Child prodigy to maestro —( U Shrinivas) - Page 2

SUDHARANI RAGHUPATHY AND U. SHRINIVAS ON GLOBAL MUSIC

'Applause is music to my ears'

I wonder if it's noticed. I am not a flamboyant personality — Shrinivas

"My students have been waiting to meet music's little master. To me, he is still a kid! He is less than half my age. But as an artiste, he is more than a veteran," said celebrated Bharatanatyam dancer Sudharani Raghupathy about the child prodigy-turned-mandolin wizard U. Shrinivas. Her candid compliment struck an emotional chord in the young vidwan. And in his characteristic down-to-earth manner, he acknowledged it with a humble bow and said, "Age has not withered you, it seems to be catching up with me fast." Sudharani's persona is as striking as her dance movements. And when she talks art she is fervent. As for Shrinivas his greatness lies in being genuine and gentle in a go-getter world. The classical ambience at Bharatalaya [Sudharani's dance school] was perfect for a Take Two with the artistes. Chitra Swaminathan took notes. Sudharani: You were just eight years old when I first saw you performing at the Brahma Gana Sabha. Taken in by the divine music and amazed by your mastery over the mandolin, members of the sabha felt that you deserved much more than just a garland, and gifted you with a gold chain. Shrinivas: I still cherish the moment and the gift. I have always fought shy of asking this question about dance and don't want to miss the opportunity today. Tell me, do dancers have to keep smiling throughout a recital? (She laughs at his child-like curiosity.) Sudharani: One should have a pleasant face, particularly when entering and exiting the stage. At other times, the abhinaya or facial expression has to match the mood and the meaning of the song. Even while performing nritta or pure dance you have to emote to give life to the movements. Shrinivas: Which means you enjoy freedom of expression? Sudharani: Not really, the choreography has to be relevant to what the song conveys. Of course, we can take liberty with interpreting the swaras. Anyway, not just dancers, artistes generally need to look pleasant while performing. The soft smile you sport during concerts quite suits you. Shrinivas: I wonder whether it really stands out because I am far removed from modern day flamboyance. (You cannot miss that bashful look). Demand for innovation Sudharani: These days artistes, particularly dancers, are under constant pressure to present something new. There's an overkill when it comes to 'innovation and experimentation'. As a new generation musician, do you feel such demands are justified? How do you cope with them? Shrinivas: I don't think I can ever get bogged down by such demands. There's ample space to give play to your imagination within the classical realm. So much so, I could adapt a Western instrument and make it sound authentically Carnatic. My musical style is based on vidwan Rajaratnam Pillai's nadaswaram playing. He and the legendary flautist Mali have inspired me greatly. Sudharani: That's an interesting mix — Indian influence and alien instrument. Sadly, dancers are even forced to deviate from the traditional margam or repertoire for a wider appeal. For instance, the elaborate varnam, which showcases a dancer's dexterity, is passe. Where's the time for a one-hour piece in today's short duration recitals? (Shrinivas like an obedient shishya nods in agreement) Shrinivas: There's no art without rasikas, but we cannot afford to please them at the cost of sacrificing sampradaya. Just look at the incredible variety when it comes to SaintTyagaraja's compositions. Even a lifetime is insufficient to learn them. For the sake of innovation, the least you can do is come up with your own compositions in traditional ragas. There's no question of meddling with the original works. Sudharani: Looks like you have been able to resist change. But look at it this way, musicians can be heard any where and at any time. You cannot possibly watch a dance recital while driving a car! Without a platform and pakkavadyam, we would be jobless. So, our visibility is limited and our lifespan, shorter. Shrinivas: Audience' applause has never failed to charge me up right from the days when I first took the stage. The deafening sound is melody to my ears. Sudharani: It's easier for musicians to have the crowd eating out of their hands by playing vigorous rhythm. And when you reach a crescendo they literally are on the edge of their seats. What's more, by acceding to their requests to play compositions of their choice an instant rapport is created. We dancers miss out on all this. I remember just one instance when I got an emotional response. It was some time in the 1960s. I was doing a piece from the Ramayana, the scene where Hanuman first saw Sita. For a moment, the musicians, the rasikas and I were so moved that there was complete silence in the hall. Of course, such instances are rare in a dancer's life. (Looks at Shrinivas for his reaction and he just flashes that familiar smile). Global appeal Shrinivas: But what's heartening is to see many young faces in the crowd. Most of us tend to think that the classical arts have taken a backseat these days. On the contrary, I feel it is enjoying a global appeal with the coming together of artistes and the fusing of styles. Sudharani: Do you teach other string instruments, besides the mandolin, at the Shrinivas Institute of World Music? Shrinivas: Right now it's only mandolin but I plan to take up other instruments eventually. Is fusion happening in dance too? Sudharani: Actually such exercises are exciting and help you explore the world of art. The increasing demand for dance dramas in the past few years has paved the way for the integration of new techniques and styles. You can always see traces of the Greek, Egyptian and Truscan movements in my choreography. It is because of my exposure to world art. In 1964 I went to the Randolph Macon's Women's College, Virginia on an international scholarship. And I majored in the world history of dance, studio arts, western music and the legendary ballerina Martha Graham's technique in modern dance.

