Prepare to be inspired! S. Hariharan proves that age truly is just a number. At an astonishing 92 years old, he stands as potentially India’s most senior actively performing flautist, and he’s about to grace us with his debut album this Diwali.
His album, aptly named Gems of Carnatic Music, is a captivating collection showcasing the works of revered composers like Muthuswami Dikshitar, Thyagaraja, Shyama Shastri, Swathi Thirunal, and Papanasam Sivan, all interpreted through Hariharan’s distinctive artistic lens.
A conversation with Hariharan is a journey through history, culture, and melody. Born in 1933, he has witnessed momentous eras, from the air raids of World War II and the fight for Indian Independence to the subsequent vibrant period of nation-building alongside fellow musicians, artists, and visionary thinkers.
Imagine the breadth of experience! Few can boast having met both Prime Minister Jawaharlal Nehru and Indira Gandhi, or having shared the stage with legendary dancers like Meenakshi Sheshadri, Padma Subramaniam, Vani Ganapati, and the Radha and Raja Reddy duo.
Hariharan fondly recalls, “I was blessed to witness titans like G.N. Balasubramaniam, Chowdiah, and Chembai Vaidyanatha Bhagavatar perform, often accompanied by mridangam maestro Palakkad Mani Iyer, long before microphones were commonplace. Their voices filled halls and temples with incredible acoustics, where even iron pots were strategically placed to enhance the reverberation of sound.”
A Journey from Humble Roots
This energetic artist hails from Ambalapuzha, where his early years were steeped in the devotional hymns from the nearby Sree Krishna Swamy Temple. By the tender age of 11, he had mastered the flute, and by 13, he was a regular performer at the evening darshan. His passion propelled him to undertake challenging bus journeys to Thiruvananthapuram, where he honed his skills under the tutelage of his elder sister, Ganabhooshanam Annapurni Ammal, a respected instructor at the Swati Tirunal College of Music.
Flautist S Hariharan | Photo Credit: Special Arrangement
Young Hariharan was captivated by the flute maestro T.R. Mahalingam, often following his performance schedule, sitting intently behind him on stage, providing the rhythmic foundation with the tanpura and taala. “More than 70% of my musical education came from this immersive experience,” Hariharan shares, “and that encompassed both gaining new knowledge and consciously letting go of habits I had developed over the years.”
Remarkably, in his late 30s, Hariharan undertook a significant shift in his playing, transitioning from the shorter flutes typical of South Indian Carnatic music to the longer instruments characteristic of the Hindustani style. This change was inspired by the late Devaprasad Bannerjee, a Hindustani flautist from Kolkata.
Reflecting on the challenge of unlearning, he simply states, “The answer to everything is practice.”
His son, Srinath, who sometimes accompanies him on the violin, explains the magnitude of this change: “It’s no easy task; you have to adapt to a wider finger spacing on the instrument. While many musicians would place corks between their fingers to train, my father simply persisted, practicing until he achieved perfection.”
Notably, Hariharan and Devaprasad pioneered one of the earliest flute jugalbandis, blending the Carnatic and Hindustani musical traditions.
Beyond the Notes: A Multifaceted Life in Music
Hariharan’s life story extends far beyond his flute and musical performances. A trained engineer, he also shared his knowledge at Kolkata’s Kalamandalam, instructing students in Carnatic music disciplines such as sitar, flute, violin, and vocals. After retiring, he further lectured on Carnindra music at Rabindra Bharati University. Throughout his four decades in Kolkata, his consistent performances earned him the affectionate title ‘Flute Hariharan,’ as he remained the city’s sole Carnatic flautist for many years.
His creative endeavors also included directing numerous dance dramas, bringing to life Kalidasa’s poems, Jayadeva’s Ashtapathi, Dasavatar of Lord Vishnu, and Ashtalakshmi, many of which were broadcast on Doordarshan during his illustrious career.
The Government of India honored Hariharan with two prestigious fellowships: one for his comparative study of flute fingering techniques across Carnatic and Hindustani music, and another for his insightful work on the 72 melakarta ragas.
