#darbarfestival | Raag Marwa has variously been described as “heroic”, “onrushing darkness… anxiety”, and “renunciation from the pains and pleasures of the material world”.
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Learn more about the music:

Rupak Kulkarni is one of today’s finest bansuri exponents. Essentially just a tube of bamboo with holes bored through it, it has no moving parts. The sound is thicker, breathier, and more versatile than the Western flute, blending long sustained tones with percussive slaps and swooping microtonal inflections. Rupak was the star disciple of Hariprasad Chaurasia, and has since sought to expand his guru’s pioneering approach. Rupak has created new ragas and even new flutes, including the bass-toned ‘adbhut bansuri’ (flute of wonder), and takes a deep interest in the therapeutic use of Indian music. Hear more of Rupak here:
-Raag Tilang | [ Ссылка ]
-Raag Bhimpalasi (full performance) | [ Ссылка ]

Marwa is a highly unique raga intended for sunset performances. It takes the same six notes as Puriya and Sohni (SrGMDNS), but scatters them oddly to create a curiously detached mood. Komal Re and mandra saptak [low octave] Dha are the vadi-samvadi [king and queen notes], Ma is tuned microtonally sharp. Pa is absent and Sa is often skipped - the removal of the scale’s two natural ‘anchor’ swaras gives a vacant feel, and the descent-dominant phraseology can summon a sense of foreboding.

But its moods are varied - it has variously been described in terms such as “heroic”, “onrushing darkness...anxiety”, and “renunciation from the pains and pleasures of the material world”. Classical ragamala paintings often depict Raag Malav (Marwa’s direct forerunner) as lovers walking towards the bedroom, and 16th century musicologist Pundarika Vittala associates it with Maravi, “whose face shines like the moon…she is adorned skillfully with sweet smelling flowers...attired in red and her eyes are like those of a fawn.”

Recorded for Darbar on 25 Oct 2018, at London’s Barbican Centre:
-Rupak Kulkarni (bansuri)
-Ojas Adhiya (tabla)

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