Interview with  MRIDANGAM TRICHUR SRI B. NARENDRAN

who accompanied the Jugalbandi Concert In Mudhra's Seventh Fine Arts Festival on 10th December 2001

 
Baskar : Where were you born, Sir?

 
I was born in Trichur District in a place called Kunnangulam. My father was a member of the royal family. My grandfather was a great patron of fine arts. My mother used to sing well, but she did not perform public concerts.
 
Baskar : When did you start learning music?


At the age of seven I started learning mrudangam from Parameswaran Namboodri. There was one David Bhagavatar who trained me later, he was well adept in all the laya aspects.
Baskar :

How was the music atmosphere during your school days?
 
In 1980, we all came down to Trichur and settled down there. There has always been a lot of prominence for percussion music in Kerala. Even for Kathakali dance, we see that instruments like Chenda, Mattalam have been used profusely.
 
Baskar :

When did you come to Chennai?

 
I finished my college education in 1973. Even before that, arrangements were made with Raghu Sir to teach me mrudangam but he insisted that I must finish at least a degree before coming to Chennai. So, I came here just the next day after my results were out. From then on, I am permanently in Chennai.
 
Baskar : Were you performing concerts even before coming here?
 
Yes, I started perfroming from when I was ten. I used to play only the `kuchi' mrudangam then. Only after coming to Chennai, I started playing `kappi' mrudangam.
 
Baskar : What do you think is the difference between `kuchi' and `kappi' mrudangam?
 
I feel that in `kappi', the melody is better. Of course, it also depends on how one plays.
 
Baskar : Did you come to Chennai with the aim of taking music as your profession?

 
Yes. When I came to Madras, the same year I got an opportunity to play for Smt. Padma Narayanaswamy at the Music Academy. Later I started playing for KVN Sir, Bombay Sisters, etc.
 
Baskar :

Having got professional opportunities in abundance, why did you take up a job with All India Radio?


 
 I have always wanted to join Radio and Raghu Sir also cautioned me to take a job and pursue music only side by side. I got married in 1983 and then went to States for two years. In 1978 itself I had an `A' grade but still did not get a job in the Radio. I was appointed as their staff only in 1992.
 
Baskar : Is it possible to take up mrudangam as a full time profession and thrive out successfully?
 
It is possible but there is no certainty with regard to income.
 
Baskar : Because you job is also music related (you being a staff artist of AIR), you are able to always be into music. What about people having jobs unrelated to music?
 
It is more important to always think about music, so if one has involvement in the subject, he will automatically play well.
 
Baskar : Which is the ideal sruthi for giving out one's potential in the mrudangam?
 
2 to 2 1/2 sruthi.
 
Baskar :

Which upapakkavadhyam blends well with the mrudangam?
 
It depends more on who is playing than on what the instrument is.
 
Baskar : What do you think is the awareness level of the audience today?


:Some things may not be understood but you definitely can sense whether it is correct or wrong. So perfect presentation, sound effect etc. are definitely understood by the audience.
Baskar : Now that you have been in Chennai for so many years, how do you feel about the response to music in Kerala now?

They listen to music very well there. Even now in temple concerts, we play tani avartanam for at least 45 minutes. Concerts are also usually of four hours duration.
 
Baskar : About your world tours...

 
I went to America first in 1982 with K.S.Narayanaswamy (Veena). In 1983, KVN Sir took me to States again. I then took up a teaching assignment there for two years. After coming back, I was once again into the concert profession.
Baskar : Do you think a youngster can take up music as a full time profession?
 
Yes, provided he has good vidwat and knows the knack of mixing well with everybody.
Baskar : Does the tonal quality of the main instrument affect your play?
 
Yes, for instruments like Chitraveena or Veena, very sensitive play is essential but for Saxophone or Clarionet, we need to put greater effort while playing.
 
Baskar : What are your future plans?
 
I am teaching a few students and they are yet to blossom into concert artists.
 
Baskar : Any suggestions to the younger generation?
 
Yes, they should always respect elders as this will definitely help them in attaining success in life. Humility and modesty should essentially be cultivated by every youngster.