First published on SAWF on October 16, 2000
Rajan P. Parrikar (Boulder, Colorado, 1991)
Namashkar.
This article offers a considered review of the book Raga Malhar Darshan by Dr. Geeta Banerjee, a work that emerged from her doctoral research at Allahabad University under the tutelage of her guru, Pandit Ramashreya Jha “Ramrang.” Dr. Banerjee, a distinguished performer and scholar, served on the Music Department faculty at the University. Upon Jha-sahab’s retirement, she ascended to the role of Head of the department. Now retired, she continues to share her expertise through part-time engagements.
Raga Malhar Darshan offers a meticulous exploration of Raganga Malhar and its derivatives. The subject matter is organised chronologically, traversing three major epochs in the evolution of the Malhars: the prachina (pre-15th century), the madhyakalina (15th–18th centuries), and the arvachina (19th century to the present).
The earliest forms — Shuddha Malhar, Megh Malhar, and Gaud Malhar — belong to the first period. Many of the Malhars that captivate us today hail from the second era. This work is a paragon of rigorous scholarship, a testament to the author’s academic prowess. While the title bears Dr. Banerjee’s name, it is evident that the shastraic foundations and numerous insights owe much to the guiding intellect of Jha-sahab himself.
The book’s structure is methodical, each chapter building on the last to construct a comprehensive narrative. Chapter 1, titled “Raganga Raga Malhar or Raga Shuddha Malhar,” delves directly into the essence of the subject. The progenitor, Raga Shuddha Malhar, is traced through ancient texts such as Sangeet Ratnakara, Sangeet Parijat, Raga Manjiri, Sangeeta Darpana, Raga Tarangini, and others. The views of the eminent pandits are meticulously recorded and critically evaluated. This historical overview transitions seamlessly into a more nuanced musical analysis, elucidating the essence of the Malhar anga. Comparative observations are drawn between Shuddha Malhar and other ragas, such as Durga and Jaladhar Kedar, that share the pentatonic scale S R M P D, where M = shuddha madhyam. Throughout, theoretical discussions are enriched with notated compositions, encompassing dhrupads, khayals, and taranas, both traditional and contemporary (primarily Ramrang’s creations).
Chapter 2 establishes the framework for examining the temporal classifications of Malhar prakars, leading seamlessly into the subsequent chapters.
The prachina prakars are addressed in Chapter 3, followed by the madhyakalina ragas in Chapter 4.
The arvachina ragas take centre stage in Chapter 5, with their variants and stylistic nuances carefully dissected. For instance, Gaud Malhar is examined in its less-familiar variant with komal gandhar, while Nat Malhar is explored in its two iterations—one featuring both gandhars and the other employing only shuddha gandhar.
Geeta Banerjee and Ramashreya Jha
in Goa (2000)
Chapter 6 evaluates the sampoorna jati Malhars, while Chapter 7 sheds light on the recently conceived Malhars, a testament to Ramrang’s inventive genius. The concluding Chapter 8 probes the emotional spectrum (rasa) embodied by the Malhars, offering insights into their aesthetic and emotive dimensions.
There have been other published works dedicated to the Malhars. For instance, the volume Malhar Ke Prakaar by Jaisukhlal Shah, which contains some useful traditional compositions but is otherwise a rather sloppy piece of work and called as such by Dr. Banerjee in her prefatory remarks. Pandit Vishnu Narayan Bhatkhande gives a detailed discussion on the Malhars in his magnum opus, Hindustani Sangeet Paddhati, from which Dr. Banerjee has freely drawn on.
Two features of Raga Malhar Darshan make it particularly outstanding. One is the assemblage of many traditional compositions many of which are not easily accessible. Furthermore, Jha-sahab’s own compositions are a testament to his creative genius and stature as one of the preeminent Hindustani vaggeyakaras of our time.
Vishnu Narayan Bhatkhande
Of particular profit to the serious student or performer is the methodology of raga analysis that is proposed. The reader is introduced to the shastraic language and familiarized with the kind of critical thinking necessary for an inquiry into the innards of a raga. Jha-sahab’s earlier volumes demonstrate well this approach where the raga is taken apart swara-by-swara and then re-constituted. Although Jha-sahab’s pedagogic virtuosity and analytical acumen are fomidable, he credits Bhatkhande for “showing me the way.” But Ramrang is no uncritical follower, no “lakeer ke faqeer“. In a recorded conversation with Satyasheel Deshpande, Jha-sahab leaves no doubt of the debt owed Bhatkhande. That conversation brings to mind a moving passage that Satyasheel’s father, Vamanrao Deshpande, wrote decades ago concerning his first meeting with Chaturpandit Bhatkhande:
“…Around this time Panditji was terminally ill with cancer. Once I expressed a desire to be introduced to Panditji and Bhal with great alacrity took me to his bungalow at Walkeshwar. Panditji was lying on his back on his bed, beneath a window in the ground floor room, with both arms on his chest. Bhal introduced me saying, ‘He is an Accountant – also practises music’ and seated me on Panditji’s bed. Panditji stroked me on my back and said, ‘Educated people should take an interest in music. Continue working hard at it. You will find our Bhal very useful.’ I consider the touch of his hand on my back as one of the most significant happenings of my life. I also consider that my subsequent progress in music and whatever little I wrote on the subject is a direct fruit of his blessing…” (Between Two Tanpuras).
