Satrangee

This madhyalaya composition in Raga Maru Bihag by Pandit Jnan Prakash Ghosh presents a gentle unfolding of shringara, marked by quiet longing and tender resolution. The text suggests a night passing in wakefulness, softened by the arrival of the beloved at dawn.
“Ratiya keeni bhor batiya banaye” subtly evokes the transition from night into day, while “Raina kati mukhchhab nirakhata” reflects an inward absorption in the beloved’s presence. The imagery remains intimate and understated, bound by a quiet thread of affection.
True to the nature of Maru Bihag, the composition rests in a luminous and unhurried space, allowing for nuanced melodic movement and restrained rhythmic play within Teentaal.

VOCALS: Manali Bose

1001 BANDISHES (Episode 350-Bandish 366)
Raga : MARU BIHAG
Thaat: Kalyan
Jaati: Vakra Audav - Sampurna
Time: Night
Vadi: Ga
Samvadi: Ni

Rain of Longing - Raga Jaijaiwanti || 1001 BANDISHES - EP 349 || Manali Bose
[CHECK YOUTUBE POST FOR LYRICS]

This bandish in Rāga Jaijaiwanti expresses a gentle yet intense viraha-bhāva. The nāyikā’s mind is completely absorbed in Mohan—Krishna—as the continuous sound of the flute (murali dhun) resonates within, drawing her toward the banks of the Yamuna River.

Sleep has left her eyes, and without a glimpse of the beloved, her heart remains restless. The madhyalaya Teentāl setting allows for a poised and expressive unfolding, highlighting Jaijaiwanti’s delicate blend of śṛṅgāra and longing.

Rāga Marwa, belonging to the Marwa thāṭ, is a profound twilight rāga, traditionally rendered during the late afternoon approaching sunset. Characterized by the absence of Pa and the prominence of komal Re against the sharp tivra Ma, it evokes a deeply introspective and poignant mood, often described as sandhi-prakāsh rāga.
This bandish, composed by Pt. Dhrubatara Joshi, reflects a devotional yearning. The phrase “Chalo ri maai Shyamsundar ke dhigwa” expresses an intimate longing to approach the divine presence of Krishna. The composition further highlights the philosophical idea of divine incarnation for the welfare of devotees — “Bhaktan ke hit janam liyo hai” — culminating in a prayer to alleviate worldly suffering.
Set in Madhyalaya Teentaal, the bandish allows for a balanced exposition of Marwa’s गंभीर (serious) and contemplative nature, while offering scope for nuanced elaboration and emotional depth.

1001 BANDISHES OF THE GREAT MAESTROS (EPISODE 238-BANDISH 254)
Raga : MARWA
Thaat: Marwa
Jaati: Shadav
Time: Dusk
Vadi: Re
Samvadi: Dha

In this episode Manali Bose is presenting a beautiful Hori bandish in Raag Des (Madhyalaya Addha), composed by Pandit Arun Bhaduri ji. This composition captures the vibrant spirit of Holi in Brij, where the gopis arrive with abir and gulaal, and Krishna (Murari) playfully joins with his pichkaari. The imagery of Radha and her sakhis adds a delicate shringaar rasa to the festive mood.

Raag Des, with its graceful and romantic character, perfectly complements the colours and joy of the Hori tradition. This bandish blends lyrical beauty with expressive gayaki, bringing alive the essence of rang, raas, and celebration.

1001 BANDISHES OF THE GREAT MAESTROS (Episode 347 - Bandish 363)
Raga: DES (Thumri)
Thaat: Khamaj
Taal : Jat
Jaati: Audav - Sampurna
Time: Late Night
Vadi: Re
Samvaadi : Pa

A beautiful bandish celebrating the arrival of Basant Ritu and the playful spirit of Phāg (Holi). The composition expresses the joy of the nāyikā as she revels in springtime रंग with her beloved, surrounded by blossoming nature.
The imagery of abir and gulāl, along with the playful “has has bolata,” brings out a delicate blend of śṛṅgār rasa and festive vibrance. Set in Rāga Hindol, traditionally rendered in the early morning, the bandish offers a serene yet expressive canvas for ālāp, bol-bānt, and improvisation - a celebration of love, colour, and the poetic beauty of spring.

