Thanks to generous sponsors with deep pockets, Carnatic music concerts these days are held in A/C halls with wonderful acoustics. Bengalureans will recall the days when one had to wait for Ramanavami to enjoy these concerts, which took place under specially erected pandals. Attendees would make it a point to carry paper or bamboo ‘fans’ with them to beat the sweltering April heat.
We are told ad nauseam that the only permanent thing in life is change. As if to cock a snook at this adage, the format of a Carnatic music concert has stayed put for many years. The opening number is invariably a kriti in praise of Lord Ganesha sung in ‘Hamsadhwani’ raaga. Almost all numbers begin with an aalapana, which sets the tone for the rest of the song. It is considered blasphemous to omit compositions by anyone among the trinity of Carnatic music - Saint Tyagaraja, Muthuswami Dikshithar or Syama Sastri. The piece de resistance of the concert is the (so called) ‘main’ raaga or a ‘Raaga-Taana-Pallavi’, the latter attempted only by seasoned musicians. This is where the vocalist (or instrumentalist) shows his or her creativity and prowess, delineating on the chosen raaga to bring out all its facets and moods. The tail end of this elaboration is reserved for the ‘Tani Avartana’, an opportunity for the percussionists in the ensemble to put up an extended display of their talents, often indulging in friendly duels, inviting applause from the audience.
Devaranamas, typically Dasara padas, are reserved for the last. No concert is considered complete without ‘Karnataka Sangeeta Pitamaha’ Saint Purandaradasa’s compositions. The concluding piece is usually sung in raaga Madhyamavati, followed by a Mangala, which signifies the conclusion of the concert. The host seeks the permission of the artiste before interrupting him or her to deliver the vote of thanks This happens before the last few pieces are rendered, lest the audience leave without listening to this customary expression of gratitude!
Musicians perform sitting cross-legged on the floor. No room for change here! Only traditional instruments like violin, veena, flute, mrudangam, ghatam or morsing accompany the vocalist. The violin, though a western instrument, has found favour, thanks to its introduction by the great Muthuswami Dikshitar during the 19th century. Attempts to play traditional compositions with ‘modern’ instruments like keyboard and guitar have been frowned upon by purists. The mandolin and saxophone are rare exceptions. Introduced and popularised by the late U Srinivas and late Kadri Gopalnath respectively, they have made their way into mainstream Carnatic music. However, the rendering of compositions using these two European instruments has always adhered to strict classical norms. Some things in life are best left unchanged, a ‘concert experience’ being one of them. One hopes Carnatic musicians zealously guard the format for all time to come.