'VIRA' means 'Brotherhood', and on this disc it represents a sort of fraternity between two outstanding soloists, the flute player Rakesh Chaurasia and the inimitable tabla player Talvin Singh.

Both musicians have, in the past, taken their respective instruments into uncharted territory, so it was only natural that they should play for a duet album like this one. Talvin Singh has long experimented with sound and despite his training as a classical Indian musician has sought to find a texture of sound that while remaining true to the classical tradition also reflects the latest sound technology. In a traditional classical recital, the soloist always has a repetitive background drone provided by the tanpura (or tamboura.) This provides a kind of background, or mat against which the solo instruments really stand out. But instead of using a single tanpura, this recording features a richer background and texture with the use of special keyboard pads. Rakesh Chaurasia, one of the foremost flute players of his generation, has already worked on numerous Sona Rupa projects and has also performed with Talvin Singh. But the opportunity of doing this kind of one-to-one recital with Talvin Singh was one that he welcomed eagerly. There were no rehearsals, and once the Raags were chosen, the recording was done in a spontaneous, improvised way in a London studio.

THE MUSIC

MADHUVANTI - Rupak Taal (7 beat-cycle) is a 20th century raag composed for the late evening. It is thought to have emerged from a folk tune of the Kohlapur region and bears almost no resemblance to any other raag of the North Indian classical repertoire.

MANJ KHAMAJ - Kaherwa Taal (8 beat-cycle) a variation of the well-known raag Khamaj and a great favourite among vocalists and instrumentalists alike. It is particularly suited to lighter genres - vocal and instrumental.

HANSDHWANI - A well known South Indian raag, it is performed here without any rhythmic accompaniment. The word literally means "The Cry of the Swan" and is thought to have originated sometime in the 18th century. It has a sprightly character although it is generally played in the late evening.

ABHOGI - Mat Taal (9 beat-cycle) A pentatonic raag of South Indian origin that has recently become very popular in North Indian recitals. It resembles the well-known Raag Bageshri in certain respects, but has a totally different character. It is generally played in the early or late evening.

KIRWANI - Teen Taal (16 beat-cycle) Another South Indian raag which resembles older forms of the enormously popular raag Pilu. It is particularly suited to instrumental music. As there are no strict performance rules, it affords the performer the greatest opportunity for improvisation.

Features:
Meeting - 9:11
Friendship - 18:34
Heaven - 5:28
Vira - 15:24
One World - 19:54