Raga Nand | Vidushi Dr. Ashwini Bhide Deshpande | Live at Bharat Sangeet Utsav 2006

Beautiful Rendition of Raag Nand by Vidushi Ashwini Bhide Deshpande.

00:00 -Vilambit khayal : Dhundu Bare Saiyan
26:54 - Drut Khayal : More Karan De Re
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Raga: Raga Nand
Taal: TeenTaal
Composition: Dhundu Bare Saiyan and More Karan De Re
Composer: Dhundu Bare Saiyan : Mehboob Khan “Daraspiya” (d. 1921)
Vocalist: Vidushi Dr. Ashwini Bhide Deshpande
Style: Jaipur-Atrauli Gharana
Tabla: Pt. Ravidra Yavagal
Harmonium: Pt. Vyasmurti Katti
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📝Lyrics:

*********** Dhundu Baare Saiyan **********

स्थाई - ए बारे सैय्या तोहे,
सकल बन बन ढुंडू |

अंतरा - बिदना तिहारी कोऊ ये ना जाने,
देहो दरस अपनो मोहे प्यारे ॥

************* Mohe Karana De Re ************

मोहे करन दे रे बतिया,
देर भयी सैंया रे ,
मत कर मान गुमान ॥

एक तो बैरन ननंदिया,
दुजे संग की सखिया,
छेडत बिनमावत अकुलावत ॥
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About Artists:

Dr. Ashwini Bhide-Deshpande:
Ashwini Tai belongs to the Jaipur-Atrauli gharana tradition. Ashwini Bhide-Deshpande was born in Mumbai on 7th October, 1960, into a family of music connoisseurs and musicians. She completed her Sangeet Visharad from the Akhil Bharatiya Gandharva Mahavidyalaya. Being a scholar, Ashwinitai also obtained a PhD in Biochemistry from the reputed Bhabha Atomic Research Centre, Mumbai.
Ashwinitai‘s journey into classical music began under the tutelage of Narayanrao Datar, who belonged to the Paluskar branch of the Gwalior gharana. Later, her disciplined taleem under her mother, Manik Bhide (who herself was trained under the legendary Kishori Amonkar) was largely made up of learning the traditional aspects of the Jaipur-Atrauli style of raga development and also studying the nuances of raga-music. She then went on to train under Ratnakar Pai, a renowned teacher of the gharana, from whom she received further guidance and a great repertoire of the traditional paramparik compositions and ragas. Because of her influences from the Jaipur-Atrauli, Mewati and Patiala gharanas, she has created her own musical style. She holds a strong command over the three primary saptaks.
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