Guest article by Subodh Agrawal
(Subodh Agrawal, a well-known name with SoY regulars for his series on film songs based on classical ragas, is resuming his series after a break of about three years. This was primarily due to logistic issues he faced regarding proper Internet connection and computer. But as he has shown before, whenever he has come back after a hiatus, he has more than made up for the gap. Subodh does it again by choosing Bhimpalasi and her sister ragas for this post. Bhimpalasi is one of the most popular ragas which appeals to connoisseurs and lay listeners alike. The music directors have taken to it in a big way, composing some of their everlasting compositions in this raga. If you watch Mughal-e-Azam, though there are no songs in this raga, you can’t miss the strains of Bhimpalasi permeating in the background for the major part of the movie. Subodh’s presentation is as usual lucid and uncluttered of technical details. Welcome back Subodh and Thank You for this excellent post. – AK)
Classical ragas are associated with a particular time of the day. Mornings, evenings and night are musical times of the day, and there is no dearth of ragas related to them. Afternoon – at least to me – appears to be the least musical time, but some of the most popular ragas are related to this time. There is the entire Sarang family, which deserves a separate post to itself. In this article I would focus mostly on Bhimpalasi and touch briefly upon three related ragas: Patdeep, Madhuvanti, and Multani. There will be passing references to two others – Dhanashri and Dhani.
I have no clue as to what Bhim, the second of Pandava brothers, has to do with Bhimpalasi. One would expect music associated with Bhim to be robust, masculine and martial. Bhimpalasi is anything but that. It is one of the sweetest ragas with an easy appeal to the lay listener – much like Durga, Desh, and Pahadi. Talking of the appeal of the Raga I can’t resist quoting from my favorite classical music site parrikar.org with Rajan Parrikar’s typically irreverent style: “The ati-madhur and ati-priya Raga Bhimpalasi has the penetrating power to infect the human mind and control it for days and weeks on end. There is as yet no known antidote to the Bhimpalasi contagion. Fortunately, it strikes only those with a mind and so the damage is restricted to a very small fraction of humanity.” Unfortunately for readers of SoY, they all belong to this ‘very small fraction of humanity’ and hence they cannot escape the contagion!
Rather than going into the technicalities of the raga like aroha, avaroha etc. myself I would save my effort by giving a link to this video by Anuja Kamat who has a number of videos of similar nature on various ragas. The parts of this video that cover AR Rahman and Western music are interesting.
When I started writing this series I had no idea the Bhimpalasi was so popular with Hindi film composers. I included it in my first article as one of the ragas with only a small number of film songs. I stand corrected now, and I hope readers will like the selection I present here.
1. Bina madhur madhur kachhu bol by Saraswati Rane from Ramrajya (1943), music by Shankar Rao Vyas, lyrics by Ramesh Gupta
I begin with the song I had included in my first article. In my humble opinion it is the best example of the raga in Hindi film music, apart from being one of the finest songs from the 1940’s – a song that tugs at one’s heartstrings. Saraswati Rane was born Sakina, daughter of legendary Ustad Abdul Karim Khan. Later her mother separated from Ustad ji and reverted to Hindu names for her children. Her sister Hirabai Badodekar and brother Suresh Babu Mane also distinguished themselves in classical music.
2. Man mor hua matwala by Suraiya from Afsar (1950), music by SD Burman, lyrics by Narendra Sharma
The starting point of this song doesn’t immediately evoke Bhimpalasi, but the main body of the song – particularly the instrumentals – do establish the raga. Suraiya’s mellifluous voice suits the sweetness of the raga.
3. Taqdeer banane wale ne kaisi taqdeer banayi hai by Pushpa Hans from Sheesh Mahal (1950), music by Vasant Desai, lyrics by Bahzad Lakhanavi
People of my vintage, particularly those who did their early schooling in Hindi medium schools like me, will readily identify the tune from the popular prayer ‘Wo shakti hamen do daya nidhe, kartavya marg par dat jayen’. I wonder what came first – the film song or the prayer. Maybe they are both based on an older classical bandish.
4. E ri main to prem Diwani by Lata Mangeshkar from Nau Bahar (1952), music by Roshan, lyrics by Meera Bai (though Satyendra Atthaiya is also credited)
This is another song in this list that stays very faithful to the raga. Beena madhur madhur and this song can be used by students of classical music to get a feel for the raga.
5. Aasman wale teri duniya se ji ghabra gaya by Talat and Lata from Laila Majnu (1953), music by Ghulam Mohammad, lyrics by Shakeel Badayuni
When I saw the cast of this film I thought it would be a mismatch – Nutan and ‘Junglee’ Shammi Kapoor. However the video of the song seems to suggest Shammi held his own against arguably the greatest actress of Hindi films. It helped that he had not yet put on the Kapoor khandan weight.
There are many songs complaining about life to the one up there: ‘Teri duniya mein dil lagta nahin’, ‘Zindagi dene wale sun’ and so on. This one is possibly the most sweet-sounding of them all – thanks in no small measure to the raga.
6. Tere sadke balam by Lata Mangeshkar from Amar (1954), music by Naushad, lyrics by Shakeel Badayuni
I had seen some earlier films of Madhubala like Howrah Bridge when I was too young to remember anything. Amar was the first one I saw in a re-run during my University days and I was somewhat disappointed after having heard so much about her beauty and charm. The films that made me join her fan club were Kala Pani and Chalti Ka Naam Gaadi. She, however, looks quite a charmer in the video of this song. (‘Tere sadke balam’ is a very special song for me carrying many fond memories. I wrote a special post on it titled, ‘Tennis, Pathakji, and Tere sadke balam’. – AK)
7. More mandir ab lau nahin aaye by Asha Bhosle from Mahatma Kabir (1954), music by Anil Biswas, lyrics by Chandra Shekhar Pandey
I discovered this song quite recently. I used to hear an instrumental piece based on this song while walking at the Sukhna lake in Chandigarh. I liked it but couldn’t locate the source. A couple of months back a very close friend of mine posted this song on a WhatsApp group. I managed to lose the link and found it again with some effort. It is lovely composition. Other songs from this film are also very good. (Note: Subodh informs me that a friend has since pointed out that this song is based on Jaijaiwanti, and Subodh agrees the friend is right. But this is a very nice song and should be a new discovery for many readers. Therefore, we have decided to retain it. – AK)
8. Aa neele gagan tale pyar ham karen by Hemant Kumar and Lata Mangeshkar from Badshah (1954) music by Shankar-Jaikishan, lyrics by Hasrat Jaipuri
One of the most beautiful and haunting compositions by SJ duo, this is a great song but not a very typical example of Bhimpalasi. I wouldn’t have been confident of identifying it as such, if I didn’t have the support of reliable sources on the net. Let that, however, not distract us from the sheer beauty of this song.
9. Maine chaand aur sitaron ki tamanna ki thi by Mohammad Rafi from Chandrakanta (1956), music by N Datta, lyrics by Sahir Ludhianvi
This was a very popular song during my college days – about ten years after the film was released. Most wannabe singers would try their voice at this song. I remember one of them very fondly – the devar of a favourite cousin of mine. It is an easy song to try, with a soft and simple movement. It is also very faithful to the raga.
10. Naino mein badra chhaye by Lata Mangeshkar from Mera Saya (1966), music by Madan Mohan, lyrics by Raja Menhdi Ali Khan
It would be sinful to do a post on classical songs from films without including at least one each from Roshan and Madan Mohan. Roshan figures at number 4. I close the list of Bhimpalasi songs with this one from Madan Mohan.
We now move to some other afternoon ragas. Bhimpalasi uses both ‘ga’ and ‘ni’ in their flat or ‘komal’ variant. Changing komal ‘ni’ to shuddha gives us Patdeep – very much like the transition from Malkauns to Chandrakauns. This change takes away some of the softness of Bhimpalasi and adds a certain vigour.
11. Saaz ho tum aawaz hun main by Mohammad Rafi from Saaz Aur Aawaz (1966) music by Naushad, lyrics by Khumar Barabankvi
The vigour of Patdeep is quite clear in this song when you compare it to the songs of Bhimpalasi:
12. Megha chhaye aadhi raat by Lata Mangeshkar from Sharmilee (1971), music by SD Burman, lyrics by Neeraj
The raga is not very clear in this song, partly because of Western interludes.
Changing the fourth note ‘ma’ from shuddha to tivra in Patdeep takes us to Madhuvanti.
13. Ajahun na aaye baalma, saawan beeta jaye by Rafi and Suman Kalyanpur from Saanjh Aur Savera (1964) music by Shankar-Jaikishan, lyrics by Hasrat Jaipuri
Intuitively I felt this song to be based on Raga Madhuvanti. Though some sites mention this under Madhuvanti, some other sites state that the song is based on ragas different from Madhuvanti. It is interesting to see Mahmood and Shubha Khote present a seriously classical composition on screen. Mahmood’s disguise suggests he is pretending to be someone else. I haven’t seen the film, so I can’t tell.
14. Rasm-e-ulfat ko nibhayen to nibhayen kaise by Lata Mangeshkar from Dil Ki Rahen (1973), music by Madan Mohan, lyrics by Naqsh Lyallpuri
Madan Mohan, the genius that the system treated unfairly, gave this soulful song in one of his last films – just a couple of years before he passed away.
Finally, softening ‘re’ and ‘dha’ in Madhuvanti takes us to Multani. This is the same scale as the morning raga Todi, although difference in movement makes it easy to distinguish between the two. Komal ‘re’ with its relationship to tivra ‘ma’ creates a mood of transition. Multani provides a transition from afternoon ragas to evening ragas like Marwa, Puriya etc. It has a prayerful mood. I have a souvenir from my only visit to Pakistan – a coffee table book on the country’s culture which describes Multan as the city of saints.
15. Daya karo giridhar gopal by Ustad Amir Khan from Shabab (1954), music by Naushad, lyrics by Shakeel Badayuni
There is a popular post that keeps surfacing on WhatsApp groups about how three Muslims: Naushad, Rafi and Shakeel gave us one of the finest bhajans in Hindi films – ‘Man tarpat hari darshan ko aaj’. Here is another example of how music transcends all boundaries. I wish this song was better known. Part of the reason for its relative obscurity may be that it is used as background score for the titles.