Such diverse influences help you approach an ancient art with a fresh perspective and make it appealing even to this computer-controlled generation.

Padmashri U.Srinivas

In a country where musicians can be anything from maverick stars to mercurial gurus, U Shrinivas is unique. Like the legendary pied piper, U Shrinivas, wielding the mandolin has become synonymous with his name. This genious, already a Padmashri, has achieved a remarkable feet of retaining audience interest and keeping pressure at bay. Uppalappu Shrinivas is to Indian classical music what Yehudi Menuhin is to Western classical music.

Born in 1969 in Palakol in Andhra Pradesh in an artists' family, Shrinivas received his first mandolin at the age of five, a birthday present from his music teacher-father. His clarinet-playing father taught his son what little he knew. His mentor Subba Raju, a vocalist and a disciple of famous musical stalwart Chembai Vaidynatha Bagavathar discovered Shrinivas's genius. Shrinivas was accompanying his father U Satyanarayana at a concert when Subba Raju spotted him. Shrinivas was only 6 years old then. A natural prodigy who learnt to play the mandolin before he was six and began his formal training in Carnatic music at that age from Subba Raju. With no experience of the mandolin, however, Subba Raju would sing Carnatic music, which Shrinivas would then play.

Shrinivas is a rare phenomenon, and the music itself dates back to the 15th century, rich compositions that are rhythmic and allow a spontaneous musical dialogue during the concert among all the musicians performing. Shrinivas is not erratic. He has an uncommon sense of Tala. Shrinivas modified the mandolin to enable him to play gamakas on it. This in itself is an extraordinary achievement. Shrinivas not only discovered a new instrument, a Western one that, for Carnatic music, but he produces the most intimate nuances that is otherwise possible only on the veena. To wide acclaim, Shrinivas has applied the ethereal quality of the mandolin, a Western instrument more associated with Mediterranean and Italian music, to the intricacies of South Indian classical music.

Today, Mandolin U Shrinivas is one of India's premier musicians and a household name in Chennai. He is a crowd-puller and a "box-office wizard". His audience demographic ranging from Channel V-addicted college students, rasikas - die-hard concert attendees able to detect the slightest mistake, who shake their collective heads in disbelief at this man's prowess - and even the Chennai mami, decked out in silk sari and abandoning her family's dinner time to come out and listen. He mixes with any genre that goes well with his mandolin and his mind. Jazz fusion concerts with guitarist John McLaughlin, Zakir Hussain, Vikku Vinayakaram and Selva Ganesh, Dreaming music with Michael Brook, rocking Chennai along with ghazal whiz Hariharan and merging belief and genius into a CD-ROM on Adi Shankara

Shrinivas has the world at his feet. Innocence is writ on his face. But the music that he produces on the little brittle Mandolin is unbelievably Carnatic and classical to the core, throwing into the shade even the top musicians. A money-spinner, who at 30 has already zipped around the world,

If in his own country Shrinivas has captivated audiences with his boyish charm and divine music, wherever he has traveled outside India, from Berlin to Paris, Mexico to Barcelona and Chennai, audiences have delighted in the inspired sounds of one of India's most popular musicians. The Chennai based Mandolin U Shrinivas has continued to amaze and be amazed ever since.

