Professional Documents
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This project came into being when I accompanied yoga workshops taught by John
Friend. I was greatly inspired by his masterful weaving of spiritual themes into the flow
of the teachings. For the deep relaxations at the end of his classes, I composed pieces for
Savasana combining ragas with sacred texts that mirrored these themes.
In that spirit, the selections on this CD are intended to unite the central themes of ancient
sacred texts with Indian ragas that support their essential nature. Raga is a tremendously
sophisticated musical framework which defies simple definition. Broadly, ragas are the
traditional classical melodic form of Indian music, which express specific moods and
reflect different seasons, times of day, and manifestations of the Divine.
I have been blessed to have the opportunity to study with some of the greatest exponents
of the North Indian (Hindustani) classical tradition, Ustad Ali Akbar Khan and Ustad
Zakir Hussain. They have given me gifts beyond measure, and it is my hope and prayer
that this musical offering can reflect some small part of the tremendous gifts they have
given their students and audiences around the world.
In what would have been his 125th year, I also wish to acknowledge the brilliance of my
grandfather, the great psychologist Max Wertheimer. His study of music (particularly of
the Veddas of Sri Lanka) was pivotal in his development of Gestalt theory in the early
twentieth century.
1. Om Namah Shivaya
2. Devotion
3. Remembrance
4. Faith
5. Balance
6. Ahimsa
The heart of this mantra, “Om Namah Shivaya” is often literally translated as “Om,
salutations to Shiva” … although it often interpreted as “Om, I bow to the Inner Self.” It
is widely considered to be a great redeeming mantra (mahamantra) because of its power
to grant both worldly fulfillment and spiritual realization. Om is the primordial sound;
Namah is to honor or bow to; Shivaya denotes divine Consciousness and Auspiciousness,
the Lord who dwells in every heart. With the reference to the guru in the word “gurave,”
this line could be translated as “I bow to the goodness within myself, known as Lord
Shiva, who is the true teacher.”
The melody for this invocation comes from the raga known as Bageshri, an evening raga
that emphasizes the moods of yearning, peace and devotion.
Source: Yoga Sutra Chapter 2 Verse 45
“Through devotion to the Lord comes the attainment of oneness with the universe.”
The music in this piece is based on an evening raga known as Desh, which is also well
known as a rainy season raga. Some say that this raga has its roots in the rich folk music
traditions of northern India, and the name “Desh” translates as “country”. The primary
moods expressed are devotion, romance and longing.
“He who sees Me everywhere and sees all things in Me
I am not lost to him, and he is not lost to Me.”
Source: Bhagavad Gita Chapter 6 Verse 30
I chose to put this text to music using Bhimpalasri, a late afternoon raga that has a sweet
balance of poignancy and steadfastness. It is sometimes said that the feel of Bhimpalasri
is best understood as the mood of that time when the color red starts to blossom in the sky
before sunset.
“Man is made of faith. Whatever faith he has, thus he is.”
Source: Bhagavad Gita Chapter 17 Verse 3
For this verse, the evening raga known as Jog spoke to me because of the wonderful way
it alternates between the sorrow of a minor mode and the hopeful and uplifting qualities
of a major mode. Our own shifts between these moods and expectations in our own lives
are perhaps the greatest test of faith, and help us to appreciate the gifts of both answered
and unanswered prayers.
“He who sees balance in everything in the image of his own Self, Arjuna,
Whether in pleasure or pain, is thought to be a supreme Yogi.”
Source: Bhagavad Gita Chapter 6 Verse 32
In the richness of the Indian classical music tradition, we find both “ragas” and “raginis,”
the latter being the female form of a raga in the same way a female deity is known as a
goddess. This selection uses a combination of the raga known as Megh (a rainy season
raga that is also one of the original ancient six “male ragas”) and the ragini Durga, named
for the warrior goddess of the same name. The scales of these ragas are actually quite
similar to each other, being differentiated by only one note. The principle of balance is
evoked in this piece in several ways: the raga/ragini balance of the male Megh/female
Durga, the melodic balance of sadness and hopefulness, the balance of my voice and
Heather’s, the balance of the esraj with Jami Sieber’s exquisite cello, and the balance of
freeform and rhythmic development of the melodies.
“All hatred is abandoned in the presence of one grounded in the virtue of nonharming.”
Source: Yoga Sutras Chapter 2 Verse 35
The theme of non-violence (ahimsa) feels more important to me now than at any time in
my life. One of the keys to ahimsa in the human realm is finding both areas of
commonality that bond and areas of difference that can be appreciated. This is why I
chose to base this selection on the raga Charukeshi. Many musicologists believe that this
raga was adopted into North Indian music during the last century from the South Indian
Karnatic music system. By and large, Charukeshi is treated similarly in two otherwise
quite different musical systems. Charukeshi beautifully melds a major scale in the lower
four notes with a minor scale in the upper four notes and creates a mood that is peaceful
and serene yet pensive and sorrowful.
The Musicians