Raga Bhimpalas Khayal vilambit in ektala “Nand so janu re” Khayal drut in teentala “Java hoon des” The languor of afternoon is best portrayed by raga Bhimpalas which is among the sweetest ragas of that hour. Its sets of notes are the same as those of Bageshri. It’s the way these are used that marks the difference. Also, while Bhimpalas blossoms from the Dhanashri-ang, Bageshri belongs to the Kanhara-ang. Both create an aura of repose, and, as such, both are at their best in the vilambit laya. In this rendition Kumar’s show khayal beautifully unfolds that mood.
Raga Shuddh Shyam Khayal madhyalaya in teentala “Moy bula ke” It’s a rarely heard raga created by Kumar Gandharva himself. In effect, it is a blend of shuddh kalian and shyam kalian. An early evening melody, it has many intricate note patterns. Since Kumar Gandharva presented it in Delhi in 1984, it has not been heard. His madhyalaya teentala khayal has been rendered here.
Raga Bhoopali Khayal madhalaya in teentala “Jhanjh mandilara” A pentatonic early evening melody, Bhoopali is easy to learn but difficult to perform at length. It is especially pleasing in the medium and fast tempi. Innovation has been introduced has been introduced in the madhyalaya khayal in the rendition, “Jhanjh manjilara”. Instead of the traditional sama on pancham, Kumar has preferred it on gandhar.
Attaining national fame at the age of eleven, Kumar Gandharva was always regarded, and will always be remembered, as the rebel of Hindustani classical music. A genius who revelled in innovation, but a master of swara, laya and tala, whose thirst for something new, something fresh, even in the beaten path, was unquenchable.
And yet, Kumar Gandharva was not particularly fond of performing obscure, dubious or lifeless ragas, much less creating them. It is true, though, that he did create some melodious morning and evening ragas like Sahedi Todi, Beehad, Bhairav, Malwati, Sanjari etc.
If the rebel in him brought in prohibited notes in some well known ragas, he also infused in the process new shades or charm in old ragas, but within the rules, i.e. within the prescribed swaras.
Apart from his monumental work in enriching devotional and folk music of Malwa, his repertoire of khayals in raga music was the richest. It would always be a new set of ragas at concerts. And, each was not only given a new look, each was often rendered through new compositions, his own or traditional, seldom heard before.
He was averse to Gharana traditions and did not suffer from dogma. His approach was like opening a new door or a new window in an old mansion-for a bit of fresh air, a bit of fresh light, creating a mosaic, unprecedented in music.
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