Let me now write about this. This music is not of this time.
It is of a time long gone by. It was produced out of deep meditation, in a
state of disillusionment, renunciation. It was carved out of the mountains, not
merely played on a few strings. It was turned in an earthen pot over a low fire,
for ages. It was then moulded, like hot wax, to give shape to a figure so
magnetic and powerful that it needed an enormous temple, all to itself, where
it would sit, in the centre, for centuries, for eternity, its notes resounding
in the temple, vibrating upon its walls, emanating from it like smoke, to
cleanse the entire atmosphere with its purity.
Format: Geet/Thumri Raag: Bhairavi Language: Hindi - Brij Bhasha ____________________________________________________________________________________________
I chanced upon this while exploring the music of Monsoon Wedding. The film uses a slightly modernized version of the original composition, the original being at least a century old. It was earlier rendered by Jaidev for the film Gaman and that's the version I really, really love. It has given me many sleepless nights.
The singing by Hira Devi Mishra is seductive and dripping with shringar ras. She doesn't dwell on technique as this is a short piece (a song or a geet) for a film. She rather tries to bring out the original essence and the very rustic flavour of the composition. The poetry romances the luscious eyes of the beloved, urging him to return and entwine the love-sick maid in a warm embrace. She yearns to be held by him, to see him, and to get lost in his enchantingly beautiful eyes.
But more than the singing, I love Jaidev's music. He has taken a traditional thumri, which must have been rendered on a simple harmonium-tabla setting, and he has created a completely original mood and melody for it.
Beginning with the sensuous sound of the sitar, accompanied with a hint of melancholic sarangi, it moves to a beautiful piece on the keyboard. The recurring keyboard piece, along with the tabla, becomes the spine of the composition. It has a certain mystique to it and it seems to be telling a story, the story of the lovers. From this central piece arise the melancholic sarangi and the yearning flute, each drawing out the poignancy of the piece.
I find the music remarkable because I feel that though it is deeply rooted in traditions it is still quite contemporary. It seamlessly blends the rustic musical sensibilities with urban receptivity, like a picture of the countryside made to be exhibitioned at the city gallery, It tones down its garishness, focuses on the pathos, and creates something soft, serene and beautiful.
I don't know who wrote it. It was most probably originally recorded by Gauhar Jaan in 1910. Information on its origins are welcome, as are any other comments and suggestions.
Voice: Pt. Bhimsen Joshi Format: Thumri Raag: Mishra Kaafi __________________________________________________________________________________________
If I had to choose only one piece by Pt. Bhimsen Joshi, it
would be this. He sings it with so much feeling and with so much understanding.
I love the quietness in his voice. It creates the mood but doesn’t intrude into
one’s thoughts. One could silently sit by the window, in the evening, and think
while he sings in the background and one would feel calmed by it.
The piece is based on raag Kaafi or more accurately on raag Mishra
Kaafi, which is nearly the same as Kaafi. It bears distinct resemblance to Kala
Ramnath's thumri in raag Kaafi that I posted earlier. Both seem to be evoking
the same image of someone trying to pacify their lover. One’s despondence over
lost love is beautifully portrayed by the notes of the raag. I had always heard
more colourful renditions in the raag; songs of holi, songs of love; but these
are quieter, melancholic pieces. I would now love to explore more shades of
raag kaafi and see how the same set of swaras can create such myriad moods and melodies.
Here is a beautiful article which talks about raag Kaafi and
its Carnatic counterpart, Kapi, and many shades and variations of the raag: ‘The many flavours of Kapi’
This is a popular piece in Raag Bhairavi by the maestro, Pt. Bhimsen Joshi. I really love it, and, not just any version, but this particular version that I have posted.
I tried other versions available online but didn't like any of them. In this version, the singer doesn't experiment too much with the techniques. He sings it in a very simple, serious, matter-of-fact manner, with only as much technique as required. Only the slightest hint of a mridanga and tanpura are heard as accompaniments. It is thus able to draw one into the bhajan, to get lost in its smoky serenity and smell the essence of what the words are trying to convey. I feel spiritually elated hearing this.
I am not sure who wrote this bhajan. The name Brahmanand is mentioned in the laste verse and so I assume it is some poet or saint by that name who wrote it. _______________________________________________________________________________________
Jo bhaje hari ko sada So hi param pad paayega So hi param pad paayega
Deh ke maala, tilak aur chaap Nahi kisi kaam ke Prem bhakti ke bina Nahi nath ke man bhayega
Chor duniya ke maze sab Baith kar ekant me Dhyan dhar hari ke charan ka Phir janm nahi aayega
Drind bharosa man me kar ke Jo jape hari naam ko Kehta hai brahmanand Bichch me samayega
Jo bhaje hari ko sada So hi param pad paayega So hi param pad paayega _______________________________________________________________________________________ Translation: One who always thinks of the lord He alone will attain the highest order
For the body, ornaments Are of no use Without love and prayer You will not please the lord
Renounce all worldly pleasures Sit in solitude Meditate upon the lord’s feet Then you will not be born again
With the heart firmly faithful One who takes the lord’s name Says Brahmanand He will find salvation
Player: Dr N Rajam Composition Format: Thumri Raag: Bhairavi ____________________________________________________________________________________
Continuing my romance with instrumental thumris, here is another exquisite piece by Dr Rajam. The piece is based in raag Bhairavi, which is soon becoming my favourite.
I love the richness of this piece. It makes me feel like I am a courtier in a royal darbar and the music is echoing across the immense hall, and, perhaps, the prince is spellbound by the beauty of the player and the beauty of the music of course.
