Raag Bhoopkali is also known as Bhoopeshwari. It is believed to be a creation of Ustad Alladiya Khan of the Jaipur-Atrauli gharana. However, its emergence almost forty years after his death (1945) makes this information confusing. In the subsequent years of its soaring to popularity in music frat...

Raag Shudh Sarang is a derivative of the ‘Sarang’ family of ragas that reside in the cluster of afternoon ragas in the Hindustani system. Sarang itself was born out of the rustic folk melodies of India and hence, any sarang-raga is inevitably influenced by the unpretentious simplicity of folk.

I...

Pandit Kushal Das's performance of raag Jaunpuri from the Darbar Festival 2021

Shot in an opulent heritage palace in Bawali located about 35 kilometres outside the periphery of Kolkata, this video seeks to bring the intimate ambience of a ‘baithak’ - a private soiree – to audiences. Till the earlier part of the 20th century, Indian classical music was a key element that con...

Parvez begins with a serene alap of this morning raga, delineating its contours with expressive embellishments over his murkis and meends of varying weights. From the calming effect of the alap, he traverses towards a stunning jod, combining the technical virtuosity of tantrakari with profound an...

Harjinderpal Matharu's intuitive tuning and re-tuning of his santoor on stage is reflective of the years of training he has had under the legendary Pandit Shivkumar Sharma. Matharu is a quiet in nature but a very well-spoken musician brimming with infectious confidence on stage. His chiseled proj...

Abhisek Lahiri concludes his performance at the Darbar Festival 2011 with the sweet raga, Chayanat. His exposition of the melody is serene as well as a welcome choice after a majestic Shree which precedes this piece.

Lahiri performs a gat (composition) in medium tempo in Rupak taal (7 beats) in ...

Panesar plays Raag Puriya, an evening melody belonging to the parent scale Marwa. This is a courageous choice as Puriya is wrapped up in complex layers which make the raga inaccessible even to senior and seasoned artists at times.

Puriya’s revealing phrases reside in the lower and middle octav...

Parvez’s portrayal of Bhairavi is deeply profound; In this piece from the Darbar Festival 2007, he concludes his recital with this composition set to a rhythmic cycle of 6 beats (Dadra). Pandit Yogesh Samsi gives a mellowed accompaniment on the tabla, suited against the devotional mood and pathos...

Alam Khan’s portrayal of Raag Bhimpalasi takes an unassuming quality with the serene tonality of his sarod and the confident cadence of his introductory phrases.

He explores the lower octave with sustained notes, delineating a haunting and sweet portrait of the melody. Gradually, he approaches ...

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...

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 ...

Purbayan Chatterjee plays the much loved, Raag Maru Bihag as the opening melody of his performance at the Darbar Festival 2011. He opens the recital with an alap, jor and jhala and then plays two compositions. He is accompanied by Anubrata Chatterjee on the tabla who gives commendable support, ma...

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...

This concert from the Darbar Festival 2019 will remain etched in your memory forever – Pandit Budhaditya Mukherjee’s rendition of Raag Darbari Kanada is an unforgettable experience. For Pandit Mukherjee, the situation was quite unique and a first time for never in his career had he played a midni...

Praveen Sheolikar delivers his debut performance in the UK at the Queen Elizabeth Hall in 2018. Raag Gorakh Kalyan

In April 2018 Pandit Kushal Das graced the Darbar stage together with Pandit Yogesh Samsi and they performed this fantastic rendition of Raag Jhinjhoti. Born to a family of reputable musicians - Pandit Kushal Das, being the youngest has had both the privilege of having his elders as his initial g...

Watch the unparalleled sitar of Ustad Shahid Parvez Khan as he performs Raag Yaman at the 2018 Darbar Festival

Roopa is widely considered one of the foremost sitarists in Europe. This performance of Raag Puriya is from the 2011 Darbar Festival.

Pandit Budhaditya Mukherjee bends the rules of Indian classical music in his graceful way and with expertise in this performance, only to make it more delicious to an audience asking for more. In this concert from Darbar Festival 2019, Pandit Mukherjee plays Raag Nand. This is the second piece of...

Tarun's unique technique is in full view during this performance of Raag Charukeshi in 2018. Enjoy the deft accompaniment of Pandit Yogesh Samsi as well in this musical treat.

Abhisek Lahiri opens his performance at the Darbar Festival 2011 with Raag Shree. Trained under his father Pandit Alok Lahiri, the young sarod player approaches his music from the standpoint of three major instrumental gharanas of Hindustani music - Shahjahanpur, Maihar and Senia Bangash.

He sta...

Mythically, Krishna, the cowherd boy, played Raag Bhimpalasi on his flute to give a return call to all his grazing cows and cowherd friends. As such this raga, exuding peace and assurance, has a universal appeal.

In this concert, Niladri Kumar unspools Bhimpalasi in a patient alap, relishing ea...

Raag Jog comprises one of the most enduring musical mysteries of all time in Hindustani classical music. Its meend-laden phrases and the chromatic use of the pure and flat 3rd (shuddh and komal Ga) is a heady combination that creates a trance-like state in the listener’s mind.

Acclaimed the wor...