INDIAN CLASSICAL MUSIC Indian classical music originated from the Indian subcontinent and was divided into two traditions in the 12th century. The north Indian style is called Hindustāni and the south is known as Carnatic or Karnataka sangitam. The division of the two traditions took place as Arab and Persian musical practices slowly came to influence the northern parts of the subcontinent, blending with the Hindu traditions. Both traditions date back to the chanting of sacred Vedic scriptures, which developed into a system of musical notes and rhythmic cycles. Both traditions share the use of rāgas (a melodic framework for improvisation, composed in a set scale), the rhythmic systems of tāl (the cycle of beats used in a composition), and the practice of rhythmically free improvisation, ensuring each performance is unique. Due to the prominence of improvisation in both traditions, and written notation being scarce, the music is often passed down the generations from master to disciple through oral teaching and direct demonstration. Traditionally, disciples moved into the home of their masters to ensure the tutorage was undertaken at the highest level. The development of the traditions is also influenced by gharrānrās – a community of performers who share a distinctive style and standard of classical music based on their respective regions. The gharrānrā concept arose in the 19th century, when the interest in royal court music began to dwindle and performers were forced to play elsewhere. Many gharrānrās take the names of regions from which they come, expressing their identities and retaining their lineage. Before a community of practitioners can be considered a gharrānrā, they must pass down the style through three generations. Gharrānrās exist for both vocal and instrumental traditions. The rāgas played on this album feature the Hindustāni bansuri (bamboo flute), but other prominent instruments of this tradition include the sitar, tabla, tanpura, sarod, santoor and sarangi. A typical Hindustāni rāga performance takes place in a chamber setting and can last for over an hour. The term rāga comes from the Sanskrit meaning ‘colour’ or ‘mood’. Therefore, they are often titled in relation to certain times of the day, or seasons of the year, such as ‘morning’ or ‘springtime’. A rāga supplies a framework of given ascending and descending notes from which an improvisation can be played. The differing types of rāga are showcased in various ways, such as the order in which they appear in the melody, the emphasis given to certain degrees of the scale, and the characteristic motifs used. The melody and the relationship between notes hold more importance than the harmony, and ornamentations such as gliding, vibrato and oscillation are added to embellish the melodic lines. Today, several hundred different rāgas are played, and there are many more varieties available in theory. The soloist begins with an alāp, which is a long, slow unmetered prelude that sets out the rules and characteristics of the rāga. This is followed by a jod (or jor), which is similar to the alāp in the sense that it has no rhythmic cycle (or tāl), but it does have a noticeable pulse, which eventually builds up concluding in a fast-paced jhālā. Next, in instrumental pieces, comes the fixed melodic composition – the gat. The gat has a fully developed cycle and is accompanied by the percussionist on the tabla. This is where the musical composition comes into full swing and often involves various rhythmic exchanges between the musicians. Indian classical music, rich in historical tradition and practiced in a disciplined manner, is appreciated by many for its meditative and uplifting nature. Some believe that its emotive effects can be therapeutic, healing and even encourage creativity. THE BANSURI The bansuri is an Indian transverse bamboo flute with a pleasantly warm, mellow and smooth tone. Historically played by shepherds, it was initially a folk and pastoral instrument until the last century, when Pandit Pannalal Ghosh (1911-1960) introduced it to the Hindustāni classical tradition. He played various rāgas on the flute, and in 1935 recorded the first bansuri album on a long-playing shellac record. Today, he is revered by all Indian flute players as a pioneer of the bansuri. The bansuri is traditionally made of a hollow bamboo shaft, between 30cm and 75cm long, and is roughly as thick as a human thumb. The pitch is determined by the flute’s length and thickness, as well as the size of the finger holes, and distance of the blow hole from said finger holes. The blow hole is about 5cm from the top closed end. The bansuri has six or seven finger holes and a range of 2 ½ octaves. The exact pitch of the individual notes can be varied by covering the finger holes fully or partly, and altered by the force of the blow. The bansuri is considered one of the most ancient musical instruments in the world and is mentioned in the Rigveda (1500-1200 BCE). The flute is associated with the Hindu god Lord Krishna and his love story with the goddess Radha. As described in the Hindu scriptures, Radha secretly snuck away from the forest, following the sound of Krishna’s flute, and upon meeting they danced to Rasa lila – the ‘Dance of Divine Love’. PANDIT RONU MAJUMDAR Pandit Ronu Majumdar, is a pioneer in Indian classical music, his name synonymous with the bansuri among the younger generation. He is known for his unique style of playing the rāga, blending traditional Drupad Gayaki (vocal-based classical Indian music) with various Layakari (tempo) techniques. However, despite his modern-day recognition and innovative playing, Ronu Majumdar is firmly rooted in the Maihar gharānā – a distinctive style of Hindustāni classical music that originated in the northern parts of the Indian subcontinent in the 19th century. Other renowned musicians to ascend from the Maihar gharānā are Pt. Ravi Shankar and Ustad Ali Akbar Khan. Born in Varanasi, Ronu Majumdar began playing the bansuri, aged 6, under the guidance of his father Dr. Bhanu Majumdar and later by the renowned Indian flutist Pt. Vijay Raghav Rao. His father was a homeopathic doctor by profession, but was taught to play by the celebrated Pt. Pannalal Ghosh, who was the first to introduce the flute to Hindustāni classical music. In addition, Ronu Majumdar’s vocal training was held under the late Pt. Lakshman Prasad Jaipurwale and Ronu’s guru Pt. Ravi Shankar. He was fortunate to first meet Pt. Ravi Shankar in 1980, while recording the famous song ‘Atha swagatam, shubh swatagtam’, a welcome song composed for the 1982 Asian Games. Pt. Ravi Shankar was impressed with Ronu’s musical abilities and asked him to join his orchestras, and later to feature on his albums. It was during this period that Ronu progressed to be the professional musician that he is today. As a ground-breaking musician and a captivating performer, Ronu has been awarded with numerous accolades for his mesmerizing performances worldwide. He received his first award for the All India Radio Competition - 1st Prize, in 1981. In 1996, he received a Grammy nomination for his album ‘Tabula Rasa’ with Bela Fleck, the American banjo virtuoso. In 1999, he went on to win the Aditya Vikram Birla Award in honour of excellence in theatre and the performing arts. In 2006, he claimed the National Kumar Gandharva and Pandit Jasraj Gaurav Puraskar awards, and in 2014, he won the Sangeet Natak Akademi Award – the highest Indian recognition given to practicing artists. He has also won two Lifetime Achievement Awards, the first in 2001 by Sahara India and the second in 2014 by Navbharat Times, from the Honourable Chief Minister of Maharashtra – Shri Devendra Fadnavis. Besides his classical music, he has also been a major innovator in the genre of New Age music. He has composed several hit albums such as ‘A Traveller’s Tale’ and ‘Koi Akela Kahan’ as well composing music for the Hollywood film ‘Primary Colors’ and India’s first IMAX film, ‘Mystic India’.

Pandit Ronu Majumdar - Indian bansuri Pandit Ajeet Pathak - tabla

All tracks composed and arranged by Pandit Ronu Majumdar

Recorded at Trio Digital Recording Studio, Andheri West, Mumbai, India Produced by Pandit Ronu Majumdar/ARC Music Musical director: Pandit Ronu Majumdar Mixed, mastered and engineered by Mr Tapan Diwanji Final mastering by Diz Heller for ARC Music Productions Liner notes by Sarah Wanstall, Diz Heller, Pandit Ronu Majumdar Product design by Sarah Wanstall

℗ & © 2021, ARC Music Productions International Ltd.