Roothmens TV's video: Pandit Mallikarjun Mansur Live - Raga Bihagra - At 14 15 Jhan Jhan Payal - by roothmens

Bihagara is an Indian musical raga that appears in the Sikh tradition from northern India and is part of the Guru Granth Sahib. Every raga has a strict set of rules which govern the number of notes and their interplay that has to be adhered to for the composition of a tune. The Guru Granth Sahib consists of 31 ragas and this is the seventh raga to appear in the series. The composition in this raga appear on 20 pages from page 537 to 557. Bihagara is very similar to the modern and very popular raga Bihag. The resemblance is so close that many performers have trouble maintaining the significance of each. Bihagara is not given in the Ragmala. Today it is classified under the Bilaval thata. Guru Ram Das, Guru Arjan and Guru Tegh Bahadar set a total of 17 Shabads , chhants and a var to this raga. This raga is performed during the early night time between 9 p.m. and midnight, and it creates a devotional mood and has a tranquilising effect. The texts composed to this raga describes how complete peace and satisfaction comes to the person who surrenders everything to the Lord. Mallikarjun Bheemarayappa Mansur January 1, 1911 – September 12, 1992 was an Indian classical singer of the khyal style in the Jaipur-Atrauli gharana of Hindustani classical music. He received all three national Padma Awards, the Padma Shri in 1970, Padma Bhushan in 1976, and Padma Vibhushan, the second highest civilian honour given Government of India in 1992.[ In 1982, he was awarded the Sangeet Natak Akademi Fellowship, the highest honour conferred by the Sangeet Natak Akademi, India's National Academy of Music, Dance & Drama. Mansur was born on January 1, 1911, at Mansur, a village five km. west of Dharwad, Karnataka. His father, Bheemaraayappa was the village headman, a farmer by occupation and an ardent lover and patron of music. He had four brothers and three sisters. His elder brother Baswaraj owned a theatre troupe, and thus at age nine Mansur did a small role in a play. Spotting the talent in his son, Mallikarjun's father engaged him to a travelling Yakshagana (Kannada theatre) troupe. The owner of this troupe took a liking to the tender and melodious voice of Mallikarjun and encouraged him to sing different types of compositions during the drama-performances. Hearing one such performance, he was picked up by Pundit Appaya Swamy under whom he had his initial training in Carnatic music. Sometime later, he was introduced to classical Hindustani music under Nilkanth Bua Alurmath of Miraj who belonged to the Gwalior Gharana. The latter brought him to Ustad Alladiya Khan (1855- 1946), the stalwart and the then patriarch of the Jaipur-Atrauli gharana, in the late 1920s, who referred him to his elder son, Ustad Manji Khan. Following Manji Khan's untimely death, he came under the tutelage of Ustad Bhurji Khan, the younger son of Ustad Alladiya Khan. This grooming under Bhurji Khan, despite having 20 to 25 popular ragas only, had the most important influence on his 'Gayaki', style of singing. Mansur was well known for his command over a large number of rare ragas such as Shuddh Nat, Asa Jogiya, Hem Nat, Lachchhasakh, Khat, Shivmat Bhairav, Bihari, Sampoorna Malkauns, Lajawanti, Adambari Kedar and Bahaduri Todi, as well as his constant, mercurial improvisations in both melody and metre without ever losing the emotional content of the song. Initially, his voice and style resembled that of Manji Khan and Narayanrao Vyas, but gradually he developed his own style of rendition. He also remained music director with His Master's Voice (HMV) and later music advisor to All India Radio's Dharwad station. Mansur wrote an autobiographical book titled Nanna Rasayatre in Kannada, which has been translated into English as a book titled My Journey in Music by his son, Rajshekhar Mansur.