One of Today's Finest Exponents of the Sarod
DIVINE SOUND
This was an opportunity to listen using not only one's ears but also one's heart. It's been a long time since authentic Eastern music has been presented in this country in respectable concert halls. The central attraction of the Heart of the Earth festival was K. Sridhar, and it is to him I dedicate most of my words. If the climax of virtuosity on an instrument is to have one's heart and soul flow through it, our Indian guest reached this state. The sarod, which is a very difficult instrument to play, seemed to spring from his body, a direct corridor from his heart. This is the reason he affected the audience and myself the way he did. NADA BRAHMA - Sound of God may seem without sense until you have heard Sridhar. With expert technique he succeeded in producing elegant tonal variety from his Sarod. It seemed to be a whole orchestra rather than simply Sarod and Tabla. Anyone who has heard John MacLaughlin and Shakti can easily see where McLaughlin draws his inspiration. Sridhar produced a microcosm from a single note including the note and overtones. To put it succinctly if there was a heart to the festival, Sridhar was it. All performances which followed, although quite good, were anticlimatic. One could have left satisfied after only hearing Sridhar.
- Kol Haifa, Israel, 1985
This was an opportunity to listen using not only one's ears but also one's heart. It's been a long time since authentic Eastern music has been presented in this country in respectable concert halls. The central attraction of the Heart of the Earth festival was K. Sridhar, and it is to him I dedicate most of my words. If the climax of virtuosity on an instrument is to have one's heart and soul flow through it, our Indian guest reached this state. The sarod, which is a very difficult instrument to play, seemed to spring from his body, a direct corridor from his heart. This is the reason he affected the audience and myself the way he did. NADA BRAHMA - Sound of God may seem without sense until you have heard Sridhar. With expert technique he succeeded in producing elegant tonal variety from his Sarod. It seemed to be a whole orchestra rather than simply Sarod and Tabla. Anyone who has heard John MacLaughlin and Shakti can easily see where McLaughlin draws his inspiration. Sridhar produced a microcosm from a single note including the note and overtones. To put it succinctly if there was a heart to the festival, Sridhar was it. All performances which followed, although quite good, were anticlimatic. One could have left satisfied after only hearing Sridhar.
- Kol Haifa, Israel, 1985
Reviews & Interviews:
SAROD PLAYER SRIDHAR ENTHRALLS WITH PASSIONATE NOTES
An enthralling evening of Indian classical music featuring sarod player K. Sridhar was presented at the Skirball Cultural Center here Oct. 4. Sridhar, one of the finest exponents of the sarod today, played the classical stringed instrument with great passion and the deep expressive notes captivated the audience. In a conversation with India-West, Sridhar offered insights into his deep talent and interest in music, which is not widely known.
"I lived in the caves of the Himalyas for 15 years," he told India West. "I learnt how to spiritualize the raagas and also the tones for healing. I refused film music since my vision of music is mental understanding of the soul in individual concsciousness. I give radio programs on music as a healing therapy," adding that he has been doing yoga for 55 years.
"Indian music is based on the Hindu philosophy of the three periods of creation, resolution, and dissolution," he explained. "Only Indian music starts with the first note and ends on the same note. Most musicians also are not aware of this fact unless they have understood music in a yogic way."
The auditorium comprised nearly 90 percent non-Indians, which was no surprise to Sridhar. "Most of my audience is non-Indians," he told India West. "I have come here the second time on special demand. I did not do film music. I do not do entertainment. I play to give my audience an experience. The music has three parts. One is entertainment, another is therapy, and the third is mental transcend attainment. People do enjoy entertainment music, bot only because they see discern the technical part of it. Just as you leave your shoes outside a temple, for my concert, you have to leave your ego and intellect outside. In my music, the audience, the musicians and the musical instrument, all lose their identity and discrimination. So, it is an experience they enjoy."
For Sridhar, the concept of music is very simple: "I have an acronym for the word 'music,' M for mental, U for understanding, S for the spirit or soul, I for individual, and C for consciousness." Sridhar was accompanied by tabla virtuoso Anindo Chatterjee, and the two instrumentalists complemented each other perfectly, with the audience enjoying the rhythms of both the tabla and sarod.
- Bharti Kumar, India West, USA
Oct 12, 2007
An enthralling evening of Indian classical music featuring sarod player K. Sridhar was presented at the Skirball Cultural Center here Oct. 4. Sridhar, one of the finest exponents of the sarod today, played the classical stringed instrument with great passion and the deep expressive notes captivated the audience. In a conversation with India-West, Sridhar offered insights into his deep talent and interest in music, which is not widely known.
"I lived in the caves of the Himalyas for 15 years," he told India West. "I learnt how to spiritualize the raagas and also the tones for healing. I refused film music since my vision of music is mental understanding of the soul in individual concsciousness. I give radio programs on music as a healing therapy," adding that he has been doing yoga for 55 years.
