The origin of the violin has been traced by some to an ancient instrument called ‘Ravan Hatta’ in India, which is found even today in Rajasthan. Mythology credits this creation to the demon king Ravana. Scholars believe it existed in India from 400 BC. From here it traveled to Persia through the Arabs during the 6th -7th centuries AD where it emerged as the rababeh. The rababeh then went into Spain through the Arabs during the ‘invasion of Moors’ during the 10th-11th centuries AD and became the lira da braccio. From Spain it went to the whole of Europe, going through an evolving process from the viol to the viola to the present day violin, which emerged in its definitive form between 1520 and 1550 AD in northern Italy.
It was inducted into South Indian classical music in the early 19th Century when Baluswami Dikshitar (younger brother of Muthuswamy Dikshitar) learned the instrument from the army bandmaster at Fort St. George in Madras, and developed new playing techniques to suit Carnatic music. At first a secondary instrument, in the twentieth century it earned an international reputation as a South Indian solo instrument, and has more recently assumed a similar role in Hindustani music.
Although there are no real differences in construction between the Indian violin and its Western counterpart, the technique is quite different. In the Carnatic style, the violin is played sitting down and instead of holding it under the chin, the musician props it between the shoulder and the foot; this gives it stability. One hand is used to draw the bow of horsehair or synthetic material across the four metal strings. The changing angle of the bow determines which string is played. The other hand presses the strings down on the fingerboard, thus changing the note produced by the string. There is extensive use o shruti-s (microtones) and meend-s (glissandos or slides), produced by sliding the finger along a string.
DR. L. SUBRAMANIAM
Padmashri Dr. L. Subramaniam, India’s violin icon, has conquered every audience with the elegance and virtuosity of his style. After an initial training in vocal music and percussion, he switched to the violin and took the musical world by storm. At a very young age, he was honoured with the title ‘Violin Chakravarthy’ (emperor of the violin). He has the unique distinction of excelling in many genres of music, from Indian classical to Jazz fusion to Western Classical. He has established himself as a force that is strongly Indian, but universal in nature and approach. Full-blowing, tonal modulations, brevity in presenting sangati-s are among the virtues of his renditions. Besides solo performances he has also collaborated with several legendary musicians like Lord Yehudi Menuhin, and Jazz greats such as Stephane Grappelli, Herbie Hancock, Joe Sample and the Crusaders.
Dr. L. Subramaniam’s name is synonymous with the instrument, violin. This special album brings out the magical music of the legend, who is truly the ‘Last Word’ in violin.
‘The Last Word’ is an exclusive series of 6 CDs, which signify ‘6 unparalleled names in the field of Classical music.’ This series presents 6 stalwarts whose names are synonymous with the respective instruments they play or they are known as the ultimate names in their respective arena of vocal music. Each album showcases & salutes the magnitude of musical treasure of the grandest maestros of Indian classical music, by presenting them in all their splendour. Each of these musical greats has done more than just create sublime music. They have created history with every stroke on their instrument, with every chord in their voice. Every album in this series brings out some melodic marvels of the most popular and celebrated classical stalwarts from India’s musical treasure.
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