#thumri song

[theinfinitedivides]

oh and while i'm at it. she gets back from the party and finds a whole ass Hindustani classical vinyl sung by Bade Ghulam Ali Khan waiting for her bc she mentioned a few nights ago that she loves her homeland's music. this man literally said anything to make my wife happy and went out and got that shit like it was second nature to him that's insane

[pearlgisa]

qala and the style over substance argument

so, i watched qala (dir. by anvita dutt) immediately when it came out - a story that exposed the music industry and the position of women in it, especially focusing on the toxic nature of indian classical music? it was like they made the film for me (someone who's spent a good chunk of their life trained in hindustani classical music). however, i was sorely disappointed.

in essence, qala, along with other films that did commercially well that came out in bollywood last year, solidified my understanding that the audience of today's generation of movie-watchers genuinely puts style over substance and in fact, uses it as a way to defend their favourite movies from criticism. the recent resurgence of praise for om shanti om of all films, only strengthened this opinion.

my criticisms for qala are in plenty, yet i will choose to expand on the ones that strike out the most to me, all of which range from the lightest to the harshest criticism:

the choice of music

the acting

the direction + writing

the handling of the serious issues that are the main theme of the film

before you read ahead, please know that there are spoilers.

in indian classical music, there are two distinct forms: hindustani (or, north indian) and carnatic (or south indian) music. each have their differences and similarities and even someone who hasn't trained can tell them apart upon listening. within hindustani music - which is the genre of music that qala learns from her mother - you have many different styles of singing, ranging from shastriya sangeet (classical form of singing) to laghu sangeet (semi-classical and sometimes, light music). of course, this categorization also has its roots in religion and caste. shastriya sangeet has forms of singing like dhrupad (the oldest form and a strictly devotional medium), khyal (the most common one, telling tales or speaking of human emotions), bhajan (also a devotional medium), etc.

laghu sangeet has forms of classical music like the thumri, a form of singing popularized and invented by courtesans. the lyrics were sensual, romantic and more explicit. of course, owing to these, they were looked down upon. even the british had a huge role in diminishing the status of indian women performers. the "other woman" concept was specifically one that they propagated and the rise of the "perfect housewife" phenomena began since the seventeenth century. the extreme effect of that? the courtesans lost out on their patrons and were forced into prostitution.

hence, that was the primary history behind qala's mother, urmila, shaming her into never being a performer, i.e, in a more derogatory term, a "singing girl". a courtesan, essentially. which is accurate, considering the film is set in the 1940s. if a girl was too "out there in the world", i.e, her achievements being publicised in newspapers or her getting recognition for her academics, her future marital prospects were ruined. and the "shame" that befell the family if she was learning music or dance was worse. a significant number of the prominent female musicians that emerged from this era of pre-independence to post-independence were unmarried. or they had many patrons and salacious rumours regarding their love life were in plenty. the film pakeezah (1972) explores such themes quite well. and the many renditions and retellings of devdas also serve as a good example of the stature of performing women.

however, it's the music itself where it goes wrong for me. the choice of songs as well as qala's singing (of course, all of qala's songs are sung by the amazing sireesha bhagavatula), is in a style all too similar to laghu singing. the years of egregious training, no matter how much her mother dismissed her, would've developed a voice which would've sounded a lot more like what a lot of classical singers would sound like, unless they were singing a lighter form of singing. and it isn't a matter of pitch or using falsetto. qala's mom is referred to as a master of qawallis, which is a sufi form of devotional singing (and comes well under hindustani music too). even the lyrics of qala's songs, while full of very obvious foreshadowing, do not match the overall orthodox classical upbringing that the film portrays.

while bhagavatula has an amazing voice well versed in classical music (especially since she sings bhajans so often), considering the time that qala was set in, you would've expected a sound similar to something along the lines of noor jehan or even roshan ara begum. instead, it sounds a lot like a mix of semi-classical instrumental with a more pop-based voice. which is easier for our generation to digest and consume, however, it comes at the cost of a sound which is very typical of the 50s-70s era of bollywood.

one that qala does right are the costumes. they do their job well. not the sets as much, which i will get into later. at some points, they are well in line with the rest of the era of the film, other times it just sticks out like a sore thumb. here's where the "symbolism" comes in.

