Nathdwara Haveli Dhrupad | Girish Karia | The Lyrical Tradition of Dhrupad - Part 5

Album: Nathdwara Haveli Dhrupad Collection: The Lyrical Tradition Of Dhrupad Vocal: Girish Karia Pakhawaj: Mohanbhai Jamariya Sarangi: Swamiji Harmonium: Kuman Das Tracks: 0:00 Rag Bhairav - Mangla Charan 01:31 Rag Bhairav - Mahaprabhuji Stuti - Adital 06:12 Rag Vibhas - Jagie Gopal Lal (Sur Das) - Vilambit Chautal 12:12 Rag Bilawal - Maiya Sun Moko (Chhitswami) - Dhamar 17:10 Rag Asavari - Priye Navnit Palne Jhule - Dhamar 22:01 Rag Malkauns - Aaj Sagri Nis Kaha Jage Lal (Krishna Das) - Charchari Tal 29:11 Rag Sarang - Baithe Hari Radha Sang (Parmanand) - Dhrupad - Vilambit Chautal 36:30 Rag Gauri - Bante Awat Gawat Gauri (Nand Das) - Adi Tal 41:13 Rag Kedar - Radhika Anand Me Dhole (Krishna Das) - Ras - Charchari Tal 45:33 Rag Hindol - Aaj Lalna Lal Haag (Krishna Das) - Hori - Jhaptal 51:03 Rag Malav - Tata Tei Tata Tei (Krishna Das) - Ras - Adital 58:10 Rag Shuddh Kalyan - Shri Govardhana Rai Lal - Dhamar 01:03:26 Rag Adana - Teri Bhroh Ke Marod (Nand Das) - Dhrupad - Madhyalay Chautal Description: The singer of this album, Sri Girish Karia, sings for only one audience, the idol of Shrinathji Temple - Shri Nathji. He studied the enormous musical and poetical repertoire of Haveli Dhrupad under the guidance of Kanhaia Lal Munshi. A travelling musician, he sings in local temples of this branch of Hinduism all across India. Dhrupad belongs to the classical tradition of Hindu religious music, and takes sophisticated musical and poetical forms. Glamourous and popular, Dhrupad spread during the 15th to the 17th centuries to all Northern India. The Haveli Dhrupad is mainly sung in the Pushtimargis' temples, a Krishnaite religion founded by Vallabhacharya, adoring Krishna as Shri Nathji. The main temple is in Nathdwara in Rajasthan. Composed of a short Alap (an improvised form of progression), then of a long poem sung to the idol, with the accompaniment of Pakhawaj drum, Haveli Dhrupads are particularly short and intense. They are made for a very short session when the idol is shown to the public, the Darshan. The choice of Raga depends on the time of the day, and the season. The poems are based on a rhythm (tal) of 12 beat pour for Vilambit (slow) Dhrupad, 10 or 7 beat for the Madhyalay and Drut (medium and fast tempi) Dhrupad. Soloist and drummer develop the composition, playing with the subdivision of rhythm, and improvise on the notes of the Raga, in simultaneous and different ways. The accompaniment consists of a Sarangi, a Harmonium, a Pakhawaj-Mridang, (a drum with two sides merely smaller than the Pakhawaj) and the Janjhs, small double cymbals. View the pictures embedded in the video for more details.