Monday, Dec. 2, 2002
Short Takes: Bageshree
Rajan P. ParrikarRajan P. Parrikar is a recognized expert on Indian
Classical music and shares his knowledge freely with those interested in the
subject.
He has written a series of articles on Classical Indian Music some of
which have been archived on Sawf. Click here to read Rajan's earlier
articles. |
Rajan P. Parrikar in Canacona, Goa.
Click on the picture to enlarge it
|
Namashkar.
In this edition of Short Takes, we shine
the spotlight on Raga
Bageshree and its allies. Bageshree is an old and 'big' rAga, its
enchanting mien known to all, even women and children. It finds
mention in the older treatises as "Vageeshwari."
Throughout the following discussion, we assume M=shuddha and
m=teevra madhyam.
Raga Bageshree
The constituent swaras of Bageshree are from the Kafi thAT
(Kharaharapriya melakartA in the Carnatic paddhati): S R g M P D n.
Almost all versions of Bageshree can be grouped under three main jAtis:
Audav-Shadava: R and P are varjya in Arohi, P in avarohi prayogas.
Audav-Sampoorna: R and P are varjya in Arohi prayogas.
Sampoorna-Sampoorna: All the swaras are taken, albeit in vakra
prayogas.
Of these, the first - Audav-Shadava - is sufficient to express
the defining
lakshaNAs. Most of the performed versions, however, adopt the second -
Audav-Sampoorna - scheme
which involves a peculiar avarohi pancham-laden cluster. Let us now
examine the
structure of Bageshree through a set of characteristic phrases.
S, n' D', D' n' S M, M g, (S)R, S
The madhyam is very powerful, the melodic centre of gravity,
as it were. In the avarohi mode, a modest pause on g is
prescribed (it helps prevent a spill of Kafi). Also notice
the kaN of S imparted to R.
S g M, M g M D, D n D, D-M, g,
(S)R, S
The Raganga germ is embedded in this tonal sentence. Of
particular interest are the nyAsa bahutva role of D
and the D-M sangati.
g M D n S"
g M n D n S"
M D n S"
Each of these Arohi strips is a candidate for the uttarAnga launch.
S", (n)D n D, M P D (M)g, (S)R,
S
This phrase illustrates the modus operandi for insertion of the pancham
within a
broader avarohi context. The touch of P
occasions
moments of delicious frisson.
In some versions, P is explicity summoned in
Arohi
prayogas such as D n D, P D n D. When
the clips
roll out there will be opportunities aplenty to sample
a variety of procedures concerning the pancham.
S g M, M g, RgM, M g (S)R, S
Observe the vakra Arohi prayoga
of R. A thoughtless or cavalier approach
here
can lead to an inadvertant run-in with Abhogi (recall
the ucchAraNa bheda that separates Bageshree
and Abhogi in this region of the poorvAnga) and
run afoul of the Bageshree spirit.
This completes our preamble. Pandit Ramashreya
Jha "Ramrang" is on hand with his masterful precis,
recorded over the telephone. He accomplishes in
4 minutes what reams of paper cannot.
Ramrang on Raga Bageshree -
http://www.sawf.org/audio/bageshree/jha_bageshreespeak.ram
< -- Pandit Ramashreya Jha "Ramrang"
A bountiful harvest of Bageshree samplers awaits us. We inaugurate
the proceedings with Lata's exquisite and highly popular
number from AZAD (1955), set to music by C. Ramchandra:
Radha nA bole nA bole -
http://www.sawf.org/audio/bageshree/lata_nabole.ram
The great composer duo of Shankar-Jaikishan fashioned a
crisp and smart Bageshree in RANGOLI (1962), again centred
on the theme of a naughty, intransigent Krishna. Nobody
can match Lata in this situation: jA'o jA'o Nand ke lAla -
http://www.sawf.org/audio/bageshree/lata_jaojao.ram
Not many today appreciate the extent of sway K.L. Saigal
held over the Indian musical imagination in the first
half of the 20th century. Even if all Saigal-sahab did was
snore, it would still have musical value. Here he wields Naushad's tune in
SHAHJEHAN (1946): chAha barbAd karegi hame -
http://www.sawf.org/audio/bageshree/saigal_chahabarbad.ram
Lata Mangeshkar and Anil Biswas -- >
S.N. Tripathi's bandish in SANGEET SAMRAT TANSEN (1962),
by Pandharinath Kolhapure and Poorna Seth: madhura
madhura sangeeta -
http://www.sawf.org/audio/bageshree/
sst_madhura.ram
Another bandish from the Bengali film KSHUDITO PASHAN (1960),
composed by the (au naturel, nangA, naked, sans fabrique) Emperor
of San Rafael, Mr. Alu (I wonder why he reminds me of a potato) and
joined with the immaculate voice of Amir Khan: kaise kaTe rajani -
http://www.sawf.org/audio/bageshree/amirkhan_kaisekate.ram
The next item features Shubha Mudgal in a dual role of
composer and singer. About the verses she says: "They are
from the Vaishnava temple texts that I enjoy so much, and it is what
the Vaishnavs call a MalhAr kA pad. I have composed other
verses from the same category in Gaud Malhar, Miyan Malhar etc
but I did not feel like singing this one in a Malhar and for some
inexplicable reason composed it in Bageshree."
http://www.sawf.org/audio/bageshree/mudgal_priyasuna.ram
< -- Shubha Mudgal
The terrain of Marathi Natyageeta is studded with Bageshree gems.
