Repetitive - Repetitive
I regret purchasing the whole album - as good as some of the tracks are, as a whole it is boringly repetitive.
Deep & Touching
By Eternal Phoenix
If this music doesn't touch you, get your heart checked - it is that good!
If you want to buy just one album of Shivkumar Sharma, then it must be this! No words to express how beautiful this music is. And Zakir Hussain is a miracle on tabla.
About Indian Classical Music...
Indian classical music is principally based on melody and rhythm, not on harmony, counterpoint, chords, modulation and the other basics of Western classical music.
The system of Indian music known as Raga Sangeet can be traced back nearly two thousand years to its origin in the Vedic hymns of the Hindu temples, the fundamental source of all Indian music. Thus, as in Western music, the roots of Indian classical music are religious. To us, music can be a spiritual discipline on the path to self-realisation, for we follow the traditional teaching that sound is God - Nada Brahma: By this process individual consciousness can be elevated to a realm of awareness where the revelation of the true meaning of the universe - its eternal and unchanging essence - can be joyfully experienced. Our ragas are the vehicles by which this essence can be perceived.
The ancient Vedic scriptures teach that there are two types of sound. One is a vibration of ether, the upper or purer air near the celestral realm. This sound is called Anahata Nad or unstruck sound. Sought after by great enlightened yogis, it can only be heard by them. The sound of the universe is the vibration thought by some to be like the music of the spheres that the Greek Pythagoras described in the 6th century B.C. The other sound Ahata Nad or struck sound, is the vibration of air in the lower atmosphere closer to the earth. It is any sound that we hear in nature or man-made sounds, musical and non-musical.
The tradition of Indian classical music is an oral one. It is taught directly by the guru to the disciple, rather than by the notation method used in the West. The very heart of Indian music is the raga: the melodic form upon which the musician improvises. This framework is established by tradition and inspired by the creative spirits of master musicians.
Ragas are extremely difficult to explain in a few words. Though Indian music is modal in character, ragas should not be mistaken as modes that one hears in the music of the Middle and Far Eastern countries, nor be understood to be a scale, melody per se, a composition, or a key. A raga is a scientific, precise, subtle and aesthetic melodic form with its own peculiar ascending and descending movement consisting of either a full seven note octave, or a series of six or five notes (or a combination of any of these) in a rising or falling structure called the Arohana and Avarohana. It is the subtle difference in the order of notes, an omission of a dissonant note, an emphasis on a particular note, the slide from one note to another, and the use of microtones together with other subtleties, that demarcate one raga from the other.
There is a saying in Sanskrit - "Ranjayathi iti Ragah" - which means, "that which colours the mind is a raga." For a raga to truly colour the mind of the listener, its effect must be created not only through the notes and the embellishments, but also by the presentation of the speific emotion or mood characteristic of each raga. Thus through rich melodies in our music, every human emotion, every subtle feeling in man and nature can be musically expressed and experienced.
The performing arts in India - music, dance,drama, and poetry - are based on the concept of Nava Rasa , or the "nine sentiments." Literally, rasa means "juice" or "extract" but here in this context, we take it to mean "emotion" or "sentiment." The acknowledged order of these sentiments is as follows: Shringara (romantic and erotic): Hasya (humorous): Karuna (pathetic): Raudra (anger): Veera (heroic): Bhayanaka (fearful): Vibhatsa (disgustful): Adbhuta (amazement): Shanta (peaceful).
Each raga is principally dominated by one of these nine rasas, although the performer can also bring out other emotions in a less prominent way. The more closely the notes of a raga conform to the expression of one single idea or emotion, the more overwhelming the effect of the raga.
In addition to being associated with a particular mood, each raga is also closely connected to a particular time of day or a season of the year. The cycle of day and night, as well as the cycle of the seasons, is analogous to the cycle of life itself. Each part of the day - such as the time before dawn, noon, late afternoon, early evening, late night - is associated with a definite sentiment. The explanation of the time associated with each raga may be found in the nature of the notes that comprise it, or in historical anecdotes concerning the raga.
(Read more on ravishankar.org on the worldwide web)
Very intriguing piece of classical music
Raga Rasik Priya is really an exquisite raga -- I haven't heard anything similar to this on instruments. It is very emotional and lingers in your mind for ever. It also speaks volumes of the brilliance of this legendary maestro, Shivkumar Sharma. A must-have for anyone who likes santoor.
