Dr. L. Subramaniam
Pandit V.G. Jog
Dr. T.N. Krishnan
The origin of the violin has been traced by some to an ancient instrument called Ravan Hathha in India which is found even today in Rajasthan. Mythology credits this creation to the demon king Ravana. Scholars believe it existed in India from 400 BC.
It was inducted into south Indian classical music in the early 19th century when Baluswami Dikhsitar (Younger brother of Muthuswamy Dikshitar) learned the instrument from the army bandmaster of fort St. George in Madras, and developed new playing techniques to suit Carnatic music. At first a secondary instrument in the twentieth century it earned an international reputation as a south Indian solo instrument and has more recently assumed a similar role in Hindustani Music.
Although there are no real differences in construction between the Indian violin and its western counterpart the techniques is quite different. In the Carnatic style the violin is played sitting down and instead of holding it under the chin the musician props it between the shoulder and the foot this gives it stability. One hand is used a draw the bow of horsehair or synthetic material across the four metal strings. The changing angle of the bow determines which string is played. The other hand presses the strings down on the fingerboard thus changing the note produced by that string. There is extensive use of shruttis (microtones) and meens (glissandos or slides) produces by sliding the finger along a string.
The violin has long been and still is the traditional accompaniment in all Carnatic music concerts. It has however gained immense popularity as a also instrument in the overall Indian music scene. It is increasingly being used in film music and orchestration that involve the coming together of western and Indian styles.
This album features the all time greats of violin Pandit V.G. Jog the finest Hindustani Maestro of the violin Dr. L. Subramaniam The paganini of South Indian classical music and Dr. T. N. Krishnan the Carnatic violin virtuoso.
Music in sublime Indian classical music is nirvana! For long Indian classical music has held a distinct identity of one rooted in cultural antiquity. That rich is its lineage and that glorious its heritage. This art form is more than just an expression of Indian’s cultural ethos it is art in all its beauty. From the grandeur of the maestros bearing ensembles characteristic of their time to instruments that not only produce the mot sublime of melodies but stand picturesque in their detailed structure and form this album is a saga of the very best of Indian classical instruments. We present to you instruments that have evolved and stood the test of time to represent India’s map of instrumental music. These are captured by none other than stalwarts who have mastered these instruments and presented them in all their glory.
|1||Raga Shankarabharanam (Alaap)||Dr. L. Subramaniam||12:07|
|2||Raga Shankarabharanam (Enthuku)||Dr. L. Subramaniam||19:44|
|3||Raga Mishra Khammaj (Vaishnava Janato)||Pandit V.G. Jog||06:22|
|4||Raga Pantuvarali (Sarasaksha)||Dr. T. N. Krishnan||17:38|
|1||Raga Shri (Entharo Mahanubhavulu)||Dr. L. Subramaniam||10:13|
|2||Raga Shyam Kalyan||Pandit V.G. Jog||29:12|
|3||Raga Kalyani (Nidhisala Sukhama)||Dr. T. N. Krishnan||22:31|
|4||Raga Kapi (Parulanna Mata)||Dr. T.N. Krishnan||05:43|