Sublime Sunrise Flute | Raag Bhairavi | Pandit Rajendra Prasanna | Benares Gharana | Music of India
#darbarfestival | Rajendra and his son Rishab play the morning Raag Bhairavi, named after the Hindu goddess of destruction. They are leading Benares gharana exponents.
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If a brief minutes of Bhairavi aren’t enough…watch Rajendra’s full 12-minute performance in pristine HD on the Darbar Player, along with dozens of other captivating concerts:
https://www.darbarplayer.com/videos/pandit-rajendra-prasanna-raag-bhairavi
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Learn more about the music:
Rajendra Prasanna is a leading exponent of both the bansuri and the shehnai, two wind instruments with contrasting textures. He hails from a distinguished lineage of Benares musicians – a young Hariprasad Chaurasia was a student of the family, and Rajendra first learnt from his father Raghunath and uncles Bholanath and Vishnu. He also studied under Hafeez Ahmed Khan and Sarfaraz Hussain Khan, and took vocal lessons from Mahadev Mishra.
His career since has featured accompaniment slots with Ravi Shankar, a long association with the National School of Drama, and carefully selected film work (according to his son, bansuri player Rishab, “rather than make a career in Bollywood he was more keen to enrich the authentic folk music”). Proudly uncompromising with his approach to classical music, he tours the world as one of the finest purveyors of the modern Benares gharana. Listen to more of Rajendra here:
-Lalit | https://www.youtube.com/watch?v=YujHFr-LaG4
Bhairavi is often described as the ‘queen of ragas’. It takes its name from the Hindu goddess of destruction, and conjures versatile moods. To some it can evoke ‘awe, terror, and chaos’; to others ‘a pleasant sobering atmosphere of love and piety’. It is played at sunrise, or alternatively as the final piece in a concert. Understanding the raga in depth is crucial to Hindustani learning – bansuri master Rupak Kulkarni recounts the approach of his guru Hariprasad Chaurasia: “Guruji taught me Raag Bhairavi for five years. When I complained about the repetition, he said: ‘You have to practice Bhairavi until your last breath’. That is what made me realize what swarabhyas [the study of notes] means”.
It is based on the form SrgmPdnS – all swaras [notes] are komal [flattened] except Sa, Ma, and Pa, like the Western Phrygian scale or Carnatic Raga Hanumatodi. The vadi and samvadi [king and queen notes] are typically taken to be Ma and Sa. The raga commonly takes a versatile mishra (‘mixed’) form – all 12 notes are allowed, thus injecting some comparatively rare chromaticism into Hindustani music. Its flexibility is unmatched in the raga pantheon. Listen to more Bhairavi here:
-Arshad Khan (esraj) | www.youtube.com/watch?v=v488qzY6kpA
-Prabha Atre (khayal) | www.youtube.com/watch?v=sRNg-v1Dg_4
-Niladri Kumar (sitar) | www.youtube.com/watch?v=ZtOQ49_hO8s
Recorded at Darbar Festival 2012, at London’s Southbank Centre:
-Rajendra Prasanna (flute)
-Rishab Prasanna (flute)
-Shubh Maharaj (tabla)
-Ranjana Ghatak (tanpura)
-Jeanne Miramon (tanpura)
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source [gpt3]
bhairavi raga flute
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