16. Lag gayee ankhiyan by Geeta Dutt and Mohammad Rafi from Jeevan Jyoti (1953) music by SD Burman, lyrics by Sahir Ludhianvi
SDB has used Multani in this racy song. Normally Multani does not have this kind of mood.
A mention in passing of raga Dhani. It is to Bhimpalasi what Bhoopali is to Yaman. Drop ‘re’ and ‘dha’ from Bhimpalasi and you get Dhani. It still has much of Bhimpalasi’s sweetness, but is lighter and more playful. Chandrakantha.com lists only one song in this raga:
17. Prabhu tero naam by Lata Mangeshkar from Hum Dono (1961), music by Jaidev lyrics by Sahir Ludhianvi
This classical piece by Sawani Shende gives a better idea of raga Dhani:
Sikh devotional music has a number of compositions in Dhanashri. Frankly I can’t tell it apart from Bhimpalasi, they both sound the same to me. There is a story about the Gurbaani Shabad I am presenting below. Wikipedia says this:
“Famous saint poet of India Rabindranath Tagore was once asked by Balraj Sahni, who used to teach at Santiniketan then, that the way he has written the National Anthem of India, why doesn’t he write one for the world? He replied that it has already been written. It was written in 16th Century by Guru Nanak, and this was sung by Guru Nanak as Aarti at Jagannath Puri to the lord (the omnipresent God), and that this anthem was not only for the world, but for the entire universe. He was so influenced by this aarti that he himself translated it into Bangla language.”
I doubt the veracity of this story. Tagore passed away in 1941. Jana gana mana had not become the National Anthem during his lifetime. But as I had once quoted earlier, facts should not be allowed to interfere with a good story!
There is, however, no taking away from the beauty of this Aarti by Guru Nanak. The imagery itself is amazing:
Gagan mein thaal ravi chann deepak bane,
Taraka mandal banat moti.
Dhoop malayanil, pawan chanwaro kare
Sakal ban raayi phulant jyoti
Kaisi aarti hoyi, kaisi aarti hoyi.
(The sky is the thaal, the sun and moon are the lamps. The stars are the pearls. Breeze from Malaya Parvat is the dhoop, and air is the chanwar (fly-whisk). The forests are the flowers. Behold, what an Aarti!)
I am not a big fan of Shubha Mudgal, but this rendition by her is simply divine!
I have not been able to locate Tagore’s Bengali translation of this Aarti. Maybe Mr Venkataraman will help.
Continuing further with Dhanashri, Mr DP Rangan shared this Thillana by Sharanya Srinivas with me on WhatsApp. This too sounds exactly like Bhimpalasi:
One clarification before leaving the subject of Dhanashri – it is completely different from Puriya-Dhanashri.
On to classical pieces now. A short but magnificent piece by Ustad Abdul Karim Khan whose daughter’s song features at number one in the list of film songs. Prem seva sharan:
From Kirana Gharana to Jaipur. Kesarbai Kerkar’s piece establishes the mood of Bhimpalasi in the first few notes itself:
Pandit Ajoy Chakraborty presents Bhimpalasi in his sonorous voice:
Kishori Amonkar excelled in Bhimpalasi, as in most other ragas. There are longer pieces on YouTube for those whose appetite is whetted by this one:
An excellent piece in Patdeep by Ustad Salamat Ali and Ustad Sharafat Ali Khan:
This one by Shruti Shadolikar is also a very good example of Patdeep:
The incomparable Bismillah Khan presents Madhuvanti:
Hearing the first few notes of this one from Veena Sahasrabhudhe was enough for me to include it as an example of Multani:
I close with this old favourite of mine. Ali Akbar’s Multani was among the first few LPs I bought when I started building up my collection as a student of IIT Kanpur:
Acknowledgement and Disclaimer:
The song links have been embedded from the YouTube only for the listening pleasure of the music lovers. This blog does not claim any copyright over these which rests with respective owners such as Saregama India Limited and others.
{ 140 comments… read them below or add one }
I do not know anything about Raagas in music .For learning this I would have to join classical music classes under some guru for years . I have liked the beautiful songs selected by you.
A bit I learnt about the beautiful song ‘ Aa neele Gagan tale…’ from the YouTube…
The original film clips are not available. What is available on YouTube is a compilation from various films on Madhubala and Dilip Kumar though the original film cast is Pradeep Kumar and Mala Sinha in the movie ‘Baadshah’ 1954.
If efforts are not made to store all our films at some place , we could lose a lot .
Another compilation on this song on YouTube….
https://youtu.be/0-sqw78PsL0
Good Afternoon,
Welcome and very happy to see you back in the glorious field of Divine music. This Raga is one of my favorites.
Thanks for presenting this treasure.
Regards
Uma
Subodhji even for a person like me who does not know ABC of raagdari this is a feast ( not only of songs but your narration also)
Ae ri main to Prem diwani should arguably the best bhajan sung by Lataji & similarly Rasme ulfat should be the best gazal.
While on to gazal this is one by the maestro Mehdi Hasan based on Bhimpalasi ( as per info on web)https://youtu.be/Ag8JpA02WjY
Thanks for your appreciation S Joseph. I agree that serious effort is needed to preserve our cinematic heritage.
Thanks for your appreciation Uma.
Thanks for your appreciation Rahul. The Mehdi Hasan ghazal is one of my favourites.
In the evening of my life, I am taking interest in understanding and learning classical music. With this almost nil knowledge on raagas yet I submit my comment on this wonderful post by its author. This is done only to pay my tribute to the galaxy of music directors whose compositions are featured in this post – Ghulam Mohamad, Anil Biswas, N Dutta, SDB, Roshan, Madan Mohan, Jaidev including my favorite MD Shankar Jaikishan.
Hats off to Shri Subodh Agarwalji .
Thank you Mr Vasudeva.
Thank you Mr Vasudevan.
Very illuminating article — well written and explains the subject in an accessible way. Well done!
Vrinda,
Welcome to SoY and thanks a lot for your appreciation.
Subodh ji
Thanks for posting a brilliant article and linking up lovely compositions from film and non-film worlds of music
Regards
Thank you Mr Tyagi.
Came across this article a little while ago. Am raring to go through it in full, enjoy the music selection and add to it – will do so tomorrow. In the meanwhile, cannot resist adding the following 2 Marathi devotionals, unarguably the most popular Bhimpalas-based songs in this genre:
1. Indrayani Kaathi by Bhimsen Joshi from ‘Gulacha Ganapati’ (1953) (Lyrics – G.D.Madgulkar, MD – P.L.Deshpande)
https://www.youtube.com/watch?v=tbXsqtxsea4
This song was a staple of Bhimsenji’s concerts – there are a zillion concert recordings on YouTube.
2. Amrutahauni goda by Manik Varma (Lyrics – Sant Namdev, MD – Bal Mate)
https://www.youtube.com/watch?v=J0ePeuD4pWg
Subodh Agrawal ji;
Listening to classical music…..well for me ….another day another world and another me. I have to imagine myself at different platform if I really want to enjoy classical aalaps that our great ragas are fully loaded with. Depending upon the raga one has to be mentally in that stage of mood surrounded by god gifted beautiful natural surroundings….and of course with eyes fully shut. The sound of both fast and slow falling rain on tin roofs during rainy days adds to the charms of listening to malhar based classical songs ….or even instrumentals alone.
In early morning Radio Days , AIR used to play beautiful instrumental tunes as a wake up call …..not wake up alarm… . It was for us to choose and plan our day as we lazily listened to AIR tune . . Every morning I could choose joy, happiness, negativity, pain…and enjoy the freedom that comes from being able to continue to make mistakes and choices to embrace and correct mistakes as well.
My father gave me the greatest gift…… anyone could give to another person…..he believed in me as I followed him in every respect. All must be knowing that Sikh Gentleman takes a little longer time to get dressed in the morning ….and that time was best for me to his humming the classical shabads and songs as well. I remember we all as a family went to see ….April Fool film in mid 60s and after coming back he continued to huum and sing Rafi’s classical song….Meri mohabbat paak mohabbat aur jahan ki khaak mohabbat…. for two days !!
Charity do begin at home . It is for us to catch hold of best of lifestyle accommodating the habits and hobbies we made during our lifetime. In this digital world at present it is difficult to imagine what is in store for the younger ones .
……in continuation ; my computer again troubling me . I will post songs tomorrow.
Continuing where I left off in #14, here are three versions of the same natyapad, in 3 of the sibling ragas that are the subject of this post! The natyapad in question is ‘Prema seva sharana’ from the celebrated ‘Sangeet Maanapmaan’. The lyrics were written by Krishnaji Prabhakar Khadilkar and the original tune was given by Govindarao Tembe,
1. In Bhimpalas by Ustad Abdul Karim Khan
https://www.youtube.com/watch?v=jaEo4vPKk2Q
No deviations from the raga here.
2. In Multani, with departures into the other sister ragas (for e.g. Bhimpalas in 3rd line of sthaayi) and Patdeep/Madhuwanti (for e.g. in the 2nd line of the antara), by Asha Bhosle. The tuning of this version is attributed to Deenanath Mangeshkar.
https://www.youtube.com/watch?v=A7pPMVYkF6g
3. Madhuwanti – ‘Prema seva sharana’ by a singer-actor from Kirti Shiledar’s (the lady actor in the scene) troupe. Note the confusion between the actor and the organ player at 0:12 on which rishab will be used, and hence whether it is Madhuwanti or Multani! The singer also uses komal nishad a couple of times in avarohi movements, which is permitted in Madhuwanti.
https://www.youtube.com/watch?v=63HNIXZQm2I
Here is a beautiful natyapad ‘Marma bandhaatali theva hi’ in Patdeep from ‘Sangeet Sanyasta Khadga’ and identified closely with Master Deenanath. The lyrics were written by S.B.Shastri and the song was tuned by Pt.Ramakrishnabuwa Vaze, one of the towering classical vocalists of the previous century and Deenanath’s guru. Here is a rendition by the Master himself:
https://www.youtube.com/watch?v=9syx-5_1BAI
For those interested….right at the beginning of the following clip, Lata speaks about how her father changed the raga for ‘Prema Seva Sharana’ to Multani, and sings the sthaayi of the song:
https://www.youtube.com/watch?v=HqR0yl1OOHQ
The following segments in the 3 antaras of ‘Radhike tune bansri churrayi’ (Lyrics – Shailendra, MD – SJ) from ‘Beti Bete’ (1964) are in Patdeep:
‘Kahaan chhupaayi par na bataaye’
‘Meri muraliya mohe sabka man’
‘Radha radha ratan lagaaye’
I think it is a stroke of genius by SJ for Patdeep highlights the poignancy of the sentiments expressed in these lines in the context of the rest of the text.
https://www.youtube.com/watch?v=zaCrk_veqtw
Here is a Meera bhajan tuned by Hridaynath Mangeshkar to Madhuwanti and sung by Lata, from their ‘Chala wahi des’ album.
