Raag Mishr Bihari | Shahid Parvez Khan | Bazm e Khas | live baithak
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- Опубликовано: 31 авг 2019
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Ustad Shahid Parvez Khan is an Indian classical sitar player from Imdadkhani Gharana. He belongs to the seventh generation of Etawah Gharana. Shahid Parvez has performed in all major music festivals in India or abroad. Shahid Parvez also got vocal and Surbahar(sometimes called bass sitar) training from his uncle Ustad Hafeez Khan. He also received training in tabla for many years from Ustad Munnu Khan of the Delhi Gharana.
Raag Bihari is a very melodious raag of Indian Classical Music, brimming with the bitter-sweet romantic feeling of separation. It belongs to the Khamaj Thaat. Raag Bihari is also a jod raag, combining the two raags Tilak Kamod and Khamaj, hence it is also called a fusion raag. A jod raag is not merely a putting together of raags, but a fine synthesis of two raags out of which a new raag emerges which then acquires an independent identity of its own.
This baithak was held at the initiative of Ved gupta as a part of Bazm e Khas foundation live concerts.
The idea behind this upload is to preserve this collection of great music for all music lovers and students of Hindustani music. We treat this upload as a cover version.
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In the context of Sitar-playing, we are living in the era of Ustad Shahid Parvez Khan. Thanks, Bazm-e-Khas!
By sharing these masterworks of Ustad ji’s with music lovers, Bazm-e-Khas has done (and continues to do) us all a great service. Thanks once again, and always, Adaab and Pranam to the great maestro.
Really thankful for mentioning about the effort. We intend to promote the Hindustani Classical music and we will be contributing to the same.
A very soft and touching rendition by Shahidji, Raga Bihari reminds me Ustad Vilayat Khan playing the same Gat in Satyajit Ray"s Jalsaghar. More than four decades ago, Ustad Vilayat Khan and Ustad Ali Akbar Khan played the same Raga more elaborately as a duet at Netaji indore Stadium, Kolkata-- a rare treat for us at that time ! But then , though very soft and melodious, Raga Bihari is hardly distinguishable from Raga Tilak Kamod.
In the film Jalsaghar Ustad Vilayat Khan sahab played the gat in pure Tilok Kamod....
Excellent excellent 🙏🏻🙏🏻🙏🏻🙏🏻🙏🏻
Raag bihari pehlo bar suna...jai ho ustad ji🙏🙏😌😌😌😌😌😌❤❤❤❤❤❤❤❤❤❤❤❤❤❤❤❤❤❤❤
Wonderful, amazing and touches every one's heart .
✨
With Love #UstadJi
The entire bazm-e-khas programme is full of Ustad Shahid Parvez's atrocious mixture of ragas taking the umbrage of "Mishra." Here he shuffles between Desh and Tilak Kamod at will and the gat is far away from VK's memorable Jalsaghar one. The Bihari we hear from Jaipur gharana is available only after 14.00, may be that is another shuffle. I think this is a risky tendency for classical music.
Please mention the tabla players name...
can someone please help explain the difference between raag bihari and raag desh?
The alaap is in Desh- up to 5:28 mins - then up to 7:12 it is in Tilak Kamod and briefly a phrase of Desh and then gat in Bihari- which I can't distinguish from Tilak Kamod.
i think the gat reflects bihari, by his tradition, which had been not too particular abour raag purity but pleasing beauty. his aalaap seems a complete mess to me, unqualifies his sagacity if any, at least for bihari. bimalakanta roychoudhury gives a better interpretation of all, sticking to deeper tradition in his work raag vyaakaran. ideally tilak kamod does not use komal ni but bihari does, at the same time a lot of contemplation and skill is required to keep bihari unmixed from des. bihari may not have the full body of tilak kamod in it. bkrc states bihari is combination of tk and pahadi (olden-traditional pahadi and not 12 tone one practised by shaam chaurasi or patiala.... or ghazal melody)
This is Raga Des and Tilak Kamod. Not Bihari
i think the gat reflects bihari, by his tradition, which had been not too particular abour raag purity but pleasing beauty. his aalaap seems a complete mess to me, unqualifies his sagacity if any, at least for bihari. bimalakanta roychoudhury gives a better interpretation of all, sticking to deeper tradition in his work raag vyaakaran. ideally tilak kamod does not use komal ni but bihari does, at the same time a lot of contemplation and skill is required to keep bihari unmixed from des. bihari may not have the full body of tilak kamod in it. bkrc states bihari is combination of tk and pahadi (olden-traditional pahadi and not 12 tone one practised by shaam chaurasi or patiala.... or ghazal melody)
There is a lot of squeaking noise coming from the sitar tabli. It is ruining the entire music. How come he didn’t notice it and fix it???
If you want real Raga Bihari, listen to Jaipur Atrauli vocalists.