Raga Gunkali - Drut Khyal

Kishori Amonkar
6:42
Kishori Amonkar performed Raga Gunkali – Drut Khyal in the Jaunpuri thaat, featuring komal re and dha. The 1990s recording highlights her meditative gayaki in a 12-beat drut ektaal.
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About Raga Gunkali - Drut Khyal

Raga Gunkali – Drut Khyal is a khyal performance in the Hindustani classical tradition rendered by vocalist Kishori Amonkar. The recording captures a drut (fast-tempo) composition in Raga Gunkali, a rare raga associated with the Jaunpuri thaat and characterized by its use of komal re (flattened second) and komal dha (flattened sixth) in descent. The track spans 6 minutes and 42 seconds.

Amonkar’s interpretation emphasizes the raga’s introspective and meditative qualities through her signature gayaki (vocal style), marked by elongated aalap-like phrasing within the fixed rhythmic cycle of the khyal form. The performance adheres to the drut ektaal (12-beat cycle) structure, a common meter for fast-paced khyal compositions. Accompaniment details remain undocumented in available sources, though traditional khyal performances typically feature tabla and tanpura support.

The recording’s release context is unclear. Amonkar recorded extensively for labels such as HMV (His Master’s Voice) and Music Today during her career, but no specific album or publication date is tied to this track in public records. The composition’s textual content (lyrics) follows conventional khyal poetry, often drawing from themes of devotion or nature, though the exact verses are not widely published.

Notable aspects of the performance include Amonkar’s use of meend (glissando) and gamak (oscillation) to explore the raga’s chalan (melodic movement), particularly in the upper octave. The rendition exemplifies her approach to raga elaboration, balancing technical precision with emotional depth. No live performance or studio session metadata is confirmed for this recording.

Raga Gunkali itself holds historical significance as part of the upanga (pentatonic) raga family, though it appears infrequently in modern concert repertoires. Amonkar’s recording contributes to its preservation within the Jaipur-Atrauli gharana, her ancestral school of Hindustani music.