Raag Rageshree - Sitar Instrumental - Relaxation Music - Pandit Budhaditya Mukherjee
Rageshree is a raga in Indian classical music, popular in both Carnatic music and Hindustani music. It is from the Khamaj thaat. It is pentatonic in aaroha, hexatonic in avaroha.
This is a very melodious Raag. In music literature, Raag Rageshree is said to have both Shuddha and Komal Nishads. But these days artists choose to sing Rageshree mostly with Komal Nishad and use Shuddha Nishad rarely.

In Avroh, S' n D m G R S may also be taken. However, these days S' n D m G m R S seems to be more popular. Madhyam is strong and D-G Sangati is Raag Vachak like: m G ; m D G ; G m n D ; G m R S. Sometimes in Aaroh, Rishabh is used as a Kan swar for Gandhar like: S G (R)G m R S.

Sometimes a varient of this Raag is sung using Pancham and is known as Pancham-Rageshree, like: G m P m G m R S ; S' n D m G m P m G m R S. However, this is very rarely heard these days. These are the illustrative combinations of the Raag:

S ,n ,D ,n S ; G m R ,n S ; G m D m ; D G m ; G m D n S' ; S' R' S' S' n D ; n D G m ; m G m R S ; D n S' ; D n S' R' S' n D ; m G R S ,n ,D ; ,D ,n S G m R S ;


Pandit Budhaditya Mukherjee is revered for his extraordinary command of the sitar and surbahar, with many counting him among the world’s leading exponents of both - at age 22 veena maestro S Balachander described him as the ‘sitar artist of the century’. He first started learning from his father Pandit Bimalendu Mukherjee, an eclectic musician who studied under sitarist Enayat Khan as well as a plethora of singers, beenkars, percussionists, and sarangi, esraj, and sursringar exponents.

Budhaditya achieved success early, winning various competitions while also pursuing academic work (he graduated with a first class degree in Metallurgical Engineering, and it is said that he barely made a key exam on time after flying straight in from a performance). In his youth he sought to replicate the distinctive sound of Ustad Vilayat Khan (“my goal, the shining star, and the sun in whose ambience I too wanted to bathe”).

He began to tour internationally, and holds the curious distinction of being the first musician of any genre to perform in the British House of Commons. Always seeking to broaden his musical vocabulary, he is considered to be the first sitarist to capture the intricacies of tappa vocal music - a semi-classical style derived from Punjabi camel-riders replete with fast, distinctively angular melodies, typically depicting the emotional outbursts of a lover.

He has customised his sitars using his engineering knowledge, and brings new imagination to playing them with a fine-lens command of the Imdadkhani gayaki ang (singing style). He is seemingly uninterested in self-promotion, and prides himself on musical self-control, not allowing his near-unrivalled speed to distract from the underlying shape of a melody (“speed in sitar music is an incidental decoration, not the core on which aesthetics of sitar music stands”).

A stellar performance career has not prevented him from living out a strong commitment to teaching - he is among his gharana's most respected gurus, with students including Dhruv Bedi and Gagandeep Hothi. He has also held academic positions in Rotterdam and Venice, and tours the world, enrapturing audiences of newcomers and old connoisseurs alike.

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