#darbarfestival #VR360 #indianclassicalmusic | Shashank’s guru T.R. Mahalingam insisted that he should avoid listening to other top flute masters of the day in order to develop his own style
► Welcome to the Darbar VR360 Festival. We’ve released over 50 immersive VR videos showcasing some of India’s finest artists performing in breathtaking natural landscapes, spanning Hindustani, Carnatic, Dhrupad, and percussion.
For the best experience use a VR headset with headphones. Experience being the sole ‘audience member’ right next to the musicians for your own private raga performance, enjoying the music amidst India’s natural world. For more info, including the full program, see www.darbar.org/video360
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Born to a biochemist father in the extraordinarily musical village of Rudrapatna, in Karnataka, Shashank Subramanyam started learning early in life - some say he could recognise all 72 Melakarta scales by the age of two-and-a-half. His first musical immersions came with singing and violin, but he fell in love with the venu bamboo flute as soon as he picked it up, focusing on it from that point onwards.
He has incorporated overblowing textures and novel hand positions, and immersed himself into the grammar of Hindustani music too, frequently collaborating with artists from the North, including a jugalbandi with sitarist Pandit Kushal Das for Darbar. Over the past decade he has worked with artists including Paco de Lucia, Terry Riley, and Remember Shakti, and is today recognised as among the finest bamboo flute exponents to have ever lived.
Learn more at:
-www.darbar.org...
"It’s about ‘kalpanaswaram’ - how aesthetically you can combine these mathematical structures with music." (Shashank Subramanyam)
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Saramati is a curious Carnatic raga. It is notable for its ascent-heavy structure - SR₂G₂M₁PD₁N₂S in the arohanam (7 swaras), and SN₂D₁M₁G₂S in the avarohanam (only 5 swaras). This makes it somewhat akin to ‘Natabhairavi on the way up, and Hindolam on the way down’, which in Hindustani terms approximates to Asavari and Malkauns respectively (...almost like a ‘flipped round’ Kaunsi Kanada).
Thyagaraja’s ‘Mokshamu Galada’ kriti is considered to be among the most important compositions set to Saramati, and some consider the great vocalist Maharajapuram V. Santhanam (‘MVS’) to have been its greatest modern master. Its notes form the Western Natural Minor scale, ubiquitous across countless familiar genres of today.
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Recorded by Darbar in 2019, on location in West India:
-Shashank Subramanyam (flute)
-Parupalli Phalgun (mridangam)
Technical team credit:
-Jagdeep Shah (DOP)
-Sandeep Virdee (location sound)
-Nirmal Singh (360 editor)
-Christoph Bracher (ambisonic sound dubbing)
-Narvir Singh (assistant editor)
-Special thanks to Sherna Chatterjee & Mortimer Chatterjee
Darbar believes in the power of Indian classical arts to stir, thrill and inspire. Through shared experiences and digital connectivity we ensure that one of the world’s finest art forms reaches the widest possible audience. Founded in 2006, we deliver premium quality live events, music education, broadcasts and online engagement through promoting artistic innovation and creative technology. We are also committed to providing a platform for new talent from India and the UK.
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