‘Ko birahini ko dukh jaanai ho’
https://www.youtube.com/watch?v=Qc8T5tZMpjE
Ashwin,
Master class! Subodh has included the Natyapd by Ustad Abdul Karim Khan. In Bhimpalasi I am very fond of Pt Jasraj’s Ja ja re apne mandirwa ja. This seems to be a popular bandish in this raga, sung by singers across gharanas, but it has become the signature song of Pt Jasraj.
Ja ja re apne mandirwa ja (Bhimpalasi) by Pt Jasraj
But Kumar Gandharva is always out of this world.
Kumar Gandhrva sings Java udi ja Bhimpalasi (Drut Khayal)
For the last few years I have become a big fan of Pt Venkatesh Kumar. Anything he sings sounds divine.
Pt Venkatesh Kumar sings Biraj mein dhoom machaye Shyam (Bhimpalasi)
Here is a super-hit song tuned by A.R.Rahman and sung by S.P.Balasubrahmanyam and S.Janaki trom the Tamil film, ‘Gentleman’ (1993). The tune is in Madhuwanti (the Carnatic equivalent is Dharamavati).
‘Ottagathhai kattiko’
https://www.youtube.com/watch?v=4PuNkFVKFhM
And here is the Hindi version:
‘Roop suhaana lagta hai’ by K.S.Chitra and SPB (MD – Anu Malik, Lyrics – Indeevar) from ‘The Gentleman’ (1994)
https://www.youtube.com/watch?v=9TjXVIR4Fgg
https://www.youtube.com/watch?v=9TjXVIR4Fgg
AK @ 22,
Thanks for the compliment. My apologies to you and to Subodhji for missing AKK’s version of ‘Prema seva sharana’ in the post.
Subodhji has cited the Dhani song from ‘Hum Dono’ by Jaidev. Here is another Jaidev-composed song in Dhani:
‘Raat bhi hai kucch bheegi bheegi’ by Lata and Chorus from ‘Mujhe Jeebe Do’ (1963). Lyrics by Sahir and Music by Jaidev.
https://www.youtube.com/watch?v=6jHCOLUsW6I
What a composition – so apt for the lyrics and the setting!!
There are forays into Bhimapalas in this song. In fact it is very common for Bhimpalas to pop its head in a Dhani song, and vice versa, in Hindi film songs given that the ragas are very close to each other – siblings as Subodhji puts it – and given that the film song genre does not put any restrictions on the MD of confining the tune to a single raga.
I will be back with more songs in Dhani and Bhimpalas after a break.
The iconic theme music from the cult movie ‘The Good, The Bad and the Ugly’ (1966) is for the most part based on the ‘scale’ of Dhani. The score was by Ennio Morricone.
https://www.youtube.com/watch?v=LdLQf1Ef9Ns
AKji,
First let me thank you for persuading Subodhji in presenting this pure pleasure.
Subodhji,
Glad to find you back as a guest writer after a gap of little less than 3 years. I remember, you wrote the first guest article in SoY and you are the earliest member of the SoY fraternity. It is a privilege to have from your rich repository another exquisite bouquet of classical collections. Thanks a lot.
Normally I would have gone through the entire post and then sat down to share my views and songs. Midway through the post I have paused to respond to your call for the Rabindranath Thakur’s Bengali translation of the Shabad Kirtan / Aarti, ‘Gagan mein thaal ravi chann deepak bane’.
There exists some doubt as regards the translator of this song in Bengali.
‘Brahmasangeet-Swaralipi’ published from the Aadi Brahmosamaj desrcibes this as Jyotirindranath Thakur’s work. The song ‘Gagan mein thaal ravi chann deepak bane’ was first published in Bengali script in the year 1872 in ‘Dharma Tatwa Patrika’ the mouthpiece of Bharatbarsiya Brahma Samaj.
During Rabindranath’s lifetime, reference is found in the ‘Rabindra Rachanapanji-‘Shanibaarer Chitthi (Jan-Feb 1939); –
“Although, the 2nd part of ‘Brahmasangeet-Swaralipi’ published from the Aadi Brahmosamaj desrcibes this as written by Jyotirindranath Thakur, according to Rabindranath it is his work. “
Indira Devi Choudhurani, niece of Rabindranath, mentioned this song in the Visvabharati magazine (1949); –
“This translation by Jyotirindranath is almost a literal one. … people are often confused assuming this to be a Rabindranath’s work.”
Most probably it was set to music and first sung on the occasion of the 45th annual Maghotsava celebration on 25th January 1875 at the Aadi Brahmosamaj Mandir. It appeared in the Tattwabodhini magazine the same year (Raagini Jay Jayanti- Taal Jhaptaal).
Even after Indira Devi Choudhurani’s comment, the song was referred as Rabindranath’s work in the third volume of Geetabitan 1950 edition. It is interesting to note that Indira Devi was one of the advisers to the board then. May be it was resolved since Rabindranath had acknowledged it as his work.
Maharshi Debendranath had heard this song for the first time when he had visited the famous Golden Temple at Amritsar in the year 1857. A description of the song being sung at the temple can be seen in his book ‘Atmajiboni’.
In March 1873 eleven years old Rabindranath had visited the Golden Temple with his father Debendranath. They stayed there for a month and in April 1873 they left for Dalhousie. During their stay in Amritsar, young Rabindranath frequently visited the Golden Temple. It is possible that he too had listened to the Bhajan written by Guru Nanak. May be the song was translated by Rabindranath around this time. Whether this song can be considered as a Rabindra Sangeet the question remains a bit doubtful, although, this appears to be the first song written by him which was presented at a public gathering.
Earlier in the Tatwabodhini magazine we saw that song was composed in Raagini Jay Jayanti. But in the Swarabitan and Gitabitan it is mentioned that that the composition is Raag Desh.
Only the first stanza of the original Kirtan was translated. Presenting the lyrics and the link to the song rendered by Swagatalakshmi Dasgupta.
Gaganer thaale rabi chandra dipak jwale,
Taarakamandal chamake moti re.
Dhup malayanil, paban chaamar kare,
Sakal banaraaji phulanta joyti re.
Keman arati, hey bhabakhandana, tabo arati –
Anahata shabda baajanta bheri re.
https://www.youtube.com/watch?v=zfjqrS0Be1Q
‘Sharmilee’ had the lovely Patdeep-based song cited by Subodhji. It also had this popular Bhimpalas+Dhani-based song, the Kishore-version of which outclassed the Lata-version. The sthaayi is in Bhimpalas but the antaras are in Dhani for the most part:
‘Khilte hain gul yahaan’ by Kishore Kumar from Sharmilee (1971), lyrics by Neeraj and music by S.D.Burman
https://www.youtube.com/watch?v=HBgKPyi1aXA
Bhimpalas lends itself very well to songs of devotion/bhakti as exemplified by ‘Eri main to prem diwaani’, the Meera bhajan from ‘Naubahar’ cited by Subodhji.
Here is another example – a Bhimpalas-based Sanskrit song sung during the evening arati at all branches of the Ramakrishna Math. It is rendered in chrupad style and if I am not mistaken, the text as well as the music was by Swami Vivekanada himself.
‘Kanakaambara kamalaasan’ by Swami Sarvagananda and fellow-monks, Ramakrishna Mission Saradapith, Belur, West Bengal
https://www.youtube.com/watch?v=bh1iF14Vp1Q
Subodhji,
The Bengali version of the song ‘ Gagan mein thaal ravi chann deepak bane’ was not in Bhimpalasi or any of its allied Ragas. I would like to present a Rabindra Sangeet in Raag Bhimpalasi or Bhimpalasri.
Presenting a rendition of the Rabindra Sangeet by Kanika Bandopadhyay
Lyirics:
Bipulo tarongo re, bipulo tarongo re.
Sabo gagono udbelia – magono kori otito anagato
Aaloke-ujjwalo jibane-chanchalo eki aanondo-tarongo.
Taai, dulichhe dinokaro chandro taara,
Chamoki kompichhe chetonadhaara,
Aakulo chanchalo naache songsar, kuhare hridayobihango.
Translation (not mine)
Oh these high and mighty waves!
Cleansing the entire sky, drowning the past and the future.
Bright in light and brisk in life; such waves of joy!
The sun, the moon, the stars sway with the waves.
The stream of conscious is startled and trembles.
The world, anxious and restless, dances.
Coos the bird within.
https://www.youtube.com/watch?v=DL2MBqwDbM4
The original version which inspired Rabindranth to compose the Bengali Version in 1908.
Nachat Tribhanga Ye as rendered by Swagatalakhsmi Dasgupta
https://www.youtube.com/watch?v=VRpkfCkL2go&lc=Ugjdp9Oaljk6eXgCoAEC
Subodhji,
Glad to note that Ashwinji has taken over the mantle from Pradeepji atleast for this post. Will come back after going through the second part of the post.
In the meantime let me post a fusion version of the song ‘Bipula Tarange ye’ with the Khayal Bandish ‘Ja Ja Re Apne mandirva’ rendered by Raghabh Chattopadhyay and Iman Chakraborty
https://www.youtube.com/watch?v=VxXDTdutmtg
Please pardon the typo in Swami Vivekananda’s name in #28.
Bhimpalas is a very versatile raga – bhakti/devotion as well as raunchiness are all par for the course when it comes to its expansive embrace. Here is a Bhimpalas-based item number that I am sure everyone who reads this blog is familiar with:
‘Tu cheez badi hai mast’ by Udit Narayan & Kavita Krishnamurthy, from Mohra (1994). Lyrics by Anand Bakshi, music by Viju Shah.
https://www.youtube.com/watch?v=VG16zeF8dbo
I had not known until a few minutes ago while reading the Wikipedia entry for the Mohra song that it based on the following qawwali by Nusrat Fateh Ali Khan.
