Traditionally, the mandolin is not an instrument that had a place on the Carnatic music stage, which was populated by stringed wonders like the veena, violin and tanpura. But when a six-year-old boy called Uppalapu Srinivasan came along with his father’s old mandolin in 1975 to make Carnatic music, those at the vanguard of the musical genre sat up and took note of the instrument. Then, after he gave a full concert, as a nine-year-old, no one could ignore him or the humble instrument, which went on take centrestage with his exemplary rendering of the kirthis and ragas with aplomb. It also become a part of his name and sole identity. On his part, he remained a consummate player, coaxing soulful music out of the electric mandolin that enthralled music lovers till his death on Friday, at the age of 45. But to reach there, Srinivas had to rebel against the conventions and norms of Carnatic music. As a boy, he stood up, holding on to his mandolin and fought with his music, before he could win over the hearts of connoisseurs across the world.
Not only did he carve a niche for himself by becoming a part of the Carnatic music pantheon, giving performances without fail during the Margazhi season, he also serenaded fans from world stages through a plethora of fusion music performances. He had collaborated with assorted musicians like Zakir Hussian, John McLaughin, Michael Nyman, Micheal Brook, V Selvaganesh and Shankar Mahadevan to give some memorable concerts.
As a musician, however, he was self-made. Though he learnt basic strumming from his father Sathyanarayana’s mandolin, Srinivas picked up tunes by listening to vocalists with no expertise in playing the instrument. That he paved the way for the mandolin to be chosen by later year instrumentalists, including his younger brother Rajesh, is his musical legacy that is nonpareil. He will be missed in Chennai this December and forever, everywhere.