Watch Sruti speak about what she enjoys at a concert
How the chitravina is made:
How do you connect with Raga as a listener? Listen to Vishaal's thoughts:
About the 3 instruments from the artist's perspective:
Board 1: Conversations in music
In Carnatic concerts featuring multiple instruments, there is often a conversational quality.
Artists will challenge and get inspired by each other, sometimes trying to “one up” each other by starting an intricate swara pattern or groove that the other should catch and follow. This is often pure improvisation, a moment of creativity that leads from one moment to the next.
Watching these moments is pure joy - you will see the artists nod at each other, then start a pattern. The next artist will pick it up, build on the pattern, and then throw the phrase back and forth until they have petered themselves out.
It is a friendly challenge - each phrase more difficult and elaborate than the last, until - almost always - one of the artists will play something of such challenge that the other artist will falter and nod their head in glee that they have been outdone with such wit of play. As an audience member, we love to watch for these moments and appreciate each elaboration with a “kya bhat” or “shabash” to egg the artist on 🙂
Artists will challenge and get inspired by each other, sometimes trying to “one up” each other by starting an intricate swara pattern or groove that the other should catch and follow. This is often pure improvisation, a moment of creativity that leads from one moment to the next.
Watching these moments is pure joy - you will see the artists nod at each other, then start a pattern. The next artist will pick it up, build on the pattern, and then throw the phrase back and forth until they have petered themselves out.
It is a friendly challenge - each phrase more difficult and elaborate than the last, until - almost always - one of the artists will play something of such challenge that the other artist will falter and nod their head in glee that they have been outdone with such wit of play. As an audience member, we love to watch for these moments and appreciate each elaboration with a “kya bhat” or “shabash” to egg the artist on 🙂
Board 2: History of the Violin and its introduction into Carnatic music
The modern violin emerged in 16th-century Italy, evolving from medieval fiddles. The incorporation of the violin into Carnatic music, a classical music tradition of South India, is a fascinating story that involves cultural exchange, innovation, and adaptation. The violin is now an integral and cherished instrument in the Carnatic music ensemble, providing melodic accompaniment to vocalists and other lead instruments. Here's how the violin became an important part of Carnatic music: Introduction of the violin to India: Colonial influence of the British East India Company in the 18th century. British colonizers brought Western musical instruments to India, and the violin was one of these instruments. Used in Western orchestras and chamber ensembles, its sound began to capture the interest of local musicians. How composers experimented with the violin: During the late 18th and early 19th centuries, a few local musicians and composers in South India, such as Muthuswami Dikshitar, experimented with incorporating the violin into Carnatic music compositions. How violin integrated itself into Carnatic music: Significant adaptation was required to bring the violin into carnatic music. With it’s gamakas/microtones not found in Western styles, as well as the complexity of the raga/tala system (melody and rhythm), violinists needed to modify the instrument to accommodate these unique characteristics. They made adjustments to the fingerboard, strings, and playing technique to capture the nuances of Carnatic music. A violin used for carnatic music cannot be used for Western classical styles! Nadaswaram influencing melodies of the violin: The nadaswaram, a traditional South Indian wind instrument, was often used as a melodic accompaniment to vocals in Carnatic music. However, the violin's ability to sustain notes and its versatility in playing complex melodic patterns gradually led to its prominence as a preferred melodic accompaniment instrument. The integration of the violin into Carnatic music is a testament to the adaptability and flexibility of musical traditions when exposed to cross-cultural influences. It has enriched the Carnatic music landscape, adding a melodic richness and dimension that continues to captivate audiences around the world.
Board 3: History of the Chitravina
The Chitravina is a unique and intricate stringed instrument in the Carnatic music tradition of South India. Also known as the Gotuvadyam, it has a distinct sound and a history that is deeply intertwined with the evolution of Carnatic music. Here's a brief overview of the history of the Chitravina:
- Early Origins: The Chitravina has its roots in ancient India, with its design and construction resembling the ancient vina, an instrument depicted in historical sculptures and texts. The name "Chitravina" translates to "painting lute," possibly referring to the intricate decorative patterns often found on the instrument.
- Innovation by Narayana Swamy Appa: The Chitravina, as it is known today, was significantly developed and popularized by Narayana Swamy Appa (1852–1910), a talented musician and innovator from the town of Tanjore in Tamil Nadu. Appa was known for his deep knowledge of Carnatic music and his skills as a performer. He worked on refining the design of the Chitravina to improve its tonal quality, range, and playability.
