The concert titled ‘Nakshatra,’ held at the Bangalore International Centre, showcased the unique musical synergy of violinists Arun Ramamurthy and Trina Basu. The performance featured the duo seated on a softly illuminated stage, weaving a vibrant auditory tapestry that expanded in scope as their music unfolded. Arun and Trina’s styles and backgrounds created a dynamic interplay, characterized by a captivating “now-you-see-them-now-you-don’t” effect.
Traveling from Brooklyn, New York, to Bengaluru, Arun and Trina embarked on their inaugural Indian tour as a violin duo, also performing in Kolkata. Their concert featured selections from their debut album and other pieces, revealing fresh perspectives on traditional musical systems. They also highlighted the potential of music if Indian music education were to achieve the same institutional status as in the West.
The performance commenced with a piece honoring Lenapehoking, or Prospect Park in New York, the historical land of indigenous peoples. This composition, set to the popular raga Abheri, was inspired by the park’s role as a sanctuary during the pandemic. Trina noted how the park had offered solace amidst the sounds of nature and emergency sirens. This piece reflected broader ecological and ethical themes, which reappeared throughout the concert.
The duo’s next piece, ‘Tempest,’ evoked the clarity that follows a storm, combining ragas Gowri Manohari and Vachaspati. This composition demonstrated how music from diverse origins can create a cohesive sound. The piece ‘Migration,’ set in Mohanam raga, drew inspiration from their families’ migration from Bengaluru and Calcutta to the U.S.
Further exploring natural elements and unpredictable weather, the duo presented ragas like Hemavati, which resonated with the Fibonacci sequence, and a harmonic arrangement of ‘Sri Kamalambike’ in Sree raga. This adaptation of a Muthuswami Dikshitar composition highlighted the historical evolution of the violin, initially a Western instrument that Baluswami Dikshitar adapted for Carnatic music. Arun and Trina’s reimagining of this piece elevated its legacy. The concert also featured influences from American folk, Carnatic, jazz, and film music, showcasing the duo’s versatile approach.
Arun and Trina were introduced in 2007 by Mysore Manjunath, Arun’s Carnatic music teacher, following Trina’s year of training in India. They soon collaborated in the Carnatic ensemble Akshara. Their “shared musical chemistry” led to years of joint practice and the development of their duo performances around 2012. Their aim, Trina explained, is to create music “unapologetically from the heart” and push creative boundaries, while Arun hopes their music addresses real-world issues.
“Experimenting with various violin traditions—Indian raga and tala, Western chamber music, counterpoint, and folk—has given us a broad palette for composition,” Trina noted. Arun finds inspiration in allowing the subconscious to guide their music, striving to create pieces that are personally and universally meaningful.
Balancing their professional careers with family life, Arun and Trina use their home as a workspace for rehearsals and teaching. They navigate the challenges of partnership and parenting with focus, organization, and acceptance of their evolving pace. Despite these challenges, their music seamlessly blends different genres and styles, fostering a rich, unfiltered dialogue between them.
