Jyotsna Srikanth is a South Indian Carnatic violinist. Her show is made up of a selection of compositions, ranging from classical to contemporary to folk. Together with a mridangam drummer, she leads us through a magnificent part-improvised performance that beautifully showcases the music and culture of her native Bangalore.
The violin is just one traditionally Western instrument to have been adopted and adapted by Indian music. Other notable examples include the saxophone and guitar. Srikanth explained to us how the carnatic violin is tuned differently to its Western counterparts, but perhaps the most striking difference is in how it is held and played. Srikanth told us that most of the Carnatic violin’s repertoire is made up of transposed vocal music. With the violin nestled under her chin, the scroll resting on her ankle, it did seem as though the full, rich sound was coming from her diaphragm and the violin was an extension of an inner state of mind. Similarly, Srikanth’s accompanying drummer held his mridangam drum cradled in his lap and both performers sat cross-legged on the stage floor.
‘These are often used in meditation sessions,’ our host mentioned, indicating the small machine which was providing the drone accompaniment for all of the ragas. The music certainly took on a very meditative tone as the two musicians worked their way through typical structures of an alap (a non-rhythmic improvised introduction, something like a prelude), followed by the main body of the composition and concluded with more improvised collaboration, winding and swelling through an unfailingly mesmerising programme of music.
Whilst many of the compositions draw heavily on traditional Carnatic folk music, Srikanth described a more contemporary piece as influenced by Western classical forms. As her playing twisted through phrases built around arpeggios, one could hear hints of Vivaldi and even Vaughan Williams ringing out in the tune. One reason Carnatic violinists hold their instruments differently because it makes it easier to achieve the glissando effect added to near enough every note. This reluctance to dwell too long on one note at a time adds a heady quality to the pieces and detracts our attention from a fixed melodic line that we often seek out and rely on in Western music.
A great deal of the ragas’ appeal is in their exoticism, but Srikanth took care to ensure we understood what we were hearing, through its composition, context and structure throughout. ‘No matter who the god, the worship is the same, the belief is the same,’ she said to introduce her final piece, explaining the composer’s inspiration for it. This statement encapsulates why this musician deserves every penny of the Arts Council funding she has been awarded. In this instance, regardless of the genre, the instrument is the same. It is clear from Jyotsna Srikanth’s calm, elegant stage presence and wisdom that she loves what she does. No matter what the culture, the passion is the same.
