The Mughal period in India lead to confluences between the prominent culture in the Indian subcontinent at that time and the incoming influence of the persian culture. This is seen in the development of Hindustani Music as well as Kathak, both of which became more detailed and appealing as a result of this confluence. Though it surprised me initially to hear Urdu words in very traditionally sung Khyals, I understand now that a number of composers seemlessly blended persian, arabic, sanskrit and other langages of the indo-aryan palate. The hindavi-urdu blend leading to the hindustani language is a beautiful outcome of a beneficial cross-cultural confluence.
Sharing a new take on one such traditional Khyal in Raag Bhimpalasi 'ja ja re apne mandirwa' (जा जा रे अपने मंदिरवा), rendered by Nirali Kartik, Amit Mishra and Shankar Tucker
About the composer Sadarang :
Niyamat Khan (pen name - Sadarang) and Firoz Khan (pen name - Adarang) are considered the pioneers of Khayal form of Hindustani music. They not only composed hundreds of khayal bandish-es still in use today, they are also credited with formulating the structure of khayal and getting royal patronage for it, establishing it firmly as a form of Hindustani music. They are probably the most famous names in the history of Hindustani music, after Amir Khusro and Tansen.Niyamat Khan (1670-1748) and his nephew Firoz Khan, were originally from Gwalior. They were Dhrupad Beenkars (i.e. played Veena) and vocalists. Their fame took them to the court of music loving Mughal Emperor Muhammad Shah Rangile (ruled 1719-1748). When serving in his court they developed leasurely form of Dhrupad that was named Khayal for its leisely, wishful mood. Many of the compositions are in praise of the emperor, Mohammed Shah (like Tu Hai Muhammad Shah - Raag Suha).Sadarang and Adarang, with their disciples and followers established the kawal gharana specializing in khayal form of singing. With the fall of Muhammad Shah Rangile and disintegration of Mughal empire, disciples and discendants of Sadarang and Adarang spread out to royal courts in various parts of India - Agra, Jaiput, Gwalior, Lucknow, Benaras, Rampur etc and evolved the various gharanas of Khayal that we recognize today.Musicologists warn that not all compositions with pen names Sadarang or Adarang can be definitely attributed to these composers. It is possible that many a later composer, used the same pen name to enhance the standing of the composition (from http://www.musicalnirvana.com)
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