Abdul Lateef Khan, whose lineage can be traced back seventeen generations, is one of India's foremost Sarangi artists.
Extremely talented Aruna Narayan is one of the very few Sarangi exponents in India who has made a name for herself in the Indian classical music field.
Dhruba Ghosh plays Sarangi with a sweet and lyrical style, at once traditional, yet individual and innovative.
Ghosh presents a rendition of raga Kaushi Kanada, a mix of Malkauns and Darbari Kanada, whose grandeur and majesty are now tinged with pathos and urgency.
Dhruba Ghosh has achieved a unique and prominent place among Sarangi players: unique because he does not come from a family of hereditary Sarangi players, prominent because he is one of the few living virtuosi of the instrument.
Pandit Ram Narayan recites Indian classical ragas Bhatiyar, Mishra Khamaj, Mishra Kafi and Madhuwanti on the Sarangi.
The Raga Lalit, chosen by Ram Narayan is one of the grandest, and is a favourite for performance at dawn. Its scale, unusual evenby Indian standards, imparts a feeling of instability, a feature of many ragas performed at the junction of day and night, when nature itself is unstable.
The SARANGI remains not only the authentic and original Indian bowed stringed instrument but the one which most poignantly, and in the hands of Ram Narayan, most revealingly expresses the very soul of Indian feeling and thought.
