"HiGH   ▀ iNTELLiGeNCE tRoLLS"

a r t i s t : VA
t i t l e : Evening Ragas
d a t e : 1992
l a b e l : Living Media India
g e n r e : Ethnic
r l s.  d a t e : Feb-2005
t r a c k s : 12
b i t r a t e : VBRkbps
s i z e : 442,4 MB

See PDF for specifics...

The historical musicologist, Vishnu Narayan Bhatkhande, in his attempt to organise and neatly categorise the various components of North Indian Classical Music, listed a series of characteristics which collectively distinguished a morning raga  from an afternoon or evening raga . His first observation stated that those ragas  which contained the notes Re, Dha , and Ga , were to be played between 7-10 o'clock in the morning or the evening. Secondly, those ragas  which contained the notes re (flat), Ga , and Ni, came under the time period of sandhiprakas or twilight, and were to be played at either 4-7 o'clock in the morning or the evening. Thirdly, those ragas  which contained the notes ga (flat)  and ni (flat)  were to be played before sunrise or sunset, between 10-4 o'clock am. or pm. This category included the exception of the Tori  family or That , which contains ragas with the notes Ga  and Ni . The final factor, which ultimately determined whether the raga was to be played in the morning or the evening, was the position of the vadi  (the most important or pivotal note of the raga ). If the vadi of a raga was in the lower tetrachord or purvanga, that is, between Sa-Ma or Sa-Pa , then the raga  was to be played between the hours of 12pm-12am. Similarly, if the vadi  of the raga  was in the upper tetrachord or uttaranga , then the raga  was to be played between the hours of 12am-12pm. Thus, for example, consider the  raga Bhairav . The notes played in this raga  are Sa re (flat) Ga Ma Pa dha (flat) Ni Sa . Because the raga  contains the notes re (flat), Ga, and Ni , it satisfies the requirements for Bhatkhande's second category, and is classified as a sandhiprakas raga, played during the period of twilight. Secondly, the vadi of this raga is the note dha (flat) . As this note is in the upper tetrachord of the scale, the raga is then classified as a morning raga. Therefore, raga Bhairav  is played at daybreak.

The fundamental problem with the entire time theory of ragas is that few people are sensitive enough to feel the appropriateness of ragas played at their designated times. Instead, one is left accepting the words of the various scriptures, and the question remains whether one is better left to rediscover first-hand the relationship between the ragas and the time of the day, rather than resort to conformity.

cd1

01-Pandit Jasraj - Raga Marwa                             [29:59]
02-Shruti Sadolikar - Raga Shree                          [15:22]
03-Shahid Parvez - Raga Hamsadhwani                       [14:32]

cd2

01-Rajan & Sajan Mishra - Raga Pooriya                    [29:42]
02-Amjad Ali Khan - Raga Shyam Kalyan                     [14:57]
03-Mallikarjun Mansur - Raga Nand                         [14:23]

cd3

01-Padma Talwalkar - Raga Shuddh Kalyan                   [28:58]
02-Hariprasad Chaurasia - Raga Manjh Khammaj              [14:57]
03-Rajan & Sajan Mishra - Raga Durga                      [14:40]

cd4

01-Shahid Parvez - Raga Yaman                             [29:24]
02-Pandit Jasraj - Raga Shankara                          [14:39]
03-Shruti Sadolikar - Raga Mishra Ghara                   [15:06]

236:3