Param Shraddha is a follow up to the much acclaimed Times Music album Shraddha which introduced new, instrumental compositions of well—know much loved age-old bhajans (Hindi devotional songs)
While Shraddha gave those bhajans a new musical focus, Param Shraddha covers a range of classical Indians ragas are frequently used in bhajans as well as kirtan rhythmic utterances of sacred words and texts. Kirtans are usually choral chant highlighting the significance of many voices chanting as one.
The result is a kind of unity that emerges from the multiplicity of rages as well as deities suggested through the music. Man has visualised God in many ways, and one of the most ancient and enduring ways has been to divine all of God’s attributes into individual deities, some of whom, in turn, become gods in their own right. Whatever their individual symbolism, by and large they are all descended from that some Unity and man’s sense of oneness that is instrumental to man pursuing his devotional urges.
There are many different ways of representing God. Different attributed are picked up and stressed through different traditions, but the Shraddha is ultimately one. The Hindu religion is perhaps the only religion in the world where gods are associated with specific musical instruments: Indra plays the pakhawaj drum, Shiva dances the Tandav Nritya to the rhythm of the damroo (small hadn-drum) and Goddess Saraswati plays the Veena one of the oldest string instrument in the world. Krishna, the beloved of Radha and all the gopis (milkmaids) of Vrindaban, play the flute. The sound of his flute in the dead of night is said to be so trance inducing that the milkmaids would leave their beds and follow his haunting sound into the forest.
The same mystical chants for instance the timeless Hare Krishna Hare Rama or Om Namah Shivai can be sung equally satisfactorily to a number of melodies or ragas. Those ragas can be equally effectively interpreted on a number of instruments or combination of instruments. When all these different instrument are combination of instruments complement each other, but they also produce the lager sound of unity or oneness, which is said to be the reason why human beings find listening to music an ecstatic divine experience.
|1||Invocation [2.51]||Raag Yaman Kalyan|
|2||Om Namah Shivai [7.14]||Raag Yaman Kalyan|
|3||Shri Ram Jai Ram, Jai Jai Ram [7.37]||Raag Kalyan|
|4||Govind Bolo, Gopal Bolo, Radha Raman Hari Govind Bolo [7.08]||Raag Bhopali|
|5||Mahamantra –Hare Krishna Hare Ram[6.47]||Raag Pahadi|
|6||Sitaram Ram Ram [5.25]||Raag Piloo|
|7||Sitaram Kaho, Radheshyam Kaho [6.06]||Raag Bhimpalasi|
|8||Hare Krishna Hare Rama [7.18]||Raag Darbari|
|9||Om Namah Shivai [7.56]||Raag Malkauns|
|10||Hare Krishna Hare Rama [6.42]||Raag Bhairavi|
|11||Hare Krishna Hare Rama [7.32]||Raag Rageshri|