Raga Samay Chakra
If one had to judge the popularity of a Raga based on how often it has been used in film music, then Raga Bhairavi would surely be a strong contender. There is a Raga Bhairavi in Carnatic music but that uses a different combination of notes.
This morning raga (between 10am and noon) is often the last Raga performed as the finale of a concert. That means even when a concert ends at midnight, you are likely to hear the maestro end it with Bhairavi. You can visualize yourself walking back from a late night concert still relishing the after taste of Bhairavi performed by the maestro. It is a long walk home but you are still in that reverie. Occasionally you stop to walk bare feet on the grass. The night birds are getting ready to call it a day while the early risers are getting ready to start the day. It is easy to forget if one is ending the day or making a new beginning.
If someone wants to get into the soul of Raga Bhairavi, then the most characteristic song of this Raga would have to be the song Babul Mora Naihar Chooto Hi Jaye.
Babul is an old Hindi term for father indicating a daughter’s affection. The context is that of a newly married daughter leaving her father’s home after the wedding celebrations are over. The moment that is captured by this thumri is the bidaai (farewell) ceremony. It is a sad occasion, because after this she leaves her father’s house and permanently relocates to her husband’s family. The moment thus marks the end of her past life and the beginning of a new one. The expression of this sentiment varies, but is usually in the formed of hushed sobs, while maintaining sober calmness and composure.
Wajid Ali Shah (1822–1887), the last nawab of Awadh, wrote this popular bhairavi thumri “Babul Mora Naihar Chhooto Jaye”, where he likens bidai to death, and his own banishment for his beloved to Lucknow. https://youtu.be/4C3iEhyG3l4
Every composer has their favorite raga. A raga that will sneak up regularly in compositions. It is almost like an unfinished task that comes back to haunt you. You attend to it for a bit but there is so much more to be done. If one speaks about Raga Bhairavi, one has to talk about the obsession of the duo Shankar-Jaikishan (called S-J by fans) with the raga. Shankarsingh Raghuwanshi (1922–1987) continued to sign his work as Shankar Jaikishan even sixteen years after Jaikishen Dayabhai Pankal passed away in 1971. During their career, S-J won Film fare Best Music Director Awards for a record nine times. The last three awards were won in three successive years, thereby making S-J the first composers to score a hat trick of these awards.
Jaikishan named his daughter Bhairavi. Some of his most haunting melodies were based on Raga Bhairavi. So if you wish to get to know the moods of this beautiful raga, you have to listen to a sampling of Shankar Jaikishan’s work. This song from the film Awara (1951) based on Raga Bhairavi was a runaway hit. Raj Kapoor’s performance a copy of Charlie Chaplin’s tramp in the film, was ranked by Time magazine as one of the “Top 10 performances of all time.” The song made Raj Kapoor a celebrity all over the world especially in Russia. https://youtu.be/Vf334WjKQI0
This song from the film Daag (1952) had S-J use Raga Bhairavi sung by the playback singer Talat Mehmood. The songs was Ae Mere Dil Kahin Aur Chal. Dilip Kumar, won the first ever Filmfare Award in the Best Actor category in 1954.
Dilip Kumar & Shah Rukh Khan have both won the Film fare Award eight times for the best actor. https://youtu.be/_aFqiq7yHI8
My pick for the best S-J composition in Bhairavi would be from the film Suraj (1966). Kaise Samjhaoon Badi Naasamajh. This is a lovely duet by Rafi and Asha Bhosle that explores a different mood of this Raga. https://youtu.be/VGNlrzq3FIQ I started the post by stating that the Wajid Ali Shah composition Babul Mora Naihar Chhooto Hi Jaye was the most outstanding composition that captured the essence of Bhairavi.
Comments
3 responses to “The Charm of Raga Bhairavi”
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Very interesting Abhijit. I thought SJ had a special corner for raag Shiivaranjini..
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Mukul – they have used Shivaranjani as well. But Shivaranjani tends to evoke pathos better. The best example of that would be Jaane Kahaan Gaye Woh Din (Mera Naam Joker) or Awaaz Deke Hamein Tum Bulao (Professor). I dont like Baharon Phool Barsaao but prefer the peppier Dil Ke Jharokhe Mein Tujhko Bithakar (both S-J compositions)- because it is quite rare to find Shivranjani used in that setting.Thanks for provoking that thought, Mukul.Abhijit
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Abhijit, I just came across your site today (21-Dec-2019). Greatly appreciate you taking the time out to unfold the beauty of these ragas. Thank you very much, Sir.
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