Devotional songs in dialects of Hindi have been a vibrant part of north Indian culture for half a millennium, and names such as Mira Bai, Tulsidas, Kabir and Raidas have echoed through temples and homes from generation to generation. These songs — called pada or bhajan — are the medium through which the eternal teachings of religion are made accessible to the people at large: they unlock the classical treasury in which the ancient Sanskrit scripture of Hinduism is stored, and dispense the wealth of that inspirational knowledge to the eagerly awaiting speakers of India’s modern languages. The lyrics themselves are mostly addressed to God, or describe and praise him, whether in the form of Krishna or Rama, or alternatively in the abstract terms of the nirgun tradition which prefers to see God as a force to be realised within the human soul.

Lakshmi Shankar is one of the most celebrated singers performing today in the North Indian (Hindustani) style of music. While her concerts have brought her worldwide success as a classical artiste, she has simultaneously developed a great reputation as a singer of devotional lyrics. She is best known for her performances — over several decades! — of the work of poets such as Surdas and, especially, Mira Bai: for many listeners her name is virtually synonymous with that of Mira, as her voice brings out every nuance of the pain of love expressed by the Rajasthani princess who lived five hundred years ago. This recording is further enhanced by the astonishingly sensitive and powerful accompaniment of Ramesh Mishra on the sarangi. This is actually more than a mere “accompaniment”, and many times the creativity of Mishraji’s own playing sets the mood for a particular piece. The third musical element is provided with equal sensitivity and power by the tabla of Partha Sarthi Mukherjee.