State of Today’s Indian Classical Music Concerts
A musician needs two types of people in the audience – those who really understand the depth of the music and those who may not understand its full depth, but offer financial support for the musician.
Commercial music concerts of Indian classical music have changed over the last two to three decades. On the good side, it is becoming more financially possible to be a classical musician, on the bad side, audiences with a deep understanding of music are decreasing.
There was a time, when the first five rows of commercial concerts were filled with people who understood music, the people in suits and rich kurtas were behind these rows. Only then did the artist get into the mood to play real music because there were people who understood it.
I remember one concert that happened in Ahmedabad 20-30 years ago. It was a concert of a well-known musician who was travelling abroad. A short time into the concert, the audience had stopped the concert. Five people were on stage. They asked the musician not to play paltas. If he was to play, he had to play real music or there was no need for the concert. This was the strength of the audience. There was no room for gimmicks. The audience understood Indian classical music and did not accept anything less than true playing.
Today, things have changed. Today, in many commercial concerts, the financial supporters, who often do not have a very deep understanding, are the ones who occupy the front rows, while those who understand music, the students and connoisseurs end up sitting in some corner. The demand for high-quality has decreased and the artist consequentially does not play that music as it is not required.
You can clearly see the changes in commercial concerts. Commercial concerts of a single artist used to begin at 8pm and end at least 3-4 hours later. Now they finish in a span of 45 – 90 minutes. The alaap alone used to last 1 – 2 hours. Now, we hear perhaps a 5 minute alaap and 2-3 raags in that time period. It’s not necessarily that the artist is not able to give these long concerts. In the younger generation there might not be many (as the concert demand has changed), but we still do have artists who can perform these real concerts. The audience though is not ready or trained to listen to and enjoy these concerts.
The training of an audience will not happen overnight. It requires regular exposure to high-quality musicians. Those who have an understanding should not be afraid to demand high-quality music, while those who are developing an understanding should not simply accept whatever the market is giving them to be the best.
The development of an audience takes time and commitment, but if it is not done, there will be a very small chance of hearing a real Indian classical music concert in the future.