Sharath has not composed many songs, but most people agree that the few he has composed are difficult to sing.
Welcome to the world of Sharath - the distinguished composer from Kerala, in whose compositions you find the afore-said musical innovations. Mind it, this is not a page providing a biographic or discographic account of Sharath or any other composer but one where I express my admiration for my 7 musical idols and the way I enjoy their music. The reader will also find some non-intrusive references on how I (an amateur composer) allow these masters to influence me in my own compositions as I climb a steep learning curve।
2. Sudha Mantram and the Floating Shadjam (Sa)
My first tryst with Sharath’s composition was way back in 1997 when I was still in CECRI in my undergrad days. I had been an active music troupe leader at CECRI and one of my friends Vivek MakaraBooshanam (Kumba!) who played mrudangam and tabla for the troupe informed me one day that he had an invite from one of the movie companies who had come with their crew to shoot a malayalam movie. The movie was Devadasy and Vivek was asked to pretend playing tabla for a song on screen. I had no idea about the song for which he was inducted for, but on return he told me that it was a very difficult hindustani number.[Sharath - The musical enigma]
Unlike many of his peers, Sharath is a good vocalist as well.
Music composer and vocalist Sharath presented a memorable concert in Kochi. His guru Balamuralikrishna’s varnam ‘Amma Anandadayini’ was sung in two speeds, displaying the vocalist’s vocal prowess in the upper and lower scales.
He enlivened the concert with this composition, which celebrates the grandeur of the Goddess, the essence of ‘Omkara.’ A detailed alapana of Hamsadhwani heralded the arrival of ‘Vathapi Ganapathim.’
The marked influence of his mentor was evident in his tonal variations, swara essays and raga elaborations. ‘Neesari neeve ranga’ in Hindolam was sung after a neat expressive portrayal of the raga. [Neat potrayal of Ragas]
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Nice mathematical analysis of Sarath’s “Sudha manthram”, one of the toughest songs ever.
This song has always eluded my raga analysis and looks like its a clever concoction of multiple ragas related by “sruthi bhedam”