As part of Uttar Dakshin’s 15th season, organised by Surmandal in association with Vivid Arts & Entertainment, Hyderabad witnessed Pt Jayateerth Mevundi and flautist Shashank Subramanyam share the stage — a meeting of Hindustani gayaki and Carnatic melody that felt both intimate and expansive. In conversation with CE, flautist Shashank Subramanyam talks about Hyderabad, music and more
For Shashank, this city is far from unfamiliar. As he speaks about performing here yet again, he says, “I have been performing in Hyderabad for the last 37 years now. It has always welcomed musicians with great warmth, and I always go back to being a very happy man.”
Speaking about what makes Hyderabad special, he explains, “Hyderabad has nurtured both Carnatic and Hindustani music. It’s one of those melting pots like Bengaluru, where you have a very cosmopolitan audience, very supportive of instruments and vocals alike.”
For someone who has been on stage for nearly four decades, you might expect elaborate rituals before a performance. But he shares,“Good rest and get on and go, I have absolutely no rituals. Of course, mentally we will always be preparing for a concert, depending on the type of audience, what to play, and what would suit the occasion, so all that would be subconsciously working in the mind,” he admits.
Talking about misconceptions around classical music, especially Carnatic traditions, he doesn’t shy away. With candour, he observes, “Unfortunately, in Carnatic music, vocalists get more preference than instrumentalists. People like to hear lyrics, especially since Carnatic music lyrics are about Hindu gods and mythological stories. There is a misconception that instrumental music is less attractive than vocal music, which I think is broadly untrue worldwide but very true in Southern Indian music.”
Sharing the stage with Pt Jayateerth Mevundi, he expresses, “Sharing the stage with Pt Jayateerth ji is always a wonderful experience because it brings together two genres. Vocal has its own dynamics, and instruments have their own dynamics. Vocal relies on the strength of melody and lyrics, whereas instruments rely purely on melodies. Therefore, a good combination of all this brings together a good amalgamation.” Instead, he continues, “For that matter, in any duet performance in general, we try to present the best between the two systems of music, Hindustani and Carnatic. When you sit together, it is not about what one can do, but rather about what we can do together to blend the music and offer a new experience for people.”
Looking ahead, he shares, “I have many things in the pipeline. I have been collaborating with many musicians. I only take one thing at a time, and I would like to take Carnatic music with newer instrumentation. We are currently working on taking Carnatic music with symphonic settings, and amalgamating Thyagaraja compositions with symphonic arrangements,” he concludes.