Search - N. Rajam & Sangeeta Shankar :: Violin Dynasty

She who flowes

Orpheus | on the road | 03/07/2008

(5 out of 5 stars)

"One can only be frustrated and bewildered by the fact there are such a limited number of albums by Smt. Dr.N. Rajam available in the West, considering she is beyond doubt the most influential violinist in North-Indian music.



Hailing from India's most prominent violin family, her father A. Narayana Iyer trained her and her brother T.N. Krishnan respectively in Hindustani and Carnatic traditional playing techniques, so they wouldn't get competitive. This seemingly practical measure has made the violin now an instrument of major importance in Hindustani music and N. Rajam the foremost emotive and imaginitive violin player in the world. Her playing style is characterized as Gayaki Ang - vocal style playing in the Benares Thumri Gharana (tradition).



Words can hardly do justice to the broad spectrum of musical expression immanent in the tone and phrasing of her playing. Her total command of the instrument displays a singular, yet at the same time multifarious voicing: from ethereal, lilting glissandi and quivering, whispering modes to broad symphonic sweeps of epic grandeur, her forrays into India's ancient source of Sound are without exception uncanny and compelling.



This album is a live recording of the Rag Bageshri, to be performed from around 12 a.m. to 2 a.m. Dr. N. Rajam is joined here by her daughter and disciple Sangeeta Shankar, empathically echoing each delicate phrase with acute sensibility to create a profound consonance - their respective voices intermingling, weaving a tapestry of diaphanous texture unearthing rich and warm overtones that will make your heart smile.



Listening to this fabulous recording is a rewarding, soothing experience. Everytime I listen to it, I'm lost...in a good way, often I try to focus on what is happening throughout, but find myself experiencing it, rather than analyzing it... I guess that is what really great musicians do, they let you forget about what you think to know and show you somthing else entirely.



Bageshri's rasa's are mostly described as heroism, devotion, peace with some romance. As the Alaap commences, my mind wanders to the ancient Ganges meandering through the hazy landscape: broad, profound, peaceful and in harmony. The first bandish leasurely unfolds by very refined and subtle interplay between mother and daughter. Slowly but surely one is lead to the essence of this majestic Rag. Bageshri has a quality which allways made me think of Gold, warmth, majesty, age-old truth...and this recording captures that quality completely. Travelling on this river of sound, each fetter and knot starts to unwhirl spontanuously as one's imagination takes flight to ascend into ever vaster worlds of spellbinding beauty and tranquility.







To see N. Rajam play a scintillating Rag Miyan ki Todi, check out YouTube.



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