‘Dam dam mast qualandar’
https://www.youtube.com/watch?v=v38w5djsbXM
If Bhimpalasi can venture boldly into the arena of item songs, why would Dhani be left behind? Cast the dhani chunariya aside, lose your inhibitions and gyrate away, she seems to say as she comes to possess Katrina Kaif in this blockbuster of an item number:
‘Sheila ki jawaani’ by Sunidhi Chauhan & Vishal Dadlani from ‘Tees Maar Kan’ (2010), Lyrics by Vishal Dadlani, Music by Vishal-Shekhar.
https://www.youtube.com/watch?v=ZTmF2v59CtI
A point to note – Akshay Kumar is the common factor between both songs.
Here is a Bhimpalas-based Tamil song by Papanasam Sivan, a prolific Carnatic composer of the 20th century, who also composed for films. The tune is close to ‘Beena namdhur madhur kacchu bol’.
‘Kannan Madurai’ by Nithyasree Mahadevan (Lyrics and music – Papanasam Sivan)
https://www.youtube.com/watch?v=emYKUmsIINU
Another Dhani-Bhimpalasi joint venture, this time from ‘Aab-e-Hayat’ (1955), and sung by Hemant Kumar. The lyrics are by Hasrat Jaipuri and the music is by Sardar Malik.
‘Main gareebob ka dil hun’
https://www.youtube.com/watch?v=p46HblFw5Pg
Dhani and Bhimpalas keep each other company in this ghastly song sung by a proud mother to introduce her debutant/prodigal son. The song is sung and acted by Bhanumathy Ramakrishna, the multi-faceted singer-actor of Tamil and Telugu movies.
‘Meet my son’ by Bhanumathy Ramakrishna, from ‘Edupaar Kai Pillai’ (1975), by Lyrics by Kannadasan, Music by M.B.Sreenivasan
https://www.youtube.com/watch?v=vg6nLZO7KTM
A friend had sent me this song last October and made me listen to it as punishment for a prank that I had played on him.
The Bhimpalas drut bandish ‘Biraj mein dhoom’ features at 2:46 in this medley sung by Ustad Ghulam Mustafa Khan, Runa Prasad and Shahida Khan for ‘Umrao Jaan’ (1981). Please note that the ragas are depicted as being sung at their respective prescribed times per the time-cycle theory of ragas in Hindustani Music.
https://www.youtube.com/watch?v=uLdMUHwzZV0
Ashwini @14 & 17 has mentioned some iconic Marathi songs & Akji @ 18 very aptly says that Kumar Gandharva is simply out of this world.
Here is another iconic Marathi song by Kumari
YouTube clip is from film Khalil featuring Thespian Dr Lagu but the song was recorded much earlier
IActually it is a poem by great Marathi poet Anil
https://youtu.be/0dSTTUBbo0Q
I had typed Ashwinji but did not notice the autocorrect before posting.v My apologies for the mistake
There are two more autocorrect horrors
1 the film’s name was Jhakol & not khalil
2 Kumari instead of Kumarji
Rahul Bhagwanrao Muli,
If there is a divine singing, it is Pt Kumar Gandharva’s Aaj achanak gaanth pade. Thanks a lot for mentioning it, one of top favourites. I am intrigued, did he first sing it for the Marathi film? My impression is he must have sung it many years earlier. The film makers deserve compliments for recreating this song. Did Kumarji actually agree to appear on the screen?
Since we are in the mood of Pt Kumar Gandharva and Bhimpalasi, here is another of my favourite – a Meerabi bhajan in which Vasundhara Komkali, too, lends her voice.
Piyaji mhare naina aage, Meera bhajan (Bhimpalasi) by Pt. Kumar Gandharva and Vasundhara Komkali
Ashwin,
It is delightful to see you in full flow. With all the classical songs we also need ‘Sheela ki jawani’. Your ‘Kandan Madurai’ (#33) rung a bell. Then I remembered Kandan karunai sung by Madurai Mani Iyer. He was so mesmerised by Beena madhur madhur kachhu bol that he decided to compose a Tamil song with the same composition. I had included it in SoY’s 9th anniversary post.
Kandan karunai by Madurai Mani Iyer
Venkataramanji @26, 29, 30
Fabulous information you have added about Guru Nanak’s Shabad and its Bengali incarnation. Thanks a lot for the beautiful songs too. All the songs are absolute gems.
Subodhji
What a resurrection after a long slumber like Rip Wan Winkle (as in American folklore). While Rip went to sleep during British America and awoke after the Revolutionary War and was quite out of place, such is not the case here. If anything the post has become sharper and more informative. This is a very pleasing raag and quite popular in both schools of music.
I am a mere ant before the likes of Ashwinji, but still a passionate follower of both the music systems.
In carnatic music its equivalent is called ABHERI, a janya raag, derived from the mother raaga – KARAHARAPRIYA, 22nd Melagartha raag out of 72 as classified by musicologist Venkatamuki long ago. In Arohana it has 5 swarams and 7 basic notes of mother raag in Avarohana. I do not want to delve further in details with my scant knowledge. One of the most famous song is a Thyagaraja piece – Nagumo Ganelani. It is a trademark song of great music thespian late BALAMURALI KRISHNA.
I am giving its you tube link.
https://youtu.be/sYD_Iw77mT4?t=99
Wow ! So many inputs in a day!! I am enjoying reading and listening to the charm of less heard raga based songs. Like others my knowledge is limited too. yesterday I had collected some songs but the whole list vanished as my computer was troubling me.
Anyway I am recollecting some songs thru my memory and hope some will stood the test of passing the bounds.
Jhuk Jhuk Jaye – Geeta Dutt, Abe Hayat
https://www.youtube.com/watch?v=hQ1uAlwW-3Q
Chanda Chamke Gagan mein….Lata….Bahut din huye
https://www.youtube.com/watch?v=MTNfh43ksXA
kaase kahun man ki baat..dhool ka phool- sudha malhotra -sahir ludhianvi-n dutta
https://www.youtube.com/watch?v=lJeaIeNezd0
Gori Tera Gaon Bada Pyara (HD) | Chitchor
https://www.youtube.com/watch?v=vejr2_PXVQo&list=PL2VLjRscZjilqLh-5jdtn6-wI3xVh1VYt&index=18
Gurubani Shabad…..Bhai Dawinder Singh Shant – Praani Kyaa Mera
(Raag Bhimpalasi)
https://www.youtube.com/watch?v=achROemuI0M
….to be contd.
Wow, wow , wow Ashwin Bhandarkar! What a wealth of music! The music posted by you, particularly different versions of ‘Prem seva sharan’ do an excellent job of establishing the relation between Bhimpalasi, Patdeep and Multani.
Full marks to you for noticing the Patdeep interlude in ‘Radhike tune’. I wouldn’t have thought it possible to introduce light ragas in Darbari, but SJ have done it.
Thank you Mr Bhatia. Eagerly waiting for more. Can you link some more shabads in Dhansri?
AK @ 22. Thanks for the links and introducing me to Venkatesh Kumar.
Ashwin, I wish I had your ear for notes! It is quite something to find Dhani in ‘Good Bad and Ugli!” Great!
Thank you Mr Venkataraman for this wealth of information. The confusion about the translator’s name seems to justify my skepticism about the Balraj Sahni story.
Thank you Ashwin for the Belur Math Bhajan.
Mr Venkataraman, thanks for the Kanika Banejee song. It beatutifully brings out the soft feminine side of Bhimpalasi.
Mr Venkataraman, I admit I was bit skeptical about the fusion, but listening to changed my mind. Thanks.
Ashwin Bhandarkar @ 31 and 32. Film composers are capable of anything. Who would have thought a serious raga like Malkauns could be used for ‘Taqdeer ka sara pher hai ye’ from Hera Pheri!
Ashwin Bhandarkar, ‘Kannan Madurai’ is a real gem. Thanks.
Ashwin Bhandarkar. I had never noticed Dhani-Bhimpalasi in ‘Main garibon ka dil!’ Sometimes realization dawns late – I realized very recently that ‘Na to karvan ki talaash hai’ is Kalawati. Only Roshan could take a raga from south and create an iconic kawwali.
You must have done something terrible to deserve ‘Meet my son!’
The Umrao Jaan ragmala is among my favourites.
Rahul Bhagwanrao Muli and AK, thanks for the Kumar treat. He is divine.
Thank you Mr Rangan. The Balamurali clip is impressive. I was waiting for someone t mention Abheri.
Mr Bhatia, thanks for this treat. ‘Chanda chamke neel gagan mein’ is a real gem, and Madhubala is an added bonus!
Bhai Devinder Singh Shant is excellent.
Subhodji @55
The famous Roshan qawali is based on Kalavathi as per your statement. I am nobody before you on this subject. Even to my dull ears it is nowhere near Kalavathi. I think it is based on Kamaj. I will hunt around you tube video in support.
Bhatiaji
Enjoyed the songs you posted. The sikh gurbani was out of the world. Do add more such material which you can do very easily.
Mr Rangan, I quote from Chandrakantha.com which lists this song under Kalavati:
“This starts of in a surprisingly pure rendition of Kalavati, but very quickly some mixing starts. I would especially like to draw your attention to a very prominent, very beautiful, yet very un-kalavati-ish presence of the Shuddha Nishad. There is also a slight presence of a Shuddha Madhyam; but it’s presence is fleeting and not really sufficient to destroy the Kalavati mood. At the risk of over simplifying, we could say that the song itself is a cracking good Kalavati/Khammaj mix with strong Kalavati interludes.”
Subodh ji, Rangan ji, Venkat ji , AK ji ;
I knew …..Chanda Chamke Gagan mein….Lata….Bahut din huye….would impress everyone of its beauty and rendition . This purity of ragas do have a charm that lasts for ever….and this goes to raga based shabad and kirtans. In our Guru Granth sahib there are main 31 Ragas upon which the compositions are based . Each raag have derivatives that adds to listening pleasure as per season’s entering and leaving the calendar. Here is one such shabad which is based on Raag Dhanasari …..take a dip with eyes closed for ultimate mind set healings.
Jeevana Har Jeevana Jeevan Har Jap Saadh Sang … Raag Dhanasari
https://www.youtube.com/watch?v=Jm-xQb-pgTU
…..to be contd.
