Embellishing and enhancing the efficiency of different artistes requires always calibrating oneself with the opposite musicians on stage, and placing a lid, as wanted, on one’s personal inventive urges. Especially so for accompanying violinists.
L. Ramakrishnan, a prolific performer, has understood this function impeccably and rises to the event. He observes his fellow artistes carefully, anticipates and follows rigorously and is aware of how a lot, and the place precisely, to play.
Senior vocalist S. Sowmya says: “His knowledge of vocal music, his quest for learning and asking questions, are creditable. He plays in strict proportion. One has to practically beg him to play more.” Ramakrishnan Murthy provides: “He is the ideal partner to have on stage — he will bring out the salient points of what has been sung and spur you on as well.” He additionally avoids the frequent tendency of replaying what the co-artiste rendered however just a few notes behind — although uncomfortably dissonant, it’s so frequent that rasikas are desensitised.
Mentored by Dr. Sulochana Rajendran at Shanmukhananda Vidyalaya in Bombay, Ramakrishnan discovered violin there from Visalam Vageeshwar. He accomplished the seven-year course getting the Shanmukha Mani title in 2001. In 1996, he started studying from A. Kanyakumari.
Focus on sahitya suddham
On the mix of institutionalised studying and particular person classes, he says, “Listening to several other students play in a formal classroom situation is invaluable. We imperceptibly pick up much of what to avoid or imbibe right there. But just as one cannot be good in a language with correct grammar alone, Kanyakumari teacher made me realise much more, teaching me how to bring in ‘sahitya suddham’ in playing, to stress syllables and which ones to, to play gamakams in proportion, how to accompany and where playing might actually hinder the overall experience of the concert.”
After graduating with a level in Electronics and Communication, Ramakrishnan moved to Chennai on work. He was performing recurrently and commenced studying from T.Ok. Govinda Rao too. Besides in-depth data of ragas and kritis, Govinda Rao additionally taught Ramakrishnan to by no means let his guard down. Accompanying Govinda Rao at a live performance, Ramakrishnan mentally relaxed after the primary piece ‘Thiruvadi Charanam’ (Khambodi) and the tani avartanam concluded. Govinda Rao threw a googly, although. He sang ‘Adhaya Sri Raghuvara’ in Ahiri….with kalpanaswarams! “I knew Ahiri. But never thought of swarams in that raga!” He was known as out on stage. It is troublesome to digest public criticism however the then-22-year-old Ramakrishnan took it constructively. “It was an excellent lesson for me. I learned to be prepared for anything, literally.” The sense of positivity and chance is an integral a part of Ramakrishnan’s psychological make-up.
“I know Ramakrishnan since 2008 when he used to come home to practice — we would play one ragam for hours together. He has the amazing ability of explaining the most intricate nuances in a simplified manner,” says Abhishek Raghuram.
From 2009-2015, Ramakrishnan was in Connecticut on work “to defray my house payments as quickly as possible.” Soon after his wedding ceremony in 2011, the couple met B. Balasubramaniyan of Wesleyan University, scholar of T. Viswanathan. Ramakrishnan discovered plenty of the intricacies and compositions of the Dhanammal bani from Balasubramaniyan. Upon returning to Chennai, Ramakrishnan rapidly acquired again into the performing circuit.
He suggests accompanying violinists study as many kritis as potential and hear to different patantarams without judgment. Otherwise, one has to be fully focused on wanting on the artiste’s face and lips to simply determine the piece out. Ramakrishnan Murthy says his personal understanding of ragas has been enhanced by Ramakrishnan’s nuanced data gleaned from his huge repository of compositions. “This was evident at the lecture demonstrations he recently did,” he provides.
Not a shock, subsequently that Ramakrishnan is far wanted. He stresses the significance of sustaining a cool head in performances. “Mistakes will happen. We should acknowledge it and move on immediately. A sense of humour is essential. If we insist on proving ourselves again and again, it can detract from the concert as a whole for the rasika,” says Ramakrishnan.