Program Guide | Tihāī Ensemble @ Zameen Art House

Program information: https://zameenarthouse.com/event/tihai-ensemble/

What's Hindustani music?

Hindustani music is one of two major forms of classical or art music found in India today, typically finding its representation across the North of India as well as Pakistan and Bangladesh, with the other major form Carnatic music being represented across the South and Sri Lanka. Khayal is one of the primary subgenres of Hindustani vocal music. It represents a confluence of older musical traditions such as Prabandha, Dhrupada, and Qawwali. It developed an identity of its own in the royal courts of India, beginning with the Delhi Sultanate, and culminating at the courts of the Gaekwad kings of Baroda. It is primarily an improvised form, with the song-text providing a basis for spontaneous musical creation within the grammar of the raga (melodic form) and tala (rhythmic cycle). In modern times, Khayal has continued to evolve as one of the many living Indian performing art traditions practiced today.

What will be presented today?

Khayal | Raga Shuddha Nat

Raga Shuddha Nat is a relatively uncommon raga. There are many different interpretations of this raga. The variety presented here is a specialty of the Jaipur-Atrauli gharana (stylistic discipline), as preserved in the lineage stream of the vocal empress Mogubai Kurdikar. I find that it is a raga that is soft in its lower half (purvanga), and powerful in its upper half (uttaranga), mostly because of the jump one has to take from the note 'Pa' (the fifth) to the higher 'Sa' (the upper tonic). Both compositions presented in this raga explore viraha, or longing and separation from one's beloved.

Song-Text #1: Akhana Mori Lagi | Vilambit Tintala (slow-paced 16-beat rhythmic cycle) | Composed by Unknown

My eyes, restless like a bee, are drawn towards my beloved.

He gives me no peace when I cannot see him,

And the longing seems to stretch on for years.

He pays no heed to anyone, nor does he respond.

Out of fear of my beloved, I am constantly trembling.

Song-Text #2: Avoji Tuma Avo | Drut Ada Chautala (fast-paced 14-beat rhythmic cycle) | Composed by Akhil Jobanputra

Come, oh come!

Come, oh messenger!

Bring me a letter from my beloved.

My heart races, I feel restless.

Take my news (response letter),

I hope my beloved heeds my wishes.

My heart races, I feel restless.

Come (my beloved), Come (my beloved)!

Khayal | Raga Sohini

Raga Sohini evokes tension and eroticism. It carries the same set of notes as the Ragas Marva and Puriya, however, their application, centres of gravity, and phraseology differs. Sohini gravitates to the top of the range, creating a lasting impression of strength yet a profound sense of still yearning for more, to be closer, to feel a sense of fullness once again.

Song-Text #1: Avana Kaha Gaye | Madhyalaya Jhaptala (medium-paced 10-beat rhythmic cycle) | Composed by Miyan Tansen

You came to me and assured me that you would be here to see me tonight.

But, my beloved, I've passed the whole night, counting the stars, to no avail.

How will Tansen find his lord?

Once you held me to your chest,

And now you have become distant.

Song-Text #2: Kahe Aba Tuma Aye Ho | Drut Tintala (fast-paced 16-beat rhythmic cycle) | Composed by Abdulla Khan 'Manarang'

Why have you come now to my doorstep?

You have spent the night with your mistress, immersed in the pleasures of love, absorbed in passion.

Do not speak such deceitful words now, O Manaranga.

Go back to that young woman with whom you are enamoured.

Thumri | Raga Bhairavi

A well-loved raga, Bhairavi has become associated with the finale of a concert. Therefore it makes sense this is being sung last! It is prevalent across all the subgenres of Hindustani classical music and is a raga that people often take liberties in. With Khayal and Dhrupad keeping the exploration of raga and tala as their primary focus, Thumri seeks to bend the raga to express the poetry.

Song-Text #1: Jata Kahan Ho | Vilambit Dipchandi (slow-paced 14-beat rhythmic cycle) | Composed by Unknown

O fair one, where do you go alone? Even your feet do not know.

The fields (her destination) are coloured in saffron, there, Kanha plays holi.