"Indian music is based on the Hindu philosophy of the three periods of creation, resolution, and dissolution," he explained. "Only Indian music starts with the first note and ends on the same note. Most musicians also are not aware of this fact unless they have understood music in a yogic way."
The auditorium comprised nearly 90 percent non-Indians, which was no surprise to Sridhar. "Most of my audience is non-Indians," he told India West. "I have come here the second time on special demand. I did not do film music. I do not do entertainment. I play to give my audience an experience. The music has three parts. One is entertainment, another is therapy, and the third is mental transcend attainment. People do enjoy entertainment music, bot only because they see discern the technical part of it. Just as you leave your shoes outside a temple, for my concert, you have to leave your ego and intellect outside. In my music, the audience, the musicians and the musical instrument, all lose their identity and discrimination. So, it is an experience they enjoy."
For Sridhar, the concept of music is very simple: "I have an acronym for the word 'music,' M for mental, U for understanding, S for the spirit or soul, I for individual, and C for consciousness." Sridhar was accompanied by tabla virtuoso Anindo Chatterjee, and the two instrumentalists complemented each other perfectly, with the audience enjoying the rhythms of both the tabla and sarod.
- Bharti Kumar, India West, USA
Oct 12, 2007
CLASSICAL MUSIC HAS CHANGED
How and when did you venture into the field of Hindustani and Carnatic Music?
Music has been there for fourteen generations in my family. I started learning Carnatic music from my mother. At the age of five, I became the pupil of Ustad Zia Mohiuddin Dagar who was a specialist in the traditionally classical and devotional Dhrupad Dhamar style of the North.
A south Indian specializing in a north Indian instrument is rare, especially Sarod. What difficulties did you face when you decided to master the art of playing Sarod?
I had to practice for minimum five hours a day – in thought, word and deed. At that time there was a sort of racism associated with playing Sarod. But now things have changed. I didn't believe in playing in too many concerts. My main job is to transmit music.
How was it being a member of Pandit Ravi Shankar's orchestra at age 12? Did your experience with the grat sitar maestro enrich you as a musician?
I absorbed every moment of my experience with him. I learned about the feelings behind the music. I tried to absorb him as an artist and a teacher.
While performing in the international scene, name is more important than the performance itself. Comment.
In the West when you perform name is not so important. But the discipline of the audience that one sees in the West is missing in India. For the Westerners, music is more meditative. Most musicians I have heard try to play mechanically rather than with heart. I real musician has to find a balance between melody, technique, and feelings.
Do you believe that often the essence of classical music is lost behind the beats of modern instruments in Hindi films?
When there was no technology there were feelings. Now there are less of feelings and more of technique. But then one can't always stick to tradition. Tradition is like a river — pure at some places, polluted at others. Nothing is permanent, except change.
Yoga through music is the latest craze amongst page three people. Are you making any efforts to popularize it among the masses?
I choose to teach only to those people who are truly interested. I don't teach commercially. It is a tradition that has to be passed from generations to generations. In life one needs: aim, principle and discipline to learn anything. Understanding logically, through direct perception of sense and understanding based on a testimony by those whom you trust is important. First the body has to be stabliised, then the mind will be automatically stablisied
- Preetu Nair, Navhind Times, India
May 15, 2003
How and when did you venture into the field of Hindustani and Carnatic Music?
Music has been there for fourteen generations in my family. I started learning Carnatic music from my mother. At the age of five, I became the pupil of Ustad Zia Mohiuddin Dagar who was a specialist in the traditionally classical and devotional Dhrupad Dhamar style of the North.
A south Indian specializing in a north Indian instrument is rare, especially Sarod. What difficulties did you face when you decided to master the art of playing Sarod?
I had to practice for minimum five hours a day – in thought, word and deed. At that time there was a sort of racism associated with playing Sarod. But now things have changed. I didn't believe in playing in too many concerts. My main job is to transmit music.
How was it being a member of Pandit Ravi Shankar's orchestra at age 12? Did your experience with the grat sitar maestro enrich you as a musician?
I absorbed every moment of my experience with him. I learned about the feelings behind the music. I tried to absorb him as an artist and a teacher.
While performing in the international scene, name is more important than the performance itself. Comment.
In the West when you perform name is not so important. But the discipline of the audience that one sees in the West is missing in India. For the Westerners, music is more meditative. Most musicians I have heard try to play mechanically rather than with heart. I real musician has to find a balance between melody, technique, and feelings.
Do you believe that often the essence of classical music is lost behind the beats of modern instruments in Hindi films?
When there was no technology there were feelings. Now there are less of feelings and more of technique. But then one can't always stick to tradition. Tradition is like a river — pure at some places, polluted at others. Nothing is permanent, except change.
Yoga through music is the latest craze amongst page three people. Are you making any efforts to popularize it among the masses?