one of the most jarring examples is the song qala sings at the first performance, a very light classical song just by the sound of the vocals. even the song jagan sings is very contemporary at its core. despite the characters having an allegedly strict, traditional schooling of music (jagan's voice is devoid of the typical heavy accent or dialects that those who are from underprivileged backgrounds tends to have), the songs at hand present a very modern take on qawallis, despite bollywood being a flourishing ground for many iconic qawallis. therefore, the compositions sometimes falter at some points specifically because of the vocal choices. choosing to do away with alaaps, especially in qala's part, less aakar and more bariki, are all signficant details that feel jarring to someone who's lived in the world of classical music as long as qala. otherwise, there are some signature sounds retained from the era that the film is set in.

and while still on the topic of singing, a very important issue that i find least addressed is the acting of it. despite there being little vocal variations in the compositions, the actors don't show that they are singing. and in the film specifically revolving around music, that's an extremely important detail that i find amiss. hardly opening the mouth, the movement of the lips, the posture as well as the hand gestures (yes, a very important detail!), are all obvious flaws. a recent film that does that does those details well is the disciple (2020). the first scene of urmila teaching qala singing displays urmila wearing an elaborate piece of nose jewellery that covers half of her mouth, and that's when they're doing rehyaas (practice), not a performance. it's huge details like these that don't sell the film to me.

the acting is quite underwhelming and here is where disagreements with my opinions might enter. i find trupti dimri's rendition of qala extremely, for lack of politer words, exasperating. she tends to show the same expressions for all of her problems, i.e., there is no great difference between her feeling anger or feeling despair or feeling depressed or feeling cheated or just plain exhaustion. qala's character is a complex one and difficult to act, which is a concession i will give, however, the hype around her is a little unnerving when the audience is given such an unremarkable delivery of dialogues and emotion. it comes off as school-play acting at times. swastika mukherjee, who plays urmila, is quite two-note with her acting, which sometimes suits her character and sometimes just feels very low-effort. babil khan has his moments, yet there is such less versatility. you'd think the babil of qala's hallucinations and the one who existed in real life would have some distinct characteristics (which they do), but they never come off as that. it feels so half-hearted at times.

the whole point of symbolism is that it's subtle at heart and not on the face. qala has on-the-face symbolism, which is an irony in itself. the black swan scene, the frosty room in the beginning, the ghostly jagan, etc. almost made me bump my nose into a wall. it comes off as pretentious at best, as if the viewer is stupid. it is also very off-putting in some scenes. for example, the black swan scene - there is very little buildup and it feels very predictable in the sense that "it all goes downhill from here". however, there is one scene which i like, which is the gargoyle one (a very traumatic scene, for those who recall, it is the one right before ghodey pe sawaar gets recorded for the final time). i think that is the most effective filmmaking in the entire film. the best thing about symbolism is always the subtlety. it makes the viewer keep coming back to pick up on something they might have missed in the first watch, it helps them pick up the pieces along the way instead of being able to tell the twists thirty minutes before they are revealed.

and one of the most egregious crimes of the entire film is the direction. here is where we get a little more technical (but just briefly, do not worry). the way it cuts from one scene to the next is like watching a poorly edited reel put out by the team of an out-of-touch marketing firm. the editing could have been better at many places. the writing falls flat specifically when it comes to the characters. i'm pretty sure on paper, the script must've been a delight to read. the story has so much potential - considering that it's based on two books, where there might've been even more depth given to the characters - it isn't new in any way but it offers a different, feminist perspective of the indian music industry. yet, the characters are paper thin on screen - in their ambitions, psychology and sociology. hence, urmila suddenly turning a new leaf in the last ten minutes of the film is something that feels wrong, because all along, she has been portrayed as a heartless mother. qala's actions make sense because her character has nearly always been rooted in self pity and rage. jagan is nothing without music. there is very little dimension to them apart from me summarizing their characters in one sentence with less than thirty words each.

that is why, the film feels even more half-hearted when it speaks of the issues that it centers around. all of these elements add up and make for a tiring watch. i gave qala a second chance, to be fair and omitted some of my pettier criticisms, yet the more serious ones remain. to a certain extent, it does aestheticize depression, which i have a huge issue with. however, baby steps as always with bollywood. it's no dear zindagi considering it is set in a different period with a different ending. however, the writing of the characters could've been so much better. a little more exploration of urmila's intentions would've given her so much depth. a few more interactions between qala and jagan might've given qala the chance to befriend him and not just see him a rival, thus intensifying the decision she took. the characters do not feel human, they are strictly white or black and qala being the anti-hero feels very off since it requires better writing and a stronger plot. and of course, much better acting.

