Fugue-Kriti bridges Carnatic and Western classical traditions. In Movement II (Anupallavi), the Carnatic flute opens a space of clarity. The fugue’s texture of counterpoint is then established by the violin, flute, and veena, tracing Carnatic melodic lines in the raga Vachaspathi. But the counterpoint's tranquility is broken by the strings, a forewarning of disquiet. This original composition in 3 movements is from the album Confluence: Raga and Counterpoint. The album's music brings the intrica
3:02
Fugue-Kriti bridges Carnatic and Western classical traditions. In Movement II (Anupallavi), the Carnatic flute opens a space of clarity. The fugue’s texture of counterpoint is then established by the violin, flute, and veena, tracing Carnatic melodic lines in the raga Vachaspathi. But the counterpoint's tranquility is broken by the strings, a forewarning of disquiet. This original composition in 3 movements is from the album Confluence: Raga and Counterpoint. The album's music brings the intrica
725 views7 months ago
FacebookIndianRaga
Fugue-Kriti, integrating two classical traditions, presents an emotional arc that moves from tranquility and hope in Movement I (Pallavi) to chaos and foreboding later in the piece. Movement I sets out the main subject in raga Hemavathi, establishing the contrapuntal exchange between Carnatic violin, flute, and veena that carries through the work. This original composition in 3 movements is from the album Confluence: Raga and Counterpoint. The album's music brings the intricacy of Carnatic ragas
2:19
Fugue-Kriti, integrating two classical traditions, presents an emotional arc that moves from tranquility and hope in Movement I (Pallavi) to chaos and foreboding later in the piece. Movement I sets out the main subject in raga Hemavathi, establishing the contrapuntal exchange between Carnatic violin, flute, and veena that carries through the work. This original composition in 3 movements is from the album Confluence: Raga and Counterpoint. The album's music brings the intricacy of Carnatic ragas
356 views7 months ago
FacebookIndianRaga
Fugue-Kriti integrates Carnatic and Western classical traditions. In the final movement (Charanam), the music moves from order toward turmoil. It opens with a driving ostinato pattern in the strings, establishing the foundation. The intricate texture of counterpoint takes form through the Carnatic melodic lines of the violin, veena, and flute in raga Hemavathi, then in raga Vachaspathi. But the dissonant strings grow increasingly chaotic, leading to a turbulent climax with a timpani crescendo. T
4:51
Fugue-Kriti integrates Carnatic and Western classical traditions. In the final movement (Charanam), the music moves from order toward turmoil. It opens with a driving ostinato pattern in the strings, establishing the foundation. The intricate texture of counterpoint takes form through the Carnatic melodic lines of the violin, veena, and flute in raga Hemavathi, then in raga Vachaspathi. But the dissonant strings grow increasingly chaotic, leading to a turbulent climax with a timpani crescendo. T
625 views7 months ago
FacebookIndianRaga
This stunning Kriti in Chankani Raga, written and composed by the revered Saint Tyagaraja (1767–1847), is beautifully performed here by Aruna Sairam, accompanied by Momin Khan, Patri Satish Kumar, Sudarshan Chana, Giridhar Udupa, and Gurdain Rayatt. This Kriti is often regarded as one of Tyagaraja’s most profound works, directly addressing the human mind as both a seeker and an obstacle on the spiritual path. It stands as a delicate yet powerful reminder to devote oneself to the divine — a refle
1:14
This stunning Kriti in Chankani Raga, written and composed by the revered Saint Tyagaraja (1767–1847), is beautifully performed here by Aruna Sairam, accompanied by Momin Khan, Patri Satish Kumar, Sudarshan Chana, Giridhar Udupa, and Gurdain Rayatt. This Kriti is often regarded as one of Tyagaraja’s most profound works, directly addressing the human mind as both a seeker and an obstacle on the spiritual path. It stands as a delicate yet powerful reminder to devote oneself to the divine — a refle
7K views6 months ago
FacebookDarbar - Indian Classical Music
Muthuswami Dikshithar’s first kriti — a multimodal masterpiece in raga Malavagaula
Muthuswami Dikshithar’s first kriti — a multimodal masterpiece in raga Malavagaula
Aug 30, 2024
medium.com
Ekaika Raga Savithri എകൈക രാഗം സാവിത്രി Ekaika raga kriti is one which is the sole kriti in that Raga. Similarly there are some film songs representing a rare Raga.Somrtime ago I discussed rare ragas like Narthaki which found the way into Film songs. | Renuka Arun
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Ekaika Raga Savithri എകൈക രാഗം സാവിത്രി Ekaika raga kriti is one which is the sole kriti in that Raga. Similarly there are some film songs representing a rare Raga.Somrtime ago I discussed rare ragas like Narthaki which found the way into Film songs. | Renuka Arun
17.3K views9 months ago
FacebookRenuka Arun
Nagumo: The Raga Rise (నగుమోము) | Carnatic Fusion | Rynello
3:34
Nagumo: The Raga Rise (నగుమోము) | Carnatic Fusion | Rynello
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YouTubeRynello
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" ശ്രീ കമലാംബികേ " (കീർത്തനം) /"Sree Kamalambike" (Keerthana )
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YouTubeSangeetha Varma
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SwaraSudha Carnatic music classes on Instagram: "A small rendition of a beautiful kriti in raga kaapi. .. . . . . Kapi (or Kāpi) is a popular and evocative raga in Carnatic music, known for its meandering, “vakra” (crooked) scale and its ability to induce deep moods of devotion, pathos, and sadness. While it is a janya raga of the 22nd Melakarta, Kharaharapriya, modern Kapi is highly versatile and frequently uses “anya swaras” (foreign notes) outside its parent scale, making it a bhashanga raga.
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Aditi Sudarshan on Instagram: "Just an impromptu video from this evening’s practice session! The kriti is Nagumomu in raga Abheri set to Adi talam - 2 kalai (cycle of 16 beats) . . . . #carnaticflute #fluteplayer #flautist #bambooflute #bambooflautist #nagumomu #speed"
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Samaja Vara Gamana | Tyagaraja Krithi
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Kamakshi | Begada | Shyama Sastri | Adi | Shruthi S Bhat
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NAVARATRI RAGAS DAY 1 | Ragam Arabhi | Sangeetha Swarangal
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