How Diwali’s classical rare raga came to be

Deepavali raag, a unique blend of Diwali and Hindustani classical music, emerged from the creativity of flautist Pandit Pannalal Ghosh. Born from the renowned Maihar gharana, Ghosh, a student of Ustad Allauddin Khan and a mentor to legends like Ustad Ali Akbar Khan, Pt Ravi Shankar, and Annapurna Devi, was instrumental in transforming folk instruments to suit the intricacies of Hindustani classical music.

Despite the raga's origin in 1946, Deepavali raag has not achieved widespread popularity. This is due to its association with the Gharana tradition, making it exclusive to a select few musicians. Despite this, it has been featured by flautist Pravin Godkhindi and sitar player Nayan Ghosh. However, some have mistakenly identified it as Yaman or Lalit, describing it as a moorchhana raag (Puriya Kalyan, where the notes remain constant but the sa's position changes), according to Ghosh's student Nityanand Haldipur.

Ghosh's contributions did not stop with Deepavali raag. His student Pandit Chhannulal Mishra, a Kirana gharana doyen, often remarked on the underrepresentation of Deepavali compositions. In response, Mishra composed his own 'Diwali bandish', encapsulating Diwali's devotional essence. He frequently performed 'Pujat diwali, jagmag ujiyari' during his concerts, aligning closely with the festival's spirit.

In Maharashtra, the tradition of Diwali Pahat, particularly in bustling cities like Mumbai and Pune, holds significance. These dawn concerts, held in open spaces, feature morning ragas and a variety of abhangs, fostering a sense of community unity.