however, qala re-opened up discussion of a nearly-always forgotten discourse - that of the position of women in music. and for achieving that bare minimum, i give it full credit. however, when there have been films with much better writing, characterization and cinematography in bollywood itself, with a similar theme, qala needs to be seen for what it contains than what it displays. just because it glitters, doesn't mean it's gold.

[news365timesindia]

[ad_1] History books will remember the year 2024 for bidding farewell to many eminent personalities and luminaries in the field of music. The year registered a great loss in the field of performing arts, as singers Pankaj Udhas, Prabha Atre, Sharda Sinha, Ustad Rashid Khan and tabla maestro Zakir Hussain, among others, bid adieu to the world.Ustad Rashid KhanThe year began with the passing of classical vocalist Rashid Khan in January. Khan, who gained critical as well as commercial success, immortalised songs like Aaoge Jab Tum from Jab We Met and Bhor Bhayo from Morning Walk.Prabha AtreIndia also mourned the death of legendary classical singer Prabha Atre, one of the oldest practitioners of Kirana Gharana. The Padma Bhushan awardee from Maharashtra had exceptional command over various musical genres, including khyal, thumri, dadra and ghazal.Pankaj UdhasRemembered for his timeless ghazals, Pankaj Udhas popularised the genre with songs like Chandi Jaisa Rang Hai Tera, Phir Hath Mein Sharab Hai and Ahista. His voice added to the charm of Hindi film songs like Chitthi Aayi Hai, Naa Kajre ki Dhaar and Jeeye to Jeeye Kaise.Yamini KrishnamurthyThe multi-feted Yamini Krishnamurthy, who excelled in Bharatanatyam, Kuchipudi, carnatic vocals and the veena, also passed away. She is credited for having popularised Bharatanatyam in North India. She received Padma Shri (1968), Padma Bhushan (2001) and Padma Vibhushan (2016) for her contributions to the world of performing arts.Zakir HussainThe nation also lost one of the most important artistes of his generation in the death of Zakir Hussain. The tabla maestro, following the footsteps of his father Alla Rakha, not only became a household face but also popularised the instrument globally and earned four Grammy awards in his career.Sharda SinhaAnother towering figure in the field of music, Sharda Sinha, also died this year. Credited for popularising Bhojpuri and Maithili folk music, Sinha became the voice of Chhath Puja for her devotional numbers, besides adding her inimitable touch to Hindi film songs like Kahe Toh Se Sajna and Taar Bijli.(With inputs from PTI) [ad_2] Source link

[news365times]

[ad_1] History books will remember the year 2024 for bidding farewell to many eminent personalities and luminaries in the field of music. The year registered a great loss in the field of performing arts, as singers Pankaj Udhas, Prabha Atre, Sharda Sinha, Ustad Rashid Khan and tabla maestro Zakir Hussain, among others, bid adieu to the world.Ustad Rashid KhanThe year began with the passing of classical vocalist Rashid Khan in January. Khan, who gained critical as well as commercial success, immortalised songs like Aaoge Jab Tum from Jab We Met and Bhor Bhayo from Morning Walk.Prabha AtreIndia also mourned the death of legendary classical singer Prabha Atre, one of the oldest practitioners of Kirana Gharana. The Padma Bhushan awardee from Maharashtra had exceptional command over various musical genres, including khyal, thumri, dadra and ghazal.Pankaj UdhasRemembered for his timeless ghazals, Pankaj Udhas popularised the genre with songs like Chandi Jaisa Rang Hai Tera, Phir Hath Mein Sharab Hai and Ahista. His voice added to the charm of Hindi film songs like Chitthi Aayi Hai, Naa Kajre ki Dhaar and Jeeye to Jeeye Kaise.Yamini KrishnamurthyThe multi-feted Yamini Krishnamurthy, who excelled in Bharatanatyam, Kuchipudi, carnatic vocals and the veena, also passed away. She is credited for having popularised Bharatanatyam in North India. She received Padma Shri (1968), Padma Bhushan (2001) and Padma Vibhushan (2016) for her contributions to the world of performing arts.Zakir HussainThe nation also lost one of the most important artistes of his generation in the death of Zakir Hussain. The tabla maestro, following the footsteps of his father Alla Rakha, not only became a household face but also popularised the instrument globally and earned four Grammy awards in his career.Sharda SinhaAnother towering figure in the field of music, Sharda Sinha, also died this year. Credited for popularising Bhojpuri and Maithili folk music, Sinha became the voice of Chhath Puja for her devotional numbers, besides adding her inimitable touch to Hindi film songs like Kahe Toh Se Sajna and Taar Bijli.(With inputs from PTI) [ad_2] Source link

