Taranath redefines classical music

Author: Zmira Zilkha

Upon hearing the term "classical music," the Western mind quickly jumps to Bach, Hadyn, Vivaldi and the great European composers of the late 18th century. This association is not the only definition, however, for in the case of Hindustani music, "classical" refers to the raga tradition of eliciting passion and color in the listener. This is precisely what internationally acclaimed performer and award-winning composer Rajeev Taranath, one of India's foremost experts of Hindustani, the Northern branch of Indian classical music, achieves in his mastery of the sarod.

The sarod, a smaller version of the sitar, is an ancestor of the Indian lute. According to Taranath, the instrument is "capable of rich tonality." Crafted from a single piece of carved wood, the fretless instrument carries a bridge that is seated on skin stretched across the body, and contains 23 strings categorized based on their tonal quality. Four of these are playing strings delicately plucked by the nails of the artist's left hand, while the remaining strings are strummed with the right hand using a plectrum made of coconut wood. The result is masterpiece that is both aural and aesthetic.

After having attained concert and radio success by the young age of 20, Taranath sought to move beyond his vocal accomplishments by pursuing the sarod under the revered maestro Ali Akbar Khan. The combination of his technical excellence, his capacity to invoke a large emotional spectrum and his musical imagination has distinguished Taranath as one of India's greatest artists and one of the world's foremost leaders in the sarod. Performing his enchanting melodies in India, Australia, Europe, Yemen and throughout the U.S., Taranath has composed scores for several internationally honored Indian films. Adding to his impressive list of distinctions, Taranath became the recipient of India's Sangeet Natak Academi Award in 1999, the government's highest recognition of excellence in the arts. He also held a Ford Foundation scholarship between the years 1989 and 1992, during which he researched the teaching tactics of classical musician Maihar-Allauddinn Gharana.

Taranath is currently directing the Indian music program at the California Institute of Arts, where he still dedicates part of his time to touring.

According to a review by Edward Rothstein from The New York Times, Taranath's music "began with introspective meditation and proceeded into an exuberant rhythmic celebration." This Thursday night at the Center for the Arts Concert Hall, Taranath will be filling Middlebury ears with his unique manipulation of the tonally exotic string instrument. Taranath will be accompanied by renowned tabla player Abhiman Kausha, and the duo is sure to produce a mellifluous fusion of sound encompassing the rich texture of Hindustani tradition and personal musical discovery.