When raga met harmony to script a story of talent, legacy and love
Turning a corner/ Dr L Subramaniam releases a book on Indian classical music; Kavita Krishnamurthy celebrates 50th year in music
MUMBAI: In the pantheon of contemporary Indian music, Dr L Subramaniam and Kavita Krishnamurthy project a unique confluence of classical discipline and creative versatility. Their partnership – both personal and professional -- is a testament to the power of music to transcend boundaries, weaving together tradition and innovation.
Both turned a corner recently – Subramaniam with the release of his book, titled ‘Raga and Harmony’ which uses the western grammar of written music to explain Indian classical music, while Krishnamurty is marking her 50 years in music with a performance at the Shanmukhananda Hall next week.
Reading music
So, what was the genesis of ‘Raga and Harmony’?
During President R Venkataraman’s visit to Moscow in June 1983, a special concert was being conducted by maestro Zubin Mehta at the Bolshoi theatre in his honour. Mehta asked Subramaniam to write a special symphony. “That’s how Fantasy on Vedic Chants, a symphony, came about. It was later premiered in New York by the New York Philharmonic with a series of well-received concerts. And that is how the process to write Indian music which western musicians could play, began,” he says, underlining how the Indian classical genre has no written music. “Once you learn the grammar you can improvise within those boundaries so every performance sounds distinctive even if it is the same artiste performing. Western classical music is written for everyone to follow accurately. By writing Indian symphonies I am opening doors to our rich tradition to the world outside.”
Dr L Subramaniam’s career, which spans seven decades, is marked by an unparalleled mastery of the violin. Known globally as the ‘Paganini of Indian Classical Music’ and the ‘God of Indian Violin,’ he has carved a niche in both Carnatic and Western classical music. Yet, Subramaniam remains humble about his accolades, attributing much of his success to his father, Prof V Lakshminarayana.
“My father was one of the finest violin maestros, entirely self-taught,” Subramaniam says. “He revolutionised violin techniques, showcasing its potential as a solo instrument in Carnatic music. Despite the limitations of being an accompanist—where his artistry was often muted to spotlight vocalists—he dreamed of the Indian violin earning global recognition.”
Therefore, the violin, for Subramaniam, became an inheritance of resilience and aspiration. His journey began in the shadow of his father’s legacy and was shaped by the turbulent events of his childhood in Sri Lanka. Recalling the harrowing escape of his family during the 1958 anti-Tamil riots, he says, “Clutching my father’s violin, we fled through rubber estates to India by boat. Those atrocities left scars that defy comprehension. Despite such adversities, my father’s determination to elevate the violin inspired all of us.”
Fruits of labour sprung in the form of collaborations with musical legends such as Lord Yehudi Menuhin, Stephane Grappelli, Herbie Hancock and George Duke. The maestro still dreams of collaborations that never came to pass such as with violin virtuosos Jascha Heifetz and David Oistrakh. “Their artistry was unparalleled,” he muses.
The seeds of Subramaniam’s symphonic endeavours were sown when maestros like Jack Elliott and Zubin Mehta encouraged him to compose orchestral music. Today, his compositions—ranging from 10 symphonies to 15 concertos—are published by Schott, the house that also published the works of Beethoven and Bach.
Up for a song
Kavita Krishnamurthy’s journey into the world of music began in New Delhi, where she was born into a Tamil bureaucrat’s family in 1958. From an early age, she displayed a prodigious talent, training in Rabindra Sangeet at six and Hindustani classical music at eight. Her aunt, Protima Bhattacharya, was instrumental in nurturing her talent, introducing her to renowned teacher Balram Puri.
Her big break came when, as a teenager, she recorded a Hemant Kumar composition for the Bengali film ‘Shriman Prithviraj’ (1971) alongside Lata Mangeshkar. She subsequently relocated to Bombay to pursue her dreams, where she balanced college at St Xavier’s with performances alongside stalwarts like Hemant Kumar and Manna Dey.
While singing jingles for advertisements—a niche that provided financial stability—Kavita yearned for deeper musical growth. Her chance came when she met composer Laxmikant (of LP duo), who mentored her and gave her a foothold in playback singing.
“I sang chorus parts for LP, but my big break was singing ‘Aayega Aanewala’ for ‘Kadambari’ (1976),” she recalls. Her distinct voice and versatility quickly made her a sought-after playback singer. Hits like ‘Tumse Milkar’ (‘Pyaar Jhukta Nahin’, 1985) and ‘Hawa Hawai’ (‘Mr India’, 1987) cemented her place in Bollywood.
Over the next two decades, Kavita became a defining voice of Indian cinema, working with legendary composers like R D Burman, A R Rahman, and Ismail Darbar. Her collaboration with Darbar on ‘Hum Dil De Chuke Sanam’ remains her favourite.
Beyond films, she also ventured into non-film albums, collaborating with artists like Pt. Vishwamohan Bhatt and Shambhu Sen, showcasing her versatility across genres.
An enduring partnership
The paths of Dr Subramaniam and Kavita Krishnamurthy crossed serendipitously. While working on his Global Fusion album for Warner Brothers, Subramaniam was searching for a distinct voice, which he found in Kavita. Their first meeting at Shanmukhananda Hall marked the beginning of an enduring partnership.
Their musical synergy blossomed further when Subramaniam invited Kavita to sing for ‘Hey Ram’, soon after. “I was nervous about working with someone outside the Bollywood framework,” Kavita admits, “but his compositions felt so natural, even if deeply rooted in classicality.”
Their personal connection grew organically. When Kavita visited Bangalore for a project with him, she met Subramaniam’s children from his first marriage to Viji Subramaniam, who had passed away from a brain tumour. “I bonded with his children instantly,” she says. “When he proposed, I had no hesitation in saying yes.”
Their lives today are a blend of personal harmony and professional collaboration. “He is the raga, and I’m the harmony,” Kavita says, summing up their partnership. “Our deep attachment to music allows us to connect across genres, cultures, and eras. This bond extends naturally into our lives as a family.”