Bismillah Khan 2

Ustad Bismillah Khan


About this album

Bismillah Khan's music on the Shehnai has remained the finest manifestation of one of the many facets of Indian Art Music - the plaintive facet.

Many outside the core fraternity of music connoisseurs owe their introduction to the wondrous beauty of Indian Art Music to Bismillah Khan.

The art music stream of India is a part of a total organic entity of a multiplicity of forms. The give and take process between the macro and micro systems can also be seen in the ease with which instruments are regularly adapted into the art music fold. The Shehnai was brought to the crest of the art music stage by Bismillah Khan. He brought forth a unique style of music which was simple but perfect, allowing the strengths of the instrument to manifest themselves - the scope for wailing pukars, plaintive mends and delicate flutters. The effect of the music has remained stunning over the decades - it commands the listener's mind immediately with the tone and coaxes him along on an experience where emotion reaches the point of sublimity.

Bhupal Todi is sub-melody of Raga Todi, which is a morning melody. It has a mood of entreaty. It is pentatonic in as much as it drops the fourth and seventh notes of the Todi scale. The composition rendered by Bismillah Khan in his inimitable style is confined to a rhythm of ten beats called Jhaptal.

Bageshree is a sweet Raga presenting a serene mood, Bageshree is played during the first part of the night. Depending on the mental frame of the performer, it creates either a romantic atmosphere charged with sweet pangs of separation or the joys of union.

Bismillah Khan overwhelms the listeners as he develops the melody in a highly imaginative style. The rhythm employed is Teental (16 beats)


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