Original inlay notes
By Original Inlay Notes
Santoor and Pandit Shivkumar Sharma are synonymous - an equation accepted by music lovers all over the world. But when one ponders over it, he truly comes across many revelations. It is not only the melodic contents of Santoor that you hear when those magic hands move swiftly caressing the strings but you feel the whole personality vibrating around you. The essence of a particular Raag with its emotional appeal is so earnestly and sincerely portrayed that it turns into an experience to be cherished for a long time.
Truly, the personality and Raag manifestation vividly bring about the sense of oneness. As the element of rhythm is slowly introduced, it turns into vibrant experience trying to relate your existence with the balance in nature around you. Simple patterns to begin with, though ultimately tend to become intricate, do not miss their original charm and continue to please you as long as one does not try to analyse the mathematics behind it. This is because the proper selection of melodic patterns and its intelligent blending with the rhythmic intricacies is so effectively done that one gets totally engrossed and attains the spiritual state of mind till this joyous journey arrives at SAM (first beat of a particular tala/rhythmic cycle).
The journey towards the climax is so well conducted with occasional flourishes of verve and vigor punctuated by delicate touches and pauses that it transforms into a fulfilled, satisfied experience resulting into thunderous applause denoting oneness between the artist and listeners.
Pandit Shivkumar Sharma about the Raag:
Rasik Priya is a lesser known Raag of Carnatic Music. It has got a very unusual scale. The second and sixth notes are totally ommitted. Both the third and both the seventh notes are used one after the other. There is no such Raag are even similar Raag in North Indian Music. But this is a very beautiful Raag. Certain Carnatic Raags have become quite popular in North Indian Music like Hamsadhwani, Kirwani, Charukeshi etc. but I do not think Raag Rasik Priya has ever been played by a North Indian Musician.
I believe in one theory that each Instrument has got its own dominant personality that means a particular Raag or combination of notes sounds better on a particular Instrument. And I feel the Raag Rasik Priya sounds very beautiful on the Santoor. I personally like this Raag and have tried to give it a particular colour or treatment, which might sound some what different to a Carnatic music listener. But that is my interpretation of this Raag which I have maintained throughout the performance.
The beauty and speciality of Indian Classical Music is its unplanned improvisation. And that aspect of our music comes out at its best in a live concert recording. Because the instant reaction of the audiance is very inspiring for the musician.
This concert starts with Solo improvisation called Alap, Jor, and Jhala which is played to create the mood of the Raag and is a very essential part of our music. This is followed by three compositions in slow, medium, and fast tempo. All the three compositions are in 16 beat cycle called Teen Taal. As usual Zakir Hussain has provided a very inspiring accompaniment on the Tabla with total understanding of the sentiments of my music, which is his forte.
Rasik Priya - Love of Lovers
“Rasika” means someone that appreciates and adores various forms of arts, poetry, beauty etc. “Priya” is a thing that is dear to someone. “Rasika Priya” means something that is dear to all those who appreciate. What a beautiful concept and a name for a raga! And to top that here is an album presenting this raga by the legendary Indian classical musician Pandit Shivkumar Sharma who is known for his works with the instrument ‘The Santoor”. Santoor is a romantic instrument and Panditji’s music has the power to bring out some amazing moods and feelings through medium its hundred strings.
Like many other ragas that are originally Indian Carnatic style, this raga also has crossed over to the North Indian style and Panditji has presented it in his own style that is very unique, gentle, serene and romantic. The first 30 minutes bring out the nature of the raga in the form of Aalap, Jod and Jhala that creates the stage for what is to follow. This is a trip that can take your imagination on a superb journey.
Ustad Zakir Hussain, who is none other, than a pleasant dream that occurred to the Indian rhythm and percussion instrument the “Tabla”, graces this album with his most appropriate, supportive and yet outstanding accompaniment.
Panditji chooses the slower version (“Vilambit”) of the 16 beat rhythmic cycle “Teentaal” followed by the faster (“Drut”) “Teentaal”.
Finally, My hats-off to “Chhanda Dhara” label for the wonderful work they have done in bringing this and many such albums to millions of Indian classical music fans. Enjoy the album!