- Structural Advancements: Narayana Swamy Appa made several structural advancements to the Chitravina. He introduced a metal fretboard, which enhanced the instrument's ability to produce microtonal variations inherent to Carnatic music. The Chitravina was designed with 20 strings in total, with four main playing strings and several sympathetic strings that resonate to enhance the overall sound.
- Technique and Playing Style: The Chitravina is played using a slide technique, where the musician uses a cylindrical glass or metal slide (called "kayi" or "gunijankhana") to glide over the frets. This technique allows for smooth glissandi and intricate ornamentation, making it well-suited for the complex melodies and ornamentations of Carnatic music.
- Replicating vocal nuances: The Chitravina is used both as a solo instrument and for accompanying vocalists and other lead instruments in Carnatic music concerts. Its unique timbre and ability to replicate vocal nuances make it a valuable addition to the Carnatic music ensemble.
Board 4: What is an alaap?
One of our favorite things to do at the start of a song when the artist is playing an alaap is to take in the moments of silence and vibration as it sits on our skin. The alaap, or improvised sounds around the personality and melody of the piece, is music that is created when the artist explores all the various moods the piece brings out. There are moments of silence into great crescendos, a long and luxurious ascending and descending of the scale, and vibrations that if you let it can bring goosebumps to your skin.
The artist traverses the scale leisurely, stretching time instead of being restricted by a metronome or pacing.
Close the eyes, take a breath, and hear the meditative quality of the alaap. The reverberations of a singular sound moving around in space, surprising yet anticipated at the same time.
The artist traverses the scale leisurely, stretching time instead of being restricted by a metronome or pacing.
Close the eyes, take a breath, and hear the meditative quality of the alaap. The reverberations of a singular sound moving around in space, surprising yet anticipated at the same time.
Board 5: How do the Chitravina and Violin span time?
Check out these websites for in-detailed information for this board:
1. https://www.timetoast.com/timelines/indian-music-timeline
2. https://www.indianclassicalmusic.com/history
3. https://rythmseven.wordpress.com/articles/chronology-of-indian-classical-music/
4. https://en.wikipedia.org/wiki/Music_of_India
1. https://www.timetoast.com/timelines/indian-music-timeline
2. https://www.indianclassicalmusic.com/history
3. https://rythmseven.wordpress.com/articles/chronology-of-indian-classical-music/
4. https://en.wikipedia.org/wiki/Music_of_India
Board 6: An evolution of instruments from India over time
1. Indus Valley Civilization (3300-1300 BCE):
3. Post Vedic Period:
Here are some instruments that gained prominence during this period:
Harmonium: Introduced by the British, the harmonium became an integral part of Indian music, especially in devotional and vocal music genres. It provided a portable and harmonically rich accompaniment to vocal performances.
Violin: The violin, introduced by colonial powers, was adapted to Indian classical music and became a key instrument in both North and South Indian classical traditions. Notable musicians like L. Subramaniam contributed to the violin's integration into Indian music.
Mandolin: The mandolin was introduced to India by the Italian musician U. Srinivas. He adapted its tuning and technique to Indian music, creating a unique fusion sound and contributing to the development of Carnatic fusion.
During the periods of Buddhist and Jain influences in India, which spanned several centuries, musical traditions continued to evolve, and various musical instruments were developed or adapted to suit the religious and cultural contexts of these traditions. While the exact timeline and origins of some instruments can be challenging to pinpoint, here are a few instruments that were associated with Buddhist and Jain influences in India:
5. Buddhist Influences:
The development and adaptation of musical instruments during Buddhist and Jain influences were part of the broader cultural exchange and evolution of musical traditions that took place in India during those times.
7. The Mughal era in India (16th to 18th centuries) was marked by cultural exchange, artistic patronage, and the blending of various musical traditions. This period witnessed the refinement and introduction of several musical instruments that left a lasting impact on Indian music. Here are some instruments that were developed or gained prominence during the Mughal era:
- Drums: Archaeological findings have uncovered terracotta models of drums that resemble modern-day hand drums. These drums, characterized by a circular frame with stretched animal skin, suggest the presence of percussion instruments in the ancient civilization.
- Harps: Artifacts such as terracotta figurines and seals depict images that resemble harps or similar stringed instruments. These depictions suggest that some form of stringed instruments might have been present during the Indus Valley Civilization.
- Flutes: Some seal impressions from the Indus Valley Civilization show figures holding objects that could be interpreted as flutes. While the exact nature of these objects is debated, they hint at the possible use of wind instruments.
- Whistle-like Objects: Archaeological discoveries have revealed small clay objects with multiple holes that resemble whistles. While it's not entirely clear if these were used as musical instruments, they do suggest some level of musical experimentation or expression.