Player: Kala Ramnath Composition Format: Thumri Raag: Kaafi __________________________________________________________________________________
Thumri is primarily a format of vocal composition. I have come to adore thumris, especially in the voice of Pt. Bhimsen Joshi. I could never imagine them being played on an instrument, and then I discovered a whole bunch of beautiful instrumental thumris. The possibilities in classical music really are endless!
This particular piece is breathtakingly beautiful. Like the one I shared earlier, this too evokes a beautiful sense of nostalgia. I, for one, always recede into my thoughts when I hear these two pieces.
What I really love about Kala Ramnath's playing is that she keeps all parts of the composition at just the right length. I especially like how she keeps her jhalas short; I don't like jhalas so much; they sound good in full-length raag performances but they needn't be part of all compositions. Long aalaps, short jhalas, that's how it should be. :)
Kala Ramnath is N Rajam's niece. I had heard of her from my
sister who follows her music and decided to explore her along with N Rajam. I
found her playing distinctively different from N Rajam's; her playing being
more playful, more youthful; perhaps naturally so. Her playing also felt very
personal. When she plays a piece, she seems to have a deep connection with it,
like a story is attached to it.
When I heard this one, I could immediately recognize the
melody as similar to 'Padharo mhare des', the beautiful folk song of Rajasthan.
Some reading led me to the finding that the two pieces really were connected.
Maand is a kind of composition or a style of singing from Rajasthan which has
been widely adopted in classical music for melodious, upbeat dhuns like this
one.
Holi in Rajasthan
This article gives a brilliant overview of maand's use in
classical music, particularly focusing on its use in Carnatic music. Maand has
even come to being seen as a raag and this article summarizes its construction
beautifully: "The notes that feature in the conventional Maand raga
include Sadja, Suddha Rishabha, Antara Gandhara, Suddha Madhyama, Pancama,
Chatusruti Dhaivata, and Kakali Nishada, and not in that order. In fact, it is
the zigzag patterns in this raga that give rise to a feeling that only can be
compared with enjoying a swing on a trapeze." I plan to explore all the
pieces mentioned in this article because Im sure to like most of them!
I liked this piece so much because although the format and
setting of the dhun is cheerful, there is a hint of pathos underlying the
melody. It seems to be saying, "holi has come and my love, you are still
not with me." Every prolonged movement of the bow seems to be full of
yearning, every subdued note seems to be arising out of a forlorn soul... Like
the lovesick maid is sitting in her window, looking down upon the streets
filled with colour, remembering how beautiful holi was when he was with her,
and wishing he could be there with her now... And perhaps, the jhala-like fast
movement towards the end signifies his arrival? I believe it does :)
Bhajan by: Soor Das ji Player: Dr N Rajam Taal: Rupak Taal ___________________________________________________________________________________________________
I feel so comforted when I hear this.... Like a lover's arms have embraced me warmly... He truly loves me... and I truly love him..... and the world is perfect around us.... :) I learnt to play the violin in the gayaki style which is the forte of Dr. N Rajam. In this style, instrumental music is played the way a song is sung - the techniques of singing are applied to instrumental music. I don't know which bhajan by Soor Das this is. I just found it in an album and fell in love with it.
The title says Soor Das ji Bhajan in Rupak Taal but doesn't mention
which bhajan it is. So if anyone out there is listening to this and
knows about it, please tell me! I would love to know what words comprise
this divine melody.
Composition: Purandar Daasar Voice: M S Subbulaxmi
Composition Format: Kriti Raag: Kaapi Taal: Aadi Taal Language: Kannada
I saw M S Subbulaxmi perform at a 1960s UN convention on youtube. It was the first time that I actually saw her sing. She looked young, confident, strong. I felt hypnotized by her powerful voice that echoed across the large auditorium. She sang two songs, one of which was 'Jagadodharna'. At the time, I was no different from a foreigner sitting in the audience; I had no clue what she was singing. I did not know what her songs meant or if they were in any way relevant to the immediate cause for the convention.
With some difficulty I managed to find the names of the songs she had sung and I read their meaning. My eyes literally welled up with tears when I realized how perfect these songs were for a UN convention at that time. The world in the '60s was rife with civil wars, not to mention the ongoing cold war between the US and the USSR. M S had chosen two songs that should give leaders of the world hope and a new direction.
Jagadodharna is a simple kriti about how Krishna's mother, Yashoda, is unaware that her child is an incarnation of the almighty and only sees him as her child. She showers all her affection upon him and plays with him like any mother would with their children. For me, the song conveys a beautiful message of hope to people everywhere which is that children are the image of God and they are the world's future. It is they that will save the world and love is all they need. ___________________________________________________________________________________
In my exploration of M S Subbulaxmi's music I chanced upon this sensational piece. After I had heard it a few times, I felt a curious urge to run around south Indian shores and explore the ancient temples. I pictured myself free and powerful.
I imagine myself standing tall on a cliff, arms open wide against the wind blowing with full force, my head thrown back and my eyes shut tight as I breath in the smell of a limitless green valley, victorious. I imagine a tall ornate temple standing strong against a sea in high tide, the sea waves thrashing upon its large dark stones. I enter the temple; it is dark; I walk slowly towards the light arising from the antechamber. As I enter the room, I am blinded by the magnificent light of the shrine. I struggle to see it clearly, and then, I see it.
Translation: Pallavi O moon to the nectar-ocean of the Raghu lineage! Sri Rama, lord of emperors!
Anupallavi O wind (that drives away the) sin-cloud! Maker of prosperity! O lion (terrifying the) king of asuras! Noble lord of the world!
Charanam O Destroyer of Parshurama's conceit! One praised by the amazed Rudra and others! O Ornament to the Solar dynasty! O Doer of innumerable marvellous heroics! Lord Venkatesha!
