Indian Classical Music Archive
A non-commercial cultural preservation initiative safeguarding historical recordings, private mehfils, rare gharana lineages, and documented 20th-century masters.
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Raga Sindhubhairavi
About the Raga
Sindhubhairavi is a widely performed raga in Carnatic music, known for its expressive and devotional character. It is often treated as a flexible raga capable of incorporating several foreign notes and is frequently heard in lighter classical and devotional compositions. Its emotional range makes it particularly effective for concluding portions of concerts.
Raga Sindhubhairavi Jati Vakra / Varied Character Expressive, devotional Tala Adi Composer Papanasam Sivan Form Kriti About the Artist
The Alathur Brothers, Alathur Srinivasa Iyer and Alathur Sivasubramania Iyer, were one of the distinguished vocal duos of twentieth-century Carnatic music. They were particularly admired for their precision, rhythmic command and sophisticated presentation of Carnatic compositions.
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Raga Shankarabharanam
About the Raga
Chalamela — Shankarabharanam — Swati Tirunal
Raga Shankarabharanam is the 29th Melakarta raga of Carnatic music and is one of the major foundational ragas of the tradition. It has a bright, balanced and expansive character and provides considerable scope for melodic elaboration. Its scale corresponds closely to the major scale in Western music.
Raga Shankarabharanam Melakarta 29 Jati Sampurna–Sampurna Aroha S R₂ G₃ M₁ P D₂ N₃ S′ Avaroha S′ N₃ D₂ P M₁ G₃ R₂ S Madhyama Shuddha Madhyama Tala Khanda Jati Ata Composer Swati Tirunal About the Artist
The Alathur Brothers, Alathur Srinivasa Iyer and Alathur Sivasubramania Iyer, were one of the distinguished vocal duos of twentieth-century Carnatic music. They were celebrated for their precise vocal coordination, command over rhythm and sophisticated presentation of Carnatic compositions.
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Raga Bhairavi
About the Raga
Raga Bhairavi is one of the major ragas of Carnatic music, known for its depth, richness and extensive scope for melodic elaboration. It employs both varieties of Dhaivata in its characteristic treatment, while its principal scale is associated with the 20th Melakarta, Natabhairavi. Bhairavi is frequently chosen for elaborate Ragam–Thaanam–Pallavi performances.
Raga Bhairavi Melakarta Natabhairavi (20) Jati Sampurna Aroha S R₂ G₂ M₁ P D₂ N₂ S′ Avaroha S′ N₂ D₁ P M₁ G₂ R₂ S Madhyama Shuddha Madhyama Characteristic feature Both D₂ and D₁ Form Ragam–Thaanam–Pallavi About the Artist
The Alathur Brothers, Alathur Srinivasa Iyer and Alathur Sivasubramania Iyer, were one of the distinguished vocal duos of twentieth-century Carnatic music. They were renowned particularly for their command of laya, complex rhythmic structures and their presentation of elaborate Ragam–Thaanam–Pallavi performances.
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Raga Kalyani
About the Raga
Raga Kalyani is one of the major ragas of Carnatic music and corresponds to the 65th Melakarta. It is characterised by the use of the prati madhyama (Tivra Ma) and has a bright, expansive and majestic character. Kalyani allows extensive scope for melodic elaboration and is one of the most frequently rendered ragas in the Carnatic tradition.
Raga Kalyani Melakarta 65 Jati Sampurna–Sampurna Aroha S R₂ G₃ M₂ P D₂ N₃ S′ Avaroha S′ N₃ D₂ P M₂ G₃ R₂ S Madhyama Prati Madhyama Tala Adi Composer Tyagaraja About the Artist
The Alathur Brothers, Alathur Srinivasa Iyer and Alathur Sivasubramania Iyer, were one of the great vocal duos of twentieth-century Carnatic music. Trained under Alathur Venkatesa Iyer, they were particularly renowned for their mastery of laya, precise rendering of kritis and highly disciplined concert style. The duo received the Sangeetha Kalanidhi honour in consecutive years, 1964 and 1965.
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Raga Jog
About the Raga
Raga Jog is a distinctive Hindustani raga associated with the late evening and night. Its characteristic use of both Shuddha and Komal Gandhar gives it a unique tonal colour, while its melodic movements can range from introspective and meditative to intensely expressive. The raga is particularly effective in slow, spacious elaboration.
Feature Information Raga Jog Thaat Kafi Jati Audav–Sampurna Aroha S G m P n S′ Avaroha S′ n P m G m g S Vadi Ga Samvadi Ni Important Feature Both Shuddha & Komal Gandhar Time Late evening / Night Artist: Ustad Zia Mohiuddin Dagar
Instrument: Rudra Veena
Form: Instrumental
Tradition: Dagar BaniAbout the Recording
This recording presents Raga Jog on the Rudra Veena by Ustad Zia Mohiuddin Dagar, one of the foremost instrumental exponents of the Dagar tradition. His deeply contemplative approach to the instrument makes this an especially valuable recording in the archive.
