DE – Raga CDs of the Months (08/2014): Midday & Afternoon Ragas (part 1 and 2)
Posted by ElJay Arem (IMC OnAir) on August 16, 2014
part 1: Midday Ragas…
The Raag Sarang, a noon raga, is performed by Pandit Vishwa Mohan Bhatt on an Indian Guitar, which has been modificated by himself. The noon ragas within the Sarang family are clustered within the emotion system (rasas) as adbhuta (= amazement).
dates of broadcasting …
Vishwa Mohan Bhatt as a Grammy Award Winner belongs the extra ordinary music maestros of India. He was disciple of Ravi Shankar, the biggest musician in Indian Classical Music (Hindustani Music) nowadays.
The sliding along the strings, the glissando, is typically for many different Indian instruments, e.g. Sarod or Sitar. They all are constructions with vibrating resonance strings, the same as the slide guitar designed by Mohan Bhatt, so called “Mohan Vina”.
Mohan Bhatt has meet the guitar in a curious way. In 1967 a German student left behind a Spanish guitar in the music school of his father Krishna Mohan Bhatt, a sitar maestro and one of the first three pupils with Ravi Shankar in 1949/50. Bhatt refitted the guitar, did experiments with the structure of this instrument and some left hand / right hand techniques. Least he modified it what we call today “Mohan Vina”. It’s a hybrid of the classical Spanish guitar and the sitar.
part 2: Afternoon Ragas…
An instrumental raga interpretation and it’s basic material of notes, the shrutis (22 micro tones) target at imitating the human voice. Within the techniqual possibilities of an Indian instrument (e.g. Sitar, Sarod, Santoor, Tabla …) an Indian music maestro looks for the same modulations, the same ornamentics which are typical for the human voice.
In Indian Classical Music the voice is being treated as an instrument in the same way. – It is the fundamental instrument of Hindustani (North Indian) and Carnatic (South Indian) Music.
dates of broadcasting …
The vocal singing in India has progressed into different styles. Many forms of compositions define accurate scales of notes and their ornaments. Beside the Alap, a free narration and the most difficult form of improvisation till today exist vocal stiles, which can be dated back to the 13th century like Dhrupad, Dhamar, Tarana, Tappa, Thumri, Ghasel and Khyal.
On Easter the broadcasting shows of promotion initiative IMC – India meets Classic have their focus on the Khyal (vocal style of North Indian Classic), being performed by some of India’s legendary vocalists. It is the bel canto of Indian Classical Music, a brillant and gloriously embroidered stile of singing, loaded up with difficult vowels.