The late Utis Narksawat, who died in 1982, was a man of two worlds.
The 90th birth anniversary of Utis Narksawat is a grand music event involving a wide array of students and professional musicians at Kasetsart University’s Agricultural Culture Museum tomorrow, from 2pm.
He was a well-rounded musician, a composer and master who accumulated his knowledge in an old, traditional learning system.
In the non-music world, he was a successful economist who finished his graduate studies in agricultural cooperatives. He received a doctorate degree in agricultural economy from Cornell University in 1957 and came back to work at Kasetsart University.
Born in 1923 in Samut Songkhram's Amphawa district, the birthplace of so many great musicians, including the legendary maestro Luang Pradit Phairoh, Eua Sunthornsanan, the young Utis had his first music lessons with his father, Sangwan Narksawat. He was initially trained as a zither player. He later learned three-stringed fiddle with Phraya Bhumisevin (Jit Jittasewin) and in 1945 joined the Ban Bat conservatoire of Luang Pradit Phairoh (Sorn Silpabanleng) where he had a chance to learn _ and sharpen his skills in _ all kinds of musical instruments. Utis was one of the last students of Luang Pradit Phairoh. Undoubtedly, he was a successful case.
"He excelled at zither and the three-stringed fiddle," said Anant Narkkong, ethnomusicologist at Silpakorn University and leader of the Korphai ensemble.
He was a great composer, with more than 100 songs to his credit. Some of them he developed into tao (music with complete three-tempo pieces) songs, many were new works like Yunnan Ramluek, a lively Chinese-accented piece.
With his avant-garde approach, Ajarn Utis did not care much about tradition in making his music.
His proficiency made people think that he completed his formal education in music.
Master Utis Narksawat performing the zither.
He made ardent efforts to secure space and time for Thai classical music in the media. He hosted a series of music programmes on television and radio. His programme made this mode of music more accessible to the new generation.
"Ajarn Utis not only created Thai classical musicians, he also created a new audience," said Anant.
In his capacity as a founding member of the Musical Artists Welfare Association, Utis was a key force behind the launch of the wai khru and a prachan pi paat competition at Wat Phra Phiren in 1969. A "must" annual event for people in Thai traditional music society until today, the competition is a place where young talents can make their name.
Besides, Ajarn Utis was the one who gave life to the Thai classical music clubs in higher education. There were five institutes, Kasetsart, Chulalongkorn, Thammasat, Silpakorn and Mahidol, at the beginning. Now all universities have a Thai musical club. With the clubs spreading in universities across the country, there emerged an annual music gathering, which the clubs hosted in turn.
On top of that, with his progressiveness, Ajarn Utis made a huge contribution to music education with the development of modern teaching media, tape and video tape recording which was rare in that era.
"Its audio, as well as visual technique made learning much easier for students," said Anant.
A collection of record works by Thailand's top musical artists including Yod Polkerd and National Artist Uthai Kaewlaiad, are still kept in the master's studio on Sam Sen Road. Anant said the works, on original tape reels, are valuable items for a museum or a library.
He noted that Utis' relentless quest for new creations and incessant attempts to upgrade Thai music make him different from other Thai musicians.
"He made a bold move that challenged those musicians who clung on to old tradition," said Anant. Among the changes introduced by the master was sitting position of Thai musicians. At times, his ensemble members sat on chairs, not on the floor.
One of his noteworthy inventions is the 14 semitone ranad _ a break from the typical seven equidistant format ranad. The instrument is part of percussion quintet that he formed as a "Thai gamelan" at that time.
The music circle reluctantly received Ajarn Utis' invention.
"He must have made several trials before this instrument came out. The instrument was too advanced for people in that generation. It's unfortunate that the master did not live long enough to see how it can accommodate music of this era," Anat said.
Tomorrow, Anant's Korphai ensemble will join a music event held by Kasetsart University to commemorate the master's 90th birth anniversary at the university's Bang Khen campus.
The ensemble will perform and bring the 14-semitone ranad to the public eyes, for the first time since Utis' death in 1982.
Performing the special instrument is Tossapon Tassana, a percussion instructor at the Luang Pradit Phairoh music club, on Yunnan Ramluek, a vivid, Chinese-accented song composed by the master. Rearranging and re-interpreting the long-forgotten piece, which is set to be the concert's highlight, is renowned musician Chaibhak Bhatarachinda, also a Korphai member.
In Anant's opinion, the instrument and the song are a perfect match for the re-introduction.
"Yunnan Ramluek is vibrant and colourful. It will captivate the audience in such a special event," he said.
Ajarn Utis playing the three-string fiddle with the Kasetsart University ensemble.
Korphai ensemble rehearses for the grand performance. At far left is Tossaporn Tassana, playing the 14 semitone ranad instrument, invented by Ajarn Utis.
