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.
Pandit Kashalkar gives a spellbinding performance of the raga, adhering to structure and yet maintaining an openness to explore and pave new paths within the ragascape. You will rarely come across a Kashalkar concert without a touch of this newness and innovation, which makes him the master of his art.
Following Pandit Kashalkar’s temperament and design, Pandit Suresh Talwalkar shapes up a beautiful, lyrical accompaniment. Chinmay Kolhatkar’s soulful refrains and his ability to play gliding notes on the harmonium is nothing short of astonishing. Sameehan Kashalkar, who is the son and disciple of Pandit Kashalkar, gives a praiseworthy glimpse of his own ability as a vocalist in a supporting act.
Darbari Kanada belongs to the Ashavari thaat 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.
Pandit Ulhas Kashalkar (khayal)
Pandit Suresh Talwalkar (tabla)
Sameehan Kashalkar (supporting vocals and tanpura)
Chinmay Kolhatkar (harmonium)
Priya Prakash (tanpura)
Raag Darbari Kanada, Thaat: Asavari, Samay: midnight