Who would have thought that a six-year-old boy, who was casually strumming the mandolin at a musical party, would one day be the youngest ever performing artiste at the Festival of India in Paris at 16? Shrinivas did just that. At the festival of India in Paris, France, in 1985 he was allotted one hour to play on the instrument. But when the hour ended, the audience forced the organizers to extend his recital by another hour. Such is the irresistible pull of Shrinivas's art.

At his performance for the Cervatino Festival, in Mexico 1987, Paloma, the wife of the Mexican president, who had intended to satisfy formality with a 10-minute appearance, was so captivated by Shrinivas's music that she stayed back for a whole hour.

Dolly, Simply wonder he has on his hand great post thank you for another wonderful thread.

Mandolin duo dazzles By Shanti Murali SINGAPORE, APRIL 14. There were accolades aplenty heard from the audience as the mandolin duo of U. Shrinivas and U. Rajesh performed in a charity event here on April 10. The event, held in aid of the Dyslexia Association of Singapore, was organised by Arte Compass.

U.Shrinivas at the concert in Singapore Mandolin Shrinivas' multi-cultural and cosmopolitan experience showed in the selection of the right compositions to suit the tastes of all the races and cultures present. Without deviating from the classical tradition, he started the recital with the brisk Charukesi varnam, a composition of Lalgudi G. Jayaraman, the violinist. Then came the piece Mahaganapathim in Nattai. Shrinivas brought the spirit out among the audience by rendering swarams in Mahakavya Natakadhi Priyam. Evergreen hits such as Ninnuvena (Navarasa Kannada), Nagumomu in Abheri, Brahmamokkate, Sai Bhajans, Chinanjiru Kiliye (Bharatiar's compositions) brought a glow on the faces in the audience. While keeping within the boundaries of the traditional classical pantha, Shrinivas did not fail to provide a pleasurable rendering of ragam, thanam, pallavi to the serious rasikas. However, one would have expected a maestro of such high calibre and steeped in tradition to have chosen a more difficult thala pattern. The pallavi was Sama Yedupu in ragam Simhendra Madhyamam in adi thalam. But, even before one could realise this, Shrinivas and his equally talented brother, Rajesh, mesmerised the audience with ragamaligai in pallavi with melodious ragas such as Kannada, Sivaranjani and Hamsanandi. This more than compensated for the missing alapanas in the earlier items. Shrinivas concluded the concert by conceding a request from the audience to play a thillana in Maand. Special mention has to be made of the young and talented U. Rajesh, who contributed significantly in adding colour and exhibiting his prowess with typical modesty. U. Shrinivas was ably supported on the violin by S.D. Sridhar, on the mridangam by Tanjore Murugabhoopathy and on the ghatam by S.V. Ramani. Thaniavartanam was enjoyable and was appreciated by the audience.

U.Rajesh at the concert in Singapore Reduction of acoustic volume in the concert hall, however, would perhaps have enhanced the quality of the programme.

Arte Compass did well in organising such a fine concert.

Master of melodious strings RUPA GOPAL

Child prodigy to maestro — 'mandolin' Shrinivas has come a long way.

I used to find Todi difficult in the early days. I honed it by listening to T. N. Rajarathnam Pillai again and again.

