[1968·CE19]

Ragini Miyan Ki Todi

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  1. Miyan Ki Todi (54:09)

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Comments by Bahauddin Dagar, son of Z. M. Dagar

Ragini Miyan Ki Todi

The indian miniature of this ragini depicts a young woman, subtlety personified as seen from the gaze in her eyes. Her movements are brisk, she takes small leaps like the deers that are close to her. She advances in small strides and comes to a sudden halt exactly as the movements in the raga where it goes from re to dha and from ga to re to rest. This raag is sung in the winter in the early hours of the morning with a pa that brings time to a standstill.  Actually the entire ragini is depicted very clearly in the re-ga re-sa movement, but then it rediscovers itself in the ma, pa, dha and ni where the raag unfolds it’s full beauty. Such is the fragrance of Ragini Todi.

The three main movements alap, jod and jhala are the three perspectives of looking at Ragini Todi. Each of these movements also brings out the personalities of the two musicians distinctly. If one may say so Ustad Zia Mohiuddin Dagar is like an Ocean and Ustad Zia Fariduddin Dagar is a fireball.

The two Ustads belong to the same lineage and have not only learned from the same teacher but since both have learnt voice as well as the rudra veena, in this recording they give us astonishing exactness, subtlety and dynamic exploration of this particular ragini. It is an intimate dialogue between the two maestroes who not only share the beauty of exploration but also share with each other what they have discovered in their respective journeys of exploration. They complement each other with open ended phrases so the dialogue continues seemlessly. The two brothers never lose sight of the purity of the ragini or wavers from the framework. In complete freedom they reward us with a purely classical and emotionally fulfilling picture of this ragini in the Dhrupad tradition.