[techygeeks]

Echoes of Emotion: The Life and Legacy of Girija Devi

Girija Devi: The Thumri Queen

Girija Devi, born on May 8, 1929, in Varanasi, was a legendary Hindustani classical vocalist renowned for her mastery of semi-classical genres, particularly Thumri. She is affectionately referred to as the "Thumri Queen," a title that underscores her significant role in popularizing and reviving this emotive form of music.

Early Life and Musical Journey

From an early age, Girija showed a passion for music, encouraged by her father, Ramdeo Rai, who was a music enthusiast. She began her formal training at the tender age of five under the guidance of eminent musicians like Sarju Prasad Misra. Despite societal norms that discouraged women from performing publicly, Girija's family supported her aspirations, allowing her to embark on a career that would break barriers.

Girija Devi made her debut performance in 1949 at All India Radio in Allahabad, quickly gaining recognition for her emotional delivery and technical skill. Her singing was characterized by its fluidity and deep connection to the lyrics, which often explored themes of love and devotion.

Career Highlights and Notable Songs

Throughout her illustrious career, Girija Devi performed at numerous prestigious platforms, both nationally and internationally. She brought Thumri, once relegated to the confines of courtesan culture, into mainstream Indian classical music. Some of her most famous songs include:

"Babul Mora Naihar Chhooto Jaye": A heartfelt thumri that expresses the bittersweet emotions of leaving one's parental home.

"Piya Ke Milan Ki Aas": A beautiful depiction of longing and anticipation of a lover's arrival.

"Hori Khelat Nandlal": A lively celebration of the festival of Holi, showcasing her ability to blend joy with musical depth.

Girija's renditions were not just performances; they were profound expressions that resonated deeply with audiences, making her one of the most sought-after artists in the realm of Hindustani music.

Awards and Recognition

Her contributions to music did not go unnoticed. Girija Devi received numerous accolades, including:

Padma Shri in 1972

Padma Bhushan in 1989

Padma Vibhushan in 2016

Additionally, she was awarded the Sangeet Natak Akademi Award and the Sangeet Natak Akademi Fellowship, recognizing her efforts in preserving and promoting Indian classical music.

Teaching and Legacy

In her later years, Girija Devi became a revered mentor, teaching at institutions like the ITC Sangeet Research Academy in Kolkata. She inspired countless students, instilling in them the values of tradition and emotion that defined her music. Her students, including notable names like Sunanda Sharma, continue to carry forward her legacy.

Girija Devi passed away on October 24, 2017, but her influence remains pervasive in the world of Indian classical music. Her ability to blend emotion with technical excellence has left an indelible mark on the genre.

Tune In to Celebrate Her Legacy

To experience the captivating artistry of Girija Devi, listen to her timeless songs on Ruh Radio at 1440 AM. We feature her remarkable performances, including her soulful renditions of Thumri and other semi-classical genres. Join us as we celebrate her legacy and keep her music alive for new generations of listeners.

By tuning in, you not only enjoy her enchanting melodies but also connect with the rich traditions of Hindustani classical music that she so passionately represented.

And don't forget to Like and Follow us on Instagram and Facebook.

[buzz-london]

Zareena Begum - The last living courtesan of Awadh - July 2016

This is the biographical documentary on one of the last living courtesan Zarina begum. The only artist from the time of Mallika-e-Ghazal Begum Akhtar. Once the star attraction at royal mehfils and marriages, singing thumris, dadras and ghazals now lives in a ​temporary roof that covers her only room…while she still sings the last songs of Awadh.. The collect footage of Zarina Begum is from Saba Dewan's documentary "The other song".

