When I start to perform a raga, the first things I do is shut out the world around me and try to go down deep within myself. When, with control and concentration, I have cut myself off from the outside world, I step on to the threshold of the raga with feelings of humility, reverence and awe. To me a raga is like a living person and to establish that intimate oneness between music and musician, one must proceed slowly. And when that oneness is achieved, it is the most exhilarating and ecstatic moment…In these miraculous moments, when I am so much aware of the great powers surging within me and all around me, sympathetic and sensitive listeners feel the same vibrations. It is a strange mixture of all the intense emotions, pathos, joy, peace, spirituality, eroticism, all flowing together. It is like feeling God. All these emotions may vary according to the style and approach of playing and to the nature and principal mood of the raga.
I am eternally grateful to my beloved Guru Baba Allauddin Khan for blessing me with Senia Beenkar Gharana’s rich style of music!
I begin this with a very short introductory alap followed by vilambit (slow) gat in teentaal of 16 beats. The second gat in ‘Sitarkhani’ (actually medium-fast teentaal).
I leant this rare raga from ‘Baba’ briefly, and developed on it myself. It is a beautiful combination of Asia, a folk melody from Rajasthan, and the morning Raga Bhairav. This belongs to the lighter type of ragas known as ‘Dhum’ or tuneful ragas.
I have performed in the style of the Beenkar Gharana in this serious night raga.
This tune based on Mishra Ghara is in Keharwa taal. It is a combination of romantic light classical and folk styles with a short tabla sole by Kumar Bose followed by a rapid passage in teentaal.
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