Young Masters

Kala Ramnath

Tambura Player
Kadak Singh
Tabla Player
Akram Khan

About this album

Hailing from a family of musical geniuses, such as the great violinists Prof. T.N.Krishnan and Dr. N. Rajam, Kala displayed her own prodigious talent at a very early age. She started leaning the violin from her grandfather, Vidwan Narayan Iyer, when she was just three ears old. Her aunt Dr. Smt N. Rajam gave her training, as well, in the fine technique of violin. For the past eleven years, Kala has been studying with Pandit Jasraj of the Mewati Gharana, and this has given her violin playing an additional vocal dimension, which enhances her performance considerably.

Kala's technique is a synthesis of immaculate bowing and fingering coupled with a remarkable command over sur and laya. The emotional depth of her art has been critically acclaimed and has won many ardent admirers.

In 1984, Kala won the first prize in the prestigious AIR music competition. She has earned the titles of Surmani and Sur Ratna and has won numerous awards such as Gaan Hira Paritoshik and the Pandit Jasraj Award in 1999.

Miyan ki Todi
'Ab ghar aiyo sajan' Vilambit in Ektala
'Mane na mora jiyara' Madhyalaya in Teentala
Tarana in Drut Teentala

A melancholy Ragani sung late in the morning has an ambiguous placidity about it. Belonging to the Todi Thaat and sampurna Jati, it has all the seven notes in ascent as well as the descent. The teevra madhyam and the shuddh nishad, along with the komal dhaivat in the saptak (gamut) contrive towards making it obscure. However the suggested pancham brigs about tranquility to this cryptic disposition.

The raga Miyan Ki Todi can be attributed to Miyan Tansen the coiner of Myraid ragas. The vividity of the vadi (sonant) komal dhaivt and samvadi (consonant) komal gandhar subscribes to its abstruse (pensive) mood.

Raga Purvi
'Tum Chale jao chehla' Drut in Ektala
A sampurna raga with all the seven notes in the ascent and descent. This Raga originates from its parent Thaat Purvi. The shuddh gandhar and the shuddh nishad are the sonant (vadi) and (consonant) samvadi whereas the tivra madhyam adds to the intense in its mood, the komal rishab and komal dhaivat augment to this profundity. A mellifluous early evening raga the arcane enigma of which lies in the adept handling of the SaGaPaNi.

Raga Chayyanat
'Jhanana Jhanana Jhan' Madhyalaya in Teentala
An overwhelming night raga, the romance and playfulness of which can be attributed to the kalyan thaat, its source. Like some of the other kalyans, weaving of patterns with both the madhayams is conventional in the ragas delineation. Though the teevra madhayam is used only in the aroha, the shuddh madhayam forms part of both the aroha and avroha. The vadi pancham and the samvadi rishab contrive the fulcrum and the constant pairing of pancham and rishab augment the spirited atmosphere of the raga. A sampurna raga with an integral aroha and the avroha requires an adroit handling to deflect it from the reflections of ragas like the Kedar and hamir.


Welcome Guest!
Please Login/Register

Your Personal Radio (?)

00:00 /00:00