Raag Bhairavi | Niladri Kumar & Pandit Subhankar Banerjee | Sitar & Tabla | Music of India

#darbarfestival | Sitarist Niladri Kumar plays Mishra Bhairavi, named for the goddess of destruction, replete with chromaticism, double-stops, and extraordinary string bends. ► Join our newsletter at http://www.darbar.org/newsletter for the finest in Indian classical music and dance, and watch full length exclusive concerts in pristine HD on the Darbar Player: http://www.darbar.org/darbarplayer If a few brief minutes of Niladri aren't enough…watch his full 65-minute performance of Raag Bhimpalasi in pristine HD on the Darbar Player, along with dozens of other captivating concerts: https://www.darbarplayer.com/videos/nildari-kumar-pandit-shubhankar-banerjee-raag-bhimpalasi --------------------------------------------------------------------- Learn more about the music: Niladri Kumar is known for his expansive modern sitar style, stretching the boundaries of classical music. Trained under his father, a disciple of Ravi Shankar, he was recognised as a prodigy. He has since developed an extraordinary technical command of his instrument, complete with dextrous double stops, whispering string bends, and rapid taans [fast improvised lines]. He makes forays into film composition and is the inventor of the ‘zitar’ - a curious hybrid of electric guitar and sitar. Today he tours extensively with Zakir Hussain’s groups as well as a solo artist. Hear more of Niladri here: -Bhimpalasi | http://www.youtube.com/watch?v=_PyplT2u9K8 -Shree | http://www.youtube.com/watch?v=9Xy3j2EiVPw -Explaining his unique sound | http://www.youtube.com/watch?v=5cVvGNwxs6c “In Harry Potter, there’s a wand choosing scene where the wand and its user need to have a connect. The sitar too broadly works in a similar style. Only after the instrument and the artiste warm up to each other, the musical spark begins and the magic starts to flow.” (Niladri Kumar) Bhairavi is often described as the ‘queen of rāgas’. 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) | http://www.youtube.com/watch?v=v488qzY6kpA -Prabha Atre (khayal) | http://www.youtube.com/watch?v=sRNg-v1Dg_4 Recorded for Darbar on 21 Sep 2014, at London’s Southbank Centre -Niladri Kumar (sitar) -Subhankar Banerjee (tabla) Darbar believes in the power of Indian classical arts to stir, thrill and inspire. Through shared experiences and digital connectivity we ensure that one of the world’s finest art forms reaches the widest possible audience. Founded in 2006, we deliver premium quality live events, music education, broadcasts and online engagement through promoting artistic innovation and creative technology. We are also committed to providing a platform for new talent from India and the UK. All Rights Reserved ©2019 Darbar Arts Culture Heritage Trust