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Bhairavi is my choice: Niladri Kumar

I say this because I have an affinity for morning ragas such as Miyan ki Todi, Gurjari Todi, Bilaskhani Todi, Bhatiyar, Lalit and Basant Mukhari. But concerts hardly happen in the mornings.

When a rare opportunity to perform in the morning comes my way, I don’t let it go and play to my heart’s content.

When I am performing in the evening or night, I follow the tradition of choosing ragas that should be played at that time of the day. Musicians are generally close to a family of ragas. And choose a few members from this family who fit their mood on the day of a concert.

Bhairavi puts me on a high. Sadly, I don’t get to include this beautiful raga, which is the main representative of Bhairav thaat, in my recitals often. At a music festival, if my concert is to be followed by performances of other artistes I cannot play Bhairavi. For, a programme should end with this raga. I really look forward to those occasions when I am the only artiste for the evening or have to perform last in a series of concerts; I go on a joyous Bhairavi trip.

It’s not that instrumentalists don’t have preferences when it comes to compositions because they do not use words to express. People think we have a wider appeal as there is no language barrier. I wish we had the power of lyrics, which means one more level of communication. We have laya, tala, and if there were words, it would have completed the picture. I feel it’s easier to get closer to the audience with meaningful, soothing lyrics.

There are several instrumental compositions or Bandhishien. I love those created by my father sitar maestro Pandit Kartick Kumar, and some of the traditional works. Nothing can match their classic appeal.

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