‘Music offers solace’

HYDERABAD: With a melodious start, the strains of Vaishnava Jan To echo through the mastery of Katukuri Nand Kumar, the sitar virtuoso — a beacon in the realm of classical music. His dedication to preserving tradition while embracing innovation makes him an unparalleled inspiration. During an exclusive rendezvous at his residence, we uncover the harmonious odyssey that shaped his musical prowess.

From nurturing a fervour for the sitar to seamlessly weaving his talent into the tapestry of film scores, Kumar’s journey is a testament to his dedication and artistic finesse. Detailing his musical odyssey and steadfast commitment to the craft, Kumar recounts, “At the age of 8, my father, Katukuri Narsing Rao garu, initiated me into the world of sitar, igniting my musical journey. Under the tutelage of my father’s guru, Shankar Rao garu — an esteemed staff artist at All India Radio and a disciple of Ravi Shankar Rao — I honed my skills for two enriching years.

Subsequently, I enrolled in Music College, completing my diploma and undertaking a direct certification examination for the fourth year before seamlessly transitioning into the fifth year. Moreover, I delved deeper into the intricacies of music under the tutelage of Pandit Bimalendhu Mukherjee, a maestro whose advanced training further enriched my musical prowess. ” Reflecting on his professional journey, he recalls, “In 1994, during a fashion show where Shashi Pritam orchestrated a musical album, I showcased my prowess with the sitar and tabla.

Impressed by my skills, he began involving me in various movie projects, marking the inception of my professional career. Subsequently, I collaborated with Vandemataram Srinivas, contributing my artistry to the movie ‘Sri Ramulayya,’ a project that featured eminent musicians such as Harris Jayaraj, Naveen garu — a flutist known for collaborations with AR Rahman, and the late Srinivas garu. During those times, performances were predominantly live — an era vastly different from today’s reliance on feeding and track systems.

Back then, whether there was immediate work or not, our presence on sets was a given,” adding, “The musical landscape has shifted significantly since the ’90s. Back then, it exuded a tranquil, soothing essence in its tunes, contrasting the more westernised flavour prevalent today. The current musical milieu reflects the amplified interest of the youth in Western music, ushering in subtle yet noticeable changes.

Recently, I contributed to ‘Hi Nana,’ a film subtly touched by this Western influence. Additionally, collaborations with Thaman and MM Keeravani garu for a Hindi movie directed by Anupam Kher — a narrative deeply intertwined with music — underscore this evolving trend. ” Drawing from his experience in live performances and movie compositions, he explains, “In films, music composition revolves around scene-based considerations.

Instruments like the sitar, veena, and santoor are chosen thoughtfully to complement scenes, adding depth and resonance. While keyboards offer convenience, they can sometimes lack the authenticity and emotional resonance of live instrumentation. I’ve personally embraced the spontaneity of live performances for the past 15 years, where the music unfolds in the moment.

Recently, I had the opportunity to collaborate with Peri Thangaraju, further enriching my musical journey. ” Expanding beyond the sitar, he shares, “In addition to mastering the sitar, I’ve delved into the sarod, santoor, and flute. Understanding the fundamental rhythms of tabla was essential, as every musician benefits from grasping the intricacies of talam in music.

During my youth, I found fascination in practicing tabla, often tuning in to the radio for inspiration and guidance. ” Speaking about synchronisation among musicians during performances and the challenges it presents, he explains, “For seasoned musicians, achieving synchronisation becomes second nature. Syncing entails ensuring that every musician plays the exact tune simultaneously.

In recordings, a mismatched note might prompt a retake, but in live performances, there’s no room for error. If one note goes amiss, it can disrupt the entire performance. Experience becomes our guide, allowing us to anticipate and understand each other’s musical cues, a skill honed over time.

”Nand emphasises the timeless allure of classical music among the younger generation, expressing, “Today’s youth holds incredible talent, yet it requires dedication and time to nurture. Learning from seasoned mentors remains pivotal. ” Passing on the legacy of musical training to the next generation, he shares, “Both my son and daughter have immersed themselves in learning the sitar while balancing their academic pursuits.

My son, a talented individual, handles recordings at home, showcasing his own remarkable abilities. Given time and dedication, young learners can truly excel. I have students abroad, spanning across countries like America and Germany, learning this art remotely.

My aspiration is to impart knowledge to future generations, even extending free teaching sessions to the underprivileged, contributing something meaningful to society. ” Regarding his approach to teaching classical music, he affirms, “I welcome students from the age of 10, though an interest can spark as early as 8, harnessing the youthful vigour and rapid learning capacity. Young minds grasp swiftly and showcase remarkable talent.

Providing hope for future generations to find employment in music would be a commendable stride. Music offers solace, a mode of relaxation where worries dissipate, and happiness prevails. ” Referencing his sources of inspiration and personal favourites, Nanda shares, “Each music director offers unique lessons.

Keeravani garu, known for his captivating melodies, stands out for his mastery. Mani Sharma garu, renowned for his melodious tunes, presents a formidable yet rewarding challenge. Thaman garu, a prodigious drummer, has showcased exceptional talent, connecting profoundly with the younger audience and revolutionising music at a remarkably young age.

” Discussing his favourite singers, he expresses admiration, saying, “Lata Mangeshkar holds a timeless place in my heart as an all-time favourite. Bala Subhramanyan, Chitra, Shreya Ghosal, Sunita and Geetha Madhuri, all command my deepest respect and admiration as exceptional singers. ” Summing up the essence of music in his perspective, he reflects, “Music has this unique ability to transport you to another realm, allowing you to immerse yourself completely.

During our rigorous 8 to 10-hour practice sessions, there was no existence beyond the music — a testament to its captivating and consuming nature. ”.