lestial
music on sitar cel
estial music on sitar
Turya Classical group is an attempt to fusion two cultures, Eastern Classical Music with Western Classical Music.Designed to be a string instrument assemble, Turya offers an authentical classical music presented in its purest form.
Beliciu Victor Marius an exquisite exponent of the rare Senia Gharana style, is one of the most outstanding performers of the present times. His graceful style and the intricate technique enriched with secrets and subtleties of ancient knowledge designate him as an authentic ambassador of the great masters of the past. The unique tonality his sitar reverberates and the special sound doubled by a pleasing stage presence and a personal charisma always had a magic effect on the listeners. The utter briliance of his mathematical abilities , the purity of the sound production , and the exuberant joy seem to get lost in the effect of his charming expressiveness. Trained initially in Budapest, Hungary under professor Andras Kozma , he has the great fortune to learn from the World Renowned sitar maestro, Pandit Debu Chaudhuri, the great legend of the Senia Tradition , which has been name after Mian Tansen the doyen of the Indian Classical Music.
The discernable melodic form underlying all Indian Classical Music is called raga, a combination of notes which is a rather abstract and complex concept depicting specific moods.The aesthetic potentiality, necessary for a raga is realised by giving prominence to a particular note in preference to others. This preference throws that note in direct contrast with the tonic harmony of the dhrone and thereby boldly upholds the particular consonant or disonant character of that note, thus imparting a distinct aesthetic stamp or ethos to the raga.
Senia Gharana reprezents a school, a tradition and a style of playing Indian Classical Music on sitar. One of the common particularities, easy to be recognized it referes to the number of frets used in this school which is only seventeen while most of the gharanas use twenty or more. Previously the senias used to play on a sixteen-fret sitar. But later, another dhaivat was added, so that a technique called `gadda` which involves the production of a note without striking could be used. Another noticeable aspect introduced by Ustad Mushtak Ali Khan (an important exponent of this gharana), it is the playing of the gat (refrain) from the seventh beat. Explaining how the senia sitar style appeared, Ustad Mushtaq Ali Khan provided a very cryptic but clear image of the guru-disciple’ lineage commencing from Masit Sen, a direct sixth generation decendant of Mian Tansen considered the doyen of the Indian Classial Music.
Specialty of this style is a unique feature of applying meend (a type of glisando) without any murki ornamentation (cluster of notes that sounds like a fast short phrase) .Traditionally speaking a Senia can be easy identified while applying the notes and the development of the raga , stroke pattern and the majestic touch of Dhrupad style.The importance of all these factors are the hallmark of Senia Tradition.