I choose to teach only to those people who are truly interested. I don't teach commercially. It is a tradition that has to be passed from generations to generations. In life one needs: aim, principle and discipline to learn anything. Understanding logically, through direct perception of sense and understanding based on a testimony by those whom you trust is important. First the body has to be stabliised, then the mind will be automatically stablisied
- Preetu Nair, Navhind Times, India
May 15, 2003
RAGA TIME
The combination of music, physical conditioning and spiritual connection is rare in the western world. But for musician K. Sridhar, the three are inseparable. Tapped for the orchestra of renowned Indian musician Ravi Shankar at the age of 12, Sridhar became a master of the sarod, a traditional instrument akin to the sitar. Now living in Chapel Hill, Sridhar still travels the globe playing and teaching. Currents caught up with him as he prepared for a concert in Santa Fe, NM.
The combination of music, physical conditioning and spiritual connection is rare in the western world. But for musician K. Sridhar, the three are inseparable. Tapped for the orchestra of renowned Indian musician Ravi Shankar at the age of 12, Sridhar became a master of the sarod, a traditional instrument akin to the sitar. Now living in Chapel Hill, Sridhar still travels the globe playing and teaching. Currents caught up with him as he prepared for a concert in Santa Fe, NM.
How long have you been playing music? I've been a musician since the age of 4. I am among the 14th generation in my family to play music. For that time, we have combined the practices of yoga and music together.
How did you choose to study the sarod? The sarod was given to my by Ravi Shankar. He knew there are a lot of people who played sitar, but when he began to teach out family, he gave a violin to my brother, the sarod to me and taught sitar to my mother. He didn't want us all playing the same instrument and felt as a family we should have some variety. We created our own orchestra as a result.
What were the most difficult parts of learning your craft? The biggest challenge was that we had to practice a minimum of 15 hours a day. It was very difficult, as we began rehearsal at 4 a.m. in the morning and took few breaks for food and drink. We also practiced yoga consistently so that we had few physical problems when practicing for that long, sitting in the same posture for great lengths of time.
So musical and physical disciplines were combined? We discovered how to incorporate Yogi postures, in an effort to still the mind, still the body and then play the instrument. I benefited a lot from that, because looking back, not every disciple was able to deal with these challenges and come out successfully. My yoga guru would teach me how to put feeling into a raga by using breathing techniques, and by teaching me corresponding colors that connected to the musical scale. We would memorize the picture and then play the intrument and the other disciples would have to determine which picture I was trying to interpret.
What inspired you to move the Unidted States? I was introduced to the West by Don Cherry, the famous jazz trumpeter (and stepfather of Neneh Cherry), who was a friend of our family. I then came acrosss Peter Gabriel's WOMAD foundation which organizes world music festivals throughout the world. Through them, I met more people, traveled a lot and taught music to jazz musicians and jam with them.
What made you choose Chapel Hill as your current home? My friends brought me there 12 years ago to play a concert and ever since then I've been performing all over America. It's a great home base for me and a beautiful and enchanting place. I have a lot of young students there who learn music with discipliine and we have a really nice, family style relationship. We try and incorporate yoga study into our lessons, again to keep the body flexible for long periods of practice.
- Zach Hanner, Wilmington Star-News, USA
May 10, 2007
How did you choose to study the sarod? The sarod was given to my by Ravi Shankar. He knew there are a lot of people who played sitar, but when he began to teach out family, he gave a violin to my brother, the sarod to me and taught sitar to my mother. He didn't want us all playing the same instrument and felt as a family we should have some variety. We created our own orchestra as a result.
What were the most difficult parts of learning your craft? The biggest challenge was that we had to practice a minimum of 15 hours a day. It was very difficult, as we began rehearsal at 4 a.m. in the morning and took few breaks for food and drink. We also practiced yoga consistently so that we had few physical problems when practicing for that long, sitting in the same posture for great lengths of time.
So musical and physical disciplines were combined? We discovered how to incorporate Yogi postures, in an effort to still the mind, still the body and then play the instrument. I benefited a lot from that, because looking back, not every disciple was able to deal with these challenges and come out successfully. My yoga guru would teach me how to put feeling into a raga by using breathing techniques, and by teaching me corresponding colors that connected to the musical scale. We would memorize the picture and then play the intrument and the other disciples would have to determine which picture I was trying to interpret.
What inspired you to move the Unidted States? I was introduced to the West by Don Cherry, the famous jazz trumpeter (and stepfather of Neneh Cherry), who was a friend of our family. I then came acrosss Peter Gabriel's WOMAD foundation which organizes world music festivals throughout the world. Through them, I met more people, traveled a lot and taught music to jazz musicians and jam with them.
What made you choose Chapel Hill as your current home? My friends brought me there 12 years ago to play a concert and ever since then I've been performing all over America. It's a great home base for me and a beautiful and enchanting place. I have a lot of young students there who learn music with discipliine and we have a really nice, family style relationship. We try and incorporate yoga study into our lessons, again to keep the body flexible for long periods of practice.
- Zach Hanner, Wilmington Star-News, USA
May 10, 2007