Recognising him as a child prodigy, the venerated Madras Music Academy bent its rule to fit him in! At just 21, Ramana Balachandhran is already being recognised as a reputable musician, who has revolutionised the way the Veena, a string instrument, is played. While Ramana has performed in 600 shows across the world, he will be travelling to Singapore for the first time this November.
The young maestro, one of the youngest to be awarded ‘A Grade’ directly by the All India Radio (AIR) — India’s only grading authority — after auditioning at the age of sixteen, will be attending Kalaa Utsavam 2024 in the Lion City.
Ramana, who will team up with Mridangam exponent Patri Satish Kumar for Strings of Gold — a 2-hour long programme to take place at Esplanade Recital Studio on November 24 as part of KU 2024 — spoke to Connected to India’s Sudipto Maity ahead of his Singapore visit.
Excerpts from the interview:
Q. Madras Music Academy, the iconic institution, broke its rule for you. Waived the age requirement to fit you in. Wow! Tell us about that experience.
I’ve always wanted to play at the Music Academy, especially since I began attending concerts during the December music festival in Chennai. I’ve learned so much from listening to so many artists in that environment, and the prospect of playing in that grand hall has always excited me. In 2018, they waived the audition requirement, allowing me to perform directly in the main hall. The stage there has a very special vibe and energy that I truly enjoy whenever I play.
Q. Going back a little, what’s your earliest memory of you performing? Do you remember when you fell in love with music, especially the Veena?
I performed my first concert at the age of 11 for a family friend’s ceremony, but I think my initial “falling in love” with music happened much earlier, around the age of three or four. I was fascinated by rhythm and would bang on vessels and boxes in the kitchen, which prompted my parents to notice my interest.
My musical journey began with the mridangam, which I started learning at four. Veena came into my life quite unexpectedly: my mother played the veena, and one day, I pointed out mistakes in her playing. Surprised, she asked me to try, and I could replicate the piece to a large extent. That moment inspired her to take me to her guru, who was in Bangalore at the time. I studied with Mrs. Nagalakshmi for three years, marking the start of my veena journey. However, music became something deeply personal around the age of 14 or 15. I remember playing the raga Sahana one day, and I was moved to tears, not by my own playing, but by the beauty and power of the raga itself. That experience was a turning point in my musical journey.
Q. When did you decide this was it for you? And tell us, why the Veena? There are other string instruments- Sitar, Sarod, Guitar, Mandolin, Banjo. But why did you pick the Veena and how is it more suited to your style?
I went through a phase where I questioned if music should be my full-time pursuit and, if so, whether my focus should be on veena, mridangam, or vocal music, as I also sing. Over time, I felt a natural calling towards the veena, realising that it offered me the most scope for originality and innovation. Although I was pretty good at playing the mridangam and singing, veena resonated with me the most. It is an instrument uniquely suited to capturing the nuances of Carnatic music, and its versatility allows for the exploration of other genres. I feel truly blessed to be on this journey with the veena.
I was definitely surprised and humbled by the opportunity. Our family was very happy, and it served as a strong reminder for me to keep working harder and delving deeper into my craft.
Q. Since you also took lessons in percussion and Mridangam, going forward, can we expect a switch? Also, while on that, how does your knowledge in percussion complement your Veena playing style?
There are many aspects of percussion that enhance my performances, influencing my musical perception and ideation. For instance, on stage, if a mridangist plays a particular groove, it can inspire me to explore a certain melodic direction that I might not have otherwise considered. These moments of co-creation are deeply fulfilling. My knowledge of mridangam also aids in managing laya and kanakku aspects more effectively. While it’s possible to excel in these aspects without learning mridangam, it does make certain things easier.
Q. You’ve performed in hundreds of solo Veena concerts. So, even though you’re young, you’re quite the experienced man! Tell me, for someone who has performed across the globe, where does Singapore stand as a country to perform in?
I have performed in over 600 concerts, and this is my first time visiting Singapore. I’ve heard a lot about the rich cultural landscape and the vibrant music scene there, and I am excited to share my music with the audience. I’m really looking forward to it.
Q. Correct me if I’m wrong, but you were de-schooled at age 10, and home taught. Your family also moved you from Bangalore to Tiruvannamalai (TN). What role did these decisions play in your success?
My father was critical of the formal education system in India, desiring instead a richer, more self-directed life for me. Being homeschooled allowed me ample time to explore, travel, meet people, and truly learn. This freedom helped me develop a deep engagement with my interests, including music, which eventually consumed much of my time and energy. Music entered my life after a few years of homeschooling, allowing me to dedicate intense periods to its pursuit. Our family’s interest in Ramana Maharshi also led us to move from Bangalore to Tiruvannamalai. The slower pace, the beauty of nature, the presence of the ashram, and the energy of the community have always resonated with me since childhood. This setting has imparted a sense of groundedness and a deeper perspective on life, reminding me that there is more to hold onto than worldly success, money, or fame. I am immensely grateful to my parents for instilling these values in me.
Q. For someone who’s revolutionising the way one plays Veena, tell us, i) what is the best compliment you’ve received ii) what’s the worst criticism you’ve heard about yourself?
One of the most cherished compliments I’ve received is when listeners tell me they had never felt like listening to the veena or, in some cases, even to Carnatic music, until hearing me play. These are humbling comments that mean a lot to me. I’ve also received criticism, primarily technical feedback, and I always try to dig deeper into these comments to see if they reveal areas for growth. Sometimes they do; other times they don’t, but it’s always a valuable exercise in introspection.
Q. You’re also quite the vocalist and your vocals have also been praised by music connoisseurs. Do you train everyday for all the disciplines?
I train my voice regularly, almost daily. Mridangam, on the other hand, is something I play only once or twice a month, though I deeply enjoy losing myself in it whenever I do play.
Q. Coming to Kalaa Utsavam, you’ll be performing on the 24th of November and on 25th, you’ll be explaining the technique behind your vocal and Veena playing. Tell us, what can attendees expect from you on both days?
In all of my concerts, I generally play a Ragam Tanam Pallavi (RTP), so the audience can definitely expect one. As for the masterclass, I’m still contemplating the topic, but I want it to be something practical and directly applicable for students to enhance their practice and performances.
