![]() Yet thanks to his passion and ability Kadri Gopalnath has managed to insert a typically western instrument to the flow of south Indian classical music, bringing out its resources and nuances in all altogether different light. It’s a choice that runs decidedly counter to the musical culture Gopalnath grew up in where his adherence to strict canons albeit with their own internal evolution, has permitted the preservation of a thousand years old tradition. ![]() Kadri Gopalnath is a somewhat atypical figure on the Indian classical music scene on account of his choice of instrument the also sax, an instrument he began playing as a child and that he has bent to the needs of the needs of the raga in a series of brilliant left-field interpretations. Bhagyada Lakshmi – Madhyamavathi – Adi – Purundaradasar Kripayapalaya – Charukesi – Misrachapu – Swathi Thirunalħ. Marugelara – Jayanthasri – adi – ThyagarajaĤ. Sabhapathi – Abhogi - Roopakam-Papanasam Sivanģ. ![]() ![]() Gnana Vinayaka – Gambheera Natai – Adi – Papanasam SivanĢ. Raghuvamsasudha - Kathanakudhukalam – Adhi – Pattinam Subramanya IyerĬhinnanchiru Kiliye - Raga Malika – Rupakam – Bharathiyar" Samaganapriye – Anandhabhairavi- Adhi – G.N.Balasubramanyam Vedhanai Evaridam – Parvathi- Kandachappu –Ambujam Krishnan "Vadhapiganapathim- Hamsadhwani – Adhi –Dikshidhar
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