After 51 blog posts , mostly on Classical music , I had intended to give a pause and hence had written the final post of the season on Bilaskhani Todi - Bhairavi. The extended lockdown, however , pushed me back to blogging this post that was inspired by the bandishes set in Raag Pooriya Kalyan, all my favorites, have been lingering in my mind for over a week now. I have dealt two more raags in similar manner previously : Purvi- Paraj axis is here and Bageshree encroachment is here
Puriya Kalyan is a raag with two major raags amalgamated. Pooriya (Puriya) and Kalyan (Yaman). It does have different flavors with different bandishes , some giving a stress on Pooriya ang while others on Yaman, based on the "Bhaav" and "Ras" associated with that bandish.
There are technical and theoretical reasons for calling this raag as a variant of Poorva or of Yaman. Deepak Raja has dealt with this aspect in one of his posts here.
It has that Pancham added to Puriya that makes it close to Kalyan/Yaman. Also ,the Shuddha Dhaivat, separating it from Puriya Dhanaashree while the Shuddha Madhyam alone separates it from Purvi , which has both Madhyams !
Leaving aside the technical aspects, to me, Puriya Kalyan, seems a huge canvas where a Ras or a Bhaav could be elaborated based on the bandish's idea. It has that twilight mood for sure. The Komal Rishabh plays the critical role and is the pivot. Therefore , Puriya Kalyan has acquired a trade mark status of Kirana Gharana. ( like Multani and Komal Rishabh Asavari Todi )
The traditional bandish , "Aaj so bana ban"( आज सोबना बन ),and "Bahut din beete" ( बहुत दिन बीते ) tilt towards the romantic side dominated by Yaman. Pt Bhimsen Joshi has popularized Puriya Kalyan with these two traditional bandishes.
The first installment in the series on Pooriya Kalyan is set of two of my favorite bandishes rendered by Kaushiki, in a crisp fashion : "Hovan lagi Saanjh" ( होवन लागी सांझ ) and "Laakhon mein ek, chun-chun bulaave" ( लाखों में एक , चुन-चुन बुलावे )
Pt Jasraj presents the romantic (prem ras) and devotional(bhakti ras) side of Pooriya Kalyan through two bandishes, "aaj so bana ban" ( आज सोबना बन ) and "Din Raina kachu na suhaave" ( दिन रैना कछु ना सुहावे )
Young Sanjeev Abhyankar , molds himself in his guru, but in a crisper manner, while bearing the torch of Mewati gharana. Vilambit "aaj so bana ban"
Sanjeev Abhyankar sings drut bandish "Din Raina kachu na suhaave" ( one of my favorites )
The other drut bandish of Sanjeev Abhyankar, that is set to Puriya Dhanaashree , that too is one my favorites is "Shyam murari banavaari giridhaari" ( श्याम मुरारी बनवारी गिरिधारी )
( This may help readers differentiate between Puriya Dhanaashree and Puriya Kalyan )
"Ab Thare bin kaun meri raakhe laaj" ( अब थारे बिन कुनाहू मोरी राखे लाज )
{ Here is a quick compendium to understand differences :
Puriya: S r G M^ D N
Puriya-Dhanashree: S r G M^ P d N
Poorvi: S r G M M^ P d N
Puriya-Kalyan/Purva: S r G M^ P D N }
The most popular Puriya Kalyan bandishes by the most popular Kirana Gharana stalwart Pt Bhimsen Joshi .. aaj so bana ban , bahut din beete in his own style, a trade mark of Kirana Gharana
A natya geet from famous Sangeet Natak "Katyar Kaaljaat Ghusli" set to Pooriya Kalyan by Abhisheki buwa.
And here is the finale , the one concert recorded live in Dharwad, that has full Puriya Kalyan by my favorite female singer , singing my favorite bandishes !
Puriya Kalyan in following video starts at 30.30 minutes
Here is link to my playlist for Puriya Kalyan on YouTube
One can easily guess that Kaushiki Chakravarty is my favorite among the young female singers especially for her renditions of bandishes in Jog and Puriya Kalyan.
This blog post is dedicated to her .. she IS truly "Laakhon mein ek" ( लाखों में एक )
होवन लागी सांझ
अब तो याद करो
प्रभु का नाम
ध्यान धरे मोरे मनवा
करिए तिनको सलाम
सभी गुनिजन मिल
गाओ बजाओ
आनंद मनाओ
अब मोरी सुध लीजो करतार
अब मोरी सुन लीजो करतार
भव भय भंजन अलख निरंजन
जग के पालन हार
लाखों में एक
चुन-चुन बुलावे
जो जावे , बहोरी ना आवे
लाखों में एक
परवरदिगार अपने प्यारों को
हाफ़िज़ सुख नींद सुलावे !