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sur
Sun 10 Dec, 2006 04:27

CLASSICAL TRANQUILITY & MUSIC REVIEW
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#ed_op#P#ed_cl##ed_op#FONT color=#7f3f00 size=6 face="Comic Sans MS"#ed_cl##ed_op#STRONG#ed_cl#HISTORY OF CLASSICAL MUSIC #ed_op#BR#ed_cl##ed_op#/STRONG#ed_cl##ed_op#/FONT#ed_cl##ed_op#BR#ed_cl##ed_op#BR#ed_cl##ed_op#FONT size=4 face="Arial Narrow"#ed_cl#There was a time when interested people used to find out places where music of various kinds was arranged. They used to attend such places where musical programs were arranged. In the forties, musicians of high caliber were appointed and trained by the help of rajahs, maharajahs, nawaabs and zamindars in various states (provinces) and estates of India. Bihar was no less than any other state in patronizing the classical music and its exponents with full sympathy and hospitality which was a culture embedded in the people of Bihar and Patna was not an exception. #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#BR#ed_cl##ed_op#FONT size=4 face="Arial Narrow"#ed_cl#http//www.patnadaily.com/images/musical/duggi.jpg#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#BR#ed_cl##ed_op#BR#ed_cl##ed_op#FONT size=4 face="Arial Narrow"#ed_cl#There were small estates in Bihar, Patna having a few. These estates had their own musicians individually and a kind of competitions used to be organized to select the best musicians who performed during some special occasions and festivals.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#BR#ed_cl##ed_op#FONT size=4 face="Arial Narrow"#ed_cl#http//www.patnadaily.com/images/musical/violin.jpg#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#BR#ed_cl##ed_op#FONT size=4 face="Arial Narrow"#ed_cl#Musicians considered Patna as one of the main seats of Music in the country and they used to come and perform here. Particularly during the festival of Durga Puja, they never neglected Patna and used to come and perform on the stage specially built for the occasion. Such stages were built at many places in Patna and programs were chalked out. People, all night long, used to see the performances of the artists and enjoyed the music. Several local artists of Patna and they also participated. Music was in the air everywhere for three-four days during the Dussehara in Patna and the outside musicians were so much entertained that they didn't miss an opportunity to praise the hospitality of the Patnaites. Some of them were so impressed that they did not want to leave Patna and were tempted to settle down permanently. #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#BR#ed_cl##ed_op#BR#ed_cl##ed_op#FONT size=4 face="Arial Narrow"#ed_cl#In North Bihar, there was the Darbhanga estate , where several musicians were appointed for the Durbar both instrumentalists and vocalists. One of the vocalists, Pandit Ram Chatur Mullick was well versed in Dhrupad, Dhammaar and Thumri styles of classical music. He was also an outstanding musician of All India Radio, Patna.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#BR#ed_cl##ed_op#BR#ed_cl##ed_op#FONT size=4 face="Arial Narrow"#ed_cl#During those times, the musicians of durbars were not allowed to go out to perform nor were they allowed to earn money by going to several doors unless they were permitted on request by other parties for the performance with the condition that they will not charge any money. They were warned thus because they were given all the remuneration from the durbar and this was done only to save the prestige of the musicians and the durbar itself.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#BR#ed_cl##ed_op#BR#ed_cl##ed_op#FONT size=4 face="Arial Narrow"#ed_cl#There was another estate of Bettiah. This estate also had musicians and Pandit Deepraj among them was an expert in Dhrupad. He was so popular and favorite due to his musical talents that the "raaj" had bestowed upon him plots of land ('jagirs') for the maintenance of his whole family and the coming generations.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#BR#ed_cl##ed_op#BR#ed_cl##ed_op#FONT size=4 face="Arial Narrow"#ed_cl#The landlord (zamindaar) of Pachhgachhia, Rai Bahadur Lakshminarain Singh was himself a learned person in classical music and was an exponent in playing the "pakhawaj" (a percussion instrument). He trained many musicians in "Shashtriya Sangeet" (Classical Music). One of his best disciple was Magan Khawas who had earned quite a reputation even outside Bihar. Unfortunately, he died very young at the age of 35.