NEWS

Rave Reviews from Festivals in Varanasi

1 copy 3    & Bhopal, India. 

 

Kartik Seshadri returns to his favorite cities in September 2013 to perform for major festivals and in the midst of a most distinguished and discerning audience to elicit their appreciation and make the headlines for major news publications, Hindi and English: Dainik, The Age, Statesman, Aaj, and others.

Tribute Concert ~ Broward Auditorium, Florida

 

ksalam copyKartik Seshadri (with Alam Khan ~ sarode) in  a tribute concert to his guru, Pandit Ravi Shankar.

This performance will be held at the Broward Auditorium, Fort Lauderdale, Florida on March 2.

India Tour December 26 – January 23, 2013

 

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This tour begins in Kolkata with the Indo Occidental Symbiosis Festival of Indian music honoring the 80th birthday of Pandit Ravi Kichlu and culminating back in Kolkata at the major Dover Lane Music Conference in a jugalbandhi with Partho Sarothy on sarode. This entire tour is offered as an homage to Pandit Ravi Shankar. Check Tour Dates for further information.

Soaring musical heights: Kartik Seshadri’s magical performance in Thousand Island, New York

 

The 150th anniversary Celebrations for Swami Vivakananda began with Seshadri’s performance for the Ramakrishna Mission in Thousand Island, New York. A jam-packed full house made for a beautiful evening leaving the audiences wanting more.  The concert was a perfect unison of the teachings of the philosopher about the powerful medium of music.

 

 

 

Full house for sitar maestro Kartik Seshadri at UCSD’s Conrad Prebys Music Center

UCSD Music Department

 

 

Sitar master Kartik Seshadri, who directs the department of music’s Indian music program, performed to a packed Conrad Prebys Concert Hall on April 11. Seshadri swept the audience on a journey through classical Indian ragas that evoked a range of moods, from quiet and thoughtful to bursting with joy. The synergy between Seshadri and tabla virtuoso Arup Chattopadhyay was supernatural, and the performers were honored with an ovation that lasted several minutes. Afterwards, we floated out to our cars and returned to the material world.

 

Songlines Magazine U.K. acclaim for Seshadri’s album Sublime Raga(s) as “Top of the World”

 

The March 2012 edition of Songlines Magazine, U.K. again features Seshadri’s latest recording as their Top of the World 10 albums. “Today’s greatest sitar player . . .” click here to read full review.

 

 

Masters of Indian Music series

By Mickela Mallozzi

 

Posted on February 10, 2012 

We entered the main hall of the Upper West Side’s Symphony Space, a one-foot raised platform on the stage covered with a full, Persian rug and with multiple, classical Indian instruments. In the center, a beautifully carved sitar, deep brown wooden body with a silvery-gold neck of strings and tuners, sat proudly to be admired by the audience, waiting to share its voice with the crowd.

 

The World Music Institute’s Masters of Indian Music series began with an evening of virtuosic music by Kartik Seshadri, accompanied by Arup Chattopadhyay on tabla. Long-time friends, these two performers opened their conversation with each other to the entire audience to listen in. Kartik introduced himself as he sat, cross-legged and twisted, covering his right foot with a brown shawl. He began to tune his instrument, all 22 strings, using the drone of the tambura as his “tuning fork” – intermittently, the tabla was being hammered out, tuning to the same drone of the tambura. After what seemed like an almost comical amount of time to tune an instrument, Kartik began to describe the piece he was about to play. With skill heavily dependent on improvisation, this piece was a specific raga celebrating the coming of spring (this time of year to be celebrated in India); a multi-faceted piece, composed of a slower, rubato section of improvisation and then a faster, more staccato section with audible themes.

 

This was when you noticed why the instruments were ceremoniously tuned – the microtones and overtones used in this music are so exact that even a slight miscalculation would be as cacophonous as fingernails on a chalkboard. Throughout the first piece, Kartik had been simultaneously and seamlessly tuning his instrument as his fingers quickly plucked the metallic sounds out of the giant gourd instrument. It was like listening to magic, a story that unfolded before your ears with narrative and plot and heroes and heroines: a 30-minute composition that brought you on a journey to a place on the other side of the globe.

 

Kartik remained calm and almost in a meditative state, keeping his posture the same (cross-legged and twisted, sitar resting on his left bare foot). As I mentioned before, his right foot had been covered by a dark, brown scarf, and as he would ever-so-often keep tempo with that foot, his body shape-shifted into a mystical figure, found maybe in the oceans of Atlantis (a mer-man of sorts). His “tail” keeping odd-metered time with his song added even more to the idea of the demi-god like status to his musicianship.
Known for playing full-length solo recitals on sitar at the age of six, Kartik had truly been touched by the gods. The second piece, initially similar to the first, grew with its story, and Arup’s tabla playing joined in as a second voice. I had never noticed until this performance that true tabla playing is not a percussive accompaniment but a melodic voice adding to the piece. The tabla had hundreds of different sounds, tones, feels, moods, and voices coming from just two, quick hands and two, small drums. It was remarkable, hearing this melody from a drum; the interactions that the two musicians had while composing intricate polymeters and polyrhythms and then joining in unison for exactly three or four beats was synchronicity on a whole other level. At some point during one of Arup’s solos, his hands were moving so quickly, they reminded me of wings of a hummingbird; you know they are there and you can hear them working, but you can’t make out a clear picture of what they are doing.

 

With the two friends ending their journey together, the audience was reminded of the reality that awaited them outside: a cold and grey metropolis. A beautiful evening of transcendent music, thank you Kartik and Arup for sharing your life’s work – my hands touch both your feet in reverence.

 

Interview Part One

With Renee Lobo

 


Interview Part Two

Seshadri’s major festival India tour highlights

 

Featured some of the most prestigious festivals including the Sawai Gandharva Festival, Pune; SAPTAK, Ahmedabad; All Bengal Music Conference, Kolkata; Taramati Baradhari, Hyderabad. The Times of India reviewed Seshadri’s concert as “a show stopper that mesmerized the audiences to soak soul deep in his music.”