Original inlay notes
Rajan & Sajan Mishra - A Marvel In Musical Partnership
If the aim of musical partnership, better known as Jugalbandi, is to bring home subtleties and refinements of music as naturally and spontaneously as in solo, then Pandit Rajan Mishra and Pandit Sajan Mishra must be acclaimed as the best Indian Classical vocal music has to offer today. With their immense skill, imagination, energy and effortless elegance they have raised the status of Jugalbandi music to new heights.
Representing the Varanasi or Banaras tradition of Khayal singing, these two brothers had their training under the guidance of their father, a well-known vocalist, Pandit Hanuman Prasad Mishra, and their uncle, Pandit Gopal Prasad Mishra, one of the most celebrated sarangi players of India. Today they are considered the foremost exponents of the Banaras style of singing.
It is a measure of their popularity that Rajan-Sajan Mishra, as these brothers are popularly known, always command huge audiences wherever they perform - be it in India or abroad. In addition to Khayal, Mishra brothers also excel in rendering the light classical forms such as Tappa, Tarana, and Bhajan.
This is an evening melody and is usually performed as an introductory or opening item of a classical concert. In its framework this melody permits all the seven notes of the octave both in the ascent (aroha) and descent (avaroha) and a peculiarity of this raga is that there is not a single flat note either in the ascent or in the descent. Yaman has a mood of serence quietness and therefore it is best suited for compositions of a sublime and devotional character.
The artists open with a slow moving composition in a rhythmic cycle of 12 beats known as Ek-taal. The exposition is very neatly planned and there follows a gradual development of the raga that fascinates the listener with its artistry. After unfolding the main shades of the raga the artists switch to a slightly faster tempo (Madhya laya) confined to a rhythm of 16 beats known as Teen-taal.
Historians associate Hazrat Ameer Khusrau with the innovation of Tarana style of Khayal singing. Being a Persian, he could not pronounce Sanskrit compositions of the Indian classical music and therefore he introduced meaningless combinations of certain words (ta na to re, to da re, odani, deem, tanom to name a few) in the Khayal singing which later became famous as Tarana.
The artists present a short piece in Tarana in Raga Yaman in the fast tempo of Teen-taal (16 beats) taking the presentation of this raga to an exciting conclusion.