‘A good audience will spot a note gone wrong’

Kishori Amonkar, the virtuoso classical vocalist of the Jaipur-Atrauli gharana who passed away in Mumbai on Monday night, was known to be temperamental which is why an impression was created that she would not agree for an interview. Indeed, she rarely gave one. But she did. That happened around 1997-98 in Nagpur on the morning of the day she was to perform.

There was apprehension if she would even take the call from a young journalist — I was in my 20s and she in her 60s. After trying four times, the hotel staff finally connected the call to Amonkar’s room. After the introductions, I told her about my training in music in Delhi. The interview request was for just 10 minutes. Surprisingly, the ‘Gaan Saraswati’ agreed and said, “Only ten minutes. Come by 10.30am…I’ve to leave by 10.45am.”

I had an hour to reach the hotel. After leaving a ‘pager’ message to a photographer-colleague, I made it from the other end of the town at exactly the appointed time. The photographer had made it too.

“Only 10 minutes,” Amonkar reminded us when we entered her suite.

The questions were ready but before it could be ‘fired’, Amonkar said, “You had said you had undergone training in music and hence I agreed to speak to you.”

The most vivid memory of that rendezvous was the aura and grace she carried. Amonkar was excited on being asked the influence of western music on youth and whether they were drifting away from Indian music. “The youth will carry forward Indian classical music. The peace, joy and divine connect the Indian classical music provides will make the youth spread music,” she said.

She spoke about the audience as well. “The audience need not be pundits to dwell into the nitty-gritty of a raga. They must just enjoy and the artiste should be able to help the audience get immersed in the notes. A good audience can immediately spot a note gone wrong,” said Amonkar.

Amonkar spoke on a range of issues: From guru-shishya parampara to modern-day music to fusion, the experimentation in music, therapeutic effect of music etc. One could make out the joy on her face as she spoke. She had so much to share, so much to speak.

The ten-minute meeting stretched to about an hour and a half and ended when interrupted by a knock at the door. It was then that Amonkar remembered she had to go out.

While leaving, Amonkar placed her soft hand on my head and said, “You don’t need to be a musician to enjoy music. Enjoy it and experience it.”