Recorded for Darbar in 2017, on location in Mulshi, India.

Musicians:
- Ramakant Gaikwad (khayal & swarmandal)
- Ramkrishna Karambelkar (tabla)
- Abhinay Laxmikant Ravonde (harmonium)

Raag Bageshree; Thaat: Kafi; Samay: Night

Ramakant Gaikwad calls out across the Maharashtra plains as if to an unseen companion, using Bageshree to alternate between optimism and introspection

Ramakant Gaikwad is a promising young khayal singer who fuses the Kirana and Patiala gharanas. He started learning aged 4 at his father’s music school, also training with his mother Sangita, and vocalist Satish Kaushik. His career continues to progress, having recently been awarded several young artist scholarships.

Bageshree is a raga of profound longing. It aims to evoke vipralambha, the heartache felt by separated lovers, and is often chosen for searing late-night performances. Some attribute its composition back to Mian Tansen, the legendary 16th century musician of Emperor Akbar’s court, and some trace it back even further, to ancient Sanskrit theoretical treatises.

It uses Kafi thaat [SRgmPDnS], with Ma as the vadi [king note], and Pa often omitted or played weakly in aroha [ascent]. Separation is built into into its melodic structure - musicians can switch between two tonal areas, resolving phrases to Sa for a minor-key tone, or Ma for a brighter, more hopeful sound. The two voices can represent the thoughts of the two lovers, or perhaps competing waves of emotion within a single mind. It is similar to the Western Dorian mode, or Carnatic Raag Kharaharapriya.