#sitar #budhaditya #instrumental

Darbari Kanada is an extremely popular raga belonging to the cluster of Kanadas. Its origin is popularly attributed to Miyan Tansen, one of the ‘nine jewels’ of Mogul Emperor Akbar’s court. Its Persian name, referring to ‘darbar’ or royal court, bears the stamp. However, it is believed to be an ancient raga, reinvented by Tansen to suit the innovative traits of Hindustani classical stream. He incorporated heavily oscillating key phrases which lent a regal persona to this raga.

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More about the Artist

Extolling the wisdom of our ancient forefathers, Pandit Mukherjee expresses that even though ragas were created keeping in mind the timings of the day, they contained in themselves, the vast possibilities of bringing time down to its knees. “The raag will speak, I will merely be a medium,” he says before he begins to play.

The composition set to a 16-beat cycle (teental) culminates to a beautiful crescendo. Pandit Mukherjee truly transcends the time-theory in this performance by bringing out the pure essence of Darbari Kanada even though he wasn't playing it at midnight. Soumen Nandy gives a brilliant accompaniment making the recital all the more worth its while. This was an epic concert and to be able to live up to Pandit Mukherjee's intense recital with such poise and correctness in itself deserves a thousand accolades.

Darbari Kanada is an extremely popular raga belonging to the cluster of Kanadas. Its origin is popularly attributed to Miyan Tansen, one of the ‘nine jewels’ of Mogul Emperor Akbar’s court. Its Persian name, referring to ‘darbar’ or royal court, bears the stamp. However, it is believed to be an ancient raga, reinvented by Tansen to suit the innovative traits of Hindustani classical stream which enhanced its regal persona with the help of heavily oscillating key phrases. 

Darbari Kanada belongs to the Ashavari that and deploys komal Ga, Dha and Ni (flat 3rd, 6th and 7th). The dominant note is Re and the sub-dominant is Pa. The heavily oscillated movement of the key phrases and powerful gamaks makes this raga very somber by nature which flowers in the lower-mid octaves at its best. Due to this, perhaps, very few female singers venture out to sing this raga.


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Musicians
-Pandit Budhaditya Mukherjee (sitar)
-Soumen Nandy (tabla)

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