Monday, October 16, 2000
Book Review: Raga Malhar Darshan
Rajan P. ParrikarRajan P. Parrikar is a
recognized expert on Indian Classical music and shares his knowledge freely
with those interested in the subject.
He has written a series of articles
on Classical Indian Music some of which have been archived on Sawf. Click here to read Rajan's earlier
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Namashkar.
This article presents a review of the book RAGA MALHAR DARSHAN by Dr. Geeta
Banerjee. The material for this publication evolved from her doctoral work at
Allahabad University completed under the supervision of her guru Pandit
Ramashreya Jha "Ramrang." Dr. Banerjee has been a longtime performing vocalist
and was on the Music Department faculty at the University. After Jha-sahab's
retirement she succeeded him as Head of the department there. She is now
retired from active duty but still maintains a part-time appointment.
<-- Dr. Geeta Banerjee at the author's place in Goa, performing on the
occasion of Ganesh Chathurthi (Sept 2000)
RAGA MALHAR DARSHAN is a thorough investigation of Raganga Malhar and its
derivatives. The organization of the subject matter is chronological, and three
major time periods are identified in the development of the Malhars: prAchina
(before the 15th C), madhyakAlina (15th C - 18th C) and avArchina (19th C to
the present). Ragas Shuddha Malhar, Megh Malhar and Gaud Malhar are part of the
first period. Many of the Malhars we relish today fall to the second lot. The
treatment is comprehensive and scholarly, a product of first-rate scholarship.
Although the
title bears the name of only one author it is clear that the shAstraic backbone
and many of the insights are due in no small measure to Jha-sahab himself.
Chapter 1, titled "Raganga Raga Malhar or Raga Shuddha Malhar," cuts
straight to the core. The paterfamilias, Raga Shuddha Malhar, is traced
historically as it occurs in the ancient texts such as Sangeet Ratnakara,
Sangeet Parijat, Raga Manjiri, Sangeeta Darpana, Raga Tarangini and a host of
other treatises. The attendent views of the author-panDits are recorded and
critiqued. This historical section is followed by a detailed musical analysis
of the Raganga Raga Shuddha Malhar. Just what it is that constitutes the Malhar
anga is fleshed out. Comparisons and differences are drawn with two other rAgas
- Durga and Jaladhar Kedar - that employ the same pentatonic scale (S R M P D, where M =
shuddha madhyam). Throughout the volume every theoretical discussion of a rAga
culminates in a collection of notated compositions: dhrupads, kHayAls and
tAranAs, old ('traditional') and 'new' (mostly Ramrang's).
Chapter 2 lays the groundwork for the time-framed Malhar prakArs of the
chapters following. Chapter 3 discusses the prAchina prakArs, Chapter 4 the
madhyakAlina and Chapter 5 the avArchina (see Footnote for the names of the
actual rAgas covered). The major prakArs are put under the lens and analyzed;
their variations are also dealt with. For instance, Gaud Malhar has a
less-familiar version that uses the komal gandhAr (K.G. Ginde has a recording
of this puppy), Nat Malhar comes in two flavours, one with both the gandhArs
(eg. see Bhimsen Joshi's recording) and the more common one with only the
shuddha gandhAr. A distinction is drawn between Megh and Megh Malhar and the
variations of the latter acknowledged. The compositions are for the most part
offered only in the principal versions (so determined by the author's
background).
In Chapter 6 the sampoorNa jAti Malhars are assessed and compared. Chapter 7
presents a few recently-hatched (i.e. conceived by Ramrang) Malhars and their
compositions. The concluding Chapter 8 contains a brief discussion on rasa and
its realization in the different Malhars.
There have been other published works dedicated to the Malhars. For
instance, the volume MALHAR KE PRAKAAR by Jaisukhlal Shah, which contains some
useful traditional compositions but is otherwise a rather sloppy piece of work
and called as such by Dr. Banerjee in her prefatory remarks. Pandit Vishnu
Narayan Bhatkhande has a detailed discussion on the Malhars in his magnum opus,
HINDUSTANI SANGEET PADDHATI, from which Dr. Banerjee has freely drawn upon.
Pandit Vishnu Narayan Bhatkhande --->
Two features of RAGA MALHAR DARSHAN make it particularly outstanding. One
is the assemblage of many traditional compositions many of which are not easily
accessible. Furthermore, Jha-sahab's
own compositions are a testament to his creative genius and stature as one of
the preeminent Hindustani vAggeyakAras of our time. Of particular profit to the
serious student or performer is the method of rAga analysis that is proposed.
The reader is introduced to the shAstraic language and familiarized with the
kind of critical thinking necessary for an inquiry into the innards of a rAga.
Jha-sahab's earlier volumes demonstrate well this approach where the rAga is
taken apart swara-by-swara and then re-assembled. Although Jha-sahab's didactic
virtuosity and analytical acumen are peerless and original, he credits
Bhatkhande for "showing me the way." But he is no uncritical follower, no
"lakeer ke faqeer". In a recorded conversation with Satyasheel Deshpande,
Jha-sahab leaves no doubt of the debt owed Bhatkhande. That conversation
brings to mind a moving passage that Satyasheel's father, Vamanrao, wrote
decades ago concerning his first meeting with the great Chaturpandit:
"...Around this time Panditji was terminally ill with cancer. Once I
expressed a desire to be introduced to Panditji and Bhal with great alacrity
took me to his bungalow at Walkeshwar. Panditji was lying on his back on his
bed, beneath a window in the ground floor room, with both arms on his chest.
