Deepti Navaratna | Aarohanam

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World: Indian Classical World: Carnatic Moods: Type: Vocal
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by Deepti Navaratna

South Indian classical compositions and improvisations come alive in a deeply expressive Carnatic voice.
Genre: World: Indian Classical
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  Song Share Time Download
1. Chalamuseya
8:45 $0.99
2. Srimahaganapate
5:59 $0.99
3. Chutamurare
12:34 $1.99
4. Kamalaptakula
4:34 $0.99
5. Nee Samanamevaru
23:07 $2.99
6. Takadheem-Tadheem
5:50 $0.99
Downloads are available as MP3-320 files.


Album Notes

'Aarohanam' could be an excellent starter CD to discover Carnatic classical music, its typical improvisational formats and compositional types. As in a concert, the CD flows into expansive improvisations centered around compositions. The CD liner notes take the listener through the motives and prerogatives of a typical Carnatic performance.

DETAILED TRACK INFO (from CD liner notes):

1. ‘Chalamuseya’
Compositional Type: Varnam; Composer: Lalgudi G. Jayaraman
Raaga: Valaji, Taala: Adi

Set to a haunting Raaga, Valaji, this varnam portrays a female protagonist’s unquenched yearning for her lover. The first section introduces the thematic content in lyrics and ends with a short swara passage. The second section begins with a lyric refrain that is used as a launching pad for following swara passages and improvisation. Each original swara passage by the composer is followed by a ‘look-alike’ improvised passage by the artist - that is meant to mimic the core idea in the original. This is a novel ‘content-driven’ improvisation experiment, that demands a higher stringency – to use the composer’s original melodic motifs and expressive meanings to power imaginative responses.

2. ‘Srimahaganapate’
Compositional Type: Kriti; Composer: Maayooram Vishwanatha Shastri
Raaga: Naata, Taala: Adi

An invocatory composition in praise of Hindu god, Ganesha, with a captivating chittaiswara (pre-composed swara passage) sung after each stanza of the kriti.

3. ‘Chutamurare’
Compositional Type: Kriti; Composer: Tyagaraja
Raaga Arabhi, Taala: Rupaka

This piece begins with free-form melodic improvisation (alapanai) in Raaga Arabhi as a primer to the Kriti. In this composition, Tyagaraja meditates on Vishnu’s virtues, in arguably the daintiest composition in Arabhi ever. The piece ends with swara-improvisation (swarakalpana) between the vocalist and the violinist, in a call-and-response fashion.

4. ‘Kamalaptakula’
Compositional Type: Kriti; Composer: Tyagaraja
Raaga: Brindavani, Taala: Adi

Featuring a canny display of alliterative prose, this rare Tyagaraja masterpiece sings Lord Rama’s glory in true Tyagaraja style – a majestic melody and catchy phrasing in Raaga Brindavani.

5. ‘Nee Samanamevaru’
Compositional Type: Kriti; Composer: G. N. Balasubramaniam
Raaga: Shubhapantuvarali, Taala: Adi

Composed by one of the most celebrated musicians of Carnatic music, G. N. Balasubramaniam, ‘Nee Samanamevaru’ is a gripping invocation of the Devi. The piece begins with an alapanai followed by the kriti, where a crescendo line is extrapolated to accentuate its lyrical and melodic charge in a short Neraval. The piece ends with a ‘Tani’ or a Mridangam solo set to Aditaala.

6. ‘Takadheem-Tadheem’
Compositional type: Thillana; Composer: Lalgudi G. Jayaraman
Raaga: Desh Taala: Aditaala

A sprightly Desh melody meets the energy of solkattus (rhythmic syllables) in this thilana. The usage of rhythmic phrasing makes the composition more available for laya-driven interpretations.

Initiated into Carnatic Classical music by guru Smt. Shanta Subba Rao, Deepti continues to receive advanced musical instruction from Smt. Rohini Manjunath, Bangalore. An A-grade artiste of All India Radio since 2000, she topped the All India Radio’s National Music competition twice in the categories of Carnatic and light classical music. She was featured as an Youth Ambassador for the Arts at the prestigious National Youth Festival hosted by the Government of India in 1999 and 2001. Blessed with a deeply expressive voice, her vocal artistry packs classical wisdom, emotive appeal and virtuosity with distinctive grace. Some of her notable performances were featured at Asia Society (New York City), Harvard Arts Museum (Cambridge, MA), Museum of Fine Arts (Boston, MA), Yale School of music (New Haven, CT), Tsai Performance Center (Boston, MA), Sensational India Festival at Peabody Essex Museum (Salem, MA), Thyagaraja Festival (Salt Lake City), among others.

Krishnan Parameswaran had initial training under Shri B.H. Narayanan in Secunderabad, India and Smt. Mohana Iyer in Ottawa, Canada. His subsequent training has been in the Parur style with Smt. Meena Kothandaraman in Ottawa and Shri M.S. Anantharaman in Chennai, India. He has performed in concerts as both a soloist and accompaniment in both Canada and the United States. Originally from Ottawa, Canada, he is now living and working north of Boston. He holds a Ph.D. in Electrical Engineering from Stanford University.

Mali is a disciple of Sri P. Srinivasa Iyer, from the prestigious mridangam school of Padmashri Palghat T.S. Mani Iyer. Mali's forte is his seamless accompanying style that supports and embellishes the main artist's rendering of compositions and improvisations. He has also taken advanced lessons from Padmashri Palghat R. Raghu. Mali has accompanied several top-notch Carnatic musicians from India and abroad. He has also performed in several world music concerts, notably with Sri Sandip Burman and Shri R. Prasanna.



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