Priyagitha: The Nightingale

The musical form at the heart of traditional Indian classical music, the raga or (or "rag," in modern Hindi/Urdu) has its roots in the Sanskrit "ranj," which means "to color." It is sometimes said,"that which colors the mind is the raga." A raga defies simple definition. More than a scale, mode, tune or melody, it is a combination of elements-such as the modal structure, including the ascending and descending movement; the emphasis or avoidance of certain notes; the characteristic movements and motifs (the heart of the raga); the time of day or season; and the moods of the raga. These improvisational pieces were recorded live in the studio. To honor the form, they were improvised within the specific musical structure of each raga. Rag Desh: Traditionally played at night, Rag Desh (which translates to "country") is also known as a rainy season raga. The primary moods expressed are devotion, romance and longing. Rag Madhuvanti: The word "madhu" means honey, and the sweetness of honey flows like a river through this raga. Rag Madhuvanti belongs to the group of late afternoon ragas, and was most likely created in the 1920s. The crimson colors of sunset and the coming evening give the raga an urgency and sense of longing. Unfolding slowly in "vilambit ektal" (a slow 12-beat cycle with each beat subdivided into four), this raga creates a mood that is settling, yet filled with expectation. It concludes with a faster section in teental (16 beats). Rag Bhairavi: Named in honor of the Goddess Bhairavi, this beloved raga embodies her qualities of devotion and compassion. The consort of Bhairav, (also portrayed as the God Shiva), Rag Bhairavi expresses feelings of romance and longing. Traditionally a morning raga, it can also be played any time of day or night. It's often the final raga in an Indian classical concert. Priyagitah/The Nightingale: The Sanskrit name for nightingale, "Priya" means "beloved" and "gita" is usually translated as "song." The two words together can mean both "one who sings to the Beloved" and "song of the Beloved." This dialog between the clarinet and the esraj represents the musical flight of yearning for the One-the connection of the musician and the music.