DEDICATED: Mandolin U. Shrinivas "I call the newspaper office (to speak to someone) and am put on hold, which is no hardship at all, as the melodic strains of the mandolin gently relax you. Not difficult to guess the artiste. It is Shrinivas, the child prodigy, who has gone on to make a mark in the field. Awards and accolades have been showered on him, the latest being the one conferred by the Tirupati Music Festival Committee held at Tirumala recently. Born in Palakol, Andhra Pradesh, on February 28, 1969, Shrinivas grew up in an atmosphere soaked in music. His father Satyanarayana was a music teacher. In typical polite fashion he settles for a conversation. ''My father wanted me to study well, he thought education would secure my future. But I happened to have an ear for music. I used to just pick up the mandolin at home, and play it. My father's friends began telling him to teach me music. At the age of five I began learning varnams, and then was put under Subburaju, my guru, who had also been my father's guru. He was a vocalist, and I had to listen to his singing, and then play the same on the mandolin. It was he who brought us to Madras," reminisces Shrinivas. Coming to Madras opened the proverbial floodgates. Concert opportunities began pouring in, and senior accompanists had no hesitation in playing for the young prodigy, such was the quality of his music. Already armed with a rich repertoire, Shrinivas lost no time in adding to it. His idols were T. N. Rajaratnam Pillai, GNB, MLV and Flute Mali. His eyes and face light up at the mention of these names. 'I used to find Todi difficult in the early days. I honed it by listening to TNR again and again. Continuing in the nostalgic vein, Shrinivas says, ''It was my dream to meet Mali. When he had a fracture and was in a hospital near my home, I rushed to see him. He hugged me and cried, saying he had heard a lot about me, and told my father to take good care of me. I also went to see Mali in the green room of Krishna Gana Sabha, before he played his last concert. He scolded me for coming, instead of practising at home." Music has brought fame, and with it came travel. So he must have developed a special affinity for some places? Shrinivas loves walking in New York, and also likes London, Paris and Singapore. And back home? ''Thanjavur," comes the reply. ''I love playing at Tiruvaiyaru," he says. Shrinivas loves Italy for two reasons. He was enchanted by Venice's beauty, while on a day trip with Michael Nyman, a composer with whom he had made the album, ''Sangam," for Warner Bros., and set a piece in the raga Suddha Saveri. The second is more mundane — food! Gourmet "I love pizza, pasta, spaghetti and also Mexican food. Punjabi dhaba (not spicy please) food also tempts me. But above all, Pulihorai is my favourite, as also simple vatha kuzhambu and roasted papad," says this gourmet. What does he do, apart from music? Shrinivas's hobbies are seeing movies and window-shopping. Of late, he has developed a passion for driving. A fan of MGR and Amitabh Bachchan, he recalls how MGR after listening to him on television, found his address and sent home his best wishes. ''I was just a small boy then, and was so impressed by his greatness, and spontaneity," he says. Shrinivas attributes his success first to hard work, and then to God's grace. He has a penchant for playing rare ragas, while also being traditional in his fare. He respects rasikas more than anything, as good listeners are essential to the growth of music. Fusion music too is beautiful, he feels, and a part of the quintet of his Shakti Group is the versatile Shankar Mahadevan. Guitarist John Mclaughlin adds to the talent of this group. No less a person than Beatle George Harrison had been moved by Shrinivas' music, in London. He came backstage to meet him, during a concert. Shrinivas's younger brother Rajesh too is now an adept performer, initially taught by the father. Duet concerts by the two brothers have now become popular.

With Sai Baba and Paramacharya as his guiding lights, it is Shrinivas's ambition to set up a World Institute of Music, and train students, sometime in the future. One hopes his dream comes true.

