Ramakrishnan Murthy
Facile singing, tremendous creativity, immense appeal and a completely pliant voice are hallmarks of this precociously talented, award winning, seasoned Carnatic vocalist who just happens to be young. Ramakrishnan Murthy’s countenance, manner and speech are as traditional as his music, belying the fact that he spent the bulk of his life in the USA. Inimitable eloquence and self-assuredness notwithstanding, he is captivatingly devoid of hang-ups, delightfully unfettered and endearingly boy-next-door.
A version of this article appeared in The Hindu. Update: In 2019, Ramakrishnan Murthy was conferred the Isai Peroli award by Kartik Fine Arts. He also received another Senior Outstanding Vocalist award from The Madras Music Academy, for his concert in 2019.
Ramakrishnan’s music encapsulates the distilled essence of the best of recognised and acknowledged masters, infused with fresh verve. He has won accolades galore including four consecutive Outstanding Vocalist awards from the Madras Music Academy. In 2016, he received the Academy’s prestigious Yogam Nagaswamy Award for Best Senior Vocalist – at age 27, one of the youngest to do so. The following year, his program was adjudged the Outstanding Concert in the Senior slot. Besides awards from other august institutions, the galaxy of artistes who have accompanied him reads like a Who’s Who of the Carnatic world.
Growing up in Irvine, California, he was enrolled in music classes to stay connected to his Indian roots. His first teacher, Padma Kutty, was “the sun in their solar system,” with the family’s, and the greater community’s, life revolving around the once-weekly music class. She took great care to instill the basics systematically and thoroughly. Practice was insisted upon and Ramakrishnan’s mother ensured that her son put in the effort. Trips to India were utilised fully too – at least one music lesson a day – from Vaikom Jayachandran, Vairamangalam Lakshminarayanan, CR Vaidyanathan and Chengleput Ranganathan at various points.
In 2001, he began advanced vocal lessons under Delhi P Sunder Rajan during the latter’s trips to the US and sporadically during Ramakrishnan’s visits to Chennai. “The reason I sit on stage today is because of my Guru, Sunder Rajan Sir. Not only did he mould me into a musician from scratch, but he also taught me what the responsibility of being a musician entails. He instilled in me the confidence it requires to be a performer,” Ramakrishnan states, with abiding respect.
He also continued awhile with Jayachandran and Lakshminarayanan. Having had so many teachers, Ramakrishnan has an enviable repertoire of songs of every hue and texture. How does he stay on top of it now? “I do forget songs.” he says apologetically. “I have been working on it. I keep tabs on shortcomings and consciously put effort to rectify them.”
Padma Kutty continued to mentor him in Irvine and arranged his first ‘public’ performance in 2003 – an informal house concert. “My parents were not interested in arangetrams – we (his younger sister and he) learned the art for art’s sake.” That debut was very well received and Ramakrishnan realized then that he wanted to pursue Carnatic music seriously. He was now self-motivated.
On the insistence, and with the guidance, of Sunder Rajan, he started listening to recordings of the old masters continuously – finding each of them highly inspirational, with unique characteristics. The family also attended live concerts in the Los Angeles area. This intensive immersion helped manifold ideas seep through copiously. Remarkably, unlike most school students with distractions galore, Ramakrishnan’s life was focused singularly on studies and music and nothing else. He practiced extensively, and akaara saadhakam was (and is) a daily feature. “Sunder Rajan Sir impressed its importance on me,” he says. “One needs the felicity in the voice to convey one’s ideas.” This might explain his perfect adherence to sruti, fluid open-throated singing , the consummate ease with which he renders brigas and switches instantaneously and seamlessly between ragas or octaves.
KR Subramanyam, a concert-level flautist, student of N. Ramani and professor at the University of Southern California, also mentored Ramakrishnan at this time. When RK Shriramkumar, Subramanyam’s good friend, visited in 2010, Ramakrishnan was introduced to him. Subsequently, he entered Shriramkumar’s tutelage. Incidentally, though Sunder Rajan and Shriramkumar are generally known to the public as violinists, they are both trained vocalists as well.
Shriramkumar further stressed already learnt values – for example, that lyrics were an indelible part of the music. Referring to the song ‘Varugalaamo’, by Gopalakrishna Bharati, Ramakrishnan explains – “Nandanar sings the song as a lament on being denied entry into the sanctum of Lord Shiva. Each of us can identify with the fundamental human emotion of intense longing – for whoever or whatever it might be.” While the poetic beauty and the impeccably conveyed emotions can seem otherworldly, understanding the meaning makes them relatable to anyone. Thyagaraja’s Haridasulu Vedale is about Thyagaraja’s joy on seeing other bhagavathars singing the Lord’s name. “Again, we can relate that to happiness experienced in the company of like-minded individuals. I haven’t been part of a bhagavatha mela, yet I get inexplicable joy singing that song and can barely hold back my tears,” he says.
He feels that both melody and lyric are important and one could choose to focus on the one over the other on a case by case basis. There are lines that do not express a complete thought – ‘Veda shastra thathvarthamulu thelisi’ from Endukku Peddala, for example, or ‘Bhooloka vaikuntam idhiyani’ from O Ranga Shayee – however these lines are very melodious and appealing for neraval. There are other cases where the fidelity of the words has to be adhered to, to strictly preserve the sanctity of the composition, he explains.