1001 BANDISHES OF THE GREAT MAESTROS (EPISODE 346-BANDISH 362)
Raga: Hindol
Thaat: Kalyan
Jaati: Audav
Time: Early morning
Vadi: Dha
Samvadi: Ga

Basant Drut II Episode 345 || Bandish 361 || 1001 BANDISHES || Manali Bose

Manali Bose sings Raga Basant set to Drut Teentaal.

This bandish celebrates the vibrant arrival of Vasant (spring) and the joyous atmosphere of the Phag/Holi season in Braj. The text evokes the traditional imagery of devotees and companions setting out to witness the festive celebrations of Braj, where the youthful Kanhaiya (Krishna) is expected to appear amidst the revelry. Nature itself mirrors the spirit of the season: forests bloom with flowers, and birds sing melodiously, signalling the fullness of spring. The poetry thus intertwines the seasonal exuberance of Basant with the Krishna-centric aesthetic of Braj, a theme deeply embedded in the North Indian musical and literary imagination.

Sung in Teentaal, the composition provides ample scope for elaboration while preserving the lyrical charm associated with springtime repertoire in Hindustani classical music.

1001 BANDISHES OF THE GREAT MAESTROS (EPISODE 345-BANDISH 361)
Raga : BASANT
Taal: Ektaal
Thaat: Poorvi
Jaati: Sampurna
Time: Seasonal (Spring)
Vadi: Sa (Upper octave)
Samvadi: Pa

Raga Bahar || Phoolwaale kanta || Episode 344 || BANDISHES 360 || Manali Bose

Rāga Bahar, traditionally associated with the blossoming spirit of spring, beautifully captures the playfulness and gentle longing of the season. This lively Teentāal composition attributed to the celebrated patron-composer Akhtar Piya (Nawab Wajid Ali Shah) reflects the poetic imagery of Basant, where flowers bloom and nature awakens with colour and fragrance.
The nayika addresses the beloved flower-seller, requesting a garland for her beloved. She then sends a playful message to Akhtar Piya, asking him to come and gently pluck a tender branch—an evocative metaphor of youthful love and the delicate emotions of springtime romance.

1001 BANDISHES OF THE GREAT MAESTROS (Episode 343 Bandish 359)

Raga: Sohini
Thaat: Marwa
Jaati: Shadav
Time: Dawn (Sandhiprakash)
Vadi: Dha
Samvadi: Ga

Manali Bose singing a delicate yet intense late-night raga of the Marwa thaat, SOHINI Sohini embodies a luminous, inward fire — restless, yearning, and sensuous. Its sharp Ma (tivra Madhyam) and the poignant interplay of Re and Dha create a shimmering tension, perfectly suited to expressions of viraha and playful complaints.
In this Madhyalaya Addha bandish, the nayika addresses Krishna with an affectionate reproach.

The composition beautifully balances shringāra and chanchalata — tender longing mingled with teasing mischief. The rhythmic gait of Addha lends a graceful swing, enhancing the playful complaint while allowing space for expressive bol-bānāo and intricate layakari.
Sohini’s upward-striving phrases and glowing tivra Ma illuminate the emotional restlessness of the heroine, making this bandish both vibrant and evocative in performance.

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Manali Bose sings Ektaal Drut in Jogkauns || 1001 BANDISHES - EP 342

Rāga Jogkauns, a profound and evocative melodic entity that blends the introspective gravitas of the Malkauns anga with the gentle luminosity of Jog, unfolds a deeply romantic and contemplative aesthetic. The rāga’s tonal architecture lends itself beautifully to the expression of madhurya rasa, where longing, anticipation and devotional love coalesce into an intimate emotional landscape.

