Khayal Classical Vocal: Begum Parween Sultana & Ustad Mohd. Dilshad Khan (Audio CD)

Item Code: ICM046
Begum Parween Sultana & Ustad Mohd. Dilshad KhanSaregama (2009)
About the CD

A disciple of father Ustad Ikram-ul-Majid Khan, Pt. Chinmay Lahiri and husband Ustad Mohammand Dilshad Khan, Begum Parween Sultana is a female classical vocalist to reckon with.

In the mid seventies, she married Ustad Dilshad Khan, an erudite scholar in music and a vocalist with the same approach to vocalism as Begum Parween. She continues today to avail of her husband’s scholastic support and sings a large number of his exquisite bandishen and raga creations.

This album takes the listener on a journey of symbiotic music wherein neither of them overpowers the other. The lucid flow of music speaks not just of a husband - wife team or a male versus female artiste. The grace in the joint renditions rather displays the intrinsic beauty of music which is two souls performing as one entity.

About the Ragas:

The magical duo commences with a haunting melody in Raga Multani. This is followed by the twilight melody in Raga Puriya Dhanashree, an extremely popular raga and the late night raga Kaunsi Kanhra. This album on Khayal comes to a close with a Thumri in Mishra Bhairavi, thus enhancing the melodic experience.

‘Khayal’ is a contemporary popular form of Hindustani Classical Vocal Music to present a complete picture of the melodic scale called the ‘Raga’. Its genesis is the austere form called ‘Dhrupad’. ‘Khayal’ is a Persian word, meaning’ thought’. The genius of the creator of the Raga in combination with the performer’s improvisation, makes a ‘Khayal’.

There are two distinct compositions of the Khayal, also known as ‘Bandish’ in a performance. The ‘Vilambit’ Khayal or Bandish is sung in a slow rhythmic cycle. This is followed by the ‘Madhya Laya’ or ‘Drut’ Khayal or Bandish sung in a medium to fast tempo.

Bandish is divided into two parts, namely the ‘Sthai’ which is sung in the lower and middle register of the melodic scale, and the ‘Antara’ which is sung in the upper and middle register of the melodic outline.

‘Khayal’ soon gained popular acceptance because of its communicative nature. Thus encouraging performers to further experiment with its style, thereby enhancing its beauty.

About the Artiste:

Begum Parween Sultana’s incredible voice makes her the most stunning female virtuoso Indian Music has ever known. Indian audiences were astounded at he dramatic yet nimble and extremely musical voice which flashed like lighting across three and half octaves. A voice which could explode with power and whisper with grace and with this virtuosity, a sparkling musicality which could be intensely mellifluous, lilting and sensual.

1. Raga -Multani [1978]

Khayal Vilambit Jhoomra

"Gun Nahin Mo Men"

Khayal Drut Ektaal

"Aeri Aali Shubh Din Aaye"

2. Raga -Puriya Dhanashree [1978]

Khayal Vilambit Ektaal

" Lagan Mori Laagi"

Khayal Drut Teentaal

"Payaliya Jhankar"

3. Raga: Kaunsi Kanhra [1979]

Khayal Vilambit Jhoomra

" Too Karim Kartar"

Khayal Drut Teentaal

"Main Pee Sang Lad Pachhtai

4. Thumri Mishra Bhairavi [1986]

"Yaad Sataye Dina Rain"

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