Man tarpat hari darshan ko aaj by Mohammad Rafi from Baiju Bawra (1952), lyrics Shakeel Badayuni, music Naushad. Links - And I have the appetite for some more Malkauns. Raga Bageshree: Radha na bole na bole re by Lata Mangeshkar from Azad (1955), lyrics Rajendra Krishna, music C Ramchandra I had a tough time choosing between Jaag dard-e ishq jaag and Radha na bole na bole re as my iconic song for Bageshree. and 2 (more) Improvisations – http://youtu.be/0jqD6DvzcKU, Pt. A round-up of Hindi film songs based on classical ragas. Here is a rendition by Master Dinanath’s nephew, Jitendra Abhisheki. The Carnatic counterpart of Malkauns is Hindolam. It is a popular raga of the late night, which is meant to depict the emotion of a woman waiting for reunion with her lover. http://gaana.com/#!/songs/malkauns-gat-nikhil-banerjee. Film - Mughal-e-Azam Raga Bageshri song by Poornima Kulkarni now on JioSaavn. I have read about its presence in the internet, but in spite of by best efforts I could not locate it. I began this series with ten iconic film songs in different ragas – songs that are good enough to be used by students of classical music to get an intuitive feel for the raga. It’s a raga per se. I am extremely sorry. Thanks and Regards. 4. The playback for Usha Kiran seems to be more from mid-50s based on her tonal quality and orchestration. A concert by an up and coming lady artiste would usually begin with Maru Bihag followed by a thumri before the break. Mr Vaishnav, as usual you have unearthed a treasure trove. The next classical piece ‘Kangna’ by Fareed Ayaz and Abu Muhammad from Coke Studio Pakistan season 4 is a truly amazing example of fusion music. I love Kanika Banerjee. He surpasses himself with this outstanding article on one of the most popular and accessible ragas – Malkauns – which he describes as the greatest of pentatonic ragas. Year - 1959 The bonus is, it also has Malkaus in gayaki ang on the violin by his disciple N Rajam. On hearing, Ustad Bismillah Khan’s evergreen Malkauns, I felt here is the one which I was looking for. The humour and satire are entirely in the words. All these ragas omit the second note ‘re’ and the fifth note ‘pa’. Malkauns is heard quite clearly in this – with occasional departures: http://youtu.be/GqIX9Fl35zs, Mr Naresh P Mankad has mentioned Chandrakauns in his comment on the older version of this post. This song is sung by Ustad Rashid Khan. In the Hindustani music terminology they are called audav-audav. However, unlike Yaman – whose tranquility has a joyous quality – Malkauns’s tranquility is laced with gravity and solemnity. Raag Bageshri is a Hindustani Classical raag.It is a popular raag of late night,which is meant to depict the emotion of a woman waiting for reunion with her lover.It is said to have been first sung by Mian Tansen,the celebrated court singer of the emperor Akbar in the sixteenth century.This raag highlights and emphasizes the’Ma’sur.The […] Let me express my deep gratitude for not only presenting a bouquet of Raag Malkauns, but for the excellent and crisp commentary accompanying the renditions, guiding us gradually and steadily through the various facets of this magnificent Raag. I shoul have realised it then and there. In the next clipping is an incomplete but a beautiful classical piece from the film ‘Kanchan Ganga’ where Lata Mangeshkar sings for Usha Kiran in the late 30s. As AK rightly says, it needs to be savoured at leisure. I deliberately left out the greatest iconic song of all – Man tarpat hari darshan ko aaj in Malkauns, because I hoped to do a separate post on this raga. Now I find you have added three more. Tal - Tintal So , most of us would keep abreast by clicking on links to both “version”s of the post. If this be the quality of fusion, I am ready to hear such compositions again. Amitabh and Vinod are good Samaritans whose noble mission is to separate people from their worldly goods, which are the source of all pain and suffering as the sages never tire of telling us. Lata Mangeshkar’s video from a Marathi film is a collector’s item. Two abhangs of Sant Tukaram in Malkauns sung by Bhimsen Joshi: https://www.youtube.com/watch?v=9bDkmNBZKJ8, https://www.youtube.com/watch?v=S21sHLDyCF8. Year - 1953 Bageshri (IAST: Bāgeśrī) is a Hindustani classical raga. Video Link - Go To Video, Muhabbat Aisi Dhadkan Hai N Rajam is my great favourite. Its one of my... KS Bhatiaji, It is sad that we don’t know the names of the musicians who played the instruments. Still, Malkauns (also known as Malkosh and Malkans) stands tall in this group for the depth, solemnity and gravity that characterise it. As film songs on this raga go, this is way ahead of the others. 10. Bageshri (IAST: Bāgeśrī) is a Hindustani classical raga.It is a popular raga of the late night, which is meant to depict the emotion of a woman waiting for reunion with her lover. Topic. The next number, a traditional rendition in Raag Hindolam by Yesudas was good, but did not satiate my appetite. http://www.youtube.com/watch?v=qcW7s7BNZvw. Very rarely there can be an overlap with Bageshri in the use of sa, ga and ma, but the confusion doesn’t last more than a few seconds. Puriya-Marwa-Sohani, Bhopali-Deshkar, Darbari-Adana-Asavari are some examples. And now, little diversion form purity to an effort to experiment. I have a general bias in favour of male singers, more so for Mslkaus. It also illustrates the point I made above that once you get the notes of Malkauns right, you can do anything with them and the output will sound like Malkauns. C Ramachandra used Malkauns for two famous songs of this film, the other being Tu chhupi hai kahaan. The ruins of the old post would remain as a monument to the vagaries of technology. 2. Mrs. Rajam’s violin is playing as I type this comment. I realized one does not reach the crescendo after such an experience, but on the contrary the experience is one of inner peace and calm. I will get back in due time with my responses to these pieces. Rafi’s singing, as always, is impeccable. Tripathi Singer(s) - Lata Mangeshkar, Mahendra Kapoor Links - I saw this movie thrice for the music alone. The first is Pir na jani re by Pandit Omkarnath Thakur, considered by many to be the greatest exponent of this raga. My post on songs based on raga Pahadi, the third in this series, was dominated by female voices. 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