The present drut composition in Ektaal, composed by the eminent vocalist and guru Pandit Arun Bhaduri ji, gives voice to the nayika’s joyous anticipation upon the arrival of her beloved at her threshold. Adorned in graceful embellishments, she yearns to behold his beauty time and again, eager to embrace him and offer a garland symbolic of her love and surrender. The poetry delicately captures the union of śṛṅgāra and bhakti, where the mortal beloved seamlessly assumes a divine resonance.
Through succinct yet evocative imagery, the bandish portrays the emotional culmination of waiting — the threshold (dwaar) becoming the sacred meeting ground of love, devotion and fulfilment.

1001 BANDISHES OF THE GREAT MAESTROS (Episode 342 Bandish 358)
Raga : JOGKAUNS
Thaat: Undefined
Jaati: Audav - Shadav
Time: Night
Vadi: Sa
Samvadi: Ma

This drut composition in Raga Bilaskhani Todi unfolds the poignant emotion of viraha (separation) through the voice of a longing nayika. The text appeals to the Divine Beloved beseeching compassion and reunion.

The poetry articulates an existential restlessness — in the absence of the Beloved, the heart finds neither repose nor direction. Without Him, the inner being remains devoid of joy; night offers no rest, and daily life loses meaning. The language is simple, yet emotionally expansive, allowing the raga’s introspective gravitas to deepen the lyrical sentiment.

Presented in Drut Teentaal, the composition balances lyrical urgency with the raga’s inherent depth. The faster tempo does not diminish its introspection; rather, it intensifies the emotional plea, allowing for dynamic taans and bol-baant while retaining the gravity of the raga’s mood.

In essence, this bandish becomes both a personal lament and a devotional invocation — where aesthetic expression and spiritual longing converge.

1001 Bandishes of the Great Maestros EPISODE 341 BANDISH 357
Raga Bilaskhani Todi,
Tala - Drut Teentaal
Thaat: Bhairavi
Jaati: Audav-Sampurna
Time: Morning
Vadi: Komal Dha
Samvadi: Komal Ga

1001 Bandishes of the Great Maestros EPISODE 341 BANDISH 357
Raga Bilaskhani Todi,
Tala - Drut Teental (16 beats)
Thaat: Bhairavi
Jaati: Audav-Sampurna
Time: Morning
Vadi: Komal Dha
Samvadi: Komal Ga

THANKS FOR WATCHING!
We are Satrangee - the classical quartet working to spread Indian Classical Music.

If you are new here, please LIKE, SHARE & SUBSCRIBE: https://bit.ly/satrangee
Press the notification bell 🔔 for all updates!
Visit our website: https://www.satrangeeofficial.com
Facebook: https://bit.ly/fbsatrangee
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In Rāga Nayakī Kānadā, this Drut Teentaal composition unfolds the quiet anguish of the nāyikā. Separated from her beloved, she confides in her friend, asking how she may be granted his darshan. Her words flow from a heart steeped in longing — for without the vision of Hari, her yearning knows no pause.

Each moment stretches into ache, each day and night dissolves into devotion. A bandish where viraha becomes bhakti, and restrained emotion finds voice through melody.

1001 BANDISHES OF THE GREAT MAESTROS (Ep 340 Bandish 356)
Raga: NAYAKI KANADA
Thaat: Kafi
Jaati: Vakra Shadav
Time: Late night
Vadi: Pa
Samvadi: Re

The nayika expresses her deep, unwavering 'lagan' (devotion) for Shyam. His dark, enchanting form has completely captivated her heart. One glimpse of that bewitching 'moorat' is enough to steal her consciousness.
So overpowering is this 'prem' that her mind is no longer her own—Shyam has taken possession of it. In this state of 'virah', she has forgotten all worldly awareness; separation has left her restless, unable to return to the comfort of her own self or home.

The bandish beautifully reflects Abhogi’s introspective, restrained yet intense 'rasa', where longing and surrender are expressed with dignity rather than overt ornamentation.

This Drut Teentaal bandish in Raga Abhogi is
composed by Pt. Jnan Prakash Ghosh

1001 BANDISHES OF THE GREAT MAESTROS (Episode 339 Bandish 355)
Raga: ABHOGI
Thaat: Kafi
Jaati: Audav
Time: Late night
Vadi: Ma
Samvadi: Sa