Dr. L. Subramaniam, a luminary on the planet of music, seamlessly blends the serenity of Indian classical melodies with the magnetism of Western virtuosity. His journey from a prodigious youngster artist to a world icon spans continents and genres. Born right into a musical household, Subramaniam’s prowess on the violin was evident from a younger age. His insatiable curiosity led him to traverse various musical landscapes, mastering not solely South Indian classical music but in addition Western classical traditions and world fusion.
With over 250 recordings to his credit score, Subramaniam’s collaborations learn like a who’s who of the music world, spanning from Yehudi Menuhin to Stevie Marvel, Jean-Pierre Rampal to Herbie Hancock. His compositions, starting from orchestral masterpieces to movie scores, showcase a fusion of cultural influences and technical brilliance.
Past his musical accomplishments, Subramaniam is a visionary educator, founding the Lakshminarayana World Centre of Excellence (LGCE) and the Subramaniam Academy of Performing Arts (SaPa). By these establishments, he nurtures the following era of musicians and promotes cultural trade on a world scale.
Recipient of quite a few awards, together with the celebrated Padma Bhushan, Subramaniam’s legacy extends far past accolades. His live shows aren’t mere performances however transformative experiences, the place approach merges seamlessly with emotion, leaving audiences spellbound.
On this interview, we delve into the life and philosophy of Dr. L. Subramaniam, exploring his inventive journey, inventive course of, and imaginative and prescient for the way forward for music.
Nikhil Sardana: What impressed you to observe in your father’s footsteps, and the way did you navigate the challenges encountered alongside this path?
L. Subramaniam: Prior to now, the violin primarily served as an accompanying instrument, notably within the 60s and 70s. My father, my mentor and inspiration, aimed to raise the standing of the Indian violin to that of a solo instrument, akin to its Western counterpart. Recognizing the necessity for a definite solo approach, he diligently labored to develop one. His imaginative and prescient grew to become mine, main me to pursue music alongside my medical research. Regardless of preliminary setbacks, together with lacking out on a German scholarship, I ultimately secured scholarships for my music schooling in California. Following my father’s steerage, I centered on establishing myself as a soloist, which led to collaborations with famend musicians and producers. Embracing fusion music regardless of preliminary hesitations, I launched into tasks that garnered acclaim. This journey, marked by milestones and recognition, displays the belief of my father’s dream and my very own dedication to the violin.
NS: You’ve collaborated with many worldwide artists from completely different genres. How do you method collaborations, and what do you suppose is the important thing to creating profitable cross-cultural collaborations?
LS: Essentially the most essential side is knowing the music and strengths of the artists concerned. These distinctive skills have honed their craft over a few years, reaching and sustaining greatness is not any small feat. When embarking on a venture, I delve into their musical boundaries and previous accomplishments. I try to compose items that problem them whereas staying true to their type. It’s important to know Western music language, notation, and concord, alongside a deep understanding of Indian classical music, to successfully collaborate and encourage artists to surpass their earlier works. I pioneered the idea of worldwide music, amalgamating various influences to create one thing novel and galvanizing.
Concerning movie composition, I draw from my brother’s experience, who’s well-versed in movie scoring. When approached by Mira Nair for ” Salaam Bombay!,” regardless of my give attention to live shows and symphonies, I accepted the problem. Understanding the characters, feelings, and themes of the movie is paramount. I develop a central theme that encapsulates the essence of the story, then tailor music to intensify characters and settings. For “Mississippi Masala,” as an example, I included African components to evoke the ambiance of the setting. Finally, movie composition requires a deep understanding of storytelling and emotion, coupled with technical talent and creativity.
NS: As a performer, what’s your course of for making a setlist or selecting which ragas to play throughout a efficiency? Do you’ve gotten a selected theme or temper in thoughts, or is it extra spontaneous?
