http://www.hindu.com/ms/2007/12/01/stor ... 210600.htm
The writer is a Hindustani and Carnatic vocalist.
[quote]Let us visualise an open-minded Northerner at a Carnatic concert. Remember, he is used to the first few minutes of quiet music with sustained notes, meends or jharus, a low key harmonium, a non-intrusive tabla and the soothing sound of the tanpura! Now switch scenes to a Carnatic concert. The singer begins with a brisk varnam or appropriate kriti and a number of things happen - simultaneously. There is the singer keeping talam; there are lots of words, the mridangist and the violinist follow the singer, reproducing every sangati, creating a certain energy level - viruviruppu. Somewhere in all this the tanpura is lost! There is a gaiety, even festivity, which often characterises a Carnatic concert, rarely found in a Hindustani concert. It is only natural that the Northerner is bewildered.
A Southerner at a Hindustani concert has less to contend with, although this is not to say it is less complex. The build up, both in Khayal and Dhrupad music, is gradual and sophisticated. Doubtless, our Southerner will wonder when, or whether at all, the singer is going to move on beyond that mandra nishadha!
Of course, there is the sahitya aspect. A Carnatic concert lays great emphasis on kriti-s, which is actually a hurdle for the Northerner; but one should surely be able to appreciate a song in any language and our kriti-s are not just humdrum songs!
Granted, that any form of music, especially "art music,"
Carnatic and Hindustani concert formats
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srikant1987
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