Vasantrao Deshpande hauls a couple of delectable items of
which the first is from MRUCCHAKATIK: jana sAre -
http://www.sawf.org/audio/bageshree/
vasantrao_jana.ram
The much-loved dinDi from SAUBHADRA (note the use of
Urdu words in the mukhDA): bahut din nacha bheTalo -
http://www.sawf.org/audio/bageshree/
vasantrao_bahutdina.ram
We now slip into our classical robes. The kernel of Bageshree
runs through all these recordings. The ancillary details,
in particular the treatment accorded the pancham, may be
of interest to the more discerning reader.
Nimai Chand Boral, an alumni of the Dagar school of
Dhrupad, trained under Tansen Pande (Husainuddin
Dagar) and N. Moinuddin Dagar. His AlAp culminates in
the chautAla-based prathama nAda -
http://www.sawf.org/audio/bageshree/ncboral_bageshree.ram
The composition, binati suno mori, tuned by Vishnu Digambar is
standard issue for a large segment of Gwalior performers. His pupils
Vinayakrao Patwardhan and Narayanrao Vyas -
http://www.sawf.org/audio/bageshree/vp_nv_bageshree.ram
Amir Khan -- >
Amir Khan's imposing rendition admirably parlays Bageshree's expansive
space.
The rich, measured strokes of his vocal brush hold us captive to this
séance. He
picks up a traditional vilambit composition, bahu guna kA mana, and
tops it
off with a Tarana -
http://www.sawf.org/audio/bageshree/amirkhan_bageshree.ram
In his day, Rajab Ali Khan (1874-1959) was known as much for his
tremendous musical acumen as for his picaresque ways. A master
vocalist, he was also proficient on the Rudra Veena, Sitar and
Jala-Tarang. Several musicians of high standing learnt from him,
among them his nephew Aman Ali Khan of the Bhendibazar
Gharana (and through Aman Ali the influence extended to
Amir Khan), Nivruttibuwa Sarnaik, Ganpatrao Dewaskar and
others. Lata Mangeshkar, too, briefly took tAleem from Rajab
Ali during her stint under Aman Ali. He sings the traditional
composition, kaun karata tori binati -
http://www.sawf.org/audio/bageshree/rajabali_bageshree.ram
< -- Rajab Ali Khan
Mushtaq Hussain Khan of Rampur-Sahaswan -
http://www.sawf.org/audio/bageshree/mhk_bageshree.ram
Among the most curious phenomenon in Indian music in recent times
is the emergence of the "child prodigy." There is one in every
family, especially in Carnatic circles. Upon examination, however,
he usually turns out to be (in Bertrand Russell's marvelous
phrase) "more child than prodigy." We have here a pre-pubescent
Kumar Gandharva toying with the chestnut, gunda lA'o re mAlaniyAN.