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#BR#ed_cl##ed_op#FONT size=4 face="Arial Narrow"#ed_cl#http//www.patnadaily.com/images/musical/saxophone.jpg#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#BR#ed_cl##ed_op#BR#ed_cl##ed_op#FONT size=4 face="Arial Narrow"#ed_cl#Another student of the Rai Bahadur was Raghu Jha who was also a very expert musician. He was an artist of the All India Radio, Patna.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#BR#ed_cl##ed_op#BR#ed_cl##ed_op#FONT size=4 face="Arial Narrow"#ed_cl#Then there was Ghana Ram, a great musician of the durbar of Maharaja of Dumraon. He had composed Ragas in quite a different and peculiar styles which have now become rare and most of them lost in the flow of time. Those who are aware of them, are still interested to know them. It makes a good research subject.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#BR#ed_cl##ed_op#BR#ed_cl##ed_op#FONT size=4 face="Arial Narrow"#ed_cl#The rajahs of the Banaily estate were also very fond of music and they had appointed musicians (gaayeks) of high caliber in their durbar. The entire family of the rajahs had knowledge of music. One Ustaad Iltaaf Hussain Khan, who was an outstanding musician of the All India Radio, Patna, lived in Baneily with Raja Saheb. He had participated several times in the National Program of All India Radio, Delhi which was a matter of great prestigious status.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#BR#ed_cl##ed_op#BR#ed_cl##ed_op#FONT size=4 face="Arial Narrow"#ed_cl#A big zamindaar (landlord) of Muzaffarpur, Uma Shankarji, alias Bacha Babu, was well versed in the Dhrupad style of classical music. He also had several musicians in his durbar and Ustad Kalay Khan and his brother Ustad Najju Khan were his famous durbar musicians. Both brothers were known for excelling in Raga Dhrupad. Najju Khan was also an exponent of Khayal, Thumri and Ghazals.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#BR#ed_cl##ed_op#FONT size=4 face="Arial Narrow"#ed_cl#http//www.patnadaily.com/images/musical/piano.jpg#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#BR#ed_cl##ed_op#BR#ed_cl##ed_op#FONT size=4 face="Arial Narrow"#ed_cl#Bacha Babu gave due respects to the artists of other states by inviting them at his place. Artists like Sangeet Martand Pandit Vinayak Rao Patvardhan, Pundit Onkarnath and many other renowned musicians were regularly invited at his place. Ram Hari Dandekar, a musician and a disciple of Pundit Vinayak Rao Patvardhan, was in his durbar for providing training in classical music to the children of Bacha Babu.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#BR#ed_cl##ed_op#BR#ed_cl##ed_op#FONT size=4 face="Arial Narrow"#ed_cl#At Arrah, there was another zamindaar of Jamira estate, Shatrunjay Prasad Singh alias Lallan Babu, who was a great lover of classical music. He left no stone unturned in preserving the sanctity of classical music by holding annual music conferences. He himself was a master in playing the Pakhawaj and the Tabla. and trained several students whom to play these two percussion instruments.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#BR#ed_cl##ed_op#BR#ed_cl##ed_op#FONT size=4 face="Arial Narrow"#ed_cl#In Gaya, there was Maharaj Deo who was also fond of classical music and used to invite famous musicians belonging to other states during the festivals of Holi and Dussehara. People of Gaya had always been music lover and in Pawai, which was then a village, several musicians lived. (Gaya people are very fond of music and still keeping the tradition for introducing music of high class).#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#BR#ed_cl##ed_op#BR#ed_cl##ed_op#FONT size=4 face="Arial Narrow"#ed_cl#Some of the musicians remained in Patna for good seeing the interest, involvement and appreciation for music. Ustaad Aman Khan of Rampur in Uttar Pradesh, remained in Patna till his last breath. He was exponent in the Dhrupad and Dhammaar styles of classical music.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#BR#ed_cl##ed_op#BR#ed_cl##ed_op#FONT size=4 face="Arial Narrow"#ed_cl#A very renowned singer named Bari Zohra Bai lived in Patna for a very long period. She was an expert singer in the styles of 'Khayaal" and "Thumri". Her songs were recorded by the renowned recording company "His Master's Voice" (or more popularly known as HMV) and her records were very hot during those days. She was much appreciated and patronized by the Ramgarh Estate of Bihar and the Maharaja of Gidhaur had given her handsome rewards.