A translation of a passage from Raga Malhar Darshan illustrates a typical analysis. Similar analyses are to be found in Jha-sahab’s own volumes.
On the swara prayogas in Raga Megh Malhar:
“Shadaj apart, the rishab occupies an important position in this raga, both in arohi and avarohi movements. Despite its ‘deergha bahutva‘ role in Megh Malhar there can be no nyasa on the rishab. That swara is almost always andolita and looks to madhyam for assistance. To wit, S (M)R (M)R, M R R, n’ S. The rishab‘s position in Megh Malhar is precarious. It cannot be elongated for the Megh Malhar swaroop to come through. If rendered stable (“sthira“) it runs the risk of losing itself to Sarang. And because it is kept andolita with the assistance of madhyam it cannot establish an identity of its own. To strengthen the veera rasa component of the raga, rishab is also used in the ‘alanghan bahutva‘ role. This mixed mode use is seen in the following passage:
(M)R (M)R M P (andolita) and P M R M, (M)R (M)R S (mixed).
The rishab swara is never skipped, for it is the ‘mukha swara‘ of the raga. In those cases where the intonation of a particular swara immediately suggests the raga identity the said swara is known as the ‘mukha swara.’ The rishab of Megh Malhar and the gandhar of Darbari are such examples…”
The remaining swaras in Megh Malhar are similarly illuminated and the raga is then put back together. These tools of raga analysis should be part of every serious student’s armoury, for they give insight into the raga’s genetic blueprint. At a later point in time I will post clips, time and weather permitting, of this swara-by-swara dissection demonstrated by Jha-sahab in delineating the scale-congruent Ragas Megh, Megh Malhar and Madhmadh Sarang. [Update: Listen to it here.]
Ramashreya Jha “Ramrang”
(© Rajan P. Parrikar)
Two areas for improvement suggest themselves. An index at the end of the volume would have been useful. If Jha-sahab can be pursuaded to record a CD-ROM of the outlines of all the compositions in the book, that would constitute a document of immeasurable archival value.
A few samplers of the bandishes in the book are now offered. Jha-sahab sings his composition in Raga Gaud Malhar: jhingura jhanana jhanakara.
The following two clips are in Raga Chhaya Malhar.
Ramrang first provides an outline of the composition (of Kunwar Shyam) as received from his guru, Bholanath Bhatt: sakhee Shyama nahin aaye.
And the same composition by Bhimsen Joshi.
The final clip is a traditional composition in the uncommon Raga Arun Malhar, in Ramrang‘s voice: kaha na gaye saiyyan.
For a discussion on Ragas Chhaya Malhar and Arun Malhar, see A Tale of Two Malhars. A medley of Ramrang’s compositions may also be found in Ramrang – A Bouquet of Compositions and A Stroll in Ramrang’s Garden.
Raga Malhar Darshan (1999)
Pratibha Prakashan
(Oriental Publishers and Booksellers)
29/5, Shakti Nagar
Delhi 110007
INDIA
Telephone: 91-11-7451485
Price: 800 Indian rupees
Dr. Banerjee has authored two other books that serve as adjuncts to Jha-sahab’s 5 volumes of Abhinava Geetanjali.
Abhinava Geetanjali (Vol 1-5) by Ramashreya Jha “Ramrang.”
Raga Shastra, Parts 1 and 2, by Geeta Banerjee.
Publisher for Abhinava Geetanjali and Raga Shastra:
Sangeet Sadan Prakashan
134, South Malaakaa
Allahabad, INDIA
Telephone: 91-9935725812
Email: sangeetsadanprakashan@gmail.com
Footnote
(Ragas in Raga Malhar Darshan)
Chapter 1 (Raganga Raga Malhar):
Shuddha Malhar
Chapter 3 (prachina):
Megh, Megh Malhar
Gaud Malhar
Chapter 4 (madhyakalina):
Miyan Malhar
Soor Malhar
Ramdasi Malhar
Nat Malhar
Mirabai ki Malhar
Dhulia Malhar
Gaudgiri Malhar
Charju ki Malhar
Jayant Malhar
Chapter 5 (arvachina):
Samant Malhar
Chanchalsas Malhar
Arun Malhar
Roopmanjari Malhar
Chhaya Malhar
Tilak Malhar
Sorath Malhar
Des Malhar
Sveta Malhar
Nayaki Malhar
Kedar Malhar
Jhanjh Malhar
Chandra Malhar
Chapter 7 (nava-nirmita)
Mahendra Malhar
Anjani Malhar
Janaki Malhar