Subhendra Rao, a composer and sitar performer, speaks exclusively to The Pioneer about being Ravi Shankar’s protégé, being recognised by reviewers as a worthy successor, and more
Subodhini Purohit
Have you ever wondered who orchestrates the symphony of strings that crosses cultures and borders? Meet Shubhendra Rao, a virtuoso whose sitar strings tell stories of melody. Rao’s musical journey began in Mysore, where he was mentored by the renowned Ravi Shankar. But his journey is more than just mastering notes; it’s one of love, dedication, and a drive to reimagine classical music’s resonance in a worldwide context. Ready to go on a sonic journey with this virtuoso?
Shubhendra Rao and his wife embarked on a musical journey, conjuring harmonies that go beyond mere notes and creating stories that speak to the spirit. In their joint symphony, creativity knows no limitations as they mix intellect, passion, and a shared vision, like Yathra and The Red Flower. He explains, “In recent years, my wife and I have collaborated on the majority of my works. We brainstorm ideas together, undertake extensive research, and constantly generate new thoughts. Even during practice sessions, ideas flow continuously. We strive to make music that is consistent with our selected topics. Every piece of music, in my opinion, must tell a story, whether it be one of loss, happiness, or joy. That is the beauty of music: it allows us to convey anything.”
On a melodious trip that crosses countries, he becomes immersed in a tapestry of varied musical partnerships. “For example, I recently had the privilege of playing with an orchestra band. The composition was not mine; it belonged to my guru. It was a nice experience. I have cooperated with Chinese musicians on one of my tunes. In addition, I got the opportunity to collaborate with Israel’s East-West Orchestra. These interactions, in which we both give and learn, are extremely memorable.”
Along with his wife, he became an ambassador for a musical revolution, passionately fighting for the incorporation of music into educational systems. For them, music isn’t just a cultural artifact; it’s a dynamic force that breathes life into learning. “I believe Indian classical music has always evolved, making it relevant to current day. It is not stagnant; rather, it adapts to the times while maintaining its traditions without being rigid. My wife and I are big advocates for incorporating music into the educational system.”
He goes on to argue that music is often disregarded in schooling, yet he believes it holds the secret to promoting harmony and peace in society. Every kid should have access to quality music education from a young age, as it not only promotes artistic expression but also improves learning in other disciplines such as math and science. In its early years, music was more than just an art form; it was also a comprehensive teaching instrument. He explains that as an artist, inspiration can come from anywhere, including nature and movies. Whether it’s a play, a movie, a picture, or nature’s beauty, each has enormous creative potential. Even simple things, such as the sound of birds tweeting, can provide inspiration.
Drawing connections between the alchemy of chemistry and the artistry of music, he enters the domain of fusion with a scientist’s curiosity and a musician’s passion. “As a chemistry student, fusion teaches us that when two elements join to form a third chemical, it takes on properties from both, resulting in something new. Similarly, in music, fusion strives to harmonise disparate traditions. This fusion, which can also be seen as collaboration or experimentation, necessitates a thorough understanding of each tradition involved. I am continually pushing the frontiers of fusion, hoping to produce novel and exciting musical experiences.”
In the grandeur of the Sydney Opera House, where the air crackles with expectancy and every note hangs suspended in the ether, his sitar strings on an unexpected journey of their own. In a twist of destiny evocative of a theatrical script, he reveals, “At the Sydney Opera House concert, I changed my sitar strings the day before to guarantee everything went properly. However, five to seven minutes into the concert, my primary string snapped, prompting a brief delay as I gathered my composure. Then, during the concert, I heard an unusual sound, and upon further inquiry, we discovered that the tabla player’s tabla had cracked. Fortunately, we had an extra tabla on hand. Despite these obstacles, the show carried on, but in the second half, the replacement primary string on the sitar broke again. It was an unusual experience, but the chance to sing at the Sydney Opera House is a genuinely wonderful memory.”
He and his wife founded the Shubhendra and Saskia Rao Foundation too, in the symphony of education, striking a chord far beyond the classroom walls. He says, “The credit goes to my wife, who created India’s first instructional music curriculum for young learners, offering an organised framework for them to study. In 2015, we established it with the notion that music is everyone’s birthright. We hoped to make music more accessible to everyone through outreach projects. We eventually developed a private company that served hundreds of thousands of children. The greatest joy comes when pupils say that music is their favourite subject. After all, we play music, and it should be enjoyable for pupils.”
Success is not found only in the spotlight, but also in the quiet hours of practice. With sage wisdom and maestro insight, Rao dispels the myth that the stage is the ultimate destination for young artists, saying, “In any profession, particularly music, success is founded on practice. When parents inquire about their children’s stage preparation, it is critical to clarify that performing on stage is a byproduct of constant practice and should not be the primary objective. The essence is to appreciate the music while refining one’s talents. The stage comes easily after devotion and hours of practice; it should not be the first goal when starting.”
Music crosses all boundaries, reverberating across continents and civilisations with universal resonance. He claims, “Music truly is a worldwide language, as I witnessed firsthand during a performance in Brazil last year. Many in the crowd were hearing this music for the first time, and due to language barriers—I do not speak Portuguese, and other attendees do not understand English—music became our main method of contact. After the concert, when people shared their emotions, whether via tears or through interpreters, it was a tremendously touching experience unlike any other I’d had.”
