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20932409
20932409
20932409

Aria

for Hindustani Vocalist and Orchestra

By Esmail

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https://www.sheetmusicplus.com/title/aria-sheet-music/20932409

Hindustani Vocalist & Orchestra
For Hindustani Vocalist and Orchestra. Composed by Esmail. Full Scores. Full Score. 56 pages. Duration 0:12:00. Edition Peters #EP68525. Published by Edition Peters (PE.EP68525).

Item Number: PE.EP68525

297 x 420mm inches.

Even though my heritage is Indian, most of my early musical training was exclusively in Western classical music. It was only since 2010 that I began to learn about and explore Hindustani (North Indian) classical music, and incorporate its elements into my work. Though the combination of the unique resultant sounds of these two types of music are interesting to explore, it is the differences between the cultures and traditions from which these sounds emerge that interest me the most. My aim is not to create music that sounds "fused" as much as music that builds on the values and principles from both cultures and musical traditions, and that can function in both.

Aria was my first orchestral work that reflected my study of Hindustani music, and was also my first work to have both Hindustani and Western musicians performing together. I have used the setting of a traditional operatic aria (which is the traditional Western venue for singers to display their vocal ability accompanied by an orchestra) to create a small window into the world of Hindustani vocal music.

The work begins with contrasting aalaps: the ‘western aalap’ appears first in the form of a meterless set of textures, drawing its harmonic material from the notes of Raag Todi. The Hindustani aalap follows, with wind instruments providing counterpoint to the vocal line. This falls away to a western-style orchestral tutti based on the singer’s Todi phrases. She returns for a series of taans (fast virtuosic passages using sargam, or solfege) in Raag Yaman. In between each taan, the orchestra plays a mukhra (in this case, the first phrase of the bandish or composition, called “Sakhi Eri Aali Piya Bina”, which appears in its entirety later in the work.) The singer eventually begins to sing the antara (B section) of the bandish, followed by a western-style solo cadenza. She returns to sing the sthaayi (A section) of the same composition. As she sings in Yaman, phrases of Todi seep through in a duet between the oboe and English horn.

It is fitting that "Sakhi Eri Aali Piya Bina" is the first bandish many students of Hindustani khayal vocal music learn, and also that it is one of the few that is widely known and shared between various schools of Hindustani khayal singers. It may, in the case of this piece, be the first Hindustani bandish that Western musicians hear, and is a wonderful point of entry into the artform.

- Reena Esmail

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