In continuation from #61 …
Surendra, Bibbo, Manmohan- Tumhi Ne Mujhko Prem Sikhaya
https://www.youtube.com/watch?v=Q2kO0ynMJ68
Nukta Cheen Hai Gham – E – Dil [BEST AUDIO QUALITY] K L Saigal / Ghalib / Yahoodi Ki Ladki 1933
https://www.youtube.com/watch?v=lLKmt1w13J8
Kuchh Dil Ne Kaha | | Anupama | Lata
https://www.youtube.com/watch?v=69dnqIFfrnE
Khoya Khoya Chand Khula Aasman with lyrics | खोया खोया चांद, खुला आसमान |
https://www.youtube.com/watch?v=jgINHfzMQuQ
O Beqarar Dil Lata Mangeshkar Film Kohra 1964 Music Hemant Kumar
https://www.youtube.com/watch?v=KxOGhSp1oEU
Sau sal pehle mujhe tumse pyaar tha…mohammad rafi and lata-devanand-asha parekh
https://www.youtube.com/watch?v=eOQe3JHi7rA
to be contd…..
My friends have been observing my recent interest in Hindi film music. After one of them overheard me try to sing ‘ Beena madhur madhur…’ discussions in the group reached a level and I knew that soon I may not be able to cover up . But as long as they do not have enough inclination to read SOY I am sure they would not know . Now at the next party they want me to sing !!
I am of the view that MDs may be able to compose a tune based on the situation even if they do not know any ragas… but whatever is composed would sound beautiful only if it follows the laws of music (raga) or any acceptable variations to the raga . Are OPN and MM examples of this fact ? Of course the MDs who have been trained in music would know that a particular situation calls for a composition in a particular raga . Also those trained in ragas may be able to identify the raga of a composition . To me , good music appealing to me , is what I look for, even though I have no knowledge of the raga. May be if I keep following SOY I may learn more about ragas .
Ashwin Bhandarkar ji is certainly an expert on music and Ragas . This post has prompted me to look more into this area of ragas .
Though I do not know how to tell the raga of a song I share some songs that I liked and said to have used Bhimpalasi that I picked up from other blogs ….
1)Amardeep/1958/ ‘ Mere man ka …/CR/Lata
https://youtu.be/ffixLJhH9GE
2) Gazal /1964/’ Naghma o sher…’/ MM / Lata
https://youtu.be/hFkPrwqNU6M
Here is another classic based on Dhani, rendered by Peter, Paul & Mary:
‘Flora, the Lily of the West’:
https://www.youtube.com/watch?v=bSkQsL2ToYA
Here’s the Wikipedia entry on the song. Of course, it has no mention of Raga Dhani 🙂
#64 – Here’s the missing Wikipedia link:
https://en.wikipedia.org/wiki/Lily_of_the_West
Another gem of a composition that has a lot of Dhani in it:
‘Kiss from a Rose’ by Seal, released in 1994 and then featured in ‘Batman Forever’ (1995)
https://www.youtube.com/watch?v=AMD2TwRvuoU
Thank you Mr Bhatia for the songs and shabad. ‘Tumhi ne mujhko prem sikhaya’ is a real find and comes closest to Bhimpalasi.
S Joseph, welcome to SoY, and thanks for the link.
Ashwin, this is truly amazing! Dhani transcending the boundaries of language and musical systems.
Subodhji & AK:
Wrt the song in Jaijaiwanti by Asha featured at #7 in this post, here is the bandish on which it seems to have been based:
‘Paiiyan pdungi palaka na chadungi’ in Jaijaiwanti by Milind Chittal
https://www.youtube.com/watch?v=U0l-a8zmzwg
The same bandish has been played by Bismillah Khan & V.G.Jog (starting at 17:49) in their Jaijaiwanti rendition for HM:
https://www.youtube.com/watch?v=X-cA-jrBKV4
Subodhji,
I was about to post Nuktacheen hai ghame dil, Bhatiaji has already posted it.
Here is one more song which seems to be Bhimpalasi to my ears. Please correct me if I am wrong.
Hasraten Khamosh Hai, film Tadbeer (1945), lyrics Swami Ramanand Saraswati, music Lal Mohammad
https://www.youtube.com/watch?time_continue=44&v=oGeRFyT9ikg&feature=emb_title
Subodhji,
With all due respect, it is my submission that there is no Madhuwanti at all in ‘Ajahuna aaye baalma’. The song employs shuddha madhyam and komal dhaivat in contrast to the teevra madhyam and shuddha dhaivat of Madhuwanti. I would have said that the raga is some variant of Pilu but I think the slide guitar artiste, who has shared his rendition of the song on his slide guitar at the link below, has the most accurate take on the matter (see his comment in the link)
– that the song is based on a raga that follows Chandrakauns in its ascending movements and Keervani in its descending movements.
https://www.facebook.com/ragarhitom/videos/325509388063663/
The sthaayi of the song sounds very similar to the sthaayi of ‘Murli bairan bhayee’, the Lata/Hasrat/SJ song from ‘New Delhi’ (1956)
https://www.youtube.com/watch?v=ufVvFl5Fc6k
Ashwin, thanks for the links on Jaijaiwanti. I don’t know how I managed to confuse it with Bhimpalasi!
As for ‘Ajahun na aaye balma’ I defer to the superior knowledge of Chandrakantha.com and many other sites that list it under Madhuvanti. Personally, I think ‘Rasme ulfat’ is a much better example – but experts are experts! Chandrakantha.com however does admit that it has a mix of Bhairavi. I might have taken it to be Sindhi Bhairavi.
Mr Venkataraman, ‘Hasraten khamosh hain’ is a beautiful song. It sounds more like Patdeep to me, particularly the way ‘Hasraten’ is sung. Otherwise it seems to be a mix of ragas, with Bhimpalasi showing in places.
Subodhji,
Had never heard ‘Lag gayi akhiyaan’ before – thanks for sharing it. I never cease to marvel at the creativity of the MDs of the Golden Age – imagine using Multani for such a racy song!!!
And while on Multani, Kesarbai’s rendition from her 45 rpm recording of the raga is one of the best there has ever been:
https://www.youtube.com/watch?v=CiT0w55bXN0
Subodhji @72,
I stand by my stance of ‘Ajahun na aaye baalma’ NOT being based on Madhuwanti. chandrakantha.com may be run by experts but one cannot, and should not, go blindly by what is stated on it – one should do one’s own check. I have provided the rationale for my stance and I would request you also to analyze the swars of the song rather than deferring to chandrakantha.com’s opinion. Another argument that I would give in defense of my stance is that Parrikar would have surely cited it (since it is well-known song) as an example of Madhuwanti had it been in Madhuwanti but he hasn’t.
Ashwin, as I have admitted already, I don’t have your keen ear for notes. So I am unable to form a judgment when there is a controversy about a raga. My identification of ragas is more intuitive, and my intuition did not pick up this one as Madhuvanti. There are two more sites that list it as Madhuvanti. Let’s therefore agree to disagree.
https://www.sunbyanyname.com/2017/06/02/raaga-based-song-of-the-day-5/
http://saidvk.blogspot.com/2013/02/selected-ragam-madhuvanti-contd.html
Subodhji, KS Bhatiaji, Venkataramanji, AK,
Not sure whether you have heard of the Lahore-based Harskhiyaan singing group consisting of a mother and her 3 daughters. I have been following them on Facebook ever since a friend of mine shared the following rendition of Nanak’s aarti, which moved me to tears:
‘Aarti – Nanak’s Ode to the Cosmos’
https://www.youtube.com/watch?v=KNUHqJb48jY
Read about them in this article from The Dawn:
https://www.dawn.com/news/1506518
Thanks Ashwin for the beautiful link to Harsakhiyaan.
There is another beautiful version of this aarti by Shivpreet:
https://youtu.be/j3LMgab3qIQ
Subodhji @ 76,
Sure, let’s agree to disagree but before I let the matter rest, let me also cite a few sites (pun not intended) that state that the song under contention is based on ragas different from Madhuwanti:
1. http://raagbasedhindisongs.blogspot.com/p/blog-page_20.html – Pilu
2. https://www.swarganga.org/hindisongs.php – Pilu
3. http://indianclassicalragas.blogspot.com/2013/11/raag-sindh-bharavi.html – Sindh Bhairavi
4. http://www.downmelodylane.com/ragasmisc.html – Keervani
5. https://calamur.org/gargi/2011/07/31/the-thirty-day-project-day-26-classical-rafi/ – Pilu
Ashwinji,
Thanks for posting the Guru Nanak Aarti by Lahore-based Harsakhiyaan. And I am hearing them for the first time.
Subodhji,
The version by Shivpreet is also beautiful. Thanks.
Since BhatiajiI started posting Shabad Kirtans in SoY , I am listening to them more often. A divine experience. Earlier I used to listen to Shabadh Kirtans, but not that frequently.
Ashwinji, Subodhji
Posting another song. Relying on my ears seems to be based on Bhimpalasi.
Ham Apne Dil Kaa Fasana Unhe Soona Naa Sake by Md.Rafi, Film Actress (1948), lyrics Nakshab Jarchvi, music Shyam Sundar
https://www.youtube.com/watch?v=Gpgi_qr5w-Y
Ashwin,
@69, Thanks for sharing Milind Chittal’s Painyan padungi palaka na chadungi. With this piece, song #7 sounds more clearly Jaijaiwanti.
@77, Thanks for sharing Guru Nanak’s cosmic Aarti by Harsakhiyaan and the article about them. Subodh would not have realised that his reference to this Aarti would generate so much information.
Here are three of my favourite renditions in Raga Dhani
1. The first one is a bandish in Punjabi rendered by Shruti Sadolikar. The mukhda is ‘Saade naal ve miyaan
https://www.youtube.com/watch?v=Z7lf3uzTJr0
2. The second one is a rendition of the raga from a live concert by Veena Sahasrabuddhe. Both compositions – the first by Ramashreya Jha and the second by Kashinath Bodas – are masterpieces and I particularly like the artiste’s treatment of the first.
https://www.youtube.com/watch?v=VzoKlWVcGIg
3. The 3rd one is a rendition of the raga by Malini Rajurkar. The madhylaya jhaptaal composition is by S.N.Ratanjankar and is a prayer to Nizamuddin Auliya. The drut teentaal bandish is about the barajoris suffered by the gopis at Krishna’s hands.
https://www.youtube.com/watch?v=uG1eGxXJbgA
Mr Venkataraman @ 81: The sthayi of the song does sound a lot like Bhimpalasi, but the stanzas seem to waver off – something pretty common in film songs. A good find.