This may have some curio or flutter value, but not much else -
http://www.sawf.org/audio/bageshree/kumar_bageshree.ram
Shaila Datar, with an attractive cheez: Eri piharwA ghara Avo -
http://www.sawf.org/audio/bageshree/datar_bageshree.ram
K.G. Ginde puts a spin on the standard Bageshree, calling it
"Sampoorna Bageshree." Here, the rishab and pancham are
free-flowing. The discerning reader will also sense a special
sanchAri or two: reeta nA mori -
http://www.sawf.org/audio/bageshree/ginde_sbageshree.ram
K.G. Ginde -- >
A couple of instrumental selections follow. The Chicago-based
Shri Lyon Leifer plays Khayal on the Bansuri in this recording now
available commercially -
http://www.sawf.org/audio/bageshree/
leifer_bageshree.ram
Bismillah Khan -
http://www.sawf.org/audio/bageshree/
bismillah_bageshree.ram
K.V. Narayanaswamy sings an arresting composition of the renowned
Carnatic
vocal master, M.D. Ramanathan. The rAga-lakshaNAs come
aglow in this beautiful rendition: sAgara shayana vibho -
http://www.sawf.org/audio/bageshree/kvn_bageshree.ram
Bade Ghulam Ali Khan deals a fantabulous Bageshree in this
unpublished treasure. The traditional vilambit, kaun gata bha'ili,
is followed by a Tarana -
http://www.sawf.org/audio/bageshree/bgak_bageshree.ram
The Bageshree suite concludes with an awesome display of
Atrauli-Jaipur power. Mogubai Kurdikar's Tarana is set
to the 15-mAtrA Sawari tAla -
http://www.sawf.org/audio/bageshree/mogubai_bageshree.ram
< -- Kesarbai felicitates Mogubai
Kishori Amonkar matches Amir Khan in the depth, range and
beauty of her Bageshree -
http://www.sawf.org/audio/bageshree/kishori_bageshree.ram
The final item is a two-part snapshot of Kesarbai Kerkar in
a riveting unpublished mehfil. This is not pure Bageshree;
freely interspersed are moments of Bahar and Kafi. The second
clip betrays Kesarbai's genius, showing her for the glorious, extraordinary
musician that she was: ruta basanta -
http://www.sawf.org/audio/bageshree/kesarbai1.ram
http://www.sawf.org/audio/bageshree/kesarbai2.ram
Raga Malgunji
Malgunji represents a synergy between elements of Khamaj
and Bageshree. Such rAgas are best grasped in a
two-stage process: the first round involves cultivating an
intuitive feeling for their dhAtu which is then fortified
with a detailed study of a representative composition. It
takes experience (and, of course, a certain amount of
intelligence) to sift the central features of a rAga from
its sidelights.
Let us take up Malgunji through a set of
characteristic tonal sentences.
S, D' n' S R G, M
This special Arohi phrase represents Malgunji's
signature and is a recurring theme.
S G M, G M D n D P M G M, M g R
S
An otherwise Khamaj-like chalan is terminated with
a Bageshree-inducing flavour. Also take stock of the
powerful M.
G M D N S", N S" n D, P D n D M G
M, M g R S
Some versions sideline the shuddha nishAd or greatly
diminish its role. As will seen shortly in Jha-sahab's
commentary, the occurrence of N hints at the
influence
of Raga Gara.
Although the shuddha gandhAr is dominant, the Bageshree influence
lurks beneath the surface: the G-M-D contour
derives from Bageshree, as does the powerful madhyam.
Jha-sahab gives a masterful synopsis of Raga Malgunji -
http://www.sawf.org/audio/bageshree/jha_malgunjispeak.ram
From PICNIC (1966), Lata Mangeshkar sings to S. Mohinder's
tune: bAlamvA bolo nA -
http://www.sawf.org/audio/bageshree/lata_baalamava.ram
Pt. Kishore Kumar (far right), his brothers
Anoop and Ashok, and their mother -- >
The uncommon splendour, purity and power of Kishore Kumar's voice
are synergized in this exquisite creation of Kalyanji-Anandji for
the movie SAFAR (1970). Many a college Romeo have met
their waterloo wielding this song: jeevan se bhari teri ANkheN -
http://www.sawf.org/audio
/bageshree/kishore_jeevanse.ram
Malgunji is especially dear to Gwalior and is considered a
specialty of that Gharana. Their treatment, for the most part, makes
do with only the komal nishAd; the shuddha shade is
employed only in quick flourishes.
Vinayakrao Patwardhan and Narayanrao Vyas negotiate a
traditional vilambit Khayal, bana meN charavata gaiyyA,
and cap it with a Tarana composed by their guru Vishnu
Digambar Paluskar -
http://www.sawf.org/audio/bageshree/vp_nv_malgunji.ram
< -- Vishnu Digambar Paluskar
Yeshwantbuwa Joshi handles the same vilambit but in Tilwada
tAla -
http://www.sawf.org/audio/bageshree/yjoshi_malgunji.ram
Krishnarao Shankar Pandit: Aare mana samajh and a Tarana -
http://www.sawf.org/audio/bageshree/krsp_malgunji.ram
The final selection in Malgunji figures a violin solo by
Allauddin Khan. Here the two nishAds (in the manner
explicated earlier by Jha-sahab) are clearly observed -
http://www.sawf.org/audio/bageshree/allauddin_malgunji.ram
Raga Rageshree
This Khamaj-thAT rAga has the following swara set:
S R G M D n. The pancham is varjya
throughout, the
rishab is skipped (and at times, alpa) in the Arohi mode.
Some postulate this to be a Bageshree-anga rAga by
suggesting that its contours take after Bageshree
with G in lieu of g.
Together with its powerful
madhyam, they argue, the Bageshree-anga viewpoint
is tenable. We have no quarrel with that position.
However, we shall record that there is also a Khamaj
presence. For Rageshree's counterpart in the Carnatic paddhati,
see
Natakurinji
by V.N. Muthukumar and M.V. Ramana.
Some typical movements in Rageshree are now
suggested.