[talkingbeesonlinetutor]

Open the Tunes of Bengal: Plunge into the World of Online Bengali Music Classes

Within the age of advanced networks, the world is at our fingertips, advertising boundless openings to investigate and learn. Among the plenty of online courses accessible, music devotees can now drench themselves within the wealthy embroidered artwork of Bengali music through online Bengali music classes. From conventional Indian music to the profound interpretations of bhajans, these virtual stages offer a door to the charming domain of songs, rhythms, and social legacy.

Online Bengali Course cater to a different group of onlookers, extending from fledgling energetic to set out on their melodic travel to prepared devotees looking to refine their aptitudes. With fair press, learners can get to master direction from finished performers and vocalists, rising above topographical obstructions to dig into the subtleties of Bengali melodic conventions.

One of the highlights of these online classes is the opportunity to memorise Indian classical music, a foundation of Bengali melodic legacy. Understudies can ace the complicated ragas, talas, and improvisational strategies beneath the direction of prepared masters, cultivating a more profound appreciation for the craftsmanship frame. Whether it's the resonant strains of a raag or the cadenced designs of a tala, learners can sharpen their abilities at their own pace, getting personalised criticism and direction along the way.

Additionally, Online Voice training offers specialised courses in bhajan singing, permitting lovers to put through with their otherworldly roots through music. Bhajans, with their reverential verses and soul-stirring tunes, hold a sacrosanct form in Indian culture, serving as an implies of otherworldly expression and communion. Learn Bhajan online,  to investigate a collection of reverential tunes, learning the complexities of bhava (expression) and bhakti (dedication) beneath the tutelage of experienced educators.

In expansion to conventional classes, online India n music classes too include modern styles, catering to the advancing tastes of present day gatherings of people. From Rabindra Sangeet to Nazrul Geeti, learners can investigate a differing cluster of melodic classes, improving their collection and broadening their melodic skylines. With adaptable scheduling and intelligently learning modules, these virtual stages offer an energetic and locked in learning encounter for devotees of all ages.

Voice preparing is another indispensable perspective of online Bengali music classes, empowering understudies to open the complete potential of their vocal instrument. Through vocal works out, breathing strategies, and vocal tweak drills, learners can create quality, adaptability, and control in their singing voice. Whether it's culminating the nuances of classical alaaps or acing the emotive expression of semi-classical thumris, voice preparing engages understudies to specific themselves with clarity and certainty.

In conclusion, online Bengali music classes give a portal to the wealthy social legacy and musical traditions of Bengal. Whether you are an amateur looking to investigate the world of Indian music or a prepared devotee looking to refine your abilities, these virtual stages offer a wealth of resources and skill at your fingertips. So, drench yourself within the songs of Bengal, and let your melodic travel unfurl within the computerised domain. 

[otaviogilbert]

Tribute To Begum Akhtar | জোছনা করেছে আড়ি I Jochona Koreche Ari I Shirin Chowdhury

Get ready to be mesmerized by Shirin Chowdhury's rendition of the Thumri song "Jochona Koreche Ari," originally sung by Farida Khanum. In this enchanting performance, Shirin brings out the beauty of the song with her lovely voice and heartfelt delivery. Join us as we enjoy this timeless piece of music, celebrating the rich tradition of Thumri and paying tribute to a beloved musical legend Begum Akhtar. Don't miss out on this wonderful performance

[doeroneforall]

Unforgettable Melodies, The Musical Odyssey of Rajkumari Dubey, India's Beloved Playback Singer

Rajkumari Dubey: A Melodious Maestro Whose Voice Transcended Time Step into the enchanting world of Rajkumari Dubey, an iconic playback singer whose mesmerizing vocals and extraordinary contributions continue to resonate in the hearts of music enthusiasts. 

Born in 1924 in British India, Rajkumari's musical journey defied all odds, captivating audiences with her natural talent and unmatched passion. From a tender age, Rajkumari displayed an innate gift for singing, despite never receiving formal training in the art. 

Encouraged by her supportive family, she fearlessly pursued her dreams, leaving an indelible mark on the Indian music industry. At the remarkable age of 10, Rajkumari recorded her first song for the esteemed music recording house HMV in 1934. 

