9th March 2014
In my first classical music concert in Delhi I sang Kabir as khayal. Since it was a morning concert and fortunately for me I had a composition in Mian ki Todi I sang my own vilambit khayal, a Kabir doha. It is another matter that the timing was not exact- though i am not among those who are sticklers for the time based classification of ragas. I did take the liberty to stretch the timing of Todi to a little beyond 10 am, the real time when it is supposed to be stopped!
So mere ram, kabai ghari aawae
Jaa dekhe mera jiya sukh paave
सो मेरे राम कबै घरि आवैं
जा देखे मेरा जीया सुख पावै
the antra is not taken from kabir, but is my own addition-
ghari ghari jeevan beetat jaaye
pal beetae na bin raam dhiyaaye
घरि घरी जीवन बीतत जाये
पल बीते न बिन राम ध्याये
After this khyal in vilambit laya, I also sang another drut bandish, though it was not Kabir's words but my own. I did not feel the need to say that to anyone.
Hae mann, jab paave raam- I am so fond of this khayal, my earliest or perhaps the very first composition in which I created the music in continuation of Kabir's spirit of calling to the nirgun.
I followed this up with many Kabir bhajans because my whole theme was Kabir. Funnily enough though the organizers had given the name of EMOTIONS OF WOMEN THROUGH MUSIC, this aspect was only left for their banner perhaps because they never made a mention of it anywhere! So i wondered what was the reason of giving such a fanciful title to the whole program anyways! They did not ask artists what bhava was the dominant aspect of their music- for may be it did not seem necessary to them at all.
Mine is and always remains bhakti.:) Even when I sing ghazal!
In my first classical music concert in Delhi I sang Kabir as khayal. Since it was a morning concert and fortunately for me I had a composition in Mian ki Todi I sang my own vilambit khayal, a Kabir doha. It is another matter that the timing was not exact- though i am not among those who are sticklers for the time based classification of ragas. I did take the liberty to stretch the timing of Todi to a little beyond 10 am, the real time when it is supposed to be stopped!
So mere ram, kabai ghari aawae
Jaa dekhe mera jiya sukh paave
सो मेरे राम कबै घरि आवैं
जा देखे मेरा जीया सुख पावै
the antra is not taken from kabir, but is my own addition-
ghari ghari jeevan beetat jaaye
pal beetae na bin raam dhiyaaye
घरि घरी जीवन बीतत जाये
पल बीते न बिन राम ध्याये
 |
| We are tuning together |
After this khyal in vilambit laya, I also sang another drut bandish, though it was not Kabir's words but my own. I did not feel the need to say that to anyone.
Hae mann, jab paave raam- I am so fond of this khayal, my earliest or perhaps the very first composition in which I created the music in continuation of Kabir's spirit of calling to the nirgun.
I followed this up with many Kabir bhajans because my whole theme was Kabir. Funnily enough though the organizers had given the name of EMOTIONS OF WOMEN THROUGH MUSIC, this aspect was only left for their banner perhaps because they never made a mention of it anywhere! So i wondered what was the reason of giving such a fanciful title to the whole program anyways! They did not ask artists what bhava was the dominant aspect of their music- for may be it did not seem necessary to them at all.
Mine is and always remains bhakti.:) Even when I sing ghazal!
