Sunada

Karaikudi Subramaniam and Trichy Sankaran - Sunada

released in 1992

Performers:

Karaikudi Subramaniam - vina
Trichy Sankaran - mrdangam and kanjira
Lalitha Sankaran - tamboura

Instruments:

Vina - The vina is the major solo stringed instrument of South India. The present day instrument dates from the early 17th century and contains 24 copper frets which are held with wax to a hollow wooden soundboard. A gourd resonator is placed at the top end to amplify the sound. There are four main playing strings which are stopped by the forefinger and middle finger of the left hand, and played by the corresponding fingers of the right hand. There are also three side strings which are sounded by the little finger of the right hand.

Mrdangam - The mrdangam is a double-headed barrel drum from South India. Its body is made of jackwood. The drum is placed horizontally over the lap and legs while in a cross-legged position, and each hand plays a corresponding side in different rhythmic patterns with the hand, wrist and fingertips. Like the North Indian tabla, it has a dark tuning spot in the center of the skin of each head which is made of iron filings and rice paste. Both heads are held tightly to the body by leather thongs, and are tuned by striking the rims with a stone or other heavy object.

Kanjira - The kanjira is a single-headed tambourine made of a wood frame and lizard skin, which is used widely throughout South India. Although basically a simple instrument, it is capable of many different textures and tonal subtleties in the hands of a master drummer.

Tamboura - A long-necked fretless drone instrument which provides an undercurrent of pitch for Indian music. The strings are often tuned to the tonic and fifith, and are plucked steadily with the fingers.

SUNADA

This is a recording of instrumental chamber music in the Karnatic, or South Indian art music tradition. One of the main differences separating the Karnatic system from its Northern counterpart, the Hindustani system, is the use of devotional songs whose texts (sahityam) are woven into the melodic (ragam) and rhythmic (talam) frameworks. While distinctly instrumental forms have evolved within Hindustani music, Karnatic music is firmly based on these songs. Even in an instrumental performance, the words are present, if only in a latent form. While most of the songs date from the 18th and 19th centuries, the musicians use several different types of improvisation to decorate both vocal and instrumental performances, thus ensuring that the music remains fresh.

Sunada is the second recording for Music of the World by Karaikudi S. Subramaniam and Trichy Sankaran. The first, Laya Vinyas, was a showcase for Sankaran's virtuosity within the style of his renowned guru, Sri Palani Subramania Pillai (1908-1962). This second volume of their collaboration emphasizes Subramaniam's role as a guardian of the vina style of his great uncle and guru, Sri Karaikudi Sambasiva Ayyar (1888-1958). In his choice of pieces and in their treatment, Subramaniam has remained respectful to his lineage, while using improvisatory passages to demonstrate his distinctive creativity. While an instrumental recording of Karnatic music often requires no reference to the text of the songs, in this case such references are necessary. Subramaniam's treatment of each song is based on a deep awareness of the text; his approach to all the songs is reverent, drawing attention more to their devotional beauty than to his considerable technical skill.

Sankaran, however, does not remain in the shadows on this recording. His accompaniment (which, by the way, is entirely improvised) is sensitive and flawless, and his two solos, on mrdangam and kanjira, enhance the whole performance with their skill and ingenuity. He uses the muscular sound of the mrdangam without ever intruding on the delicacy of the vina, demonstrating - for all who did not yet know - his thorough mastery of this majestic drum.

Sunada may be translated as "pleasing sound," and as anyone who has ever heard these two masters on record or in performance will attest, there is no sound from either of them that is not pleasing. But to limit the meaning of "pleasing" to the sensuous in this case would be to miss the point. The goal of all great Indian music is to allow for individual access to universal unity, and so there is a spiritual component as well. The study and appreciation of music is considered a pleasant form of yoga, the goal of which is nothing less than spiritual liberation. The intellect may also be engaged: this is challenging music to play and it requires an agile, responsive mind to grasp its structures and processes. One of the great achievements of this music is the interpenetration of the sensuous, the spiritual, and the intellectual. Thus Sunada is sound that pleases body, spirit and mind, allowing the listener to pass through any or all of these three channels. (David Nelson)

Tracklisting:

1. Sarasasamadana {5:16}

2. Varanarada {5:29}

3. Ramachandra Bhavayami {6:34}

4. Nidu Charanamule: Ragam {6:34}

5. Nidu Charanamule: Tanam & Kriti {30:05}

6. Tiruppugar: Iyal Isaiyum {3:50}

7. Mayatita Svarupini {7:11}

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