Shanker Krishnan's 'Confluence: Raga and Counterpoint': 'I integrate the two musical worlds I feel closest to' - Exclusive

Music cannot be contained, music sees no boundaries, music is the simplest and the most creative way of expression, music can define and refine emotions. And thus, as a musician and composer, Shanker Krishnan brought his latest album, ‘Confluence: Raga and Counterpoint’, and presented a harmonious blend of Carnatic music and Western classical elements. This album is a reflection of his own musical journey, his learnings and explorations. In an exclusive conversation with us, Shanker Krishnan spoke candidly about his album, his understanding of the musical world, and more. We started the conversation on a personal note, where Shanker shared, “Moving between India and the West has shaped both who I am and my music, with intensive training of more than a decade in each classical music tradition. To me, music allows us to access a larger whole, in a way that’s beyond words.” Shanker Krishnan’s ‘Confluence: Raga and Counterpoint’ brings together the versatility and pure talent of Shraddha Ravindran (violin), R. Thiagarajan (flute), K.R. Shrievats (veena), and Mannarkoil Dr. J. Balaji (mridangam).Shedding light on his album, ‘Confluence: Raga and Counterpoint,’ he said, “In this album, I integrate the two musical worlds I feel closest to: Carnatic music and Western counterpoint, which is the combination of multiple independent melodic lines. Harmony and counterpoint are the two pillars of Western classical music architecture; harmony has often been combined with the ragas of Carnatic music, but not similarly counterpoint.” “If I did not compose this music, something essential in my life would feel unfinished,” he added.Further, speaking about the co-existence of Carnatic and Western classical music, he mentioned, “Two very different traditions, Carnatic music and Western counterpoint, have evoked a similar powerful emotional response in me. For me, the connection lies in a shared love of intricacy, with meaning that emerges gradually from finely layered detail. The intricacies can complement each other. Carnatic music unfolding horizontally over time, and counterpoint creating intricacy through vertical interaction.”He continued, “There is also creative tension in bringing them together: Carnatic music is based on gamakas where the notes oscillate and glide, while Western counterpoint relies on clarity of notes when multiple melodies sound together. As I compose, I have to constantly assess: do simultaneous gamakas enrich or obscure the texture? But this tension also becomes a point of integration, where both systems meet at a fundamental level.”Sharing his viewpoint on the future of cross-cultural collaboration in the ever-evolving musical world, Shanker Krishnan quoted, “Taking the long view, all music could be considered cross-cultural, as societies respond to external influences. Carnatic music adopted the Western violin, and Hindustani music took on Persian influences. These ‘fusions’ are now inseparable from the traditions. So what we view as traditional is only a snapshot within a long evolution."He added, "In the modern world, the pace of cross-cultural collaboration has quickened. At the same time,there is also a growing interest in the roots of these great traditions. In Western classical music, there has been a strong movement toward historically informed performance — for instance, the use of the harpsichord rather than the modern piano for Bach’s music. In Carnatic music, the jewel-box-like subtlety of Brindamma’s music has found wider appreciation today than in her own time.” “There is plenty of room for the beauty of both tradition and innovation. However, Ibelieve that lasting cross-cultural work grows from depth, not just novelty,” concluded Shanker Krishnan.