Ambi Subramaniam | Indian Violin

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World: Carnatic Classical: Traditional Moods: Instrumental
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Indian Violin

by Ambi Subramaniam

"The new king of Indian classical violin" presents the art of South Indian classical music on the violin.
Genre: World: Carnatic
Release Date: 

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  Song Share Time Download
clip
1. Sarasijanabha (Varnam) [Kambhoji]
16:23 $0.99
clip
2. Raga Gaula
6:29 $0.99
clip
3. Pranamamyaham
8:33 $0.99
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4. Raga Nagaswarali
7:29 $0.99
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5. Sripathe
11:19 $0.99
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6. Yenna Thavam
8:30 $0.99
Downloads are available as MP3-320 files.

ABOUT THIS ALBUM


Album Notes
"The new king of Indian classical violin" - The Times of India

Ambi started learning the Indian violin from his father Dr. L. Subramaniam at the age of three and started performing at the age of seven. He effortlessly traverses genres as he plays South Indian (carnatic) classical music, Western classical music and Global Fusion music (a genre of music that his father pioneered). Along with his father, he tours around the world often playing carnatic music. Ambi has two GiMAs (Global Indian Music Award for Best Fusion Album and Best Carnatic Instrumental Album), the Big Indian Music Award (for Best Carnatic Album) and was the three-time winner of the Philomena Thumbochetty Award for Best Western Classical Violinist.

Ambi plays a 1731 Carolus Ferdinandus Landolphus violin. The Italian luthier, known better as Carlo Ferdinando Landolfi (c.1714–1787) was one of the great masters who lived during the golden age of stringed instrument making.

Carnatic music is one of the oldest and most sophisticated forms of music in the world, with a wonderful melodic and rhythmic structure. The violin entered carnatic music tradition during the early part of the 19th century and today has become one of the most important instruments on the concert platform, owing to its closeness to the human voice.

Track 1
Sarasijanabha is a varnam in the raga Kambhoji, set to Kanda jati Atta tala - a fourteen beat cycle divided as 5+5+2+2. A varnam is a traditional carnatic compositional form, which is divided into two parts (purvanga and uttaranga). Ambi plays the first half in five speeds: 4, 6, 8, 12 and 16 notes per beat. He plays the second half in two speeds: 8 and 16 notes per beat. This varnam is often attributed to Swati Tirunal maharaja but it is probably a composition of Tanjavur Vadivelu.

Tracks 2, 3
Pranamamyaham is a kriti in praise of Lord Ganesha. A kriti is the most important compositional form in carnatic music. This kriti, composed by Mysore Vasudevacharya, is in raga Gaula, set to Adi tala of 8 beats. Before the kriti (Track 3), Ambi plays a free-style improvisation (raga alapana) in raga Gaula (Track 2). After the composition, he improvises with solfege notations (svara kalpana) and is joined by the percussion accompaniment.

Tracks 4, 5
Sripathe is a kriti in praise of Lord Rama in raga Nagasvarali, set to Adi tala of 8 beats. This is a composition of Saint Tyagaraja, one of the greatest music composers of India. Before the kriti (Track 5), Ambi plays a free-style improvisation (raga alapana) in raga Nagasvarali (Track 4). After the composition, he improvises with solfege notations (svara kalpana) and is joined by the percussion accompaniment.

Track 6
Yenna Thavam is a kriti in Tamil composed by Papanasam Sivam in raga Kapi, set to Adi tala of 8 beats.

Ambi is accompanied by DSR Murthy on the mridangam and Satya Sai on the morsing.

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