11/20/2022 0 Comments Mere mehboob qayamat hogi snehal![]() But it wasn’t just for Raj Kapoor that raga Bhairavi flowed from Shankar Jaikishen’s baton in such a awesome flood. Bol Radha Bol Sangam Hoga Ke Nahin and Dost Dost Na Raha from Sangam (1964) to name just a few. Mera Joota Hai Japani, Pyaar Hua Ikraar Hua and Ramaiyya Vastavaiyya from Shri 420 (1955), Mera Naam Raju and Hoton Pe Sachhayi Rahati Hai from Jis Desh Mein Ganga Baheti Hai (1960). Later Raj Kapoor is reported to have said, “We, Shankar-Jaikishen and I, picked out this bountiful raga, right at the beginning with Barsaat, because all three of us knew that it would lend itself to a number of variations.Īnd thus, raga Bhairavi went on to become Shankar-Jaikishen’s favourite raga, spinning hit after musical hit for RK films, each composition now an evergreen favourite.Īwaara hoon from Awaara (1951). And one of her biggest hits was the film’s title number â€" Barsaat Mein Humse Mile Tum. It was one of the five films instrumental in making the till then unknown Lata Mangeshkar into a household name. The sales of the records were so huge that HMV for the first time was considering Hindi film music as much of an industry as Hindi films. It was a super hit â€" not just the film, but also the music. ![]() The glorious musical collaboration of Raj Kapoor with Shankar-Jaikishen began with the film Barsaat in 1949. I know you’re thinking that this is her idea of “universalâ€? Who but a handful of people will understand this double dutch about jaatis and aarohas? Well, my dear 2-minute munchkins, be patient because I’ve only just begun. And the final stamp of its importance is that every Hindustani classical concert must end with raga Bhairavi. It is also the mother raga of one of the 10 families of ragas in Hindustani classical music. One of the biggies, it is sampoorna jaati raga because it has all seven notes in the aaroha and avroha (ascending and descending scales). And its bio-data is as gambhir and stately. Named after one of the eight Ambas, the name itself is sonorous and gambhir. ![]() When, in actual fact, the appeal of music is truly universal â€" including classical music.Īnd I make my case today with the Hindustani classical raga, raga Bhairavi. I mean if we’re popping raw garlic at breakfast for our cholesterol and twisting into Ardh Matsyendraasana for our nagging backs, then why not a shot of Raga Bageshri for that insomnia or Chakravaham for that chronic indigestion? For the rest, classical music is the rarified stuff of yawns, background music at exhibitions and for national mourning on Doordarshan when somebody dies.Īt least that’s how many of us may think. Or then, of late, classical music has become fashionable as “alternative medicineâ€. And to a Jhankar Beats version of Raga Jaunpuri. Oh, we’re willing to listen if a telegenic, yuppie, ethnic-chic celebrity gana-bajana type explains the mathematics of a melakarta raga in convent-school accented English 2-minute sound bytes. But we cant’ say the same thing about classical music, can we? I mean, we don’t want to be rude or anything, but that’s really “alternative†stuff, meant for eggheads and geeks. And we know how to bhangra-boogie to Juggy D as our hearts go dhadak-dhadak at the sight of Bunty and Babli. We all sway to “Oye Bubbly†as we sip our colas and munch our fries. By Ratna Rajaiah ( the King loves music, it is well with the land.’’ â€" Mencius ![]()
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