74. Dekho Saavan Aaya, Piya Na Aayeri
Raag: Yaman
Taal: Roopak
Tempo: Madhyalaya
Devanagari:
स्थायी :
देखो सावन आया, पिया ना आयेरी
अगन जिया मोरा जलाये जायेरी।
अन्तरा :
चहुँ ओर ते बदरा छाये
सदासंत पिया मन तें आये
का करूँ मैं कित हूँ जाऊँ
जियरा धक धक तरसायरी।
Romanized:
Sthayi :
Dekho saavan aaya, piya na aayeri
Agan jiya mora jalaaye jaayeri
Antara :
Chahu or te badra chhaaye
Sadaasant piya man ten aaye
Ka karu main kit hu jau
Jiyara dhak dhak tarsayeri
Lyricist:
NA
Composer:
NA
Links to Listen (Available on YouTube):
Singer: Manas Chakravarty | Posted By: PAFM Music Channel | Starts At: ’48:00
Anecdote: Pandit Manas Chakravarty has performed this in Drut tempo but often begins closer to Madhyalaya to preserve lyrical emotion before accelerating. This is a Viraha-oriented bandish, depicting the anguish of separation as the monsoon arrives but the beloved does not return. Acknowledgment to Ruchira Panda ji (Kotali Gharana) for sharing the lyrics.
Kotali Gharana highlights: Strong emphasis on literary depth of bandish poetry, Expressive, dramatic “Bandish Gayan” style, High value on spontaneous creativity and improvisation, Eclectic absorption of multiple gharana influences, Renowned in Bengal for Ragpradhan and Thumri traditions, Known for a secular, humanist musical philosophy.
Notable exponents:
Tarapada Chakraborty, Pandit Manas Chakravarty, Ruchira Panda
Singer: Ruchira Panda | Posted By: Society for Indian Music and Arts (SIMA)
Anecdote: It is a magnificent rendition of Yaman! The Vilambit is deeply moving, full of emotion and nuance. And the Drut which starts at 21:07 — is truly one of the finest I have encountered in this raag, and I say this having listened to over 330 Yaman bandishes across four decades. The tabla accompaniment is superb as well — a true partnership in music. You carry forward the Kotali Gharana tradition with such grace and mastery.