Hori in Raga Kafi | Vidushi Dr. Ashwini Bhide Deshpande | Kaisi Hori Machai Kanhai

Beautiful Rendition of Hori(Bhajan) in Raag Kafi by Dr. Ashwini Bhide Deshpande accompanied by Pt. Vinod Lele on Tabla and Dr. Vinay Mishra on Harmonium.
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Raga: Raag Kafi
Taal:
Composition: Kesi Hori Machai
Composer:
Vocalist: Vidushi Dr. Ashwini Bhide Deshpande
Style: Jaipur-Atrauli Gharana
Tabla: Pt. Vinod Lele
Harmonium: Dr. Vinay Mishra
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📝Lyrics:

कौन तरह से तुम खेलत होरी
अबीर गुलाल अखियन के ऊपर
देखो लला मोरी आँखें न खटकें
गारी मैं दूँगी तोसे ना डरूँगी
देखो श्याम बिहारी
पट ना ले हो/वो मोरी घूंघट उलट के
कौन तरह से तुम फेंकत


कृष्ण ने कैसी होरी मचाई अचरज लखियो न जाई
असत सतकर दिखलाई ॥
एक समय श्रीकृष्ण देवके होरी खेलन मन आई
एक् से होरी मचे नहि कबहुं यातें करूं बहुताई
येही प्रभु ने ठहराई ॥ १
पांच भूत की धातु मिलाकर ब्रमंड पिचकारी बनाई
चौदह भुवन रंग भीतर भरकर नानारूप धराई
प्रगट भये कृष्ण कन्हाई ॥ २
पांच विषय की गुलाल बनाकर बीच ब्रमांड छुड़ाई
जिस जिस आंख गुलाल पडी सो सुधबुध सब बिसराई
नही सुजात अपनाई ॥ ३
ब्रम्ह ज्ञान अंजन की सिला का जिसने नैन में पाई
ब्रम्‍हानंद सबी तम नाशयो सूझ पडी अपनाई
भरम की धूल उडाई ॥ ४
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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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