Sameehan Kashalkar | Raag Marwa
Evening Ragas • 36m
Raag Marwa has a somber mood, it is sung during sunset and projects an intense, meditative emotion. One of the greatest Indian classical vocalists of all time, late Ustad Amir Khan, has contributed volumes to the Marwa repository with his emphasized delineation of Dha (6th) in the lower octave. This spin has imbued the raga with the introspective personality of a Yogi in a mood of renunciation.
With a precedent as this, living up to this raga is nothing short of a challenge for any musician.
In this recital, Sameehan Kashalkar gives a stunning performance of Marwa, weaving deep and reposeful notes into evocative phrases. He emphasizes the resting points of Marwa – Re and Dha during his bol-alap, magnifying the meditative beauty of this raga. With a slow composition set to vilambit ektaal (12 beat cycle), he expands the poignant progressions with flair. The sombre and complex spectrum of Marwa is brought out in the middle and upper octaves with patient phrases and their appropriate sequencing.
The chota-khayal is set to a faster tempo in teental (16 beats); With earnest emotions, Kashalkar fills up the Marwa canvas with striking hues. He concludes this piece with a tarana, also set to a faster teental. He shows fine command over ornamentations and laykaari, capturing the imagination of his audience.
He is definitely a younger version of his father; having said that, he shows promise with his refined approach and proves his worth with a gripping recital, never giving his listeners a single redundant moment.
Manjeet Rasiya (tabla) and Chinmay Kolhatkar (harmonium) play out a brilliant team-work, supporting the young Kashalkar sensitively and elevating the performance to its best level.
An ancient melody that is both a thaat (parent scale) and a parent raga to a host of extremely powerful and popular ragas, Marwa represents the transition from day to night and opens a pathway to enter Kalyan Thaat. It uses 6 notes in its ascent and descent. The dominant note is komal Re (flat 2nd) and the sub-dominant is Dha (6th). It omits Pa (5th) from the scale and deploys teevra Ma (sharp 4th).
Sameehan Kashalkar (khayal)
Manjeet Singh Rasiya (tabla)
Chinmay Kolhatkar (harmonium)
Shobhana Patel & Gunwant Kaur (tanpuras)
Raag: Marwa, Thaat: Marwa, Samay: sunset
Up Next in Evening Ragas
Alam Khan | Mishra Piloo
He plays two beautiful compositions, the first one is a dhun in Mishra Piloo set to a serene, madhyalay 7-beat cycle in Rupak taal and the second, a famous drut gat in Raag Piloo spread over a 16-beat cycle.
Khan forays amply into the interiors of this hybrid raga with expansive vistaar and tau...
Debasmita Bhattacharya | Raag Jog
In an impromptu sitting in Italy, Debasmita Bhattacharya plays Raag Jog on her sarod accompanied by two of India's finest percussionists, Patri Satish Kumar (mridangam) and Ghatam Giridhar Udupa (ghatam).
Jog comprises one of the most enduring musical mysteries of all time in Hindustani classi...
Purbayan Chatterjee | Darbari Kanada
This is the second piece from Purbayan Chatterjee’s performance at the Darbar Festival 2011. He introduces Darbari Kanada with a comprehensive alap, traversing both the lower and upper octaves. The composition is a legendary tarana in ektaal (12 beats) immortalised by the late Ustad Amir Khan of ...