Night is, in herself, a paradox! She can create the space
for love and fear, peace and restlessness, dreams and nightmares all at the
same time; she can glow when the moon is on a wax or growl when on a wane; she
can allow the gentle sounds of nature lull one to sleep or a silence to become
eerie.
As the night slips away and gives way for day-break, time stands witness
to that infinitesimal moment when the two stand in contrast to each other, as a
harbinger of hope and a new beginning.
Hindustani Classical music follows the ‘samay-raga’
system, where ragas are time specific, and it was Pt. Bhatkhande who coined the
phrase ‘sandhi-prakash’ which defined
that interval when darkness and light came in a union. Of course, this,
therefore, occurs twice in a 24 hour cycle.
The two ragas that are sung
before the break of dawn are Bhatiyar and Lalit, which in particular, is a ‘sandhi-prakash’ raga. While both the
ragas make use of the two connotations of the ‘madhyam’ (the flat and sharp
of the 4th note of the octave), Raga Lalit uses them in succession
(which is an exception in the rules that govern a raga). It is that use of the
notes that brings in an experience of sheer spirituality and calm, so perfect
for the morning.
Raga Lalit, Pt. Hariprasad Chaurasia and Smt. Vidushi Kishori Amonkar..
No comments:
Post a Comment