Could you introduce yourself and let us know more about your role in the performance?
My name is Sharanjeet. I play sitar, and provided the sitar music for the performance.
What do you feel was your mark on this project?
I was the only sitar player involved in the project. Thus, I would say, my mark on the project came from this. This includes the sound of my sitar, gayaki ang (singing-like style of playing the sitar) of my gharana, slow and fast interludes between the songs, musical idioms following the dancer’s delicate expressions and adding an overall romanticizing dimension to the whole performance.
How did you balance the Hindustani and Carnatic elements?
This project allowed me to further realize that both Hindustani and Carnatic forms of music at their essence are very similar. I was inspired by the Carnatic musicians involved in the project, and finding resonance between the salient ideas which both traditions of music share. I then adapted my music to their repertoire.
How did you feel when you were rehearsing and performing at the Chan?
It was certainly an inspiring experience. Chan Centre always brings the best out of me. It has the perfect intonation of grandeur and modernity, providing this enormous advantage to the creation and the experience of art. Moreover, the noble treatment from the staff and production team never allowed us to miss the live audiences.
What was it like creating something during this pandemic?
It was deeply reviving and encouraging. To be able to participate and work on this project together with such an amazing team of musicians while following all the precautions and seeing everything move smoothly throughout gave me a great sense of joy and achievement. Plus, all that I learned through this project is like cherry on top of the cake.
Watch Sharanjeet perform in Parāśakti: The Flame Within, streaming on March 19th.