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#BR#ed_cl##ed_op#BR#ed_cl##ed_op#FONT size=4 face="Arial Narrow"#ed_cl#There was one Mushtary Bai of Agra exponent in the "Khayaal", "Thumri" and "Tappa" style of music and she also stayed in Patna for years.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#BR#ed_cl##ed_op#FONT size=4 face="Arial Narrow"#ed_cl#http//www.patnadaily.com/images/musical/horn.jpg#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#BR#ed_cl##ed_op#FONT size=4 face="Arial Narrow"#ed_cl#Then there was Baurahi Kaneez, who was expert in singing the "Thumri", "Daadraa" and "Kajli" styles of Indian Classical Music. She also spent her life in Patna.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#BR#ed_cl##ed_op#BR#ed_cl##ed_op#FONT size=4 face="Arial Narrow"#ed_cl#As for instrumental music, it is to be noted that Harmonium, which was an essential instrument for accompaniment with the musicians, was introduced in Bihar by Pandit Ganpat Rao (alias Bhaiyaji) who was an eminent Veenkaria of Gwalior in Madhya Pradesh. He lived in Patna for years and made some famous disciples like Sohni ji of Gaya and Patna's Ustaad Ghafoor Khan who were very famous for playing harmonium. Bhaiya Ji used to live in Patna with one Pandit Keshav Maharaj who himself was an exponent player of "Pakhawaj" and "Tabla", the famous percussion instruments. Keshav Maharaj was the pioneer of spreading music among the amateurs in Patna. His famous disciple was Pundit Shyam Narain Singh who played the harmonium. He was also the Music Teacher in the famous Girls' High School of Patna. #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#BR#ed_cl##ed_op#BR#ed_cl##ed_op#FONT size=4 face="Arial Narrow"#ed_cl#As regards 'Tabla', another important percussion instrument, Ustaad Ali Qadar Khan was quite famous. His son Daddan Khan was just like his father as far as Tabla playing was concerned. His fame spread due to being an expert in "Taal Kaharwa", a type of rhythm which is somehow more popular than other types of rhythms.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#BR#ed_cl##ed_op#BR#ed_cl##ed_op#FONT size=4 face="Arial Narrow"#ed_cl#"Sarangi" has also been a very important string instrument for accompaniment with the singers. Among the old Sarangi players, Shiv Sahay Ji, Shambhu Guru, Hira Guru and Mukut Guru were famous. They were wizards in giving a faithful combinations of "swaras" (musical notes) while accompanying with famous vocalists. Bahadur Khan was also a famous Sarangi player and was equally expert in harmonium. Bahadur Khan's son Ata Hussain Khan was a good vocalist who was also an eminent artist of the All India Radio, Patna. He also always remained in Patna.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#BR#ed_cl##ed_op#BR#ed_cl##ed_op#FONT size=4 face="Arial Narrow"#ed_cl#Some other vocalists were also residents of Patna. Ustaad Sadique Khan (who was also an expert in playing the Sitaar); Gul Mohammed Khan, expert in Khayaal in the Kirana Gharana ( a family tradition) style; Roshan Ara, daughter of Patna based Chanda Bai, learned music in Patna but later settled in Bombay (now Mumbai) where she got appreciation and kept the prestige of Patna. She was nicknamed Maua. Then, there were other singers of repute like Haider, Imam Bandi and Ramdasi. Ramdasi was a very promising musician in the Khayaal style and Bhajans trained by Mukut Guru but she died very young. These famous classical music exponents were the jewels of Patna.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#BR#ed_cl##ed_op#BR#ed_cl##ed_op#FONT size=4 face="Arial Narrow"#ed_cl#Patna also had good Kathak Nritya dancers. (Kathak is one of the classical styles of dance of North India). There was one Thapa Guru who was a famous Kathak dancer. At that time there was a group of Bhaands (dancers) whose leader was Alijaan. In every festival, specially in marriages, it had become a prestigious custom to arrange for the dances of the Bhaands and without Alijaan and his party the Mehfil (the function) was considered to be incomplete. Alijaan was an accomplished vocalist too and was expert in rendering the Thumri style of classical music. While singing, his expressions and poses were excellent and well enjoyed by the