Bhal introduced me saying, 'He is an Accountant - also practises music' and
seated me on Panditji's bed. Panditji stroked me on my back and said, 'Educated
people should take an interest in music. Continue working hard at it. You will
find our Bhal very useful.' I consider the touch of his hand on my back as one
of the most significant happenings of my life. I also consider that my
subsequent progress in music and whatever little I wrote on the subject is a
direct fruit of his blessing..." (Between Two
Tanpuras).
We revert to the topic at hand. A translated passage from RAGA MALHAR
DARSHAN illustrates a typical analysis. Similar analyses are to be found in
Jha-sahab's own volumes.
On the swara prayogas in Raga Megh Malhar:
"ShaDaj apart, the rishab occupies an important position in this rAga,
both in Arohi and avarohi movements. Despite its 'deergha bahutva' role in Megh
Malhar there can be no nyAsa on the rishab. That swara is almost always
Andolita and looks to the madhyam for assistance. To wit, S (M)R (M)R, M R R,
n' S. The rishab's position in Megh Malhar is precarious. It cannot be
elongated for the Megh Malhar swaroop to come through. If rendered stable
("sthira") it runs the risk of losing itself to Sarang. And because it is kept
Andolita with the assistance of the madhyam it cannot establish an identity of
its own. To strengthen the veera rasa component of the rAga the rishab is also
used in the 'alanghan bahutva' role. This mixed mode use is seen in the
following passage:
(M)R (M)R M P (Andolita) and P M R M, (M)R (M)R S (mixed).
The rishab swara is never skipped, it is the 'mukha swara' of the rAga. In
those cases where the intonation of a particular swara immediately suggests
the rAga identity the said swara is known as the 'mukha swara.' The rishab of
Megh Malhar and the gandhAr of Darbari are such examples..."
<-- Dr. Geeta Banerjee and Pandit Ramashreya Jha "Ramrang" in Goa (Sept
2000)
The remaining swaras in Megh Malhar are similarly illuminated and the rAga
is then put back together. These 'tools' of rAga analysis should be part of
every serious student's armoury, for they give insight into the rAga's
blueprint. At a later point in time I will post clips, time and weather
permitting, of this swara-by-swara dissection demonstrated by Jha-sahab in
delineating the scale-congruent Ragas Megh, Megh Malhar and Madhmadh Sarang.
Two areas for improvement suggest themselves. An index at the end of the
volume would have been useful. If Jha-sahab can be pursuaded to record a CD-ROM
of the outlines of all the compositions in the book, that would constitute a
document of immeasurable scholarly and archival value.
A few samplers of the bandishes in the book are now offered. Jha-sahab sings
his composition in Raga Gaud Malhar: jhingurA jhanana jhanakAra -
http://www.sawf.org/audio/ramrang/gaudmalhar_druta.ram
The following two clips are in Raga Chhaya Malhar. Ramrang first provides
an outline of the composition (of Kunwar Shyam) as received from his guru,
Bholanath Bhatt: sakhee Shyama nahiN Aye -
http://www.sawf.org/audio/malhar/jha_chhayamalhar_druta.ram
And next, Bhimsen Joshi's commercial rendition of the same cheez -
http://www.sawf.org/audio/malhar/bhimsen_cm.ram
The final clip is a traditional composition in the uncommon Raga Arun
Malhar, in Ramrang's voice: kaha nA gaye saiyyAN -
http://www.sawf.org/audio/malhar/jha_arunmalhar_vil.ram
For a discussion on Ragas Chhaya Malhar and Arun Malhar, please see A
Tale of Two Malhars. A medley of Ramrang's compositions may also be found
in
Ramrang - A Bouquet of Compositions.
Locating and Purchasing the Books:
RAGA MALHAR DARSHAN (1999)
Pratibha Prakashan
(Oriental Publishers and Booksellers)
29/5, Shakti Nagar
Delhi 110007
INDIA
Telephone: 91-11-7451485
Price: 800 Indian rupees
In addition to RAGA MALHAR DARSHAN, Dr. Banerjee has authored two other
books that serve as adjuncts to Jha-sahab's 5 volumes of ABHINAVA GEETANJALI.
ABHINAVA GEETANJALI (Vol 1-5) by Pandit Ramashreya Jha "Ramrang."
RAGA SHASTRA, Parts 1 and 2, by Dr. Geeta Banerjee.
Publisher for ABHINAVA GEETANJALI and RAGA SHASTRA:
Sangeet Sadan Prakashan
134, South Malaakaa
Allahabad, INDIA
Telephone: 91-532-605973
Footnote (Ragas in RAGA MALHAR DARSHAN)
Chapter 1 (Raganga Raga Malhar):
Shuddha Malhar
Chapter 3 (prAchina):
Megh, Megh Malhar
Gaud Malhar
Chapter 4 (madhyakAlina):
Miyan Malhar
Soor Malhar
Ramdasi Malhar
Nat Malhar
Mirabai ki Malhar
Dhulia Malhar
Gaudgiri Malhar
Charju ki Malhar
Jayant Malhar
Chapter 5 (avArchina):
Samant Malhar
Chanchalsas Malhar
Arun Malhar
Roopmanjari Malhar
Chhaya Malhar
Tilak Malhar
Sorath Malhar
Des Malhar
Sveta Malhar
Nayaki Malhar
Kedar Malhar
Jhanjh Malhar
Chandra Malhar
Chapter 7 (nava-nirmita)
Mahendra Malhar
Anjani Malhar
Janaki Malhar
Glossary
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