Harirasad Chaurasia – on flute – http://youtu.be/kMZh53nejmI There is a difference between the two. Even those who have no interest in classical music will recognise its refrain. In contrast Malkauns is better suited to the male voice – although it used to be a favourite raga of female classical singers in the seventies when I had started learning the basics of classical music. Dear readers, Homepage >> Fundamentals of Rag >> Film Songs >> This Page. But when the expectation was building up, the rendition comes to an abrupt end bringing me out of an early stupor. I just went on collecting clips that have Malkauns Instrumentals. The yearning of the singer for God finds a ready resonance in the listener’s heart. Some time back Subodhji had introduced me to the site http://www.parrikar.org, where I found a touching biography of Ustad Bundu Khan of Delhi Gharana. The Raga in not one of the traditional ragas of Hindustani Classical Music being sung for the past few centuries. In the next clipping is an incomplete but a beautiful classical piece from the film ‘Kanchan Ganga’ where Lata Mangeshkar sings for Usha Kiran in the late 30s. The best website for SARGAM notations of songs and tunes. I begin with a piece by Ustad Bismillah Khan that has become a part of musical folklore. This was the link where a 10 year old Lata Mangeshkar’s Malkauns piece was supposed to be found along with an interview with Hridaynath Mangeshkar. I was lucky with Malkauns. But in... Dr Deshpande @66, Thanks for adding the songs from the last film of N Datta. Darbar mein upar wale ke andher nahin par deri hai by Kishore Kumar and Mahendra Kapoor from Hera Pheri (1976) music Kalyanji Anandji. The humour and satire are entirely in the words. I deliberately left out the greatest iconic song of all – Man tarpat hari darshan ko aaj in Malkauns, because I hoped to do a separate post on this raga. Year - 1959 He surpasses himself with this outstanding article on one of the most popular and accessible ragas – Malkauns – which he describes as the greatest of pentatonic ragas. The bonus is, it also has Malkaus in gayaki ang on the violin by his disciple N Rajam. Raga Bageshree: Radha na bole na bole re by Lata Mangeshkar from Azad (1955), lyrics Rajendra Krishna, music C Ramchandra I had a tough time choosing between Jaag dard-e ishq jaag and Radha na bole na bole re as my iconic song for Bageshree. I am presenting a 9 minutes Vilambit Khayal rendered by Lata Mangeshkar in her early twenties , accompanied on the Sarangi by Pandit Ram Narayan and on the Tabla by Shripad Nagesh. After this, I did not continue listening to the two add on bonuses that day. Rag - Rageshri The Chinese instrumental number was a revelation. Between the two, I prefer this one. Here is a rare recording in Kaushiki by Annapurna Devi – the reclusive ex-wife of Ravi Shankar. – AK). Saamaja vara gamana by S Janaki and S P Balasubrahmaniam from Shankarabharanam (1980), music K V Mahadevan. The playback for Usha Kiran seems to be more from mid-50s based on her tonal quality and orchestration. This piece by Gangubai Hangal illustrates: http://youtu.be/GoJEY4wB864. I do not want to delete that post because of some valuable comments of the readrers. Like Yaman the predominant mood of Malkauns is tranquility. Singer(s) - Suman Kalyanpur Ascolta senza pubblicità oppure acquista CD e MP3 adesso su Amazon.it. Everything about the setting of this song is standard film fare – the lady with the child in her arms diffidently approaching the steps of a temple, repeated close-up shots of the idol and the sadhu singing to himself but addressing the lady’s inner turmoil. To hear him enter the final ti-ra-ki-Ta orbit leading up to the sam is to experience moksha here and now. Subodh, This is the song that defines Malkauns for a lot of people. Anyway here it is. 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