This auspicious beginning propelled her into the spotlight as a stage artist, where her enthralling voice and emotive performances left audiences spellbound. The prodigious talent of Rajkumari soon caught the attention of Vijay Bhatt and Shankar Bhatt, influential figures from Prakash Pictures. 

Recognizing her immense potential, she was offered a dual role as an actress and singer in their production company. Her debut film, 'Sansar Leela Nayi Duniya,' marked the beginning of her cinematic journey, followed by noteworthy roles in movies such as "Aankh Ka Tara," "Turki Sher," "Bhakt Ke Bhagwan," and "Insaaf Ki Topi." 

Sharing the screen with the illustrious Zakaria Khan (Jayant), Rajkumari left an indelible impression with her performances. While initially working under the guidance of the esteemed music director Lallubhai, Rajkumari eventually decided to focus solely on her singing career. 

Parting ways with Prakash Pictures, she embarked on a successful voyage as a playback singer, lending her enchanting voice to actresses like Ratnamala and Shobhana Samarth. Notably, she holds the esteemed distinction of being the "First Female Playback Singer of Indian Cinema." Her versatility knew no bounds, as she effortlessly recorded numerous songs in Gujarati and Punjabi, showcasing her linguistic prowess. 

Despite her lack of formal training, Rajkumari possessed a rare ability to adapt to various musical styles. Her mastery of classical forms such as thumri and dadra showcased her impeccable skills as a classical singer. 

Alongside renowned contemporaries like Shamshad Begum, Zohrabai Ambalewali, Juthika Roy, and Zeenat Begum, Rajkumari mesmerized audiences with her captivating performances. A notable collaboration was her duet with the illustrious Noor Jehan in the film "Naukar" released in 1943, leaving an everlasting impression on music enthusiasts. 

Join us on a melodious journey as we unravel the timeless legacy of Rajkumari Dubey, a true maestro whose voice transcended time, bridging generations with its ethereal charm and soul-stirring melodies. Experience the magic of her music as it continues to resonate, reminding us of the extraordinary talent and undying passion of this legendary playback singer. Inspiring True Stories, inspirational women's stories, Inspiring Stories of Women, Inspiring Story Of A Woman, Inspirational Women in Business, Inspirational moral stories for Adults, real life inspiring stories, heart touched inspiring stories, Inspiring Women Leaders, Inspiring Stories About Women, stories inspirational success, story about inspirational person, inspiring stories of Indian women, Some Inspirational Women, Inspirational Short Stories, Most Inspirational Short Stories, real life inspirational stories, Inspiring True Stories, Read Inspiring Stories, Best Motivational Short Stories, Motivational Short Stories, Short Motivational Stories, The Power of Story, real life stories, Leading Ladies india, Leading Ladies, Stories of real life people, Good Motivational Stories, Women entrepreneurs of india, women's empowerment, Women's Empowerment in India, powerful stories from women, Stories Of Impact, True stories told by women, Women Centered Stories, Short motivational story for students, Motivational story of a woman, short moral stories for adults, Best Inspirational Short Stories, Amazing Short Inspirational Stories, Motivational and Inspiring Short Stories, real life struggle stories, inspiring true life stories, True motivational stories, true motivational stories indian, real life struggle stories, Read Success Stories, Successful People Stories, real life Motivational Stories, Real life stories of women, female entrepreneurs, Successful Women Entrepreneurs, women in business

[indian-classical-ghazal]

Book a young ghazal and thumri singer Want to make your cultural event perfect? Book a young ghazal and thumri singer to perform at the cultural event. The talented singer will mesmerize audience with the melodious songs and meaningful shers. Call us to book this singer now. 

[anantradingpvtltd]