Ashwin Bhandarkar @ 79: So, it seems nobody knows which raga it is. Both of us are in good company!
Ashwin Bhandarkar @ 83: All three compositions are wonderful and bring out the playful character of the raga.
Listening to these I feel nostalgic about my days in IIT Kanpur during 71-75 when I developed my ear and taste for classical music. Veena Sahasrabudhe’s father Sripad Bodas was the grand old man of music in Kanpur. The story goes that Dr Sahasrabudhe of IIT proposed to her after hearing her sing for the first time.
Malini Rajurkar had emerged on the music scene those very days. She had made a good name for herself for Punjabi tappas.
Subodhji @ 86,
I am glad you enjoyed all the 3 Dhani renditions. Yes, even I have heard the story of how Dr.Hari Sahasrabuddhe proposed to his wife. BTW, Veena S’s father was Shankar Shripad Bodas – Shripad Bodas was his father.
Subodhji & Ranganji @55, 59 & 60,
To say that ‘Na to caravan ki talaash’ hai is in Kalavati would be stretching matters too far. I totally agree with the following first portion of chandrakantha.com’s take on the song:
“This starts of in a surprisingly pure rendition of Kalavati, but very quickly some mixing starts. I would especially like to draw your attention to a very prominent, very beautiful, yet very un-kalavati-ish presence of the Shuddha Nishad.”
I totally disagree with the following statement because the shuddha madhyam is very prominently used. Forget identifying the notes that are present or absent, the distinct flavour of Kalavati is totally absent in the rest of the song following the initial prelude referred to above.
“There is also a slight presence of a Shuddha Madhyam; but it’s presence is fleeting and not really sufficient to destroy the Kalavati mood.”
As for the last sentence (“At the risk of over simplifying, we could say that the song itself is a cracking good Kalavati/Khammaj mix with strong Kalavati interludes.”), this is how I would have put it:
“A cracking good Khammaj with a cracking Kalavati prelude”
Just to make it amply clear, I have nothing against chandrakantha.com. It is just that when I read what I think is a gross error/oversimplification with no/a flimsy/an incorrect basis or if there is a missed nuance, I have got to point it out. Also, if someone can convince me that what I have stated is incorrect, I will have no issues acknowledging my error in public.
And wrt the discussion on ‘Ajahun na aaye’, regardless of my opinion (which may not hold weight), in light of the fact that different sources on the Internet hold disparate views on which raga it is based on, my request to AK and Subodhji would be to include some notes to this effect under the song and to put in a disclaimer of sorts. With such widely varying views (Madhuvanti to Pilu to Sindh Bhairavi to Keervani), it would not be appropriate to state that ‘ajahun na aaye’ “is the definitive song in Madhuvanti”.
Wrt Dhanashri, there is another version of the raga,from the Bilawal thaaT, which sounds totally different from the Bhimpalas-like sounding Dhanashri that is classified under the Kafi thaaT and that has been discussed in this article. I have had occasion to listen to it live only once – at a concert of Ulhas Kashalkar in Pune around a decade ago. Here is a link to his rendition at an event curated by First Event Arts, who are doing a fantastic job of organizing and curating concerts by contemporary maestri, especially those who are not so well-known.
https://www.youtube.com/watch?v=PXI675MJoZ8
Ashwin Bhandarkar @ 88. I think you have summed it up perfectly.
As it happened I was listening to the initial part a few days back and realized that it sounded a lot like Kalavati. Google led me to the Chandrakantha.com page on this raga. But I fully agree that the raga disappears after the initial part.
Ashwin Bhandarkar @ 89 and AK: I agree. The sentence about this song being the definite composition in Madhuvanti should be edited out. Request AK to do it. Thanks.
Subodhji @92,
Thanks for your understanding.
Subodh Agrawal ji @78;
Its a very good feeling for me to find reference of Shivpreet …his charms of excellent rendition of Gurubani Aarti . He is a young man and has cut many discs on gurubani shabads both class and classic based ragas. Settled in California ….he is a learned man of techno financial side of buissness studies. He is far related to me …..his father is Electrical Engineer an d worked in power sector and myself civil engineer worked in water resources sector. Preet mohan singh [ father of Shivpreet] is brother in law of my brother in law from my wife’s side.
You tube has a number of Shabads composed by Shivpreet and I one can listen to them at leisure. At California he had honour of conducting orchestra too. A very social person …..I used to play cricket with him when he was hardly nine or ten years old.
Subodh ji , likewise we are vw / very close in professional life too. I used to take my iit delhi cricket team to iit Kanpur during IIT meets. Of course Cricket match was priority but taking part in various activities like …art, paintings, drawings, photography ….was added pleasure. This was around 1966/67 . I remember after the match we saw ….An Evening in Paris in one of the Kanpur’s Cinema hall. IIT Kanpur was good and best part was Buses used to ply inside the campus .
Coming back to aarti …..Most of us have seen 1981 famous movie ….Silsilaa . The movie had a shabad and aarti too. The aarti scene was filmed just before the accident scenes when Rekha, Amitabh attended their Sikh friends religious function . Jaya Bharti singing Meera’s Bhajan was another attraction for music lovers. Separate clips are not available on YT but one can browse movie and find the scenes .
Will return again.
Subodh ji, Rangan ji, Venkat ji , AK ji ;Ashwin ji;
When Ragas were at drafting stage ….they must have taken into account the principle of Gods and laws of Natural sounds. Who knows when baby is born……. the cries are of joys!!. Later , as times moves on , Baby smiles when feeling happy and cries when in unexplained pain. Still little more later on ….his happiness makes other Glad and his sadness makes other in sorrow state of mind.
In a way the mind body and soul are in control of sounds which makes us live with our emotions …..good , bad or even ugly.
Came across some songs that could fit into main or derivative branch of raag dhanshri……
Prem Lagan Man Mein Basaye- Asha (Soorat Aur Seerat) ….Roshan
Prem Lagan Man Mein Basaye- Asha (Soorat Aur Seerat)
….in continuation….
https://www.youtube.com/watch?v=9vD4Wwybwho&list=PL7PTfZJ_x78mwqp6XTYjx0-VudIdWvxmz&index=14
TORI JAI JAI KARTAAR -WITH LYRICS -USTAD AMIR KHAN -NAUSHAD (BAIJU BAAWRA 1952)
https://www.youtube.com/watch?v=HYpCJ8yE7z0&list=PL7PTfZJ_x78mwqp6XTYjx0-VudIdWvxmz
Raag puriya dhanashri Mohammad Rafi sahib….Non Filmi Song
https://www.youtube.com/watch?v=C2Msf3MI1Os&t=144s
…..to be contd.
Ashwin Bhandarkar @ 90: Thanks for supplying this missing piece. I knew there is more to Dhanashree than Bhimpalasi, but I didn’t know about this version. I wonder why the masters chose to give the same name to vastly different ragas. I’ve had my share of confusion with the Basant of Bilawal ang.
KS Bhatia @ 94: Shivpreet is outstanding – combining softness and depth in his voice. Good to know about your personal link to him.
KS Bhatia @ 95-96: Puriya Dhanashree is completely different from Bhimpalasi. The connection of this raga with Puriya is clear, but I don’t understand its link with Dhanashree of the Bhimpalasi flavour, or of Bilawal that.
Subodhji @ 97,
As you are well aware, there is so much variation/inconsistency in Hindustani Music when it comes to the definition or interpretation of ragas – and that is an understatement – in comparison with Carnatic Music in which ragas sit nicely and systematically in the melakarta system …. (and I am not even speaking about the sanctity of the textual and musical content of compositions here, which is taken for granted in Carnatic Music in contrast to Hindustani Music in which everything is so ‘fluid’). Examples of this variation/inconsistency are legion – there is no Sarang in Gaud Sarang, no Dhanashree in Puriyadhanashree, Lalat is sung with shuddha dhaivat in the Gwalior gharana and with the komal dhaivat in the other gharanas, Jaipur goes with the shuddha dhaivat Bibhas (Marwa thaaT) while the others sing it with komal dhaivat (Bhairav thaaT), Jaipur has its own version of Khambavati, there are 2 major variants each of Gouri, Basant, Chandrakauns, Durga, Hindoli goes by 2 other names, etc. etc. Here are some of the reasons for these variations:
1. For the longest of time, the theory of music was divorced from its practice before Bhatkhande came along. As we all know, his main aim was to systematize Hindustani Music and what he achieved was a quantum leap from where Hindustani music theory in relation to its practice was a 100 years ago. Of course, his endeavour did not eliminate the variations cited above but I don’t think going that far was his intent either.
2. The relative isolation of each gharana and its practitioners led to the inevitable differences in raga structure over time.
3. On many occasions, the ustads taught only bandishes because they had never been taught the names of the corresponding ragas and they had been to scare to ask their gurus! There are well-documented cases of how the same bandish was taught as belonging to different ragas to different disciples by the same ustad! In some cases, this could be attributed to the failing memories of the gurus if they taught the bandish/raga during their dotage.
4. Newly created/discovered ragas with the same names as existing ones (probably the same name was given because the person who discovered/created the new raga was not aware of the existing melody).
In fact the ragas that we now know as Chandrakauns and Durga are respectively a Johnny-come-lately and a Jill-come-lately – before their advent we had the Chandrakauns of the Agra gharana (and a corresponding Suryakauns!) and Durga of the Khamaj thaaT.
My personal opinion is somewhat on the lines of Shakespeare’s thoughts on the rose – what’s the big issue if different ragas have the same name as long as we can enjoy them? May the chaos continue to prevail.
Since Jayjaywanti has been brought up, I thought I would share the following pieces in Dwijawanti, the Carnatic form of Jaijaiwanti, with readers for their enjoyment …but before that some ‘gyaan’ with apologies to those who are already in the know of what follows:
Muthuswamy Dikshitar, one of the Carnatic Trinity, had sojourned to Kashi and had spent a few years there learning the Hindustani Music of that time, including dhrupad. In fact several kritis of his are composed like dhrupads and the Gundecha Brothers have rendered them as well. He also adopted Jayjaywanti into Carnatic Music, and being a master of Sanskrit, he named the Carnatic equivalent, Dwijaiwanti. It is now known as Dwijawanti. He created two wonderful compositions (Redundancy Alert! All his compositions are wonderful!!!) in Dwijawanti. In the first, the raga treatment is similar to the Hindustani treatment; not so in the 2nd but you can still feel its Jayjaywantiness.
