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.
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.
