My extensive series on north Indian raga includes reflections on several live London concerts (Bhavan, British Museum, Kings Place). And as an honorary member of “the other classical musics”, raga has long featured at the Proms. * While such a genre is best experienced in intimate venues, it still works in the vast Albert Hall, with the close attention of the Prommers perhaps resembling a core of mehfil aficionados.
At last Sunday morning’s Prom I heard Amjad Ali Khan (b.1945), with his sons Amaan Ali Bangash and Ayaan Ali Bangash, on the fretless plucked lute sarod, accompanied on drums by Sanju Sahai (tabla) and Pirashanana Thevarajah (mridangam). I might have preferred the group to sit more closely together, creating a more intense atmosphere, rather than attempting to spread themselves widely across the ample stage.
You can listen to the concert here for the next year.
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and Darbari Kanada:
Kafi Zila, 1978:
and Marwa, from 1994:
Note also documentaries by James Beveridge (1971):
and Gulzar (1990):
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I’ve never paid much attention to the taxonomy of ragas by the time of day—which is anyway rarely adhered to in concerts, since they mainly take place in the evenings—and there’s a further potential refinement in the seasonal associations of particular ragas (see e.g. here). But the morning Prom did indeed feature morning ragas—which were largely chromatic and quite challenging.
First the two sons played rāg Lalit in duet, like a kind of junior jugalbandi. Lalit has a highly chromatic scale, omitting the fifth degree Pa and featuring both natural and sharp versions of the fourth ma (for more, including a flute version by Hariprasad Chaurasia, click here).
Then the veneration in which Amjad Ali Khan is held was clear from the standing ovation he received as soon as he stepped on stage. First he played Miyan ki Todi (from 29.20; cf. this 2004 rendition), also chromatic and complex; here are its basic ascending and descending scales as given in The raga guide:
On first hearing, both these ragas may seem quite mystifying.
He went on briefly to compare the timbre of stopping the strings with nails or fingertips (from 56.14), and after another whimsical chromatic solo (rāg Purvi?) he demonstrated the link between tarana vocalisation and playing (1.10.07). Finally his sons joined him to play rāg Anand Bhairav (1.17.31, cf. this version) in an exchange that often resembled a training session for learning the basic building blocks of the raga. After all the earlier chromaticisms, its scale is almost entirely diatonic, only coloured by a flat re second degree.
While I would always trade the fast flamboyant final sections for lengthier introductory alap exploring the structure of the raga, this was a most charming, inspiring concert to remind us of raga’s vast ocean of discipline and creativity!
* Imrat Khan performed late-evening Proms in 1971 and 1978; at the peak of my own dabblings in raga, epic all-night concerts were held in 1981 (with musicians including Vilayat Khan on sitar, Sultan Khan on sarangi) and 1983 (dhrupad from Zia Fariduddin Dagar and Ritwik Sanyal; Ram Narayan on sarangi, Hariprasad Chaurasia on bansuri); and the first main-evening Prom of north Indian classical music was held in 1989.
My use of roman and italic here is another example of the hierarchy of admission to “our” elite musical club—tabla (like sitar) having become part of the English language, sarod and mridangam not so much, yet…