Channulal Misra Live at Saptak Music Festival 2003 - Full Performance
Dedicated to my Late Grand Parents Bhailalbhai Motibhhai Patel and Late Smt. Jadaben Bhailalbhai Patel. Special Thanks to BMP Family. Alpesh Patel
Channulal Misra - Vocals
Nahul Misra - Tabla
Bharat Bhushan Goswami - Sarangi
Yamin Khan - Harmonium
Mixed & Remastered : Derek Roberts
Vfx & Video: Dharmatography (Dharma Raj Ranabhat)
Publicity Designs: Jey Artist
🎵 Tracks:
Khayal in Raga Maru Behag - 'A Ab to Jani Re' - Vilambit Ektaal [00:00]
Continuation of 'A Ab to Jani Re' - Vilambit Ektaal [17:17]
Khayal in Raga Maru Behag - 'More Balma Aja Hoon Aaye' - Teentaal [24:36]
Thumri based on Raga Khamaj [35:04]
Dadra in Raga Khamaj - 'Tore Naina Khilade Katar Sajani' [48:28]
Dadra (Holi) in Raga Kafi [59:11]
#ChannulalMisra #IndianClassicalMusic #SaptakMusicFestival #RagaMaruBehag #Khayal #Thumri #Dadra #LiveMusic #ClassicalMusic #IndianMusic #Tabla #Sarangi #Harmonium #VocalMusic #HindustaniClassical
Channulal Misra is one of India’s most gifted and versatile vocalists, with a rich and wide ranging repertoire. His sonorous voice transcends specific styles of singing, creating music in which the aesthetic and the spiritual merge to great effect. On stage he is a figure of composure, lightly strumming the soothing swarmandal, which resonates colourfully with the notes of his chosen raga. He is equally proficient in classical and light classical music such as dadra, thumri, chaiti, kajri and bhajan, as is demonstrated in this performance recorded live on 8th January 2003 at the Saptak Annual Music Festival held in Ahmedabad, Gujarat.
Channulal Misra’s music is eclectic, featuring unmistakeable references to Benares, Kirana and Patiala gharanas, three very contrasting traditions of North Indian classical singing, which have all played a meaningful part in the singer’s development.
He was brought up in an atmosphere of rich musical activity in the ancient, holy city of Benares, starting his vocal training at a young age under the guidance of his father, Badri Prasad Misra. He is also the son-in-law of the late Anokhelal Misra, a great tabla player of Benares tradition.
Later his musical vision and skills were refined by Ustad Abdul Ghani Khan and Thakur Jaidev Singh. Having left his home to learn music he was nurtured in the honoured practice of ‘guru shishya parampara’, a diminishing tradition where the student stays in the home of his or her teacher. Groomed under the watchful eye of the Guru is devoted to the musical and spiritual growth of the student, just as a father is devoted to his own son.
In this recital, Channulal Misra begins with a khayal, a classical rendition of raga Maru Behag. Khayal is the most dominant form of singing in Hindustani classical music, giving great scope to the imagination and individuality of the singer. Khayal singing is marked with melodic elaboration, decorative elegance, sensuousness and romanticism. It invariably combines devotion with romance.
Maru Behag is a late evening raga with a romantic quality. It uses the same basic notes as Raga Behag but the key phrases lay emphasis on different notes, giving the raga its own distinctive character. Each raga is like a person, with its own unique characteristics and personality.
In this performance, the vocalist is joined by three instrumentalists. Nahul Misra of Benares provides rhythmic accompaniment on tabla, and melodic support comes from Yamin Khan on Harmonium and Bharat Bhushan Goswami the stringed Sarangi.
The first composition is set to a slow rhythmic cycle of twelve beats called Vilambit Ektaal. The structure of the taal played at this speed allows the singer to develop the mood of the raga in an unhurried manner.
The second composition (track 3) ‘More Balma Aja Honn Aye’ ‘today my beloved has not come’ is a livelier khayal, in the popular rhythmic cycle of sixteen beats, known as teental.
For the next part of the performance Channulal Misra gives emphasis to his expertise in the field of light classical music. Thumri is a rich music form which draws on both devotional and romantic themes. In this thumri (track 4), ‘Bansuriya Ab Na Bajao Shyam’ based on Raga Khamaj, the gopi (devotee) is pleading with the divine Lord Krishna to stop playing the flute because of its hypnotic effect. ‘Tore Naina Khilade Katar Sajani’ is a Dadra composition from the Benares tradition, in which the singer is praising the lover’s intense beauty as expressed through the eyes. ‘Rang darungi darungi nanda ke lalan pe’ (track 6) based on Raga Kafi, is a song celebrating the throwing of colours at the popular Hindu Holi Festival.
John Ball
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31 июл 2024
