#darbarfestival | “Hindustani classical music is based on nature...we use the wind to create the notes, the music and notes later return to the wind...” (Manjusha Kulkarni-Patil)
Learn more about the music:
Manjusha Kulkarni-Patil was born into the Maharashtra village of Sangli, famous for producing superb musicians. She learned to sing under Chintubua Mhaiskar, DV Kanebua, Narendra Kanekar, and Vikas Kashalkar, and continues to study with esteemed scholar-singer Ulhas Kashalkar. Today she sings khayal in the Agra and Gwalior gharana styles, and also expertly performs thumri, dadra, abhang, and natya sangeet (‘dramatic music’) - the musical theatre of the Maharashtra region. She draws great inspiration from the natural world, seeking to mimic the sounds of wind with her voice and intimately feeling the connection between each raga and its prahar (prescribed time of day).
Ramkali is an early morning raga. It is often associated with Sikh devotional traditions - many Sikh holy men have composed in it, and one writer described it as follows: “the emotions in Ramkali are like those of a wise teacher disciplining their student. The student is aware of the pain of learning, but is still conscious of the fact that ultimately it is for the best. In this way Ramkali conveys the change from all that we are familiar with, to something we are certain will be better.”
It is similar in form to Raag Bhairav, basing melodies on the swaras SrGmPdNS. But it is sung higher, mainly using madhya and taar saptak [middle and higher octaves]. Also, Re and Dha are not played with as much oscillation as in Bhairav. Re is generally omitted in ascent, tivra [sharp] Ma can be used in descent, and flourishes of komal [flat] Ni are permitted. The vadi and samvadi [king and queen notes] are Pa and Sa respectively.
Recorded at Darbar Festival in 2013, at London’s Southbank Centre:
-Manjusha Kulkarni-Patil (khayal)
-Akram Khan (tabla)
-Tanmay Deochake (harmonium)
-Priya Parkash (tanpura)
-Unnati Dasgupta (tanpura)
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