And he used the pseudonym of Akhtarpiya. It was this gray side that drew people to the lure of Thumri. And true to its association with the Krishna of Vrindavan, the Braja-bhasha, or the language of Braja the region of Mathura and Vrindavan became the diction of Thumri. It is flexible and the emphasis is on the sweetness, the yearning, the alluring nature of its rendering. Tears flow down her cheeks as she appeals to Kanhaiya, singing He offered me both. I could immediately hear Girija Devi singing — Maai kaise kheloon holi.
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What an unusual yet effective metaphor! Thumri is lighter than the two. Let me not live to see that day. After a full cycle of a raaga or two, the instrumentalist plays some Thumri.
Kaun Gali Gayo Shyam by Falguni Pathak & Goswami Chiranjivi on Apple Music
But something worse is happening and we must stop that. To defuse the atmosphere, I ask him to sing a Thumri before I leave. His fingers, which kaun gali gayo shyam resting on his knees, started moving with the rhythm of the Thumri going on in his mind right then.
He composed many Thumris. But it holds a special place in my heart as I had heard this from Pandit Birju Maharaj in Banaras, some 30 years ago.
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I relented since otherwise he might not take his paan and cigarette. My quest for Thumri, however, had brought me to a narrow lane with ramshackle little houses on both sides in the Hussainabad area of ancient Lucknow.
It was this gray side that drew people to the lure of Thumri. There are very few Thumri concerts. Varanasi and Gaya along with Lucknow became the hubs of the purab or eastern ang form of Thumri. Gafoor Mian took a pair kaun gali gayo shyam paan from the tray kayn kept beside him. Lord Krishna has left Vrindavan to take care of His kingdom in distant Dwarka. Thus Thumri was born in the court of the Shtam of Awadh. He offered me both. Ashis Dutta goes in search of the forgotten ones.
Kaun Gali Gayo Shyam – Prabha Atre | Shazam
He was, I felt, living in the strains of the sargam, in the yearning of the ragas popular in Thumri compositions — Kafi, Khamaj, Pilu, Bhairavi — in the vocal embellishments of the meed, gamak, murki.
Life seemed to have poured out of those houses on to the lane buzzing with children, galli-cricket, sauntering goats, chai-shop, paan-cigarette-kiosk, burkha-clad women going about their chores, elderly men sitting on a charpoy engrossed in discussion.
Kaun Gali Gayo Shyam.
The influence of the convoluted staccato of Tappa and Taan-kari fast rendering of notes in composite ascending or descending order came to characterise the Punjabi ang. The furrows of his forehead had softened.
He on his cot, I kaun gali gayo shyam a metal folding chair hurriedly brought from the neighbour. I could immediately hear Girija Devi singing — Maai kaise kheloon holi. As an accompanying instrument it heightens the disposition of the Thumri, now following it, now luring it, even yayo the counterpoint at time, but never leaving the melody.
Then as if on the wings of the gentle wind, the Thumri form of classical rendering spread out of Awadh kaun gali gayo shyam both easterly and westerly directions.
Directed by Kamal Amrohi. You sgyam, Birju Maharaj, being a Kathak dancer, is also a great tabla player and a singer. His gaze, however, was not confined to his little room, but wandered through time and space, through the resplendent music halls of ornate havelis, garden houses and kain halls.
So, Lalita, the simple village girl, takes up the arduous journey to Dwarka. SGK December 11, at 2: From somewhere outside, in the lane, a strain of sarangi wafted in. You go and bring Him back since He can never refuse you.