Price: [price_with_discount] (as of [price_update_date] - Details) [ad_1] Key Features: Pre-loaded 22 TRACKS of more than 7 hours listening in a 4 GB USB Memory Stick Songs can be copied to Windows laptop/PC/MacBook/iMac or any media with USB connectivity Works with all USB input devices that support MP3 playback Ultra-premium packaging for collectors delight or a perfect gift for someone with a great taste in music Credit Card sized device with ultra-cool looks. The perfect accessory to plug and play in your car while traveling Personal storage of over 3 GB in addition to the songs Booklet with full playlist and artiste detailsTracks Listing:1) Raga Bhatiyar -Bandish - Tadpat Biti Sagari Raina -Taal Drut Ek Taalaina -Taal Drut Ek Taal2) Raga Bhatiyar - Bol - Na Dir Dir Dim Tom Tana ( Tarana in Drut Teentaal)3) Raga Bhairavi -Kahiyo Re Prabhu Aavan Ki4) Raga Todi -Bandish - Aab More Ram - Taal Ektaal ( Vilambit) and Bandish - Ab Mori Naiya Paar Karog - Taal - Teental ( Drut)5) Raga - Bhimpalasi- Ab To Badi Der Bhayee - Vilambit Ektaal and Ja Re aapne Mandirwa - Drut Teentaal6) Raga Barwa - Bol-Prem Baje Mori Payelia (Khayal in Drut Teentaal)7) Raga Puriya -Bandish - Piya Gunwant -Taal Ektaal ( Vilambit) and Bandish - Main to Kar Ayi Piya Sang Rangraliyan - Taal - Teentaal ( Drut)8) Raga Megh -Piya Nahi Ghar ( Vilambit Ektaal ) and Garage Ghata Ghat (Drut Jhamptaal)9) Raga- Shyam Kalyan -Bandish- Payal Mori Baje -Teental Madhyalay10) Raga Maru Behag - Bandish - Piya Nahin Ghar ( Khayal In Vilambit Ektaal) 11) Bandish - Tarpata Raina Dina ( Khayal In Drut Teentaal)12) Raga Chayanat - Jhananana Baje Bichhua - Vilambit Teentaal13) Raga Jhinjhoti - Tarana Bandish-Tanana Tana Derena-Taal Teentalena-Taal Teental14) Raga Bahar - Bandish - Matwari Koliya Daal Daal Taal - Teental Madhyalay15) Raga Kaushi Kanada - Bandish : Naina Bharoon Kajra So Hai (Khayal in Teentaal - Madhyalaya)16) Bandish - Ye Kya Kariye Pee Ke Sang ( Khayal in Drut Teentaal)17) Raga Charukeshi - Bandish : Palaka Na Lagi Mori Guiyan ( Khayal in Teen Taal Madhyalaya)18) Raga Hansadhwani -Bhaj Man Neet Hari Ko Naam -Vilambit Rupak19) Thumri In Pahadi- Bedardi Tu Ne Dard Na Jana20) Thumri in Kirwani - Tore Bina Mohe Chain Nahin Brij Ke Nandlala21) Bhajan In Bhairavi-Aaj Radha Brij Ko Chali22) Raga - Gorakh Kalyan - Vilambit Ektaal 'Kab Ghar Aaye', Drut Teentaal, 'Dhan Dhan Bhaag', Drut Teentaal 'Ae Ri Mayi Aaj' Is Discontinued By Manufacturer ‏ : ‎ No Package Dimensions ‏ : ‎ 11.2 x 7.6 x 1.8 cm; 40 Grams Manufacturer ‏ : ‎ Times Music Studio ‏ : ‎ Times Music ASIN ‏ : ‎ B07D7H6WRF Country of Origin ‏ : ‎ India Number of discs ‏ : ‎ 1 Item Weight ‏ : ‎ 40 g [ad_2]

[raindropsofloev]

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[sufiscoreinfo]

Watch the classical song thumri of 2022 babul mora sung by pratibha singh baghel

Breathing new life into 19th century romantic Indian poems and melodies or classical song thumri, INHERITANCE is the new special project from Hindustani star vocalist Pratibha Singh Baghel, composer + violinist Deepak Pandit and the Budapest Symphony Orchestra. Along with extensive accomplishments in Indian musical theater and Bollywood playback singing, Pratibha Singh Baghel excels in the art of classical Hindustani music with a forward-looking, internationally minded modern vein. Pratibha’s vocals glide, rise and land perfectly on INHERITANCE.

classical song thumri are a unique Indian genre of semi-classical music, that focuses on emotion, love and romance and are associated with dance, dramatic gestures and mild eroticism. ‘Thumri’ comes from the Hindi verb ‘thumakna’ which means to ‘walk with dancing steps so the ankle bells tinkle’. As new thumris classical song are passed from generation to generation, so INHERITANCE takes its name with four thumris composed within Indian classical Ragas.

