About Classical Indian Ragas: Shadow of the Lotus
Classical Indian Ragas: Shadow of the Lotus is a studio album by sitar and surbahar virtuoso Baluji Shrivastav. Released in 2007 under ARC Music, the album presents five raga-based compositions performed in the Hindustani classical tradition. The recording captures Shrivastav’s interpretation of traditional ragas alongside a dhun, a light classical form.
Shrivastav performs all tracks on sitar and surbahar, instruments central to North Indian classical music. The album opens with Raag Maru Bihag, a late evening raga known for its emotive depth and use of komal re (flattened second) and komal dha (flattened sixth) swaras. This is followed by Raag Shobhavari, a rare raga associated with the early morning hours, characterized by its use of shuddha ma (pure fourth) and tivra ma (sharp fourth) in ascent and descent. The third track, Raag Shahana, belongs to the Kafi thaat and features a mix of shuddha and komal swaras, often evoking a contemplative mood.
The fourth composition, Raag Jan Sammohini, derives from the Khamaj thaat and employs a blend of shuddha and komal ni (flattened seventh), creating a melodic structure that balances tenderness and intensity. The album concludes with Dhun Bhairvi, a folk-inspired piece based on the raga Bhairvi, traditionally performed at dawn. This track incorporates rhythmic and melodic elements distinct from the preceding raga expositions, offering a lighter contrast.
The release format is a single compact disc with a total runtime spanning the five tracks. ARC Music produced the album as part of its world music catalog, though specific recording locations, accompanying artists, or production personnel remain undocumented in available sources. The artwork and liner notes, where present, align with the label’s standard presentation of classical Indian music for international audiences.
Baluji Shrivastav’s approach on this album reflects his training under the Maihar gharana, a school known for its emphasis on instrumental technique and raga elaboration. The recordings adhere to the alap-jor-jhala structure in raga development, followed by gat (composition) sections in slower and faster tempos. No live performance or improvisational context is indicated, suggesting a controlled studio environment for the sessions.