A serious artiste committed to quality music, he chooses to spend his energies on improving his skills and setting his own bar ever higher. He ruminates on the music ceaselessly, looking at songs intuitively in multiple dimensions, with an esoteric understanding of the lyrics. His interpretations are highly refreshing and illuminating within the strictures of the art’s traditions, and convey deep feeling. He selects pieces carefully for each concert. “I strive to touch a gamut of emotions within a performance,” he says. The multifariousness of ragas, kaala pramaanams and songs in any of his programs exemplifies this goal. He puts up the list of songs he renders in each concert on his website (http://www.rkmmusic.in/) soon after.
After completing his BS in Informatics from the University of California at Irvine in 2011, Ramakrishnan moved to Chennai. The fact that he achieved success in the Chennai music scene practically right away and as an ‘NRI’, without any musical ‘godparents’ and without him or his family cavorting with organisers, speaks to both his talent and his ethics. He lives with his grandparents, who attend many of his local concerts. “The home front is completely taken care of for me by them”, he says affectionately.
Be it commonor rare, Thodi or Kaapi, he sings with innate unrehearsed spontaneity sans artificiality. His musical style is traditional in multiple ways. He keeps his back ramrod straight, prefers old-fashioned acoustic tanpuras, and hardly ever uses visual aids. He sings sangathis twice, pronounces words with crystal-like clarity, closes the consonant sounds and avoids peculiar mannerisms or tics. He puts in the time needed for what he presents to become second nature.
“I do not like to perform what is not yet instinctive because the goal then becomes just presenting ‘a feat’. The emotional content can get affected. My goal is to elevate, not entertain,”
Ramakrishnan Murthy
He sings seemingly effortlessly, making it seem child’s-play, with bhavam conveyed in every velutinous note. He deliberately eschews aspects he considers as purely ‘applause seeking’. This commitment to the art is appreciated by laymen and connoisseurs alike.
Ramakrishnan considers his accompanying artistes as equals, giving free rein without stipulating any prerequisites or restrictions. Unhesitatingly appreciative of them, he says with conviction, “We are a team – the sum of the parts is always greater than the whole.”
“He creates an environment that facilitates new ideas and a team effort to shine. He is happy when others do well and receive applause. Besides being pleasant to share the stage with, he is very professional, hardworking and dedicated with a great work ethic.”
Charumathi Raghuraman – Violinist
Regardless of who is playing for him or watching him or where he might be performing, he does not get rattled – focusing on doing his best and holding his own – the stamp of a professional. That earns him the respect of his fellow artistes whilst fulfilling his responsibility to the audience – which he takes very seriously. “Entertainment doesn’t sustain people’s lives. It just makes existing lives more beautiful. Rasikas have other options and they have chosen to spend their valuable time listening to me. It is always on my mind.” He also accommodates listener requests to the extent possible.
On notation and its importance, Ramakrishnan was exposed to two views. Shriramkumar prefers to let the song sink in organically without specifically teaching the underlying swaras. Delhi Sunder Rajan used notation closely and Ramakrishnan intently learned the art of writing it from him. He mentions Semmangudi Srinivasa Iyer, renowned for his clear and concise notation, who stated that every detail of a song should not be notated – because it is what is between the lines that brings out the individuality in interpretation. “That is the best of the both worlds – musical beauty combined with the rigour of discipline.”
He underplays difficulties stating that if enough time and focused hard work are put in, anything musically can be acquired. About two years ago, he felt his voice getting strained – voice therapist and voxologist Dr. Shyamala Vinod helped him with techniques for long term voice maintenance. On the occasions he felt any loss of musical direction, he always had Sunder Rajan and Shriramkumar to count on and motivate him further. “It is truly God’s grace that I am under their tutelage”, he says.
When Ramakrishnan won The Music Academy’s Best Senior Vocalist award in 2016, Shriramkumar telephoned Sunder Rajan, and his two Gurus congratulated each other on their young protégé winning the coveted honour. Ramakrishnan treasures that moment. TV Sankaranarayanan calls him ‘Ranganayaka’ Murthy to this day – stemming from his singing that song (in Nayaki) before the doyen at age 12, having just learned it from Sunder Rajan. Another unforgettable incident is TN Seshagopalan strongly advocating to a local organisation for Ramakrishnan to get an award. That sabha told Seshagopalan that Ramakrishnan had never performed there. Seshagopalan asked whose fault that was! Ramakrishnan got the award, that very year.
Besides his active performing career, he teaches several students. An NBA basketball junkie with a wry sense of self-deprecating humour, he is passionate about language – reflecting in expressive and articulate speech. “I love what I do and apparently some people love seeing me do what I love– that is immensely humbling…. The challenge, though, is understanding and finding myself. How do I personally want to pursue this art further? To what end? These questions are constantly on my mind,” he adds pensively. Being able to look at and outside himself with extreme candour whilst still brimming with energy and enthusiasm makes Ramakrishnan Murthy a rare blend of mature temperance and youthful exuberance.
