At a young age, Kala Ramnath has already established herself as one of the most outstanding violinists of India. She comes from a distinguished musical family that has produced generations of well-known violinists. The credit for grooming most of them goes to Vidwan Narayana Iyer, who has uniquely trained his students in both the North and South Indian musical forms. From the thirteenth century onwards, India has developed two distinct musical systems. The Karnatic music of the South lays greater emphasis on fixed compositions. It has remained largely unchanged for hundreds of years and has maintained a close connection with music of the temples. The Hindustani music of North India places more stress on improvisation and virtuosity. It has been subject to external influences, most notably the Moghul Invaders.
In spite of its ability to reproduce every shade and nuance of vocal music, the violin has very few outstanding exponents in the North. On the contrary, Karnatic music boasts a long list of virtuoso violinists, who continue to enjoy sustained popularity in the South.
Kala Ramnath has based her solo career on the expansive style of North Indian music. More specifically, she plays in the Hindustani vocal style of Khyal, which out of all vocal genres allows its performers the greatest opportunity to display the depth and breadth of their musical knowledge and skill. Her performances demonstrate an impressive combination of technical excellence and a deep emotional quality imbibed from her distinguished guru, Pandit Jasraj.
In this live Saptak performance, Kala Ramnath presents a rarely heard midnight raag, created by her guru, Pandit Jasraj. Raag Nat Narayan is a combination of two older established raags Nat and Narayani, but contains shades of other popular raags like Bilawal and Jhinjoti. In a typical 'vocal' approach, she gently unfolds the raag within a slow rhythmic framework of twelve beats (ektaal). Her skilfully measured expansion of the raag is both lyrical and introspective; the pace of the rhythm gives us opportunity to fully appreciate the subtlest glides and graces that seamlessly connect her notes.
Vijay Ghate provides accompaniment on the tabla,with artistic empathy. Throughout the recital, his playing responds sensitively to the musical intention of the performer.
Kala Ramnath follows her initial slow exposition of the raag with two further compositions, the second of which is played in 'tintaal', a lively sixteen beat rhythmic cycle. A series of intricate rhythmic syncopations demonstrate the violinist's confident grip over technique, leading the performance to an exhilarating end.
529130 
Email a Friend