LS: Virtually all the time, it’s spontaneous. I chorus from offering a setlist for classical performances. Though venues like Lincoln Middle or Carnegie Corridor usually request program particulars for his or her program booklets, I favor to supply flexibility. I inform organizers that whereas I can recommend piece names, I usually resolve on the spot, guided by my temper and instinct. Typically, I point out the raga and a class like kriti, permitting for a big selection. As soon as on the venue, after tuning, an interior voice directs my selections. Generally, this spontaneity can pose challenges, particularly when collaborating with others. Regardless of any introduced plans, I could change items on a whim, pushed by the second. This method, whereas unconventional, permits me to carry out authentically, guided by intuition and emotion.
NS: Your performances are identified for his or her virtuosity and improvisation. How do you stability the construction of the raga with the liberty of improvisation, and what’s your course of for creating spontaneous musical concepts throughout a efficiency?
LS: For those who study carefully, each raga follows a scale, whether or not it’s a five-note, seven-note, or a mixture of each ascending and descending. The essential side, as my father emphasised, is to not merely play notes mechanically however to infuse every word with life, emotion, and color. This depth transforms the music, resonating with each the performer and the viewers. Whereas technical mastery is important for unrestricted expression, it’s the infusion of emotion that leaves an enduring influence. I recall situations at giant festivals the place, amidst energetic performances, I might transition right into a soulful solo, fascinating listeners regardless of opposed climate circumstances. It’s the emotional connection that transcends limitations, making virtuosity coupled with musicianship actually impactful.
NS: What impressed the growth of the Subramaniam Academy of Performing Arts from focusing solely on cultivating critical performers in Indian classical music to incorporating music teaching programs in colleges, and the way do you envision these packages contributing to society’s well-being and fostering creativity throughout disciplines?
LS: The Subramaniam Academy of Performing Arts initially aimed to domesticate critical performers inside the Indian classical music realm, beginning on a modest scale however increasing over time. Now beneath the stewardship of my daughter Bindu and son Ambi, the academy has advanced to incorporate music teaching programs in numerous colleges. Our mission is to supply each youngster with the chance to be taught music, recognizing its profound influence on mental, emotional, and religious improvement. In right now’s society, the place emotional disturbances are prevalent, music serves as a refuge, providing moments of interior reflection and tranquillity. By extending music schooling to extra colleges, we hope to foster a calmer, extra harmonious society whereas stimulating the underutilized inventive facet of the mind. Music schooling not solely trains people in inventive expression but in addition cultivates spontaneous creativity, a talent relevant throughout numerous disciplines. Whether or not in drugs, engineering, or any discipline, the power to suppose creatively enhances problem-solving and innovation. Subsequently, it’s crucial that future generations have entry to music schooling, enriching their lives and increasing their potential for fulfillment in all endeavours.
NS: What motivated the shift from conventional profession paths to selling music as a viable occupation, and the way has the Lakshminarayana World Centre of Excellence and its collaborations with universities contributed to bridging the hole between typical schooling and musical excellence?
LS: Beforehand, pursuing a profession in music wasn’t broadly seen as a viable possibility, with professions like drugs, engineering, and chartered accountancy being the norm. Nevertheless, by means of establishing myself as a profitable soloist and acting at prestigious venues worldwide, we’ve demonstrated that being a musician is a reliable path. At present, many younger musicians are embracing this occupation, not solely in classical music but in addition in fusion bands like World Fusion, which I initiated within the early 70s.
To bridge the hole between conventional schooling and musical excellence, we established the Lakshminarayana World Centre of Excellence, providing levels starting from BA to PhD. Our curriculum prioritizes sensible coaching beneath skilled gurus somewhat than relying solely on textbooks. Collaborating with universities equivalent to Jain College (Bangalore, Karnataka) and Vishwakarma College (Pune, Maharashtra), we provide UGC-approved levels and certificates, offering a multidisciplinary schooling overlaying Carnatic, Hindustani, and world music.
By our efforts, we purpose to supply aspiring musicians with the instruments and information wanted to excel of their chosen discipline, whether or not as performers or educators. This endeavour is not only my legacy but in addition a continuation of my father’s imaginative and prescient for music schooling.
Dr. L. Subramaniam and his household current a fusion of Carnatic classical and world music, reprising his iconic compositions on September 14 on the Nita Mukesh Ambani Cultural Centre.
