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.
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 was a sitar apprentice to Balaram Pathak's eldest son, Ashok Pathak.
By engaging with the essential — not the cultural superficial — he has imbibed North India’s classical music tradition into his own nature.
