After receiving a tremendous response from both – musicians and the Rasiks, to my first album of self-composed Bandish-s sung by Anuradha Kuber in ‘Srujan Pratham’, it gives me great pleasure to present the next vibrant garland of some more Bandish-s! Pushkar Lele, a brilliant young vocalist, renders these Bandish-s in this second album ‘Srujan Dwitiya’. For this album, I have chosen a good variety of Bandish-s such as Khayal, Tappa, Chatarang and Tarana and I am so glad that Pushkar has given full justice to these compositions with just the appropriate rendering that the bandish-s demand. The first Bandish in Raag Kalyan, – ‘Sapat Sur Gaao’, explains the basic principle of exploring the Raag by using the notes in four ways (Varna-s), namely Arohi, Awarohi, Sthayi and Sanchari. One interesting fact about this Bandish is the Antara, which is composed by Pushkar. Despite the original Antara, Pushkar felt a creative need to change it to suit his Gayaki. So he added his own Antara which goes perfectly with the Sthayi! Such cordial musical interaction between musicians has been part of our great tradition since a long time. The Drut Bandish in Tritaal – ‘Bajo Re Mandilara’ was composed on the auspicious festive day of Dipawali. Naturally, this Bandish has a joyful mood and is energetic in nature! In the Bandish in Raag Kedar, ‘Kaiso Tero Laal’, I have depicted the mischievous Lord Krishna teasing the Gopi-s. Pushkar adds his own flavour to it and comes across as a story-teller with his singing by Bol-taans and with gripping lyrical pronunciations.The third Bandish in Raag Suhana Kanada, in Triwat theka is another experiment with Raag-roop as well as the Theka! I have dared to create this new Raag-roop and have named it Suhana Kanada. It is a combination of few varieties of Raag Kanada, such as Nayaki Kanada, Shahana, Suha-Sugharaai Kanada and Lachhasakha. This Bandish depicts the pathos of a newly married, but separated young Proshita-Patika Nayika. Pushkar has sung this Raag with exceptional ease, bringing out the homogeneity in the Raag-roop and avoiding a patch-work treatment. Tappa in Raag Khamaj is also an unusual Bandish, as the Tappa usually happens to be in Panjabi language. But here I have composed Tappa in Hindi or Brij language. In this enthralling composition, a Swadhin-patika Nayika makes a request to her Nayak to enjoy the pleasant and romantic air of rain by swinging on a Jhoola! Pushkar shows his mastery over voice while singing this Tappa with bounce and verve. This is followed by a Bandish in Raag Des, ‘Boond Jhar Lage’ in which I have used the simile between the raindrops and the pearls in a necklace! Further then I have elaborated the simile by saying that the lightening in the black rainy clouds looks like fair complexioned Radha in the arms of dark Krishna! This beautiful poetic Bandish is rendered by Pushkar with decorative and emotive Bol-Alaps and clear Taans. The final track is a Chatarang and Tarana in Raag Madhukouns. Here I have tried to let my aesthetic sense flow hand in hand with a degree of craftsmanship. Pushkar begins with a brief Alap, followed by Sargam and finally some brilliant cascading Taans. In this intricately woven Chatarang with four aspects (Angas), namely the lyrics revealing the theoretical facet of music, Saragam, Natawari (language used for Kathak dance) and Tarana, the content is all about fine music-making! This is followed by a fast riveting Tarana in Drut Tritaal, characteristically of the Gwalior Gharana style. Pushkar’s exposition of both these Bandish-s is marked with sharp, complex Taans and instantly imagined variations.