City-based contemporary musician Vivek Venugopal, alias Visita, has released his instrumental album, String Quartets, Opp. 10, 12. The musical anthology is his ninth release and also the first of the two albums he recorded in Russia in October last year. In the artiste’s wordless compositions, the pieces integrate violin, viola, and cello, to deliver aural storytelling. He presents A Prayer for Mother Nature, Op. 10 and Conflicted Resolution, Op. 12. While the former addresses global warming and seeks to counteract human tendencies in disrespecting the environment, the latter documents conflicts, triumphs and the emotional ambivalence we encounter in our connection with others, whether family, friends or romantic partners. Vivek began to explore musicianship in high-school as a hobbyist. He has been pursuing music full-time for roughly eight to nine years before turning professional around 2014 or 2015. He talks to us more about his new release.
You have connected with Russian musicians for this release. Why Russia?
Russia is home to some wonderful classical musicians, and it has a great tradition of music. I am also influenced by Russian music, and some of my all-time favourite composers are Russian – Igor Stravinsky, and Dmitri Shostakovich. So, I’ve always wanted to go and work there.
Do tell us a little about how each instrument made the album feel complete.
The String Quartet, although rather one-dimensional in timbre (especially when compared to an orchestra or wind instruments), has a very balanced sound, and the instruments complement and blend with each other very well, across different registers. I made sure that each instrument played the lead role at different points. Because I had a very clear and specific vision of the sound I wanted, I also went to the extent of telling the musicians which order to sit in.
How is this album different from your previous projects? Have you brought any new inventions to the fore?
Each project I take up is a completely different sonic experience, the only common trait is that my manner of musical thinking and style would be written all over it, irrespective of the ensemble. As a composer, I am not shackled by one or more instruments, and I am free to choose any combination of instruments that I find intriguing, whether it is a common ensemble or not. This is simply one of the ensembles that I have wanted to explore, ever since I began my compositional journey.
It is also inevitable that someone should set lyrics to your pieces. Why did you choose to focus exclusively on the sound and not on the words?
Music is very abstract, yet deeply meaningful, evocative, and emotional. As the themes and inspirations behind my pieces tend to be quite specific and mostly existential in nature, I believe the most powerful medium to express myself is instrumental music, bundled with a narrative in the form of words or poetry; and visually rich, textured painting.
Streaming on all major platforms online.
E-mail: chokita@newindianexpress.com
Twitter: @PaulChokita