KALA RAMNATH |
Rajiv Vijayakar
Posted online: Friday, October 06, 2006 at 0000 hours IST
Kala Ramnath was born into a family of prodigious musical talent, like violin legends Prof. T.N. Krishnan and Dr. N. Rajam. She began playing the violin at the tender age of three under her grandfather Vidwan Narayan Iyer, aunt Dr. N.Rajam and later for 15 years with Pandit Jasraj. Maybe it is this quality that has resulted in her violin being so close to vocal singing that it has been termed the "Singing Violin". And now this "Singing Violin" will be contributing to the Hollywood film Blood Diamond. In a rapidfire chat, Kala Ramnath talks about this and her music to Screen. Excerpts What exactly will you be contributing to the musical score of Blood Diamond?
• James Newton Howard, the composer of Titanic, King Kong, My Big Fat Greek Wedding and other blockbusters has invited me to play a solo piece for this film, which stars Leonardo Di Caprio and Jennifer Connolly. How did he get to hear about you?
• Well, it's an involved and quite amusing story. I was performing in Montreal way back in 1995 when an Iranian couple that owned an art gallery there noticed me and invited me to perform. Music composer George Acogny heard me there by accident, and it took him 11 years to trace me! So I recently played in his musical Dark Street and that led to this assignment. How does it work for you - do you compose the pieces yourself?
• Why not? But I should be offered work! My father T.N.Mani played for films and worked with top composers like M.S.Vishwanathan and Ilayaraja.I recall Pyarelalji (of Laxmikant-Pyarelal) wanting him to work in Mumbai too, but my father was busy in the South. What are the special features in your instrument?
• It is a 4-string violin, not even a 5-string one.In a 5-string instrument, it is very easy to play one more octave. In my violin, it requires a lot of practice and effort. Why is a violin called a complete instrument?
• To begin with, it can do anything that a human voice can, and more. It can also accomplish everything that any other instrument can - and more too. Take the sitar or the sarod - a plucked instrument cannot maintain the continuity like the voice. Your violin is known as the 'Singing Violin'. Why is this?
• It's about the same continuity. When the bow reaches the end of the stem there has to be a break in the phrase, which is not so in the case of the human voice. But I have devised a technique whereby the gap is not heard at all when you change the bow. This becomes more important in Indian music, in which the notes are interconnected unlike the staccato, harmony-based phrasing of Western music. The violin is a rare instrument that belongs both to Indian and Western music. Where did it originate?
• The violin came originally from the ravanahatta, which is still used in Rajasthan. It has a hollow body and the width of the stem is four times that of the modern violin. From India, the modified versions travelled to the Arab countries in the 6th century AD and from there to the West. Why is Indian music not received on a large-scale abroad the way other music is welcomed in India?
• The reason is that they respect their own music and we don't respect ours! We don't respect our culture, our instruments, music and musicians unless and until they are acknowledged by someone abroad! Then we begin to appreciate them! Our media too is indifferent to our music - we have channels for international music, but not for our own classical and folk. The ironic part is that the foreigners are greatly interested in our music and performers. They are amazed at our gift of spontaneous sangat and improvisation. Once acquainted with it, they accept immediately that our music is not only better than theirs but also the best in the world. But is that the only reason for this lacuna?
• There is also another fundamental stumbling-block - granting the fact that our music is very spiritual,l the approach to its teaching leaves a lot to be desired. Learning anything should be basically fun. The words of our basic compositions through which raags are taught are romantic or generally unsuitable for a kid who may be anything from 3-years-old upwards. What will a kid understand of words like saiyyaan and baiyyaan? It is through something more suitable like the equivalent of nursery rhymes that our children should be initiated into our music