THE NATURE OF RAGA
A raga is a character. Each raga has an intrinsic mood or atmosphere, and a unique temperament. When well rendered, its spirit is evoked, and its quality is revealed. Melodically, a raga is a matrix — the interplay of certain musical intervals, inflections, accents, silences, and movements — through which improvisation and composition become possible and meaningful. Within these boundaries, freedom exists.
Traditionally, the unfoldment of a raga has three movements: the first is free of measured tempo, the second introduces a regular pulse — a heartbeat — on which the melody floats peacefully, until it gradually — or suddenly — accelerates into the final movement, the lively play of intricate rhythms. A raga may also be explored in consort with a percussionist. In such a case, a short composition is used as a theme on which the musicians freely elaborate.
The sitar has two to four melodic strings (one steel, the other bronze) and two to four brighter-sounding rhythm strings. An underlying scale of resonance strings vibrate in sympathy with the main strings.
The main left-hand techniques of the sitar are: the gliding of the fingers over the string lengthwise, and the uninterrupted movement from one tone to another by sideways deflection of the string over a single fret. A wire plectrum is worn on the right index finger. The melodic and rhythm strings are plucked alternately.
The sitar has wide bridges that gently incline underneath the strings. This causes a slight buzzing sound, rich in overtones. Through the delicate shaping of the bridge’s curvature — a process called jivari, from the words jiva (soul) and savari (to transmit) — this effect may be intensified or subdued.
ABOUT THE ARTIST
Wilhelm Van Langendonck has imbibed North India’s classical music tradition into his own nature. With intention, he explores the unfoldment of raga through slow and moderate tempi. His music can best be described as lyrical, nuanced, and tranquil.
