Posts tagged Thumri
Posts tagged Thumri

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Savita Devi is daughter of Siddheshwari Devi, the legendary Purab Ang singer of Benares and one of the finest exponents of Thumri, Dadra, Kajri, Chaiti, Hori and Tappa.

Trained under Girja Shankar Chakravarty, Mushtaq Husain Khan and Rasoolan Bai, Naina Devi adopted and fostered the art of thumri singing at a time when few women from “respectable” families dared take up this art form. Thumri, one of the three major forms of Hindustani classical music, gives equal importance to musical structure and poetic text, vocal techniques and emotive content. It was traditionally performed by courtesan singers for the entertainment of elite patrons. Naina Devi, considered among the most significant names in Hindustani classical music, was also known for her contribution to institution-building, systematising the teaching and learning of the arts in independent India, and her patronage of other artists. Hers was an extraordinary life. Few people live in so many different spaces, overcoming so many obstacles, without bitterness or arrogance. Her story of how she met her first guru, Girja Shankar Chakravarty, during one of the all-night mehfils (soiree) regularly organised by her elder brother Sunit at home moved me greatly. Women were not allowed to be present, but an exception was made for the five-year-old. As Girja babu wound up at dawn with a Bhairavi thumri, he teasingly asked the wide-awake Nilina what she had liked the most. She replied, “Your Bhairavi.” He asked her to sing it and she did.

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Internationally renowned Hindustani classical vocalist Dr. Prabha Atre is perhaps the only performer who has also excelled as a brilliant thinker, academician, author, composer and teacher of Hindustani music, hence she has fetched a distinct place for herself in the creative world. She is one of the senior most, front ranking vocalists in the country representing the Kirana Gharana, today. She is undoubtedly one of the top-ranking and most prominent artists in the 20th century. Her creative mind, her endeavor has made her distinct from other vocalist of her generation.

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Thumri is a common style of light classical music. The text is romantic and devotional in nature, and usually revolves around a girl’s love for Krishna. The language is a dialect of Hindi called Brij bhasha.

Picture Source: http://www.exoticindiaart.com
Thumri is a common style of light classical music. The text is romantic and devotional in nature, and usually revolves around a girl’s love for Krishna. The language is a dialect of Hindi called Brij bhasha.

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Thumri is a common style of light classical music. The text is romantic and devotional in nature, and usually revolves around a girl’s love for Krishna. The language is a dialect of Hindi called Brij bhasha.

Picture Source: http://2.bp.blogspot.com
Thumri is a common style of light classical music. The text is romantic and devotional in nature, and usually revolves around a girl’s love for Krishna. The language is a dialect of Hindi called Brij bhasha.

Picture Source: http://www.artoflegendindia.com
Thumri is a common style of light classical music. The text is romantic and devotional in nature, and usually revolves around a girl’s love for Krishna. The language is a dialect of Hindi called Brij bhasha.

Picture Source: http://www.exoticindiaart.com
Thumri is a song of love, successful or futile. Love has many shades, it goes through acquaintance, attraction, affection, infatuation and passion. Thumries express Shringar Rasa. The presence of the object of love leads to Samyog Shringar. Sometimes even the absence of the object of love may be intoxicating and would create Vipralambha Shringar. Thumri embraces all these feelings. Thumries are romantic because they make one forget the hardships of life.

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This single CD album features songs of Kabir by Vidya Rao, a singer and writer based in Delhi. Kabir’s love poems are rendered in the light, semi-classical form of Hindustani music known as Thumri.

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This is very special Release where Ustad Ghulam Ali Khan performs the Thumri Tilak Kamod, Thumri Mishra Khamaj, Dadra and Bhairavi. Ustad Bade Ghulam Ali Khan, considered one of the finest representatives of the Hindustani music tradition in the early and middle 20th century, belonged to the Patiala Gharana of Hindustani classical music and was considered by many as the uncrowned king of Hindustani music.

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Though Khan started his career by playing sarangi, he also used to sing a few compositions of his late uncle and perhaps his only teacher. He became popular as a vocalist after his debut concert in Kolkata. Khan amalgamated the best of four traditions: his own Patiala-Kasur style, the Behram Khani elements of Dhrupad, the gyrations of Jaipur, and the behlavas (embellishments) of Gwalior.

Ustad Barkat Ali Khan left a lasting impression on various genres of Hindustani light classical music. He was younger brother of Ustad Bade Ghulam Ali Khan. Barkat Ali Khan took his initial training from his father Ali Baksh Khan and later from his elder brother Bade Ghulam Ali Khan.

He was a disciple of both Ustad Akhtar Hussain Khan and Ustad Ashiq Ali Khan, two scions of the Patiala Gharana. He became popular as a vocalist after his debut concert in Kolkata. Khan amalgamated the best of four traditions: his own Patiala-Kasur style, the Behram Khani elements of Dhrupad, the gyrations of Jaipur, and the behlavas (embellishments) of Gwalior.

The two brothers - Ustad Salamat Ali and Ustad Nazakat Ali - are a legend in the world of North Indian classical music. They learnt from their father - Ustad Vilayat Ali Khan and are the doyen of the Sham Chaurasi Gharana.