An Unquenchable Passion for Life and Music
Hariharan’s flute is his constant companion, always by his side. Srinath attests, “For the last 40 years, there hasn’t been a single day I haven’t heard my father practice. Once, even the day after a surgical procedure, he played the flute from his hospital bed, and the nurses opened his door so the beautiful melodies could comfort other patients.”
In his 70s, Hariharan bravely conquered cancer, attributing his recovery to a powerful combination of positivity, healthy lifestyle choices, meditation, and journaling.
For the past three decades, Hariharan has remained incredibly active, culminating in his latest achievement: this debut album. Gems of Carnatic Music stands as a powerful testament to his remarkable zest for life and an enduring, unwavering passion for his art.
Even at 92, Hariharan maintains an ardent yoga practice, performing challenging asanas like Matsyasana, Kurmasana, Sarvangasana, and Nauli daily. He recounts, “I started practicing yoga when I was nine. I was a frail child and would emulate my elder brother, S.M. Iyer, as he did his yoga.” He adds that this practice significantly enhanced his breath control, crucial for his flute playing.
The ‘Gems’ Album: A Personal Collection
Some might consider launching a debut album at this age ambitious, but Hariharan explains his motivation: “Gems is a compilation of my most beloved compositions, shared with my family, friends, and well-wishers to savor without temporal limitations. The selection may be diverse, but I believe that if the artist finds deep satisfaction in their work, the audience will undoubtedly connect with it. While Bollywood music offers casual enjoyment, the melodies in Gems aim to deliver profound inner contentment.”
Flautist S Hariharan | Photo Credit: Special Arrangement
Srinath further elaborates, “Live concerts are often customized to audience preferences – be it traditional, devotional, or upbeat. However, this album compiles his personal favorites from a broad spectrum of genres, many of which are rarely performed together in a single concert setting.”
Srinath recounts that the recording sessions left everyone amazed. “Unlike the spontaneity of a live show, studio recording is relentless. Every nuance, from a sharp breath to a whispered comment, is captured. And once an error is on tape, it’s there forever.”
Yet, incredibly, Hariharan recorded all 14 tracks in just five continuous hours, without a single retake. He chuckled, “I only paused for a few sips of water and some fruit between songs. My yoga breathing techniques proved invaluable. Since I was already there, I figured I might as well finish my contributions to the album.”
Mridangam maestro Kulur Jayachandra Rao is among the other talented artists featured on the album.
Embracing Technology and Collaboration
In stark contrast to many of his generation, and even some younger artists, Hariharan enthusiastically embraces technology. Srinath describes his parents as “quite YouTube-savvy.” Hariharan and his wife Kamala, a Carnatic vocalist herself, actively explore the platform, seeking out talented young musicians to mentor.
As an example, the family recently uploaded their rendition of the Lalitha Sahasranamam to YouTube. This devotional hymn, an intricate composition of 183 verses, 75 ragas, and five talas, presents a formidable challenge as the raga shifts with every second verse. Hariharan and Kamala performed alongside Srinath and his wife Shobha, who is also a Carnatic vocalist.
Hariharan remains unfazed by concerns about AI potentially replacing human musicians. “I embrace any tool that aids in preserving or disseminating our music,” he states. “While a machine can flawlessly calculate tala cycles, Carnatic music fundamentally stems from the heart. As long as we nurture artists who infuse their very soul into every note, our rich tradition will flourish alongside technological advancements.”
He concludes, “Think of AI as the brain and music as the heart. Use technology to enhance your art, but never let it replace the human essence.”
The Gems album is set for release this Diwali, and following that, Hariharan plans to embark on an exciting new venture: an Indian Blues album. Srinath shares, “During a World Music Day event, we met an artist whose guitar work deeply fascinated my father. He noticed a striking similarity in the musical notes and felt compelled to explore this further. He’s now actively developing this unique Carnatic-Blues project.”
Acknowledging that the typical audience for Carnatic concerts tends to be over 50, Hariharan advocates for collaborations to broaden its appeal. He advises, “Never compromise on the fundamental structure, lyrics, or raga. Instead, innovate with the medium or genre. Preserve the core essence while presenting it in fresh ways that resonate with a wider audience. Experiment with Carnatic music on unconventional instruments, but always ensure its soul remains untouched.”
For the latest updates on the album release, followers can check Srinath Hariharan’s social media channels.