Close this ad
Close this ad

Shruti Sadolikar Vocal

Shruti Sadolikar

Tabla Player
Mangesh Mulye
Harmonium Player
Kiran Lele
Sarangi Player
Anant Kunte

About this album

Born and brought up in the musical ambience of the Jaipur-Atrauli gharana, Shruti Sadolikar has been groomed by her father Wamanrao Sadolikar, a pupil of Ustad Alladiya khan and his son Ustad Bhurjhi Khan. Shruti has received further instruction from Shri Gullu Bhai Jasdanwala and Shri Azizuddin Khan, the grandson of Alladiya Khansaheb.

Beyond the gharana, Shruti is an arts graduate from the University of Bombay and a recipient of the Bhaskarbua Bakhle prize of the SNDT University and the Kesarbai Kerkar scholarship of the National Center for performing Arts.

These credentials along with a clear, supple and pleasant voice combined with an articulate mind make Shruti a formidable talent among the modern generation of her gharana. She has widened the scope of her inheritance by including in her
repertoire semi-classical forms such as the Thumri, Bhajan, Natya Sangeet and Ghazal - forms usually shunned by the high priests of the Jaipur tradition.

A much acclaimed and sought after performer, Shruti is set surely on the ladder of fame.

Raga Nayaki Kanhra
Khayal Madhyalaya in teentala, drut in ektala

A most beautiful raga of Kanhra group, the Nayaki connotes 'that of the heroine'. It is a tight sextatonic melody omitting the dhaivat), with certain stock phrases which bear repetition to save it from acquiring shades of other Kanhras, megh or even certain Sarangs.

Not every performer's cup of tea, Nayaki Kanhra is a raga that is a challenge even to masters. Shruti tackles it with her characteristic confidence, giving it an expansive treatment and finding hitherto unexplored niches in its otherwise limited confines.

Raga Maru Bihag
Khayals in madhyalaya and drut teentala

A romantic raga of the night, Maru Bihag is a plaintive variant of Bihag. It uses both the madhyams and all other notes are shuddh, or natural, but what distinguishes it from Bihag is the predominance of the teevra (sharp) madhyam and rishabh which
give it its special flavour.

Shruti has sung in it a well-known and popular khayal albeit in her own charming style.

Raga Mishra Gara
Thumri in Sitarkhani theka

In the realm of the explicitly romantic genres like the thumri and dadra, the melodic chastity of the raga gives way to a free flow of musical motifs drawn from diverse raga. Thus the term Mishra Gara implies that here the raga Gara is laced with
assorted shades of other melodies like Pilu, Kafi etc.

Shruti's rendering of the thumri is both colourful and lyrical.

Tracks

Welcome Guest!
Please Login/Register

Your Personal Radio (?)

Initializing...
00:00 /00:00