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Thumri marks a significant phase in the evolution of North Indian (Hindustani) music. The word Thumri is derived from “thumak” (graceful stamping of the foot) and it connotes the association of the song-form with dance.

Thumri thus came into vogue in the eastern region (Purab) of Uttar Pradesh towards the close of the 18thcentury as an accompanying song of dance. The object was to make dance movements more expressive and abiding. Primarily, however, its emergence symbolized a revolt against Khayal, its precursor, in which combinations of musical sounds enjoyed pre-eminence over the poetic contents of song-themes. So it was that Thumri evolved as a purely romantic style. The poetic content of the song-text became basic to its effective delineation and the notes had to conform to is lyrical import.

Aptly described as “the expression of the singer’s soul and temperament”, Thumri has developed into a difficult art, to cultivate which the singer needs to undergo a long traditional training. The singer has to comprehend the lyrical motivation of the chosen song to be able to give full musical expression to the emotion it enshrines. Voice modulation and delicate intonation are two of the many vital features of this vocalism and the singer is allowed freedom to employ a variety of ornamentations such as the “meend”, “murki”, “kan”, khatka”, zam-zama” and the like in projecting the mood of a Thumri piece.

While “Purbi” Thumri evolved into two “angs” (variations) of Lucknow and Varanasi (Banaras), the “Punjabi” variety, heard in this disc, is a relatively recent development which has come as a landmark  in the light classical domain. It achieves a subtle blend of popular “Punjabi” folk airs with the orthodox features of “Purbi” Thumri. The credit of this pioneering innovation goes as much to Ustad Barkat Ali Khan as to his great elder brother, Ustad Bade Ghulam Ali Khan.

Ustad Barkat Ali Khan was born in 1907, Timber and tone coursed through his veins, so much so that even while still a teenager, he blazed forth as one of the best light classical singers of his time. His illustrious father, Ustad Ali Baksh, groomed both his sons for classical singing. But Ustad Barkat Ali Khan soon discovered that his sensitive, emotion-soaked voice and his equally sensitive temperament would lend themselves more naturally to light classical music. And he harnessed all his originality and virtuosity, talent and imagination, and heart and mind to the worship of his Muse in a different way. In the process, he matured into an inimitable exponent of thumri and ghazal varieties. Even today, there is hardly any singer who can match Ustad Barkat Ali Khan in the field.

His very first disc, particularly the theme “Baghon men pade jhoole”, was the rage of the mid-thirties. It just captured the hearts of millions of connoisseurs all over the sub-continent. It also marked his rise to greater and still greater heights – till cruel death snatched him away from their midst in 1963.

Ustad Barkat Ali Khan’s recorded music is all that we now have to cherish and preserve as the memento of his greatness. This disc is one such masterpiece of his artistry. It offers you four of his best thumris.

He sings them in a voice suffused with feeling. Each song comes to you as the utterance of a deeply moved soul and brings back to mind the haunting memories of the days gone by.

Artist: 

Ustad Barkat Ali Khan (Vocal)