- Bells and Beads: Small objects resembling bells and beads have been found, and while their musical purpose isn't definitively known, they might have been used for creating rhythmic sounds or ornamentation
- Venu (Flute): The Vedas mention the use of the venu, a type of flute, in religious ceremonies and rituals. The venu was used to accompany hymns and was considered an important instrument during the Vedic rituals.
- Mridangam (Drum): The term "Mridangam" appears in Vedic literature, referring to a type of drum. It's likely that the early form of the drum during the Vedic period was used for accompanying hymns and chants.
- Dundhubi (Drums): The term "Dundhubi" refers to large drums or kettle drums. These were used in Vedic rituals and were often mentioned in the context of invoking deities through sound.
- Sankha (Conch Shell): The conch shell was considered a sacred instrument, used to produce resonant sounds during rituals and to signal the beginning of ceremonies.
- Ghanta (Bell): Bells were used as ritual objects in Vedic ceremonies, and they were rung to mark the beginning of rituals and to invoke blessings.
- Ankle Bells (Ghungroo): Bells attached to the ankles were used as part of Vedic rituals and dances, creating rhythmic sounds.
- Harshavaram: Mentioned in the Rigveda, the "Harshavaram" is believed to be a stringed instrument used to accompany hymns.
3. Post Vedic Period:
- Sarod: The sarod, a fretless string instrument, underwent significant development after the Vedic period. It is closely associated with the Afghan rubab but was further refined and adapted in India, particularly by Ustad Ali Akbar Khan and his father Ustad Allauddin Khan.
- Sitar: While the sitar existed in some form during the Vedic period, it underwent substantial development and modification, especially during the Mughal and post-Mughal periods. The modern sitar is attributed to musicians like Amir Khusro and Ustad Vilayat Khan.
- Tabla: The tabla, a pair of hand drums, evolved from earlier percussion instruments and gained prominence as a key rhythmic instrument in Indian classical music after the Vedic period.
- Veena: The veena continued to evolve and diversify into different regional variations, such as the Saraswati Veena, Rudra Veena, and Vichitra Veena, each with its unique playing style and construction.
- Nadaswaram: The nadaswaram, a double-reed wind instrument, became more prominent in South Indian classical music and temple music traditions.
- Shehnai: The shehnai, a double-reed wind instrument, gained popularity during weddings and processions, particularly in North India.
- Harmonium: The harmonium, an organ-like instrument, was introduced to India during the colonial period and was later adapted to suit Indian musical styles.
- Ravanhatha: A bowed instrument with a long history, the ravanhatha is associated with Rajasthan and is considered an ancestor of the modern violin.
- Taus: The taus is a bowed instrument associated with Sikh devotional music. It was developed as a larger version of the rabab and has a distinctive appearance and sound.
- Dilruba and Esraj: These stringed instruments are variations of the bowed rabab and were developed in North India.
- Kanjira: A small frame drum with a single jingle, the kanjira is commonly used in South Indian classical and devotional music.
- Ghatam: The ghatam, a clay pot used as a percussion instrument, gained recognition as an essential part of Carnatic music ensembles.
Here are some instruments that gained prominence during this period:
Harmonium: Introduced by the British, the harmonium became an integral part of Indian music, especially in devotional and vocal music genres. It provided a portable and harmonically rich accompaniment to vocal performances.
Violin: The violin, introduced by colonial powers, was adapted to Indian classical music and became a key instrument in both North and South Indian classical traditions. Notable musicians like L. Subramaniam contributed to the violin's integration into Indian music.
Mandolin: The mandolin was introduced to India by the Italian musician U. Srinivas. He adapted its tuning and technique to Indian music, creating a unique fusion sound and contributing to the development of Carnatic fusion.
During the periods of Buddhist and Jain influences in India, which spanned several centuries, musical traditions continued to evolve, and various musical instruments were developed or adapted to suit the religious and cultural contexts of these traditions. While the exact timeline and origins of some instruments can be challenging to pinpoint, here are a few instruments that were associated with Buddhist and Jain influences in India:
5. Buddhist Influences:
- Damaru: The damaru is a small double-headed drum associated with Tibetan Buddhist traditions. It is often depicted in the hands of Buddhist deities and is used in ritualistic practices.
- Singing Bowl: Singing bowls, also known as Tibetan bowls, are used in Buddhist meditation and chanting. These bowls produce soothing sounds when struck or rubbed.
- Ravanhatha: The ravanhatha, a bowed string instrument, is believed to have Jain origins and is associated with the folk music of Rajasthan. It is considered an ancestor of the modern violin.