Akhilandeshwari rakshamaam by Bombay Jayashree:
https://youtu.be/3iP07j-5LLA
Chetashri balakrishnam by Ranjani-Gayathri:
https://youtu.be/5SgB3nQ6Q2g
Dikshitar’s ‘mudra’ was Guruguha and he almost always cleverly incorporated the name of the raga in his compositions, as is evident in ‘Akhilandeshwari’. I am sure that those who understand Sanskrit will enjoy the compositions even more than those of us who do not.
You are very right Ashwin Bhandarkar. North Indian music does tend to be chaotic as compared to Carnatic. It could be part of the overall culture – south is in general more disciplined. This chaos, however, is part of its appeal – the freedom to improvise it gives to the artist.
As for bandishes, there is one famous one sung by many notable singers: ‘Ham rahiyen raat birhan ke paas/ Patbijna chamke boond parat…” I think it was Kumar Gandharva who sang it as ‘Amaraiyan ke birwan ke paas/ patbijna chamke boond parat…’ The second version makes eminent sense. The first one is most probably a case of a disciple failing to understand the real words, and being too scared to ask!
Ashwinji @ 90 & 100
Thanks for posting Ulhas Kashalkar’s rendition of Bilawal Ang Dhanasri and your reflective thoughts. I haven’t heard this version in any live concert. Since Ulhasji is a regular visitor to Kolkata, I would make it a point to request him to render this version live for the Kolkata audience.
There are two links available on the net, which I would like to share here.
Pt. V. R. Athavale — All India Radio Recording
https://www.youtube.com/watch?v=Ebutbee3dsw
Rendered by Aslam Khan
https://vimeo.com/56039701
#100:
Please read ‘too scared’ in place of ‘to scare’.
Please read ‘Durga and Hindoli goes by 2 other names’ in place of ‘Durga, Hindoli goes by 2 other names’.
Subodhji,
After a hiatus you have come out with a gem on Bhimpalasi and allied ragas. I am somewhat familiar with this raga as it is common in Carnatic style also (normally referred to as Bhimplas)
I am trying to relish and understand the other ragas. The classical rendition by the stalwarts is the icing on the cake.
Additions by M/s Ashwin,AK K.S.Bhatia et al are enjoyable.
And the discussions amongst you on the Ragas are illuminative for me as I am trying to understand them.
My thanks to all of you and AK
Thank you Mr Venkataraman for the links. Thanks to you and Ashwin Bhandarkar we now have a good idea of the Bilawal ang Dhanashri.
Thank you Giri, and welcome to SoY.
Thank you for the lovely collection of songs and explanations of raags.
I would like to suggest this spelling “raag’ instead of the conventional “raga” which often gets mispronounced as “raagaa”)
A Chitnis,
Welcome to SoY and thanks a lot for your appreciation. I don’t justify raga, raag is obviously phonetically correct. But transliteration of Hindi words into Roman is always problematic. You have to bear with us if you notice some inconsistency in how we spell some words.
Thank you A Chitnis. Transliteration of Indian words is always an issue. One always sees ‘Lord Rama’, rarely ‘Lord Ram’, but never ‘Lord Raam’. ‘Raga’ seems to be the standard, perhaps because of the Sanskrit रागः. The way we pronounce the word, ‘Raag’ is phonetically more correct.
Venkataramanji @ 103,
Thanks a lot for the two Dhanashri renditions. It was interesting to watch the time-frequency plot of the second recording as the music unfolded!
Venkataramanji @ 81,
Beautiful song! While there is a lot of Bhimapalas in the song, do notice the frequent use of the shuddha nishad which brings in the Patdeep element , for instance, at the ‘la’ of ‘bhula’ at 0:09. In fact, the ‘swaravali’ for ‘Hum apne dil ko’ starting at 0:12 is PNSDP, which is very characteristic of Patdeep.
Sanjay Subrahmanyam, who was awarded the Music Academy’s Sangeeta Kalanidhi, arguably the highest accolade for a Carnatic Musician, a few years ago, is known to take up Hindustani ragas for extensive elaboration (ragam, taanam, paalavi) on the concert platform. Here is his rendition of Patdeep:
https://www.youtube.com/watch?v=iS3F0e-74Ho
Ashwin Bhandarkar @ 112,113
Yes, I understand now. Thanks for bring to my notice my lapses. And a good learning experience too.
Just to revise,
1) Bhimpalasi and Patdeep have almost the same Arohan and Avarohan except the Komal Nishad is replaced by Suddha Nishad in Patdeep. Subodhji has mentioned this.
2) Suddha or Tivra Nishad has a prominent place in Patdeep, hence its frequent use. And you have brought this to my notice in the song under discussion.
3) And the other point I come to understand is that the dominant Swar Suddha Madhyam in Bhimpalasi is replaced by Pancham as the dominant Swar in Patdeep.
That raises a query. Since Dhanasree and Bhimpalsi have the same ascending and descending swaras, (and hence the Sangati PgRS is replaced by mgRS in Bhimpalasi ) am I permitted to assume that Raag Dhanasree is the forerunner of the Raag Bhimpalasi. Please correct me if my assumption seems fanciful. As I understand Madhyam is the dominant Swar of Bhimpalasi and Pancham is the dominant swar of Dhanasree. Then would it not be appropriate to state that Patdeep is an offshoot of Dhanashree rather than Bhimpalasi.
Thanks for posting Sanjay Subrahmanyam’s rendition of RTP in Patdeep.
And what is your take on the Raagam Gourimanohari?
Ashwinji,
A couple of corrections @ 114
Please read “Thanks for bringing to my notice” instead of “bring to my notice”
Please omit “hence” from the sentence (and hence the Sangati PgRS is replaced by mgRS in Bhimpalasi )
Good Evening,
The best songs composed in this beautiful Raag Bhimpalasi / Abheri
in other South Indian languages, Tamil, Telugu and Kannada.
Tamil
Singara velane deva_Konjum Salangai
https://youtu.be/AX0o-_EXA1I
Telugu
Neeli Meghalalo – S.Janaki.
https://youtu.be/gn5zqtrosYs
I read an article many years back, that Madan Mohanji heard this song and got very much inspired by this composition by Pendyala, great telugu film Music director.
NTR Hit Songs | Nagumomu Video Song | Vivaha Bandham Telugu Movie | Bhanumathi | Mango Music
Abheri
https://youtu.be/DfTpIJx_sCs
Kannada
Gathi Kaaneno Hey Ghanashyama | Chandra Kumara | Jayashree | Kannada Video Song
https://youtu.be/yXu90Q-2WQ0
Regards
Uma
Subodh ji, Rangan ji, Venkat ji , AK ji ;Ashwin ji;
Continuing with my exploration of bhimpalasi songs…..
Masoom Chehra Ye Qatil Adayen, Lata Mangeshkar, Mohd Rafi, Dil Tera Deewana
https://www.youtube.com/watch?v=LUhfiIo_a7E
Chanda Re Mere Bhaiya Se Kahna | Lata Mangeshkar @ Chambal ki kasam |
https://www.youtube.com/watch?v=1DZvUY1H0q4
O Nirdai Pritam Pranay Jaga Ke – Lata Mangeshkar – Stree 1961
https://www.youtube.com/watch?v=r894X0PgfDQ
Aa Dil Se Dil Milaa Le-Navrang
https://www.youtube.com/watch?v=5BTCwI5HEpg
…..to be contd.
In continuation…..
Zindagi Sehra Bhi Hai Lata Mangeshkar Film Kahin Aur Chal 1968 Shankar Jaikishan
https://www.youtube.com/watch?v=aOO8Sf7UC8w
Tadap Yeh Din Raat Ki | Amrapali | Full Song HD | Sunil Dutt, Vyjayanthimala | Lata Mangeshkar
https://www.youtube.com/watch?v=jow10yFXiD4
Aaj Mere Man Mein (HD) – Aan (1952) Songs – Dilip Kumar – Nadira – Lata Mangeshkar
https://www.youtube.com/watch?v=PuR2vFE8jyM
….to be contd.
In continuation…..
Chhota Bhai (1966) – bhagwan ne apne jaisa (Happy) – Lata
https://www.youtube.com/watch?v=fG_HJbE-Nf4
Kahan Chale Chhaliya- Asha (Sahyadri Ki Ladki)
https://www.youtube.com/watch?v=Apsmhl-WMZs&t=30s
Now a funny song ….
SARGAM – MAIN HOON EK KHALASI, MERA NAAM HAI BHIMPALASI
https://www.youtube.com/watch?v=NFdhjRl4nNw
….to be contd.
Uma Maheswar Nakka @ 116: All songs linked by you are wonderful. Thanks.
K S Bhatia @117-119: Thanks for the links. I had heard about Raj Kapoor’s ‘Bhimpalasi’ song, but never heard the song as such. Of course, it has little to do with the raga.
N Venkataraman @ 114: You are right about Dhanshri-Patdeep. But Dhanashri is not half as well known as Bhimpalasi. I guess that’s why we are more aware of Bhimpalasi-Patdeep link.
Ashwin@100
You have made an excellent analysis on the evolution of Ragas in different streams.
In Carnatic music also over a period some songs have changed Ragas or Ragas have changed their characteristics. Vidushi Vedavalli has brought out an album in this regard.
https://mio.to/album/Vedavalli+R/Pramanam+%282010%29
I have also to mention here that Dikshitar school follows a different Melakarta system where names of some Ragas are changed.
Subodhji, Ashwinji,
Adding to the confusion, I understand there is one more variation/ version Dhanasree. Dhanasree –Bhairavi Ang or the Komal Dhanasree, where besides ga and ni, dha and ri are also komal. I could find mention of two bandish(es)/ Lakshan Geet(s) in this Raag, but could not locate any link.
The first one, Dharana Murana Taana Taala Ke Pramaana, composed by Chintaman Mishra (early 18th century AD), a Dhrupadia of Gouhar Bani.
The second Bandish, Dhana Dhana Dhansaree Ragini, composed by Narayan Moreshwar Khare (1889-1938),a student of Vishnu Digambar Paluskar.
It seems there is another variant of Komal Dhanasree called Abhir. But no composition or link could be found.
The Carnatic Raag Dhanyasi (not Suddha Dhanyasi) closely resembles Komal Dhanasree.