About the Artist
Ustad Zia Mohiuddin Dagar was one of the greatest twentieth-century exponents of the Rudra Veena and a major figure in the Dagar tradition. He played a significant role in bringing the instrument’s profound, meditative sound into the concert tradition.
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Raga Kedar
About the Raga
Raga Kedar is a prominent Hindustani classical raga associated with the late evening. It is known for its distinctive treatment of Madhyam, using both Shuddha and Tivra Madhyam, and for its graceful, devotional and contemplative character. The raga has a strong melodic identity and is particularly suited to slow and detailed development.
Feature Information Raga Kedar Thaat Kalyan Jati Shadav–Shadav Aroha S M M P D P S′ Avaroha S′ N D P M P M G R S Vadi Ma Samvadi Sa Important Feature Both Shuddha & Tivra Madhyam Time Late evening Artist: Ustad Rahimuddin Dagar
Form: Dhrupad
Tradition: Dagar Bani
Raga: KedarAbout the Recording
This performance presents Raga Kedar in the Dhrupad tradition of Ustad Rahimuddin Dagar, offering an example of the spacious and deeply melodic approach associated with the Dagar Bani.
About the Artist
Ustad Rahimuddin Dagar was a distinguished member of the Dagar family and an important exponent of the Dhrupad tradition. His contribution forms part of the rich lineage of Dagar musicians who helped preserve and transmit Dhrupad through the twentieth century.
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Raga Bhairavi
About the Raga
Raga Bhairavi is one of the most important and widely performed ragas of Hindustani classical music. Traditionally associated with the morning, it is also frequently heard as the concluding raga of a concert. Its characteristic use of the four komal swaras—Re, Ga, Dha and Ni—gives Bhairavi its distinctive expressive and deeply emotive character.
Feature Information Raga Bhairavi Thaat Bhairavi Jati Sampurna–Sampurna Aroha S r g M P d n S′Avaroha S′ n d P M g r SVadi Ma Samvadi Sa Komal Swaras Re, Ga, Dha, Ni Time Morning Tradition Dhrupad In actual performance, Bhairavi is quite flexible and can use shuddha swaras as vivadi/occasional notes, particularly in lighter treatments.
Artist: Dagar Brothers
Form: Dhrupad
Tradition: Dagar BaniAbout the Recording
This rendering of Raga Bhairavi forms part of the Dagar Brothers collection and presents the raga through the spacious and contemplative approach of the Dhrupad tradition.
About the Artist
The Dagar Brothers represent one of the most important lineages of twentieth-century Dhrupad. The Dagar tradition is particularly noted for its unhurried development of the raga, vocal depth and attention to subtle melodic detail.
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Raga Kamboji
About the Raga
Raga Kamboji is a graceful and majestic raga of the Hindustani classical tradition, particularly prominent in Dhrupad. Its expansive melodic character makes it especially suitable for the slow and detailed development characteristic of the Dagar tradition. The raga combines strength and lyricism, allowing both spacious alap and more structured rhythmic development.
Feature Information Raga Kamboji / Kambhoji Tradition Dhrupad Bani Dagar Bani Jati Shadav–Sampurna Vadi Ga Samvadi Ni Time Evening Form Dhrupad Artists: Ustad Nasir Moinuddin Dagar & Ustad Nasir Aminuddin Dagar
Known as: Senior Dagar Brothers
Form: Dhrupad
Tradition: Dagar Bani
Raga: Kamboji -
Raga Chalnat
About the Raga
Raga Chalnat is a distinctive Hindustani raga that is particularly associated with the Dhrupad tradition. Its serious and majestic character provides considerable scope for slow, detailed melodic development. The raga is especially interesting in a Dhrupad setting, where the gradual unfolding of the melodic structure allows its tonal character to emerge with great depth.
Feature Information Raga Chalnat Tradition Dhrupad Bani Dagar Bani Artist Ustad Z. Fariduddin Dagar Form Alap, Jor, Jhala & Dhrupad Accompaniment Pakhawaj About the Recording
This recording presents Ustad Z. Fariduddin Dagar in Raga Chalnat, moving through alap, jor, jhala and Dhrupad in Chautal. It is part of the The Lyrical Tradition of Dhrupad series issued by Makar Records and provides an important example of the Dagar approach to extended raga development.
About the Artist
Ustad Z. Fariduddin Dagar was a major exponent of the Dagar tradition of Dhrupad and an influential teacher as well as performer. He was trained within the Dagar family tradition and became an important teacher to a later generation of Dhrupad musicians.