Discography

Title	Nature	Music / recording	Contents	Label	Other Artists	Year
Carnatic Classical - Mandolin	Carnatic Instrumental		Sri Mahaganapati, Parandhama, Sudha Madurya, Bajare, Ennathavam	T Series	S R Bhaskaran, Violin; Palghat Raghu, Mridangam; T H Subash, Ghatam; V Nagarajan, Ganjeera
Charming Ragas on Mandolin	Carnatic Instrumental		Vathapi, Bantureethi, Alaipayude, Chakakangira, Raghuvamsa Sudha, Yochana, Endaro Mahanu Bhavulu, Javali In Ragas: Hamsadhwani, Shamsanda, Sriranjani, Kannada, Karaharapriya, Kadanakuthuhalam, Darbari, Sree, Revathi	Sangeetha
Classical Encounters Vol 1	Carnatic Instrumental		Live at the Music Academy, Madras. Bhairavi, Gaulai, Janaranjani, Jaya Manohari, Atana, Gowli Bandhu	BMG Crescendo
Classical Encounters Vol 3	Carnatic Instrumental		Live. Darbar, Hamsadwani, Amruthavahini, Poornachandrika, Sucharitra, Yamuna Kalyani, Sindhu Bhairavi	BMG Crescendo
Classical Encounters Vol 4	Carnatic Instrumental		Live. Kamboji	BMG Crescendo
Classical Encounters Vol.2	Carnatic Instrumental		Live. Raga Kamboji - Ragam Tannam Pallavi. Adi Tala.	BMG Crescendo
Double Mandolin	Carnatic Instrumental		Giriraja Sudha, Brocheva Revarura, Adugaradani, Nadaloludai, Marivere, Thamarai Pootha, Rama Rama	OMI Music Inc	Guruvayur, Mridangam; G Harishankar, Ganjeera; E M Subranmaniam, Ghatam
Dream	Experimental		Dance, Think, Run, Dream	Realworld	Michael Brook, Nigel Kennedy, Caroline Levelle, Jane Siberry, Sikkil R Bhaskaran, Nana Vasconcelos.
Ilaiyarajas Classics in Mandolin	Carnatic Instrumental		Abhogi, Raja Lahari, Rukmambari, Kalyani, Ragavardhani	Pyramid	S D Sridhar, Violin; Guruvayur Dorai, Mridangam, E M Subramaniam, Ghatam
Magic Mandolin	Carnatic Instrumental		Hamsadwani, Jayamanohari, Chandrajothi, Charukesi, Ragamalika, Bhajan	Chanda Dhara	Srimushnam Raja Rao, Mrindangam; Zakir Hussain, Tabla; A. Kanyakumari, Violin
Mandolin	Carnatic Instrumental		Sadhinchane-Aarabhi, Aadi, Thyagaraja; Sogasuga-Sree Ranjani, Rupakam, Thyagaraja; Theliyalerurama-Dhenuka, Aadi, Thyagaraja; Entha Bhagyamu-Saranga, Aadi, Thyagaraja; Ramakatharasa-Madhymavathi, Aadi, Thyagaraja	Padmini
Mandolin	Carnatic Instrumental		Mohanam, Sahana, Kalyani, Atana, Vasantha, Kambhoji, Mishra Yaman, Ragamalika	Shankar
Mandolin	Carnatic Instrumental		Kedara Gowlai, Sowrashtram, Mohana, Malahari, Kapi Narayani, Manjari, Shankarabharanam, Misra Chapu	AVM	Coimbatore Dhakshinamurthi, violin; Guruvayur Durai, mridangam; T H Vinayakram, ghatam
Mandolin	Carnatic Instrumental		Nattai: Shaktiganapatim, Sarasangi: Jaya Jaya Padmanabha, Veeravasantam: Emani Pogadudhura, Mohanam: Kapali, Hamsanandhi: Srinivasa, Bhajan:Thumak Chalat	TIPS Raga Series	Delhi P.Sundarajan, Violin; Srimushanam V.Rajarao, Mridangam; E.M.Subramanyam, Ghatam.
Mandolin	Carnatic Instrumental		Charukeshi-Lalgudi G Jayaraman, Vegavahini-Dikshitar, Riti Gowla-Ambujam Krishna, Devagandhari & Kalyani-Thyagaraja, Kamas-Papanasam Sivan, Ragamalika-Purandaradasa, Shanmugupriya-T N Balu	Vani
Mandolin	Carnatic Instrumental		Hamsadhwani, Balamanjari, Kokiladhwani, Kamala Manohari, Mohanam, Sindhu Bhairavi	Geethanjali
Mandolin All The Way	Carnatic Instrumental		Vallabha Nayakasya Shankari Shankuru: Kamalambham Bhajare, Jaganandakaraka, Tatva Meruga, Jagadodharana, Thillana, Karadare Barabaarade In Ragas: Begada, Saveri, Kalyani, Nattai, Garudadhawani, Kapi, Pahadi, Swarasambodhini	EMI India
Mandolin Duets: U Srinivas & U Rajesh	Carnatic Instrumental		Sri Gananatham, Chinna Natana, Parvati Nayakam, Alakaladaga, O Rangasayi, Chandrashekara, Chinna Chiru Kiliye, Thillana: In Ragas: Shanmugapriya, Madhayamavathi, Kambhoji, Sindhubhairavi, Ragamalika, Madhuvanti.	EMI India	U Rajesh, Mandolin