Posting two compositions in Dhanyasi
Sangeethagnayanamu- composed by Thyagaraja Swamigal- Dhanyasi – Mandolin U Srinivas
https://www.youtube.com/watch?v=ba9U24AFKZE
Meena Lochana- composed by Shyama Sastry-rendered by T M Krishna
https://www.youtube.com/watch?v=urg8M_Qy9nY
Giriji @123
Thanks for mentioning Vidhushi Vedavalli’s Pramanam. I was in two minds whether to write about such instances of change in Carnatic music. By the way the link you have provided is not working. I would try to present a composition by Vidushi Vedavalli, hope that link works.
Ashwinji @ 100 and Subodhji @ 102, Giriji @ 123
Thanks of your nice review on variation/inconsistency in Hindustani Music when it comes to defining or interpreting ragas.
There are instances in Carnatic music too where such differences can be observed. That brings me to Raag Abheri. No doubt, Abheri as we hear today is a fairly popular raga, very attractive and melodious, and is identified with the extremely popular composition “Nagumo Ganelani” as Ranganji has mentioned (@43). Let me thank Ranganji for posting Balamuralikrishna’s rendition of “Nagumo Ganelani” in Raag Abheri.
As it is rendered today Abheri is similar to Bhimpalasi and corresponding to the melakarta Kharaharapriya (Kafi That). But originally, Abheri as documented in just about every historical text employs the Komal Dhaivat, thus corresponding to the Melakarta Natabhairavi (Asavari That). The song “Nagumo Ganelani” ‘s meaning, which is of pleading to the Lord not to torment Thyagaraja and thus show compassion, is more in line with the solemn feel of Komal Dhaivat based Abheri.
It is apparently well known and documented that in the first half of 20th century prominent musicians at prestigious and prominent venues like the Madras Music Academy used to sing the traditional version. Sangeetha Kalanidhi Smt. Vedavalli in her lecture –demonstration sang the komal Dhaivat version of “Nagumo Ganelani” and mentioned that her guru and others have done so at the Academy.
There is an Album, “Pramanam” by Smt. Vedavalli where she demonstrates the “authentic” version of some select compositions. Presenting two compositions in Abheri from this recording. Please click on the arrow sign against the song to listen to the “Nagumo Ganelani” with the Komal Dhaivat. The other composition “Ninnuvina Marigalada” in Raag Abheri, is also rendered in Raag Ritigowla which is somewhat a mixture of Bhagesree and Bhimpalasi.
http://darkmp3.su/slushat-abheri.html
N Venkataraman, Ashwin Bhandarkar, Giri: When I wrote the article I tried to do some research on Dhanshri. I had an idea that the raga exists in several different versions, but couldn’t get any worthwhile details. Google invariably leads to Puriya Dhanashri.
Thanks to this learned trio, we have remarkable reference material in the comments for any scholar who may want to take up this research and write a comprehensive paper on different versions of Dhanashri in the two schools of music. It will be very interesting to see if there is something in common between them despite the different scales. A related example comes to mind – Purvi thaat Basant and Bilawal thaat Basant have totally different scales, but listening to them creates very similar feelings.
Thank you, all three, for enriching this post with your invaluable contributions.
It is so nice for me that now my eye cataract has been extracted well and the sight in my both eyes has been restored to 20-20 vision.
As if an added bonus for me that I have been able to read the divine post “An afternoon with ragas: Bhimpalasi and her Sisters” by Subodh Agrwal.
It took nearly two hours to read the primary post and the incredible comments by many “Mahaarathi” like Ashwin Bhandarkar. Venkatraman etc. I think Subodh Agrwal and Ashwin Bhandarkar Venkatraman and many others are the shining crown jewels of the classical of the “SoY”. Their words widen our horizon of the music, Indian classical Music and Indian filmy music.
A heartfelt “Wahawaah Wahawaah” for all who contributed in comments and for AK a special “Kyaa Baat Hai Ji!” or like Motilal sang “Ab Kuchh Na Boliye” in the film “Ek Thi Ladaki”.
I first met the word “Bhimpalasi” in the song “Mai Hoon Ek Khalasi, Mera Naam Hai Bhimplasi…..” sung by C.Ramcahndra, and music by him as well, lyric by Pyare Lal Santoshi and well acted out by Raj Kapoor in the film “Saragam 1950” a musical romp by the Filmistan.
I wonder if the song is in Bhimpalasi raag!
But I think other classical numbers from the same film like “Sa Re Ga Re…. Etc” sung in the film in the afternoon gathering of the “Sangit Premi” audiences could fit as the song based on a afternoon Raag.
I hope the success and very good reception of this post will give enough enthusiasm to Pandit Subodh Agrwal to explore other themes on Ragas in Time and seasons scales as well.
I wonder “Prem Jogan Bani Piya Or Chali…” sung by “Bade Ghulam Ali Khan” himself and without his mighty mustachio in the film “Mughal-e- Azam 1960. about why he had to shave it off is well told by Naushad in an instalment in the series called “Movie Mahal” by Nasreen Kabir.
This song could be late night Raga or early morning Raag!
Shalan Lal
Shalan,
Welcome back to SoY. Good to hear your cataract procedure has been a great success.
Subodh will give you detailed response. But it has already been clarified that ‘Main hun ek khalasi, mera naam hai Bhimpalasi’ has nothing to do with Bhimpalasi.
Your reference to Bade Ghulam Ali Khan shaving off his moustache for Mughal-e-Azam confused me. I think he did not appear on the screen. Surendra playing Tansen lip-synched his two songs. He was, of course, clean-shaven.
Welcome back Shalan Lal and thanks for your appreciation.
The song ‘Jab dil ko sataye gam, chhed sakhi sargam’ from Sargam 1950 has featured in my post on Asawari/Jaunpuri. This is in raga Devgandhar, which differs from Jaunpuri in occasional use of shudh gandhar. It is, indeed, an afternoon raga.
‘Prem Jogan ban ke’ from Mughal-e Azam is in Sohni. It is a pre-dawn raga: 3-6 am.
Venkatraman ji @ 125 & 126
The link I have given works for me.
About 60 years ago I heard a concert by Vidwan Madurai Sreerangam Iyengar. He sang Nagumomu in pure Abheri. Before singing it, he explained the swaras/characteristics of Abheri and how it has merged with (Karnataka) Devagandhari.
I came to know the difference only then. Nowadays everyone calls it Abheri
Incidentally I think that there are separate kruthis by Deekshitar in Abheri and Devagandhari (as it is called in Deekshitar school)
N Venkatraman ji, Subodh Agrawalji ;
Fantasy is a necessary ingredient in living in dreams. Like birds …..dreams too have little little time to live……and that too in a slow mode. What slow timer one can produce other than a perfect slow Ghazals.
Chupke Chupke Raat Din | Nikaah (1982) | Deepak Parashar | Salma Agha | Ghulam Ali Hits | Sad Song
https://www.youtube.com/watch?v=YTlAS9-w6SE
Gazal,raag-bhimpalasi(mehadi hassan)
https://www.youtube.com/watch?v=HBIyoNSwWMc
KS Bhatiaji,
Zindagi mein to sabhi pyar kiya karte hain, main to markar bhi meri jaan tujhe chahunga – what a superb ghazal. Heard for the first time. Thanks a lot.
Thank you Mr Bhatia for the links.
Shalanji,
Welcome back. Glad to see you back after your successful cataract operation.
Bhatiaji, Subodhji Ashwinji,
Posting an absorbing Sabad Kirtan in Raag Dhanasari.
Har Charan Saran Gobind Dukh Bhanjanaa by Professor Surinder Singh of Raj Academy
https://www.youtube.com/watch?v=7FNW9Te-hqU
Certain interesting observation and information I have gathered.
1. As per the video the emphasis of this Raag is on the ninth microtone. As per my understanding the ninth microtone is Suddh Gaandhar. Need further clarification.
2. It is presented in Partaal. There are three Rhythms used in this Kirtan, 16 beats, 12 beats and 14 beats.
3. In this video we can find all the traditional instruments used by Sikh Gurus for Gurmat Sangeet as per Professor Surinder Singh of Raj Academy These instrument. (From left to right).
Jori – The Jori, also known as Panjabi Pakhawaj The Jori requires the use of fresh dough on the bass drum. Present-day they use ink (shahee) on the skin. Both Jori drums are made of wood.
Taus – The Taus is a bowed string instrument from the north Indian region of Punjab. It has a peacock body neck with 20 heavy metal frets and is played with bow.
The Saranda- Guru Arjan introduced this instrument in singing of sacred shabads.
Dilruba – another bowed string instrument.
A version of Rabab altered and promoted by Guru Nanak.The Rabab of Guru Nanak followed him as his shadow for more than 27 years on his travels around the world, played by his beloved companion Bhai Mardana. This was the start of the Sikh Rababi (Kirtanee) tradition of singing Shabad Kirtan according to the hukam of the Gurus in specified Raags.
Sarangi – promoted by Guru Hargobind Singh.
This corker of a Dhani-Bhimpalas composition by Sahir/Madan Mohan was played on Vividh Bharati’s ‘Bhoole Bisre Geet’ just a few minutes ago:
‘Chaand madham hai’ by Lata, from ‘Railway Platform'(1955)
https://www.youtube.com/watch?v=idIoZWdRQos
Thanks Ashwin. I was not clear about this song.
Good Evening dear all friends,
I just want to add one very beautiful Ghazal by Late Sri Mehdi Hassanji composed on Raag Bhimpalasi.
Apologies if someone already referred this.
ZINDAGYI MAIN TOU SABHI PYAR KIYA KARTE (Full Song) – MEHDI HASSAN – PAKISTANI FILM AZMAT
https://youtu.be/4dcIvP8_sRk
Zindagi Mein To Sabhi Pyaar Kiya Karte Hain
https://youtu.be/Ag8JpA02WjY
Regards
Uma
I don’t know how I could have missed mentioning this Dhani-Bhimpalas masterpiece
‘Shape of You’ by Ed Sheeran:
https://www.youtube.com/watch?v=JGwWNGJdvx8
This Carnatic take on the same song has proved to be equally popular:
‘Shape of You Indian Mix’ by Aditya Rao, Vinod Krishnan and Mahesh Raghvan
https://www.youtube.com/watch?v=MUXPL4rZL_E