Indian music gurus discuss raag Malhar on the eve of a concert inspired by it

(L to R) Pandit Shivkumar Sharma; Ustad Amjad Ali Khan; Pandit Sharad Sathe

Mastering ragas has always been a learning prerequisite of Indian Classical music. "The concept of ragas is found only in Indian classical music. It doesn't exist in any other part of the world or in any other music genre. Raga is a mode that has its own grammar. Musicians are supposed to follow it strictly," says santoor maestro Pandit Shivkumar Sharma.

At this time of the year, raga Malhar assumes special place among musicians. In fact, in Hindustani music, the Malhar groups of ragas showcase different moods of the monsoon, ranging from gentle and life-giving to gloomy and tempestuous. Tomorrow, a chamber concert, Avahan - A Concert On Malhar ke Prakar, will be organised to the theme of different ragas of the rainy season. It will feature 85-year-old Pandit Sharad Sathe, an eminent vocalist from the Gwalior gharana, accompanied by Shrutindra Katgade on the tabla and Pandit Vishwanath Kanhere on the harmonium.

Pandit Sathe says that raga Malhar obtained dignity in the 17th Century because of Tansen. "Perhaps that's why the raga is aptly called Mian Malhar. There are many varieties of Malhar that are either named after their creators or are a combination of two ragas," he adds.

"Ragas are spiritual in nature, and they are believed to have maximum effect when performed at the suggested time," explains Sharma. Sarod maestro Ustad Amjad Ali Khan believes that there's no logical explanation as to why a raga is seasonal. "Seasonal ragas have always been an integral subject in Indian classical music. Spring, monsoon and many other factors associated with nature have strong representation in ragas. I recently composed my first Malhar raga, Sawan Malhar," he shares.

On: June 4, 4 pm onwards
At: Hall of Quest, Nehru Planetarium, Worli
Call: 9699036900
Tickets: '200 (available at the venue till 3.45 pm)