Shubha Mudgal's 'Living Traditions' showcases what happens when tradition meets the modern

When recording technology came to India in the early 1900s, names like Sashimukhi and Gauhar Jaan from Calcutta were the first to record. Much of those early recordings by the legendary maestros on the 78 RPM formats is lost to us. However, now, a Hindustani classical concert Living Traditions is trying to bring back the glory of yore for today's audiences.

Classical vocalist-composer Shubha Mudgal, who has curated this special concert, explains, "Living Traditions showcases Hindustani classical music traditions that are constantly adapting and dynamic. Tradition as a cultural heritage and process of transmitting musical forms and conventions is significant not just for students of classical music and artistes. It is also meaningful to audiences and listeners as co-creators of musical experience."

Three accomplished exponents of Hindustani music – vocalist Anuradha Kuber, sitar player Purbayan Chatterjee and sarangi nawaz Murad Ali along with their respective accompanying musicians will re-interpret compositions recorded by master musicians in the early 20th century on 78 RPM format. The earliest gramophone recordings of music were made in approximately 1902, following which scores of musicians and artistes recorded their music on 78 RPM format.

"These recordings provide invaluable reference material for students today, and the artistes interpret selected repertoire. Murad Ali will present a track recorded by the legendary Bundu Khan saheb (1880 to 1955), while Anuradha Kuber will interpret a composition in Raag Shyam Kalyan recorded by Azam Bai or Azambai Pisal of Kolhapur (1906-86)," informed Mudgal, "In doing so, the project hopes to create a beautiful montage of the past and present, highlighting the continuum that binds tradition with modernity."

She admits to challenges involved in curating a concert like this. "I'm not merely assembling or exhibiting objects of art, already in existence. In the case of a curated performance of Hindustani classical music, I had to select among many other details, a theme, repertoire, and artistes who will present the selected repertoire. But the repertoire only comes alive in the actual performance. So, in a sense, the willingness of the artistes to participate in such an exercise contributes majorly to the success/failure of the performance. Their willingness to prepare for the performance is key to its success."

Given that the featured artistes in Living Traditions are all highly accomplished performers, with rare levels of skill and brilliance that should hardly be a problem. That is when Mudgal explains, "Remember they are performing the repertoire recorded a century ago by master musicians. The challenge, perhaps, is to reinterpret the music in a manner that establishes a continuum without copying blindly, but also with the freedom that is inherent in this great system of music itself."

Several accounts of jalsas and nautches of yore show musicians stood and performed before patrons. Mudgal points out she was hesitant to bring this up with any of the artistes. "I was worried they might be offended if I suggested anything remotely like that even for a brief demonstration. However, in the past, Aneesh (Pradhan, Mudgal's percussionist-composer husband) and I had mentioned this to sarangi nawaz Murad Ali. When I requested him to perform for Living Traditions, he said he wanted to give a brief demonstration with tabla nawaz Akram Khan. Considering the instruments have to be strapped on to the musicians' waist, imagine how difficult it must be to perform like this!"

Fans of Mudgal's own singing will not however get to hear her. "Not only do I not sing at all, the performance doesn't even require my presence. As a curator, I need to step back and assess whether the idea works by itself. I'm already very close to the project as a curator. To perform in addition to curation would make it impossible for objective assessment."

In order to evoke the ethos of times gone by and recreate links with an earlier era, the artistes will perform in costumes specially re-created for the project by designer Rohit Bal from archival photographs of Hindustani musicians in performance from the early part of the 20th century. The images of musicians suggest that exponents of Hindustani classical music dressed in several styles and textiles that are different from the preferred apparel of musicians today. And yet, some styles from the past continue to remain in vogue. With Bal bringing his unique understanding of textiles, fashion, and design into this project, audiences will witness a reconstruction of the concert apparel of musicians from the past.

Artiste line-up

Anuradha Kuber: This disciple of veteran musician TD Janorikar of the Bhendi Bazar gharana. She is currently receiving guidance from harmonium artiste and musicologist Dr Arawind Thatte. Accompanied by Saumitra Kshirsagar (harmonium), Swapnil Bhise (tabla)

Purbayan Chatterjee: Trained by his father Parthapratim Chatterjee, his performances are deeply influenced by the style of sitar legend Nikhil Banerjee. Accompanied artist by Satyajeet Talwalkar (tabla)

Murad Ali: A leading sarangi exponent, he is a sixth generation sarangi player who trained under his grandfather Ustad Siddique Ahmad Khan and father Ustad Ghulam Sabir Khan. He will be accompanied Akram Khan (tabla)

(On September 21st at the Royal Opera House, Mumbai)