S, D' n' S G, G M, M G R, S
Although nominally skipped in Arohi prayogas, a
soupcon of R is not out of place,
typically as a grace to G. To wit, S G (R)G M. Another point of
note concerns the avarohi pattern leading back to
the S: most contemporary performances
embrace the vakra G M R S cluster. The
madhyam is very
strong,
its Arohi approach often mediated by a deergha
G.
G M D n D, n D-G M, S" n D, M, G M
(G)R S
The deergha D and the D-G coupling are points
of interest. Although Khamaj tries to break through,
the nyAsa on the dominant M dissipates any
inchoate aspirations.
G M D n S", D n S" G", G" M" (G")R",
S"
A typical uttarAnga foray.
Obiter dicta:
(1) The Rageshree heard nowadays is mostly the
komal nishAd-only type. In practice, however, a
higher shade of the nishAd may accrue in Arohi runs.
A few musicians explicitly seek the shuddha nishAd
in Arohi prayogas.
(2) Compare the Atrauli-Jaipur version of Khambavati (treated
in the Khamaj feature) with Rageshree.
(3) A variant, Pancham Rageshree (i.e., a P-laden Rageshree),
is occasionally heard in some Agra quarters.
(4) An appropriate murchhanA on Rageshree can lead
to Bihag-like flavours.
Once again, Jha-sahab's pearls of wisdom -
http://www.sawf.org/audio/bageshree/jha_rageshreespeak.ram
Lata's sparkler from JAAGIR (1959), a Madan
Mohan composition: mAne nA -
http://www.sawf.org/audio/bageshree/lata_maanena.ram
Bade Ghulam Ali Khan sings for Naushad in
MUGHAL-E-AZAM (1960): shubha dina Ayo -
http://www.sawf.org/audio/bageshree/bgak_shubhadina.ram
Parveen Sultana: deta badhA'i -
http://www.sawf.org/audio/bageshree/parveen_rageshree.ram
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Girl Power: (l-r) Girija Devi, Parveen Sultana,
Kishori Amonkar
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Bismillah Khan adopts the older M G R S
measured avarohi slide. Also note the unusual manner in which N is taken, for instance, at 0:15 into the clip -
http://www.sawf.org/audio/bageshree/bismillah_rageshree.ram
The Maihar position by Bahadur Khan -
http://www.sawf.org/audio/bageshree/bk_rageshree.ram
This 1935 78rpm recording of Gangubai is labeled "Khambavati."
Both the nishAds are pressed into service and R
is also used
as a kaN in Arohi movements (for instance ~ 0:05 during the
elongation of "ho" in "hori"): Hari khelata Brija meN hori -
http://www.sawf.org/audio/bageshree/gangubai_rageshree.ram
Agra is represented by Sharafat Hussain Khan -
http://www.sawf.org/audio/bageshree/shk_rageshree.ram
Kishori Amonkar unpublished -
http://www.sawf.org/audio/bageshree/kishori_rageshree.ram
< -- Dattatreya Vishnu Paluskar
D.V. Paluskar plies a traditional Jhaptala-based composition.
The deergha bahutva Arohi role of G is
aptly illustrated: prathama sura sAdhe -
http://www.sawf.org/audio/bageshree/dvpaluskar_rageshree.ram
Bade Ghulam Ali Khan -
http://www.sawf.org/audio/bageshree/bgak_rageshree.ram
Bade Ghulam Ali Khan -- >
Raga Durga (Khamaj-thAT)
This is also known by the name "Madhuradhwani" so that it is
not confused with the more familiar Durga of the Bilawal-thAT.
The contours of the Khamaj-thAT Durga assume the following
form: S G M D N S" : S" n D M G
S. This is not a popular rAga, its base severely eroded by the
popularity of Rageshree.
Durga (Khamaj-thAT) is part of the Dagar family repertoire.
Nimai Chand Boral's treatment often skips the nishAd
altogether en route to the tAr shaDaj but periodically
figures a piquant insertion of N into the
Arohi flow -
http://www.sawf.org/audio/bageshree/ncboral_durga.ram
Raga Rajeshwari
This is another unfamiliar Audava-jAti rAga with the
following swara set: S g M D N.
Abdul Halim Jaffer Khan on the sitar -
http://www.sawf.org/audio/bageshree/ahjk_rajeshwari.ram
We close this mehfil with Mohammad Hussain Sarahang of Afghanistan -
http://www.sawf.org/audio/bageshree/sarahang_rajeshwari.ram
Acknowledgements
I wish to thank Romesh Aeri, Ashok Ambardar,
Sir Vish Krishnan, V.N. Muthukumar, Ajay Nerurkar and Nachiketa Sharma.
Both Romesh and Ashok have been unfailing in their willingness to help.
Without Anita Thakur's commitment and enthusiasm none of this would have
come to pass.
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