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Rare Ragas on the Sitar

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rareragas-webPandit Sanjoy Bandopadhyay takes pleasure in depicting obsolescent ragas and toying with laya and tala. This Music Album is bringing before the music lovers a bunch of rare ragas. This is the first album of the series on rare and obsolescent ragas.  This album also contains two very interesting ragas Ahiri-Marwa and Anil-Madhyam, both creations of Prof. Sanjoy. Dilip Mukherjee provided brilliant tabla support. Most of the ragas included in this album are not available in general distributive formats.

When this is offered for digital downloads, this is also getting distributed in attractive Audio CD format.

Description

rareragas-webPandit Sanjoy Bandopadhyay takes pleasure in depicting obsolescent ragas and toying with laya and tala. This CD is bringing before the music lovers a bunch of rare ragas. This is the first CD of the series on rare and obsolescent ragas.  This CD also contains two very interesting ragas Ahiri-Marwa and Anil-Madhyam, both creations of Prof. Sanjoy. Dilip Mukherjee provided brilliant tabla support.

Used Notation style
Shudh svaras in Caps: SRGMPDN  |  Vikrit svaras in smalls: r g m d n  |  Tar saptak : S’ R’ G’ M’ etc.   |  Mandra saptak: N1 D1 P1 etc.

  1. Nat Bilaval

‘Nat Bilaval’ is a combination of ‘Bilaval’ and ‘Nat. This version of the raga depicted artistic blend of these two ragas. You will listen to Nat related phrases like P1P1SS, RR GG MM P, RGMPM, and for the Bilaval it takes phrases like DMPG, RGPMG, PNDNS’.

  1. Bhairav-Bahar

Raga Bhairav-Bahar is Bhairav variant that takes the components of Bahar. This version of the raga takes two Dhaivats, two Nishads, komal Rishav and rest of the notes are shuddha. Chalan: 1. S M P G M d d P, G M n D N S’ S’ n P M, G M d d P, r G M P G M r S

  1. Ananda Bhairav

Raga Ananda Bhairav takes komal rishav, both the nishads and the rest are shudh svaras. The raga shows Bilaval components including the Komal-Nishad of Alahiya in the P to S’ region when it shows Bhairav ang in the S to P region. It takes PNDNS’ of Bilaval and profusely use different Bhairav combinations like r G M P G M r S. It also a  bit of komal nishad, e.g. S’ N D P D n D P M G M r

  1. Saurashtra Bhairav

Raga Saurashtra Bhairav takes both the Dha and re komal. Both the re and dha are played with the Bhairav intonation. This is a rare raga. Arohan:  S r G M P, G M d d P, G M D N S’  Avarohan: S’ N d P M G M r – S.

  1. Ahiri Marwa

Ahiri-Marwas was composed by Pt. Sanjoy Bandopadhyay on 29 March 2014. This raga uses komal rishav, tivra madhyam and the rest of the notes are shuddha. The raga takes the components of Marwa in the rGmD region and takes D1 n1 r of Ahir Bhairav. The mix brings out vibrant musical colors. The Komal Rishav are used with both the intonations of Marwa and also of Bhairav depending on the artistic requirements.

  1. Roopmanjari Malhar

Roopmanjari  Malhar is a rare variety of Malhar. This takes its characteristic phrase ‘nPMRG’, takes the Malhar ang phrase ‘MRP’. It also takes n1SRG and nS’DP phrases.  It also take RgSRP once in a while. This raga can also take S’nDnP descending. Though it usually goes S’nS’DP.

Such ragas cannot be nicely described through arohan-avarohans. However to have a guide for practicing here is the ascending-descending:

Arohan: n1 S R G, M R P, M P D n S’    Avarohan:  S’ n S’ D P, n P M R G, G M R S

7. Anil Madhyam

Name of the raga: Anil-Madhyam  |  Conceptualized by: Pt. Sanjoy Bandopadhyay on 24 December 2011  |  First performed by Pt. Sanjoy Bandopadhyay on the sitar on 01 January 2012 in a concert organized by Vistar as a tribute to Acharya Anil Roychaudhury during his birth-centenary celebration.

Arohan: S R g m P n S’  |  Avarohan: S’ n P m g R S  |  Pakad: R n1 S, RgPm  |  Important note focus: Tivra-m

Chalan:  (1) R n1 S g S, R g P m  |  (2) P1 n1 P1, m1 P1 S  |  (3) P1 n1 g R n1  m1 P1 S  |  (4) P1 n1 R, S g S, R n1 S, P1 m1  |  (5)  n1 S R g m, S g R n1 P1  |  (6) S R g m P m  |  (7) g m P n g,  R g m R, S g S, n1 g R, S R g P m  |  (8)  R n1 S R g m P n – P  |  (9)  m P S’, R’ S’ n – P  |  (10) P n R’, P n g’ R’ S’  |  (11) R g m P n S’ R’ g’ R’ S’  |  (12)  S’ n P m g R S

1 review for Rare Ragas on the Sitar

  1. Rated 5 out of 5

    Asit Kumar De

    I downloaded the album on rare ragas by Pandit Sanjoy Bandyopadhyay yesterday. Very clean recording quality. And the music – the main thing – very very enjoyable. Apart from the two ragas that are creations of Pandit Bandopadhyay, I am familiar with most other ragas in this album to varied degrees. I must say, Pandit Bandopadhyay’s presentation is very spontaneous, and aesthetically superb. I also noticed, in many cases, he has his own interpretation of the melody, most of which are very welcome, in my modest evaluation. Among his own creations, the Ahiri Marwa stood out as a melody promising to have high potentials. I have one question: should this raga be sung or played in the mornings or in the evenings? The tabla accompaniment by Sri Dilip Mukherjee was also very apt and added to the melody. Heartfelt gratitude to both artistes for this album, hoping for more in the future.

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