Jyotsna Srikanth, a prominent British-Indian violinist, is dedicated to promoting Carnatic (South Indian classical) music in the West. Her album, “Carnatic Nomad,” is a testament to this mission, rooted in her extensive European tour over a decade ago. Over six months, Srikanth performed in 15 countries, captivating audiences with the intricate aesthetics and technical intricacies of the Carnatic tradition, all expressed through her innovative approach to the Western violin.
In “Carnatic Nomad,” Srikanth revisits select compositions from that influential journey, accompanied by two renowned South Indian percussionists: Manjunath B.C. on mridangam and Amrit N. on khanjira. Together, they explore a variety of ragas, many derived from the Melakarta system, a fundamental framework of 72 parent ragas from which many others are born. The compositions are thoughtfully arranged, adhering to the traditional principles of Carnatic music. Some pieces begin with an alapana (a non-rhythmic improvisation), while others are followed by kalpana-swaras (improvisations within a rhythmic structure).
The album begins with “Vatapi,” a composition in the Hamsadhwani raga by Muthuswami Dikshitar, one of the revered ‘Trinity of Carnatic Music’ composers from the 18th century. This Sanskrit kriti, dedicated to Ganapathi of Vathapi, is performed in the eight-beat adi tala, which is similar to the 4/4 time signature in Western music, and is followed by kalpana-swaras.
“Mamavasada Janani,” composed by the 18th-century musician Swathi Thirunal, is set in the Kaanada raga, known for its sweet, melodic quality. Srikanth’s masterful rendition begins with an alapana, leading into a composition that venerates Devi, the Mother goddess symbolizing Shakti (divine feminine energy). This piece is structured within the six-beat rupaka tala and concludes with kalpana-swaras.
“Manasa Sancharare,” a contemplative work by 17th-century composer Sadashiva Brahmendra, is performed in the Sama raga, noted for its calming and serene qualities. Srikanth’s elegant rendition of this piece also employs the adi tala.
Another piece by Tyagaraja, also one of the ‘Trinity of Carnatic Music,’ “Ninnuvina,” is presented in the Navarasa Kannada raga, which is derived from the 28th parent raga, Harikambhoji. This fast-paced, intricate composition, characterized by complex swara patterns, is performed in the rupaka tala and concludes with kalpana-swaras.
The album continues with “Nagumomu,” another Tyagaraja composition, this time in the Abheri raga, derived from the 22nd Melakarta raga, Kharaharapriya. Srikanth skillfully doubles the speed of the adi tala to create a 16-beat cycle, starting with a detailed alapana, followed by the main composition, and ending with kalpana-swaras and percussion solos. This impressive 21-minute track highlights the enduring appeal of Carnatic music.
“Jagadhodhaarana,” a soulful composition by 16th-century composer Purandara Dasa, regarded as the ‘Pitamaha’ (grandfather) of Carnatic music, is performed in the Kapi raga. This raga, often evoking emotions of sorrow or pathos, is set in the 16-beat adi tala.
The album concludes with “Tiruppugal,” a piece from the 15th-century collection of Tamil sacred songs by the poet-saint Arunagirinathar, dedicated to Lord Shiva’s son. It is set in the Shanmukhapriya raga, the 56th raga of the Melakarta system, and the seven-beat mishra chapu tala, bringing the album to an intricate and fitting close.
The album features Manjunath B.C. on mridangam and Amruth Nataraj (Amrit N.) on khanjira.
Manjunath B.C., a renowned South Indian mridangam virtuoso, trained under Karnataka Kalashree K. N. Krishnamurthy and Sangeetha Kalanidhi Sri T. K. Murthy. He has performed with distinguished artists across various genres and collaborated with notable musicians such as Rafael Reina and Riccardo Nova. Proficient in Indian classical, world music, modern jazz, contemporary dance, and Indi-fusion, Manjunath has performed in over 60 countries at venues like the Queen Elizabeth Hall and the Sydney Opera House.
Sri Amruth Nataraj (Amrit N.) is one of the few dedicated khanjira solo artists globally, recognized for his exceptional skill, technique, and versatility. His style combines speed, intricate patterns, and aesthetics, demonstrating a profound mastery of the instrument. A disciple of the late khanjira legend Sri G. Harishankar Ji, Amrit is committed to preserving and promoting Indian percussion worldwide. He is also the youngest recipient of the A-top grade from All India Radio, awarded by the Government of India.
