It’s not rare — western musicians playing Indian tunes. But what is unusual is seeing them play Indian classical phrases with sheet music. The small but creatively happening auditorium at Goethe Institut echoes with the dulcet notes of raga Khamaj. Ana Maria Rodriguez and Theodor Flindell on the violin and Theo Nabicht on clarinet reproduce swara clusters as maestro V.S. Narasimhan (of the popular Madras Quartet) and the man behind the gamaka box (sheets of notations), Ramesh Vinayakam, listen intently.
Ga ma ni dha pa...the three German musicians of Kammerensemble Neue Musik, Berlin, sometimes together and at other times independently, convey the traits of the raga.
Today (5.30 p.m.) at Kalakshetra Foundation they will showcase their understanding of Carnatic music and the real purpose of the box that Vinayakam introduced in 2011.
“This musical congregation is the result of my visit to Germany in April this year, which was facilitated by Helmut Schippert, director, Goethe Institut. When he came to know about the gamaka box and how it could take Carnatic music closer to the uninitiated, he evinced keen interest in a collaborative project,” says Vinayakam winding up the rehearsal session for the day.
The three artists, who are composers and performers of repute, will present ragas Khamaj and Khambodi (leading to a ragamalika) in Svara Varam as part of Memory Space, an evening of sounds of Berlin and Chennai.
It is being presented by Goethe Institut in association with Kalakshetra.
“I have been trying to explore and exhibit how Carnatic music, which is essentially an oral tradition, when codified in notations can make learning and interpretation easier. Memory Space will open up the box and make people realise the significance of its content,” adds Vinayakam.
For the musicians, the box has come handy. “What would have otherwise taken years, we have done in a span of a few months,” says Theodor, who is delighted about this opportunity to get familiar with Carnatic music.
“It has not been easy. Yet it’s exciting to enter a new musical space. And these sheets have shown us the path,” he smiles.
Maria nods in agreement and says that she thought she would never be able to replicate the notations on her violin strings. “The first time I looked at the sheets, I had no hope of doing anything musically with them,” she laughs. “Gradually the ragas drew us in. And here we are.”
“We need to give it more time and effort to even get to the periphery,” says Theo. “This exercise has helped me understand Indian classical music. So the next time I hear a recording of Pandit Ravi Shankar, my appreciation of the music will have a new meaning.”
The artist has found in Narasimhan an ideal guide. Being proficient in Indian and Western classical, the veteran has been honing their skills. “The way the instrument should be held and the right pauses, emphasis, twist, expansion...little details matter most. Every innovative step is an effort to take us closer to our music and widen its reach,” he says patting Vinayakam.
