Playing it like it sings
Violin Virtuoso Kala Ramnath
Pta. Kala Ramnath is a seventh-generation violinist hailing from a family that includes renowned maestros Vidwan Narayana Iyer, Prof. T.N. Krishnan and Dr. N. Rajam. A trailblazer, her revolutionary approach to a vocalized Hindustani violin technique have earned her the sobriquet of “Singing Violin”. Her performances are a combination of technical wizardry and a deep emotional quality imbibed from her Guru, Pt. Jasraj.
Pta. Kala Ramnath received India’s prestigious Sangeet Natak Academy award in 2017 for her contributions to Hindustani Classical Music. Her playing has been featured on the Grammy-nominated Miles from India album, the Grammy-winning album In 27 Pieces and the Kronos Quartet’s 50 For The Future.
You began learning from your grandfather Vidwan Narayana Iyer when you were only two years old. What was it about the violin that sustained your interest at such a young age?
I was surrounded by legends at home. The sun rose and set with my grandfather and I followed everything he said. He made my lessons interesting, and rewarded me with treats like my favorite semiya payasam. He meticulously recorded my daily practice in a notebook for six years (1969-1974), and this remains one of my most precious memories.
I was twenty when I received my “A grade” in All India Radio, Lucknow. After the audition, I went to Benares to visit my grandfather. With tears in his eyes, he reminisced how he would stay up all night thinking up musical phrases to challenge me with the next day and how quickly I would learn and play everything he asked me to. He told me that as his student, I had given him the ultimate happiness and contentment.
Do you remember your debut concert? Can you share some stories from those early years?
I had my first Hindustani solo recital was when I was 15 years old. Appa Jalgaonkar had organized a concert in Pune at the behest of my Guru Pt. Jasraj. The audience comprised many musicians with many positive reviews — It was said that the concert would have been a standout if it was played in the Sawai Gandharva.
That concert opened avenues for me everywhere in India. I was invited by Pt. Nath Neralkar to Aurangabad. When he heard me practicing Darbari, he changed the line up to make me the finale performer.
Four months after I began learning from Jasraj-ji, I played Shuddha Kalyan on the All India Radio National Programme. When Panditji heard me, he was taken aback by how completely I had adapted my playing to his style. After that, I began accompanying him on his concert tours.
“She sings well but when she picks up her instrument she handles it like a man”
Those early years must have been very physically strenuous and creatively challenging as well.
Yes, it was very hard. As a woman you have to continually re-establish yourself: It’s a man’s world. I used to get back-handed compliments: “She’s good but when she picks up her instrument she handles it like a man”.
I was really fortunate to have been introduced to vast audiences all round the world as Panditji’s accompanist. During my first trip with him to the US I had performed eight solo concerts and had thirty-six concerts booked for the next year. It all came together because of word-of-mouth appreciation, blessings from maestros and God’s grace.
Panditji really opened up the world of shrutis for me.
How did you incorporate the intricacies of raga development on to the violin?
Panditji really opened up the world of shrutis for me. Our music is so subtle that it is hard to understand the proper placement of the notes. For example, the gandhar and dhaivat are approached differently in Jaunpuri and Darbari. Chayanat is another example, where the music is all between the notes. Panditji helped me visualize these subtleties.
I had to completely change my technique: not only bowing and pressure but also the fingering. My approach to alap, my expression completely changed.
What attracts you to a bandish? What makes a particular bandish suitable for the violin and how do you adapt it?
First, the bandish should be beautiful to hear. I try to avoid compositions that have too many words. If every syllable represents a note, it makes the playing sound childish. The anacrusis (uthaan) should be beautiful. I’m also partial to compositions that start on an odd beat.
When you draw a portrait, you fill in the eyes, nose and lips. That is how I elaborate (badhat) in the vilambit.
I play the entire bandish in a vocal style (gayaki ang) and add a tarana at the end, which I play to a really fast beat. I also add a sawal-jawab with the tabla towards the end, which I typically play in the instrumental style (tantrakari ang —a staccato, idiomatic plucked-string playing style).
You have to have perfect pitch and perfect technique to create resonance with the violin.
You’ve mentioned that you are yet to plumb the depths of the four strings of your instrument. Could you elaborate?
I meant that in the sense that musicians are now introducing sympathetic strings in the violin. The violin is complete in itself. It can do more than what a vocalist (gayaki) can and more than what an instrumentalist (tantrakari) can. Why spoil such a complete instrument? Why don’t we just master the four strings instead of adding a fifth and a sixth?
The sympathetic strings create resonance in the sitar. There are no sympathetic strings in a violin, but you don’t need sympathetic strings to create resonance. You have to have perfect pitch and perfect technique to create resonance with the violin.
Swami Tejomayananda-ji has brought about a change in my attitude towards everything in life including music, and I’ve become a calmer person overall.
You are a disciple of Swami Tejomayananda-ji. How has your spiritual journey influenced your music?
Earlier, I had a lot of nervous energy. Now, I am very secure in my mind and my work. He has brought about a change in my attitude towards everything in life including music, and I’ve become a calmer person overall.
Indian classical music is very individualistic and melody based, while Western music is based on harmony
What makes musical collaborations successful? Why is it that Indian classical musicians work more with Western musicians than with other Indian musicians?
Basically, you need to understand each other’s music. The ideas and the personalities should be complementary, with neither side trying to dominate the other.
Indian classical music is very individualistic and melody based, while Western music is based on harmony.
Traditionally, our music is presented as something that is elite, and difficult.
Given your pioneering work, do you look for ways to expose the uninitiated to your art?
Traditionally, our music is presented as something that is elite, and difficult. Through my foundation, Kalashree, I’ve been working to spread music to underprivileged children by holding concerts, workshops and lecture demonstrations and through sustainable music education programs.
