Modern Carnatic Violinists: A Time to Cherish Not Compare
Elitism in the realm of Carnatic music can sadly polarize the industry. While prodigies such as Lalgudi Jayaraman, M.S. Gnanamuthu, and T.N. Krishnan have indeed revolutionized the field, it is now time to appreciate the fantastic violinists of today, without constantly placing them under the shadow of the past.
Musical art should be cherished, not dismissed. It is easy to fall into the trap of comparing contemporary violinists with revered musicians of yore. However, each violinist today has the potential to evolve and craft their unique style, deserving of appreciation in their own right.
Descent and Appreciation
Many modern Carnatic violinists are descendants of legendary figures. Mysore Manjunath, for example, is a favorite among listeners due to his exceptional performances. Pieces by the Mysore brothers are perfect and captivating, capable of entrancing listeners for hours. Such musicians represent an ongoing legacy and inspire us to look beyond preconceived notions of what violin performances should be like.
Enjoying Carnatic Music Without Comparison
It is perfectly natural to compare musicians; however, doing so can hinder the full appreciation of Carnatic music. When we listen to a performance, it is essential to focus on the nuances and unique qualities of the artist being performed. In Carnatic music, manodharma (freedom in improvisation) plays a significant role, and each performer’s manodharma is distinct.
It is also vital to recognize that the style and content of Carnatic music have evolved over time. What was presented a few years ago is different from what is performed today. This evolution should be celebrated rather than compared. Comparing artists based on outdated benchmarks stifles individual expression and innovation. Instead, it is essential to focus on how each musician contributes to the vibrancy and diversity of the genre.
Embracing Individuality
The overemphasis on comparison can lead to a suffocating environment where individuality is curbed. The older generation, including luminaries like Lalgudi, and M.S. Gnanamuthu, appreciated the unique styles and embellishments of each artist, which encouraged them to bring their best performances. However, the present generation often expects every violinist to play in a way that imitates established masters like T.N. Krishnan.
While the influence of these masters is undeniable, demanding that every musician conforms to their style restricts creativity and individuality. It is essential to nurture the unique voice and style of each musician, allowing their individuality to shine through. Comparison should be avoided to ensure that each violinist's unique contributions are recognized and appreciated.