This collection of extracts from my collection of audio recordings of the epic
of Pābūjī contains the same material that was included on the cassette tape
mentioned at the end of the preface to the first edition of The epic of
Pābūjī. It consists of three items:
This recording of Chogo and his wife was made in Jodhpur in 1973. Chogo is a
relatively flamboyant performer, and the recording gives a good impression of
what a performance sounds like at its best. The particular extract has been
selected to contain as much musical diversity as possible. The narrative is
that of the wedding of Gogo to Kelam; the extract starts with the last six of
the invitations that are given to the gods, and continues to the point where
the wedding-procession sets out and travels to Koḷū. As usual songs alternate
with passages of declamatory spoken arthāv, during which a member of
the audience can be heard echoing the last word of each line.
In turn, the songs consist of
the invitation to Kṛṣṇa (i.e. a song in his honour)
the invitation to Śiva and Pārvatī
the invitation to the Goddess
the invitation to the bhomiyo (the deified protector of
the invitation to Sarvaṇ Kāvaṛiyo
the invitation to Bhairū̃
two songs in honour of the bridegroom and his
wedding-procession (no arthāv follows these)
a narrative song covering the equivalent of ll. 804-11 in the
version of the story appearing in The epic of Pābūjī
three more sung passages covering the equivalent of ll.
818-21 in The epic of Pābūjī
two non-narrative songs honouring the bridegroom’s arrival
These short extracts are the passages cited in notation in The
epic of Pābūjī (pp. 29-36 in the second
Music example 1 is a single stanza of my 1973 recording of the
epic as performed with earthen kettledrums (māṭā). It is sung twice,
first by the senior singer, then by the junior.
Music example 2a is a single stanza sung to the tune rūpnāth rī
ḍhāḷ by Parbū Bhopo, the performer whose version of the epic is
transcribed and translated in
The epic of Pābūjī. The recording was made in 1976.
Music example 2b, as it appears in The epic of Pābūjī,
is the same stanza as example 2a, recorded in Amsterdam in 1978; in
it Parbū uses the tune parbātī ḍhāḷ (a formal variant of
rūpnāth). Unfortunately the recording in question is on a videotape
made using a format that has since become obsolete; it was anyway of very poor
quality. Instead, here is a stanza in parbātī ḍhāḷ from the 1976
recording of Parbū: it comes from the same section of song as example 2a.
Music example 3a is a stanza sung to the tune pherā̃ rī
ḍhāḷ by the brothers Javārjī and Rāṇā, in a recording made in
1972. As it appears in The epic of Pābūjī, it in fact
consists of the first half of one stanza and the second half of the
following stanza: this is in order to allow comparison with example
4a, which is the equivalent passage from Chogo Bhopo’s performance
(using the tune āḍī ḍhāḷ). Here is the example as notated:
Here is the complete two-stanza version of example 3a:
Music example 3b is Chogo Bhopo’s version of pherā̃ rī ḍhāḷ.
Music example 4a is a single stanza sung by Chogo Bhopo to the
tune āḍī ḍhāḷ; as noted above, the words are the same as those of
Music example 4b is a stanza sung to āḍī ḍhāḷ by the brothers
Javārjī and Rāṇā.