TOUCH - piano concert with Anil Srinivasan - 3rd Oct. - 7.30 pm @ Hyderabad Public School, Begumpet

Interview HANS India: 

 Interview in "The Hindu":

 
Saketh Ram - opened the concert with Beethoven:

https://www.youtube.com/watch?v=2mF657JlaPI&feature=youtu.be

TOUCH
Anil Srinivasan
 
The piano is a relatively recent import to the Indian music context. Making its presence in early experiments with Hindustani and Carnatic classical music, it was quickly adopted into Bollywood and the regional film industries owing to its strength in adding richness and harmonic colour, and its limitation of not being able to produce the “meend” (or gamaka in Carnatic music) that characterizes Indian vocal traditions.
 
There have been very few practitioners of the piano in the musical mainstream in India since its adoption. There are even fewer practitioners of it in the classical context today.
 
I have had the privilege of being a revivalist, and bringing the piano as a dominant mode of expression within our rich musical culture. Although I trained to play Western classical music, I have found ample expression for my ideas through my collaborations with classical musicians of the highest calibre that our country has seen in recent times. I have also enjoyed my forays with musicians from the film industry all of whom have been generous and encouraging of my art and expression.
In just over nine years, I have now composed, performed and recorded with a great number of musicians and have performed across the length and breadth of our country, and abroad. I’ve been featured in international festivals as an Indian pianist, a fact that gives me great pride.
 
We haven’t had an “Indian piano tradition”, and I am happy to be among the few torchbearers for this.
 
TOUCH is my celebration of the piano in India, and the first album of its kind to capture its applicability across the classical, film, contemporary and Indian jazz contexts.  It uses themes that are purely Indian in character – classical raga motifs, works of Indian composers, Indian poetry-inspired renditions and even from the film industry. It is also a tribute to all the great musicians I’ve had the privilege of working with or being taught by – including the late Mandolin Shrinivas (his brother plays on one track), Rakesh Chaurasia, Murad Ali, colleagues from the South Indian film industry and of course, the composers whose works I’ve chosen.
 
I am confident that we can foster a spirit for the grand piano in this country outside of the confines of gentrified homes and Western music societies, many of whom are doing a fantastic job of promoting the instrument, but are limited in their membership and reach. I am equally upbeat about the idea of an Indian Piano Tradition.  I think the Indian touch will be a unique contribution to the world of music.
Somewhere down the line, the electronic keyboard replaced the piano for a variety of reasons, not all of which were musical.  In this, I share a sense of sadness with my colleagues. The piano is a grand instrument not just by design.
 
I do hope that TOUCH does what it is meant to, among the hearts of its listeners.
 
Anil Srinivasan