Deepak Pandit was born into a Qawwali family, surrounded and inspired by devotional Sufi music for his formative years and is one of India’s leading violinists and composers. Deepak performed with and composed for the late ghazal vocal legend, Jagjit Singh for over twenty years. In considering which classical song thumri to select and arrange for INHERITANCE, Deepak chose ones that would best reflect Pratibha Singh Baghel’s musical vision and her soaring, exquisite singing voice. They have collaborated on musical projects together for over five years as Deepak Pandit says,

“Before we started working on INHERITANCE, we sat down and studied all the Thumris, how they have been sung by the original singers, how they have emphasized on the words and phrasing… Pratibha’s versatility in both Indian and western classical music and enables makes the leads and improvisations work together naturally and easily. I can Taking Thumris to new heights and compose with a free hand knowing that Pratibha will deliver. Everything is possible because of her versatility as a singer.”

Indian thumri based babul mora  is a much-loved Indian classical song thumri based on the morning Raga, Bhairavi that has been passed down from the 19th century thumri written by the last King of Awadh (latter day Uttar Pradesh), Wajid Ali Shah. Wajid Ali Shah was revered as a ruler, poet and patron of Indian dance.  Originally Thumris new classical song babul mora  was named ‘Babul Mora Naihar Chhooto Jaye” – “Oh father mine, my home grows further away from me”, as a lament for Wajid’s homeland after he was exiled by the British Raj to Kolkata around the time of the 1857-58 rebellion.  Wajid Ali Shah’s poems have set the standards for classical song thumri for generations.

Deepak Pandit carefully adapted, arranged Hamari Atariya (My Balcony) to reflect Pratibha Singh Baghel’s musical vision and her soaring, exquisite singing voice. Along with her extensive accomplishments in Indian musical theater and Bollywood playback singing, Pratibha Singh Baghel has devoted herself to the art of classical Hindustani music in a forward-looking, internationally minded modern vein. The imagery in Hamari Atariya’s couplets is given new life by Pratibha’s interpretation.

The music for INHERITANCE was composed and produced by Deepak Pandit, co-produced by Gaurav Vaswani and features Prashant Sonagra on tabla, the string tapestries of Tapas Roy as well as Deepak Pandit on violin, the instrument for which he is renowned. Deepak crafted large-scale orchestrations and sent them to the master musicians of the Budapest Symphony Orchestra taking the music of INHERITANCE into a much bigger sonic space.

Established in 1945 by the Hungarian State Railways, the renowned Budapest Symphony Orchestra has developed an international reputation with performances at prestigious venues such as the Große Musikvereinssaal in Vienna, the Concertgebouw, Amsterdam, the Philharmonie Berlin, Suntory Hall in Tokyo, and the Shanghai Oriental Art Centre. It is led by Daniel Boico and is Hungary’s leading orchestra.

Pratibha Singh Baghel’s previous 6-track release, Bole Naina – also composed by Deepak Pandit – is a collection of Pandit’s original compositions, brought to life by Baghel’s winning voice and featuring the legends Zakir Hussain, Gulzar Sahab and more. A native of Madhya Pradesh state, Pratibha Singh Baghel’s creative versatility has earned her far-reaching Bollywood credits as well as lead roles in the groundbreaking theatrical stage productions Mughul-E-Azam and Umrao Jaan Ada. Pratibha has performed in over 30 countries, gaining a worldly view as she says,

“I never want to limit my music to Bollywood and to India. I would like the whole world to listen to my music.”

Pratibha Singh Baghel is comfortably conquering social media with and delighting blossoming audiences on YouTube and Instagram channels. INHERITANCE was recorded and mixed at Seven Heaven Studios in Mumbai and mastered at London’s Abbey Road and features four classical song thumri and radio edits for all the songs.  INHERITANCE releases through the South Asian-focused music media platform and record label, Sufiscore on 14 February, 2022.

classical song thumri

[snfilms]

साजन कौन मिला, मितवा | Sajan... Watch full song here: https://youtu.be/GAovmDYkWJ0 Created by Sanjib Nath, Performed by Debasmita Chattopadhyay, Recording studio SN FILMS

[ethereallyrics]

Balma Thumri Song Lyrics are awesome composition and this Song is sung by Javed Bashir. Balma Thumri Song Lyrics will make you feel brighter.