Vivek Venugopal (third from left) with Russian musicians. Photo Credit: Special Arrangement
The latest album of composer Vivek Venugopal connects two tasks – ‘Raga poems, op. 22 ‘and’ liberation, op. 18 ‘. Recorded in Moscow with Bolshoi Theater and Russian National Orchestra musicians, the album is a mixture of Indian and Western classical elements.
In this interview, Vivek shared insight into his creative process and how cooperation came into life. “I composed these pieces and sent a score to my manager. We then chose Russia’s prestigious Bolshoi Theater and the Russian National Orchestra musicians. I traveled to Moscow in the last October to oversee rehearsal and recording. ,
Monitoring of rehearsal was not just about meeting notes. “During the rehearsal, I corrected the mistakes, but the real work began when we were delayed in aspects such as texture, phrase, balance and mobility. Music was recorded in the historic GDRZ Studio – The State House of Broadcasting and Sound recording. ,
Once back, Vivek himself mixed the pieces and contacted the famous German Mastering Engineer Frederick Stadder, who worked with the choice of Dutash Gramomophon and Berlin Philharmonic to master the last tracks.
Vivek considers it a great experience working with composers from Bolshoi Theater and Russian National Orchestra. “They were interpreter on the possibility of playing my music,” Vivek recalls. “I was impressed by how they understand and express Indian classical effects in my pieces. While all performed professional, some musicians stood outside. Flautist Stanislas Yaroshevskiy surprised me how he adjusted the sound of his flute to mimic the soft, breathing tone of the Indian Bansuri, especially in the first movement of raga poems. Cellist Dimitri Fastunov played his parts smoothly, capturing the quality of singing, similar to Indian classical music. Violin player Dimitri Novikov brought great feelings to play, added subtle slides and microtonal touches that reminded me of Indian music. His ability to mix these effects in his style made cooperation really special. ,
Sound -sectrum
Vivek Venugopal | Photo Credit: Special Arrangement
When composed for a string panchak and piano – including the flute – Vivek selected each tool to get a specific sound. He explains, “I wanted to work with six tools in the spectrum with ‘Textral Hexacardeds’ (six-note cord). Alternatively, I can also get the desired harmonic results on the piano, while using other devices to layer many melodic phrases at the same time (which is rare or unknown in Indian music to layer. For. Operation is an art form, “he says,” and each section brings its unique texture and sound balance “.
10 albums behind him and a new set for release, how does Vivek feel that his music has developed, especially in combining Indian and Western elements?
Vivek said that ‘Raga poems, op. 22 ‘began as an experiment – a way to find out whether he can take on a major project contained in Indian music. “In addition to a couple of guitar-based pieces in my career, I stayed away from Indian music, even though I respected its sweet and rhythmic depth,” they explain.
His love for Harmony initially made the idea of composing a drone-based music challenging. Solution? Lyrics that delayed the ragas daughterly – or more accurately, thats (seven notes) – with attention to harmony. “These are the ones I say ‘harmonic raga’. They cannot appeal to the purisis, but I never created anyone to please. I believe that I have found interesting hormonic possibilities within each raga,” says Vivek.
Indigenous link
He draws parallel to Japanese composer Toru Takmitsu, who eventually removed himself from his original music before hugging it. “My journey has been quite similar,” Vivek says, “and the results show in this piece.” He also sees a relationship what Bella Bartok did with Hungarian and Romanian folk music – adopting his essence in his unique style – some Vivek says that he was inadvertently reflected with Indian music.
‘Liberation, op. 18 ‘It seems, at first glance, completely western in its harmony and raga. “But the Indian link lies in the rhythm,” he explains. This piece uses additive rhythm in size by concol and lyrics – Indian oral traditions of rhythm. It also uses it with hexachards (six-note cord), a technology Viveki says that his music thinking has been impressed since then.
Although Vivek grew up in Hyderabad, he feels that the city’s direct impact on its work has been minimized. “Contemporary classical music is almost non-existent here. I have been learning by listening to myself. My teachers are the 20th -century great Igor Stravinsky, Alban Berg, Bela Bartok, Cloud Debut and John Koltron. “He credits an Indian patron – Ghatam Karthik.” He re -designed my understanding of rhythm, and has found his way in my creations. “
Published – March 13, 2025 11:50 AM IST
