Mogubai Kurdikar | Bihagda | ए प्यारी पग होले धर | ae pyaarii pag hole hole | एरी मोहे जाने दे

00:00 Vilambit ए प्यारी पग होले धर 39:04 Drut एरी मोहे जाने दे जाने दे री मा The bandishes below are via Saumitra Kulkarni: 00:00 ए प्यारी पग होले होले धरिए जैसी पग उपर पायल बाजे अरी हठीली नेक मेरो कायो मान जागे ब्रिज के लोग सब जागे अरी नवेली मत कर मान गुमान 39:04 मोहे जाने दे प्यारी कान्हा के मिलन एरी कहाँ मेरो मान घट घट जाएरी पाँव पड़ूं मै तिहारे (A traditional bandish of ek nishad bihagda) Not checked against delivery yet. The vilambit bandish is attributed to the great Alladiya Khan. Popular lore has it that this was inspired by a folk song he apparently overheard during a wedding ceremony. But, as Shubha Mudgal points out, the song text has been taken from a Havelī Sangeet verse, and adapted for khayal. Musicologist Meilu Ho from the University of Michigan provides the background: // For example, the complete poem of a famous composition sung by the Agra and Jaipur gharānas, albeit in abridged form, is: Pyārī pag haule˜ haule˜ dhar. Jaisē tere nūpūr na bāj hī jānat Braj ke log nāhi sunāyabe yog Hāhārī hathīlī nek mero kahyo kar. (1) Jaulō van vīthin māhi saghan kunj kī parchāhī Taulō sukh d, hāp cal kunvara rasikvar. Nandadāsprabhu pyārī chinhū na hoy nyārī Śarad ujiyārī jāmē jaiho kahūrar. (2) Beloved, tread gently, gently. So your anklets will not ring, that the Braj folks will come to know, they are not worthy of hearing; Oh obstinate one, just do as I say. (1) As long as you are in the forest, in the shade of the thick bower, until that time cover your face, oh most blissful one. Nandadas’s Lord and Beloved are not separated for even a second; In the luminescence of the moon, somewhere in the forest is the sound of the cuckoo. (2) When the entire poem is sung in ritual, as it always is, the name of the poet, Nandadas, is apparent, and its medieval, Braj, Vaisnava, and specifically Pusti Mārg origins and context are self-evident. When only the first line (up until Hāhārī) is sung, as in a khyāl, the poet’s identity is erased and the integrity of the liturgical poem is broken... As Alladiya Khan himself revealed over forty years ago when asked about the relationship to khyāl of rāgas and compositions that were originally sung in the temples: The wordings were sometimes changed purposely to suit the manner of Khayal . . . The temple musicians gave different versions outside the temple—so that the original composition may be guarded as a secret . . . Pyari pag Hole is a temple pada . . . I learnt from . . . well he was also a musician in the Shri Nath Dwara Temple . . . in some of the temples there were Muslim musicians . . . Fida Hussein . . . was a musician in the famous Vaishnav Temple at Kotah [the Mathureshji temple belonging to the first lineage]. // For example, check out this kirtan performance and explanation:    • प्यारी पग हौलै हौलै धर:गायन व भाव विवेचन:ड...   Also see the rare archival video of her singing with Kishori Amonkar:    • Mogubai Kurdikar | Rare archival video of ...      • Mogubai Kurdikar      • Bihagda / Khokar / Khokhar