’Pallavi’ is the ancient Carnatic word for composition. Each raga would have at least 100 traditional compositions of this type. The piece as written follows the prescribed format of the ancient Pallavi in which there is first Pallavi, then Anu Pallavi followed by Charnam. In this piece, the departure from the system is that, unlike the traditional Pallavi based in one raga, I have used 4 different ragas and tried to find a way to give each instrument its own personality with a raga assigned just for it. By doing so I hoped to address the Western system which employs counterpoint and harmony, through the multi-tonal play of the 4 ragas working in tandem in certain passages. There is also interplay between different rhythm cycles (Tala) using 4, 6, 9, and 16 beats, each assigned to an instrument in the quartet."

In the classical music of today, the separation of performer and listener is very strict and clear. We might forget how for centuries (and still today, outside the conventional concert halls), music was the most effective way to connect, to create together, to participate, to play. Both in religious service as in celebrations or ritual, music establishes a sense of unity. Today, our society is fragmented and divided. Can musicians play a role to create new forms of connectedness and community? In this composition, I invite all people that are present to contribute and ... to play."