by Rajan P. Parrikar First published on SAWF on October 30, 2000 Namashkar. The Sarangs are ragas of the early afternoon and have their provenance in folk music. Their effective expression in the classical idiom requires familiarity with their rustic antecedents. This widely loved enclave of Sarang melodies is the subject of our current discourse….
by Rajan P. Parrikar First published on SAWF on July 10, 2000 Namashkar. The old melodies assembled under the Bilawal rubric come on the heels of the Todis and the Bhairavs in the matutinal parade of ragas. The Bilawals bring to mind those marvellous, hot breakfasts in India, whipped up by the ladies: soft idlis…
by Rajan P. Parrikar First published on SAWF on June 26, 2000 Namashkar. With the heights of the Bhairav terrain scaled our onward peregrinations now bring into view the most profound, finespun idea in melodic music: raganga Todi. The encomia splurged earlier on the Bhairav dynasty carry over pari passu to the Todi clan. As…
by Rajan P. Parrikar First published on SAWF on May 29, 2000 Namashkar. Our exploration of Hindustani ragaspace continues with a coup d’oeil of the hoary Raga Bhairav and members of its extended family. Raga Bhairav Bhairav connotes three entities: raga, raganga, and that. All the three converge only in the flagship Raga Bhairav….
by Rajan P. Parrikar First published on SAWF on June 11, 2001 Namashkar. Our incurable wanderlust through ragaspace brings us to the next port of call: Raga Asavari. With its cachet as an elemental raga in the Hindustani firmament, Asavari’s counsel and influence have profoundly shaped the Indian musical imagination. Today’s installment is an inquiry…
