Raga Shivmat Bhairaw

Raga Shivmat Bhairaw is a Dhrupad-style rendition performed by Hindustani classical vocalist Mallikarjun Mansur. The recording captures a live or studio performance of the raga, a variant of the Bhairav family characterized by its early-morning (pratah raga) association and devotional themes linked to Lord Shiva. Mansur presents the composition in the traditional alap-jor-jhala structure, followed by a composed section in nom-tom (Dhrupad’s rhythmic cycle).

The performance spans 28 minutes and 16 seconds. The exact release year and label remain undocumented in widely accessible sources, though Mansur’s active recording period for Dhrupad and Khayal spanned the 1960s to 1990s. The raga’s aroha-avroha (ascent-descent) typically omits rishabh (Re) in ascent and employs komal dhaivat (flat Dha), aligning with the Bhairav thaat. Mansur’s interpretation emphasizes the raga’s meditative depth, with prolonged alap exploration and sparse tanpura accompaniment.

Notable features include Mansur’s use of gamak (ornamentation) on the madhyam (Ma) and pancham (Pa), a hallmark of his Jaipur-Atrauli gharana training adapted to Dhrupad’s austere framework. The recording lacks commercially published liner notes, and no specific composition (bandish) title is attributed to this version. Archival releases of Mansur’s work often appear under labels such as HMV (His Master’s Voice), Music Today, or Saregama, though this track’s provenance requires further verification.

The raga’s name, Shivmat Bhairaw, translates to ‘Bhairav of Shiva’s doctrine,’ reflecting its liturgical role in Shaivite traditions. Mansur’s rendition aligns with his broader repertoire of rare and semi-classical ragas, documented in concerts and private recordings. No additional artists (accompanists or instrumentalists) are credited in available metadata for this track.