- Bhavana Vadya: The bhavana vadya or samay vadya is a category of instruments used in Jain music, often during religious and devotional performances. These instruments include various types of drums and percussion instruments.
- Dholak: The dholak, a double-headed hand drum, is used in various folk and devotional contexts, including Jain festivities.
The development and adaptation of musical instruments during Buddhist and Jain influences were part of the broader cultural exchange and evolution of musical traditions that took place in India during those times.
7. The Mughal era in India (16th to 18th centuries) was marked by cultural exchange, artistic patronage, and the blending of various musical traditions. This period witnessed the refinement and introduction of several musical instruments that left a lasting impact on Indian music. Here are some instruments that were developed or gained prominence during the Mughal era:
- Sarod: The sarod, a fretless stringed instrument, is believed to have been developed during the Mughal era by combining elements of the Afghan rubab and Indian sitar. The sarod evolved into a distinct instrument and became associated with the Mughal court.
- Sitar: While the sitar existed before the Mughal era, it saw significant development during this time. Musicians like Amir Khusro and Miyan Tansen contributed to refining the sitar's design and playing techniques.
- Tabla: The tabla, a pair of hand drums, gained prominence during the Mughal period. It was likely influenced by Persian and Central Asian drumming traditions and gradually became an essential rhythmic instrument in Indian classical music.
- Shehnai: The shehnai, a double-reed wind instrument, became popular during the Mughal era and was often played in royal courts and festive occasions.
- Rabab: The rabab, a bowed instrument with origins in Central Asia, gained recognition during the Mughal era. It was adapted and integrated into Indian music, later evolving into instruments like the dilruba and esraj.
- Surbahar: The surbahar, a larger relative of the sitar, was developed during the Mughal period. It features a deeper, resonant sound and is known for its association with dhrupad and slow-tempo performances.
- Esraj: The esraj, a stringed instrument with similarities to the rabab, was developed as a variation of the original instrument during the Mughal era.
- Harmonium: The harmonium, an organ-like instrument, was introduced to India during the colonial era but gained popularity and integration into Indian music during the Mughal period.
- Jaltarang: The jaltarang, a set of tuned water-filled bowls, gained prominence during the Mughal era and was often used in courtly performances.
About the artists
Akshay Anantapadmanabhan
Sruti Sarathy
Sruti Sarathy is a leading Carnatic musician known for her versatile violin playing, soulful singing, and captivating compositions. Her innovative approach blends Carnatic and Hindustani forms with spoken word, creating a contemporary sound that resonates with the South Asian diaspora. Sruti's groundbreaking experiments with the Carnatic violin have been supported by prestigious institutions, including a Fulbright Scholarship from the US Department of State. She has received grants and recognition for her work, including the "Best Violinist" award from the Madras Music Academy. Sruti collaborates with renowned artists and has performed globally, captivating audiences with her artistry. A Stanford graduate in French literature, Sruti's music reflects her diverse cultural experiences.
https://www.srutisarathy.com/bio
https://www.srutisarathy.com/bio
Vishaal Sapuraman
Vishaal Sapuram is a renowned Carnatic musician known for his mastery of the chitravina, an Indian slide lute. Disciple of the legendary Shri. N Ravikiran, Vishaal began his musical journey at an early age, captivating audiences with his mesmerizing performances. He has graced prestigious venues worldwide and collaborated with esteemed artists across traditions. As an A-Grade artiste for All India Radio, Vishaal's music has garnered critical acclaim and awards. A dedicated teacher and innovator, he has trained students, conducted workshops, and developed the SvaraScript system for notating Carnatic music. Vishaal holds Bachelor's degrees in Sanskrit and Economics, showcasing his multifaceted expertise.
https://www.navachitravina.com/profile
https://www.navachitravina.com/profile
Program Notes
Item 1: A dynamic start to the show
Ramachandra Bhavayami
Raga: Vasantha
Item 2: Nidhi chala sukhuma
Raga: Kalyani
Item 3: Alaaps and solos - a traditional RTP
Pallavi composed by Vishaal Sapuraman
Raga - Dwijavanti
Tala - Adi
Item 4: Thillana
Composed by Sruti Sarathy
Raga: Sindhubhairavi
Ramachandra Bhavayami
Raga: Vasantha
Item 2: Nidhi chala sukhuma
Raga: Kalyani
Item 3: Alaaps and solos - a traditional RTP
Pallavi composed by Vishaal Sapuraman
Raga - Dwijavanti
Tala - Adi
Item 4: Thillana
Composed by Sruti Sarathy
Raga: Sindhubhairavi