly.
N. Manoj Siva, a seasoned mridangist, shares his wisdom: "Adapting becomes instinctual." This sentiment is echoed by fellow musicians K.V. Gopalakrishnan, N. Guruprasad, L. Ramakrishnan, N.C. Bharadwaj, and Vittal Rangan, who all emphasize the importance of listening and responding to the music in the moment.
But here's where it gets controversial... The music season brings unique challenges and opportunities. The increasing focus on thematic presentations keeps these artists on their toes, with rehearsals and professional filming adding to the experience. Some, like Bharadwaj, feel the season has led to more experimentation and a higher volume of concerts. Manoj adds, "There's an expectation for something different during the season, which has reduced the variety of concert combinations."
To handle the complexity of pallavis, recordings are often sent to percussionists and violinists in advance. Online practice sessions and in-person rehearsals have become necessary to keep up with the evolving music.
Guruprasad, a ghatam artiste, observes a shift in the music's texture over the years. He appreciates the newer seating configuration, which gives second percussionists a clear view of all performers and the audience.
The season is a critical period for recognition and popularity. It translates to more students and a predictable income for accompanying artistes. Some even conduct independent workshops during overseas tours.
Vittal and Bharadwaj note a significant increase in attendees aged 15-30, possibly due to the proliferation of social media. Overseas visitors are also more prevalent now, creating a unique international presence during the season.
Guruprasad highlights the opportunity to play with senior mridangists, who mostly perform during this time. Gopalakrishnan adds, "Many people residing abroad come to perform during the season." For aspiring musicians from other countries, performing in Chennai during this season is a significant rite of passage.
Once established, many artistes reduce the number of concerts they take on. Manoj, for example, has opted out of consecutive concerts for the past few years. Gopalakrishnan, who played 87 concerts in a single season, now limits himself to three per day. Traffic congestion in metro areas has also influenced recent decisions.
The condition of their instruments is always top of mind for instrumentalists. Vittal and Ramakrishnan use multiple violins for different srutis, while Manoj and Bharadwaj prepare numerous mridangams. Guruprasad keeps a variety of ghatams on hand, as the advent of phone-based tamburas has led to the use of precise srutis, making selection more time-consuming. Gopalakrishnan lays out four kanjiras for each concert, with two in reserve, as the skin's tautness can be affected during play.
Ramakrishnan brings attention to a unique challenge for accompanying artistes: varying start times for concerts in different sabhas. While musicians aim for a buffer, it's not always possible due to the high demand for their presence and the need to accommodate soloists and fellow accompanists. Delayed starts and ends at concerts create further complications.
Standardizing timings across sabhas during the season would be a game-changer, says Ramakrishnan. Amidst the challenges, the season is memorable for the performers, with concerts, lec-dems, conversations with fellow musicians, and social gatherings at canteens creating lasting memories.
So, what do you think? Is the music season a necessary rite of passage for musicians? Or is it an outdated tradition that could be improved upon? We'd love to hear your thoughts in the comments!
