I also got the opportunity to learn briefly from two path breaking vocalists and composers , namely Pt . Kumar Gandharva and Pt . Jitendra Abhisheki . Kumar ji resided in Dewas in Madhya Pradhesh and I got the opportunity to stay at his home on some occasions and learn from him . Similarly , Pt . Jitendra Abhisheki also permitted me to stay with at his home in Pune when I came for lessons .
Around the mid-eighties , I started getting opportunities to perform at festivals featuring young talent . Initially I would travel for such performances accompanied by my mother and at times , my guru Pt . Ramashreya Jha would also travel with us and even accompany me on the harmonium . Most decisions regarding which invitation I should accept , what repertoire I should present were all guided by my guru at this point . But gradually I learnt how to manage on my own and take independent decisions .
It may interest your readers to know that at this point , for young musicians like me , entering the professional space , there was no possibility of getting artiste managers , PR agents or social media managers , legal experts to whet contracts and legal documents . I , like so many others , learnt the ropes while on the job , through good and bitter experiences .
What are the key aspects which Hindustani classical vocalists are missing these days ?
There are many talented , brilliant young vocalists today , some of whom definitely show the spark that one sees in potential stars . They have talent , commitment , dedication , poise , great training , and superb voices . What they need desperately is an eco-system that will give them enough opportunities to learn , practice , perform , earn adequately and get good , receptive , informed listeners . So many of them have to give up along the way , or make compromises , simply because it is so difficult to make a decent living through being a full-time classical musician .
There is no dearth of talent in the field of classical music . But we need to ensure that artistes committed to classical music have the opportunity to earn a dignified , decent living . To do this we need listeners who will buy tickets for concerts of classical music , and who will purchase recordings and buy subscriptions for platforms streaming classical music . We need supporters and sponsors and investors who will not be short-sighted and evaluate the success of sponsorship only on the basis of audience numbers .
The lack of any will and effort to create a vibrant eco-system for classical musicians , on the part of policy makers at the state level , as well as private sponsors and promoters , and even the public , is going to stifle talent if this issue is not addressed on an urgent basis .
Is Classical music based on mood or mindset ? What is your all-time favourite raag and why ?
Instead of using terms like mood and mindset , I prefer to say that classical music requires skilled technique and training that helps the artiste transcend the craft and create art . Without superb technique and craft , you cannot strive to make art . And great art is not , and cannot be made everyday . On some occasions , the artiste is able to transcend and deliver an artistically and aesthetically powerful and moving performance . On other days , it is the technique and craft that see you through . Both must remain in perfect balance .
As for favourite raags , I cannot name a single favourite .
How do you motivate yourself to keep your vocals powered and strong ?
I really don ’ t have to do anything in particular to motivate myself . The fact is that I love and cherish the music I am studying , and I am convinced that this is what I want to do for the rest of my life . I also accept that there will be ups and downs in one ’ s journey and that there will be people who might not like the music I make . All I need to do is to
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