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Our kahani now goes into flashback with a tappa. As legend has it, our classical musicians, deprived of royal patronage, had to teach courtesans their music for a living. Here, the evocative, robust tappa that they sang evolved into the lighter, feminine, delicate thumri. While the tappa is usually used as a tool to display an artist’s vocal prowess and his scholarship, it has incredible emotive appeal. As the tappa gives way to the following thumri, it retains this emotive appeal while ridding itself of all pedantry.

In the last mood of raga Kafi, the thumri finds its way to the kotha. Here, our nayika laments her separation from her pardesi beloved but rather than talking to him as she does in the previous thumri, she makes a public presentation out of it. This style and even the harkats of this thumri have the characteristic flavour of kotha singing.

lyrics

टप्पा :
हो मिया वे जाने वाले , तैनू अल्ला दी कसम
फिरी आवे, नैनो वाले |

आंदा जांदा तुसी मन ले जांदा
और सजन गर लग जा, सरशार मतवारे |


ठुमरी १:
हाँ अब कैसे कटेगी मोरी बाली रे उमरिया रामा
सैंया गए परदेस |

बेदर्दी से लागी रे नजरिया
नहीं भेजी जिसने खबरिया, रामा |


ठुमरी २:
पिया बिन नागिन है काली रैन |

सूनी सेजरिया जी घबरावे
इक पल मोहे चैन न आवे
जात रहे सुख चैन |

सावन की रुत देख सखी री जी मोरा लहराए
बन में बोले मोर पपीहा, कोयल शोर माचवे
बिजली चमके, मेहा बरसे, बादल बीर बीर आए
जूं जूं रैन बढ़त सखी री मोहे पी की याद सतावे |

credits

from Thumri Katha (Album Preview), released November 2, 2007

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Pt. Satyasheel Deshpande Mumbai, India

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