#darbarfestival | Musicologist Rajan Parrikar describes the Todi family of ragas as “the most profound...every conceivable human emotion has refracted through the Todi prism.”
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Kiranpal Singh is an esteemed santoor and tabla artist, born in Kenya but currently resident in the UK. He initially studied tabla under Ripudaman Singh of the Punjab gharana. But after impressing Sri Satguru Jagjit Singh Ji Maharaj, the leader of the Namdhari Sikhs, it was arranged for him to study under santoor legend Shivkumar Sharma in Mumbai. He did so for twelve years, and is today recognised as one of Europe’s leading masters of the instrument, playing and teaching widely. Hear more of Kiranpal here:
-Bilaskhani Todi Pt. 1 | https://www.youtube.com/watch?v=x9R_k...
-Bilaskhani Todi Pt. 2 | https://www.youtube.com/watch?v=ByeLg...
Anubrata Chatterjee is a young tabla maestro of the Farukhabad gharana. He is the son of world-leading master Anindo Chatterjee, and also trained under the legendary Jnan Prakash Ghosh. He peppers his Farukhabad-based playing with touches of Lucknow and Ajrada gharanas, accompanying top artists and teaching in New York.
The Todi raga family is central to the Hindustani tradition, overflowing with musical ideas not found anywhere else on the planet. Musicologist Rajan Parrikar describes Todi as “the most profound, finespun idea in melodic music...from ecstasy to frolic to pathos to bathos to melancholy - every conceivable human emotion has refracted through the Todi prism.” Many hear an unsettling, existentially anxious mood, while others see it has having “the playfulness of a newborn lying in bed content, smiling and playful”. A Sikh writer considers the raga to “explain things that we may be aware of, but fail to ponder upon”. Suffice to say, it is a versatile, ambiguous raga, to connect with on a deeply personal level.
All Todi ragas are based around the eponymous thaat scale - an angular shape consisting of the swaras SrgMPdNS. There are many variants - Asavari Todi (Komal Rishabh Asavari), Bahaduri Todi, Bilaskhani Todi, Desi Todi, Gujari Todi, and many more - but all centre around core ideas found in the main Raag Todi (also known as Miyan ki Todi, Darbari Todi, and Shuddha Todi). The raga takes a curious vadi-samvadi [king and queen note] pairing of Dha and Ga, and features prominent use of sruti [microtones] - komal Re, Ga, and Dha are tuned a little low, and tivra Ma is strikingly sharp. The ascent can often omit Sa and Pa, instead favouring intimate interactions between Re and Ga to create a distinctive tension.
Bilaskhani Todi is a particularly auspicious Todi family raga. It is said to have been created by Bilas Khan, son of the legendary saint-musician Tansen of Emperor Akbar’s court, who sung Todi at his father’s wake. He found himself so stricken by grief that he mixed up the notes. But his mind was set at rest, as the mourners witnessed his father’s corpse raise one hand in approval of the new melody. Hear more Todi family ragas here:
-Budhaditya Mukherjee (sitar) | https://www.youtube.com/watch?v=72MCE...
-Indrani Mukherjee (khayal) | https://www.youtube.com/watch?v=NveYR...
-Abhishek Lahiri (sarod) | https://www.youtube.com/watch?v=ZrVD6...
Recorded at Darbar Festival 2006, at Leicester’s Peepul Centre:
-Kiranpal Singh (santoor)
-Anubrata Chatterjee (tabla)
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Raag Bilaskhani Todi (Pt. 2) | Kiranpal Singh & Anubrata Chatterjee | Santoor | Music of India ragam song | |
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| Music | Upload TimePublished on 17 Mar 2013 |
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