“…an innocent listener..”

I don’t know what exactly Madhan meant by that. But it does create a space for me to talk about ‘A Listener’.
Classical music concerts often attract far fewer listeners than, let’s say, a Ghazal concert or a Rock concert, or for that matter, even a show of film songs.
And it is interesting to study the profile of the listener who comprises the audience at a Hindustani Classical concert - senior citizens who come to experience some ‘well spent’ hours; students of music who come to listen, absorb and learn; 'rasikas’ who come to enjoy, if not criticise; performing artistes, to know where s/he ‘stands’, and the common listeners who do not fall into any of these categories, but wish to treat this occasion as an introduction to an enriching exposure to some fine music, probably what Madhan refers to as “an innocent listener”...
I, myself, am a student of Hindustani Classical music and a ‘rasika’. I normally like to seat myself in the first few rows, much like the time I was a student in college! Being a regular to most concerts in Bangalore, I recognise quite a few people present in the audience and am quick to see who I am seated in the midst of. This is only to reassure myself of a good concert experience, where those seated around me play a part too, albeit, to a smaller extent. I am a stickler for concert etiquette. Mobiles must be on ‘mute’, one mustn’t talk or discuss the concert while in progress, make as little movement and noise as possible, sit close to the aisle or exit if one does not intend staying through the entire concert and make an exit only when the artiste has completely rendered the Raga and before s/he begins her/his next.
In a live concert experience, the role played by the audience in creating the mood of the Raga being rendered, cannot be undermined. While, the voice and virtuosity of the main artiste and the capabilities of the accompanying artistes are of primary importance, the appreciation and involvement on the part of the audience supports the artiste in rendering a complete and superlative performance.
The senior citizens revel in the peace of the melody, recollecting the many concert experiences that they may have had in the past. Interaction with them during the short breaks proves to be quite enlightening! They are among the most seasoned ‘rasikas’, too. Students would marvel at specific melodic patterns that are rendered, hoping that they too could develop the style; most are convinced of the fact that a concert is the result of concentrated team work, where one player motivates another through her/his knowledge of music, resulting in a well balanced musical piece. The time during breaks are used to discuss the technicalities and compare with renditions of the same Raga by other artistes.
The ‘rasika’ is the one who is supposedly knowledgeable about this genre of music and often is a musicologist. Many are trained in music at some time in their life and use this acquired knowledge to get judgmental about the concert. To some a concert is never up to the mark! From them you learn what not to say regarding a concert! But these are also the people who give you interesting facts on ‘bandishes’ that are no longer as popular, tidbits about artistes and their learning experiences. These are among those who keep the scene vibrant.
I have always wondered about why one artiste rarely ever praises another; it is either because, as in all art forms, here, too, we have degrees of insecurity or because they have unattainable standards for concert performances, which may not apply to themselves! The famous ‘EGO’ is always at play. There are a number of anecdotes that are testimony to this. One that comes to mind is the one where an organiser had approached Pt. Ravi Shankar to perform at a concert. The Pandit, most humbly, agreed to perform. The organiser also wanted Ustad Vilayat Khan to play. When he approached the maestro, the Ustad said that he would want an amount of Rs. 5/- more than what the Pandit was being honored with. The organiser agreed. And the audience had an experience of a life time with two maestros weaving splendour with the magic of their fingers and their immense knowledge of music. After the concert, the organiser most humbly handed the Ustad an envelope containing the amount agreed upon. To his astonishment the Ustad found Rupees 5 ! Assuming a mistake on the part of the organiser, the Ustad questioned him, only to be informed that the Pandit had offered to do the concert declining payment!

The most interesting section of the audience is the “innocent listener”, who led me into writing this piece! Probably those who come for the sheer pleasure of enjoying music; break time for them becomes a time for exclamations! The mind is clear of influences and prejudices. The experience is pure and whole hearted and quite encouraging! While the artiste makes eye contact with the audience, it is these who probably catch the attention; the eyes show bewilderment, the soul like an empty slate waiting to be written on…are these kind of listeners the 'ideal', then? Or is it, in a way, less challenging for the artiste to impress upon such listeners?
But not having the “innocent listener” would create a lacuna in the constitution of the audience...