Mandolin Duo	Carnatic Instrumental		Naata Nalinakanth, Bhairavi, Ranjani, Mohanam, Yamuna Kalyani, Kambhoji	Vani	With U Rajesh, Mandolin.
Mandolin Ecstasy	Carnatic Instrumental		Sarasijaksha, Devadi Deva, Brova Bharama, Enduka Dayaradura, Marugelara, Thirupugazh	Oriental	Sikkil Bhaskaran, Violin; Tanjore Upendran, Mrindangam; Palghat Sundaram. Ghatam
Mandolin Instrumental	Carnatic Instrumental		Gowla, Reertigowla; Gambeera Nadai, Kannada Gowla, Panthuvarali, Ragamalika.	AVM
Mandolin Melodies	Carnatic Instrumental		Thatwamariya, Ananda Nadanam, Krupajuchuta, Sukiyavvar O, Ninnuvina, Theeratha Vilaiyattu, Western Note, Thanthanana, Thillana	Indu Musik
Marvels on Mandolin	Carnatic Instrumental		Hamsadhwani, Hindolam, & Thyagaraja: Siva Siva, Yochana, Intakannananda, Raghuvamsa Sudha, Javali	OMI Music Inc	A Kanyakumari, Violin; V A Sundram, Thavil; T H Vinayakaram, Ghatam
Master U Srinivas	Carnatic Instrumental		Gajananayutha - Chakravaham, Ettiyochanalu - Kiranavali, Nadasudharasa - Aarabhi, Nadathanumanisam - Chittaranjani, Rama Rama Gunasena - Simhendramadyamam, Vanathinmeeri - Mand	EMI India
Prodigy	Carnatic Instrumental		Gajavadhana-Sriranjini, Sarasamukhi-Gowdamalhar, Thaye Yashoda-Thodi, Devi Brova-Chintamani, Nenrunchana-Simhavaihini, Sathatham-Kharaharapriya, Thiruppugazh-Ragamalika	Koel
Rama Sreerama	Carnatic Experimental		Gajavadhana, Maryadakadaya, Saranambhava, Rama Sri Rama, Ragam Thanam, Pallavi & Ragamalika, Ganamurthy, Kaliyugavardana	Realworld	Music Composed By Michael Brook.
The Magical Fingers of	Carnatic Instrumental		Nattai, Sourashtram, Gowrimanohari, Lathangi, Umabharanam, Vagulabharanam, Neelambri, Misra Mandu, Desh. 2 CD Set	Oriental	Delhi P Sundarajan, Violin; K V Prasad, Mridangam; E M Subramaniam, Ghatam
Trio Mandolin	Carnatic Instrumental		Nattai Gowla, Arabhi, Varala, Sree	Koel
U Srinivas (Mandolin)	Carnatic Instrumental		Rags Natti, Devamruthavarshini, Poornachandrika, Ranjani, Sindhu Bhairavi	EMI India	Violin: A Kanyakumari Vainayakaram / Thavil S Plutta Raju
U Srinivas (Mandolin)	Carnatic Instrumental		Ragas Sree, Karnataka Behag, Amruthavarshini, Suddha Saveri, Ragamalka	EMI India	Violin: A Kanyakumari Vainayakaram / Thavil S Plutta Raju
U Srinivas Mandolin	Carnatic Instrumental		Ragas Kalyani, Suddha Dhanyasi, Kapi, Jaganmohini	EMI India
U Srinivas Mandolin	Carnatic Instrumental		Ragas Vasantha, Hamsadhwani, Begada, Kalavathy, Abhogi, Poorvikalyani, Ragamalika	EMI India	Violin A Kanyakumari / Mridangam T k Murthy / Ghatam T V Vasan
U Srinivas Mandolin	Carnatic Instrumental		Ragas Kambhoji, Saramathi, Behag, Kapi Jaunpuri, Hamsanandi	EMI India	Violin A Kanyakumari / Mridangam Guruvayur

Audio Sample - Gananayakam.asf

http://www.musicalnirvana.com/li3zab37xyfr4vj7/U%20Srinivas% 20-%20Gananayakam.asf

1.Ninnuvina

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2.Thatvmariya Tarama

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3.Kruipajoo Chutaka

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4.Ananda Nadamaaduvaar

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5.Suki Evvaro

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6.Theeratha

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7.Thanthanana

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8.Thillana

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9.Western Note

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10.Ragam Tanam Pallavi: Gamanashrama

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11.Talam: Adi

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