audience. #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#BR#ed_cl##ed_op#BR#ed_cl##ed_op#FONT size=4 face="Arial Narrow"#ed_cl#Speaking of Thumri, we can mention the name of Karim Khan Saheb of Gwalior. He was a high class Thumri Gayak (singer). The "boles" (wordings) of Thumri were his originality. He was always invited to Patna during the festivals for his performances. Dussehara was the main festival when the renowned and reputed musicians were invited to Patna. Due to the various musical programs, Patna's Dussehara was famous in the whole country. Musical functions were organized at different Chaurahas (cross roads) under the banners of various Puja Committees. For two, and sometimes three days. every year during the festival, day and night, music dominated the atmosphere. The people of Patna, males, females, children, old and young, all used to enjoy the music these two or three days by moving from chauraha to chauraha . They wanted to hear all the good artists and so they moved the whole night and enjoyed music. #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#BR#ed_cl##ed_op#BR#ed_cl##ed_op#FONT size=4 face="Arial Narrow"#ed_cl#Some famous artists who came to Patna every year were Pandit Onkaar Nath; Pandit Vinayak Rao Patwardhan; Faiyaaz Khan Saheb; Aaftaab-e Maushiqui,;Pandit Narayan Rao Vyas; Pandit Manhar Barway; Pundit D. V. Paluskar (son of the famous Pundit Vishnu Digambar Paluskar; Ram Marathe the famous actor and director of Indian cinema); Ustaad Ali Akbar Khan (the great Sarod, a string instrument, player); Ustaad Mushtaaq Ali Khan (Sitar player); Hira Bai Barodkar, Saraswati Rane; and, great Kathak Dancer and Sangeet Samraat Sukrey Maharaj with his party consisting of his daughter Sitara Bai and son Gopikrishna, brother-in-law Chaturbhuj Chaubey. These artists were from places like Calcutta, Mumbai, Poona, Gwalior, Nepal etc. Apart from them, of course, the artists of Bihar, as named earlier, participated.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#BR#ed_cl##ed_op#BR#ed_cl##ed_op#FONT size=4 face="Arial Narrow"#ed_cl#Patna has always been in the forefront for keeping up the tradition of classical, light classical and light music and has always given the opportunity to all the musicians not only of Bihar but of the country by providing them with the appropriate platform for their performance and appreciating their innate talents. Patna has always been adorned with music and musicians and the people, even today, are keeping up the tradition. For the last many many years, Patna has been the center and seat of music. Today of course, there has been a change in the sense that classical music has been overshadowed by the modern trend of music such as the Pop, film music and other very light music. This is due to changes on the social, political, cultural and educational fronts. However, Patna always encouraged the classical musicians who were attracted towards Patna and used to come and perform in the presence of rich as well as the poor and the middle class people and all of them enjoyed their music. Patna always paid them great respect and provided proper hospitality.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#DIV#ed_cl##ed_op#FONT size=4 face="Arial Narrow"#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#/DIV#ed_cl#


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surtaal
Thu 04 Jan, 2007 22:40

Re: HISTORY OF CLASSICAL MUSIC
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#ed_op#DIV#ed_cl##ed_op#TABLE border=0 cellSpacing=0 cellPadding=0 width=500 bgColor=#fff6e5#ed_cl##ed_op#TBODY#ed_cl##ed_op#TR vAlign=baseline align=left bgColor=#eeeeee#ed_cl##ed_op#TD colSpan=2#ed_cl##ed_op#FONT color=#605a5a size=3 face="Verdana, Arial, Helvetica, sans-serif"#ed_cl##ed_op#FONT size=2#ed_cl##ed_op#B#ed_cl##ed_op#/B#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#TR#ed_cl##ed_op#TD vAlign=top width=471 align=right#ed_cl##ed_op#IMG border=0 src="http://www.itcsra.org/aom/images/venkateshkumar_1.jpg"#ed_cl##ed_op#IMG border=0 src="http://www.itcsra.org/aom/images/venkateshkumar_2.jpg"#ed_cl# #ed_op#P#ed_cl# #ed_op#/P#ed_cl##ed_op#/TD#ed_cl##ed_op#TD vAlign=top width=29 align=right#ed_cl##ed_op#IMG src="http://www.itcsra.org/images/sra_story_right_corner.gif" width=29 height=17#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#/TBODY#ed_cl##ed_op#/TABLE#ed_cl##ed_op#TABLE border=0 cellSpacing=0 cellPadding=1 width="100%"#ed_cl##ed_op#TBODY#ed_cl##ed_op#TR vAlign=top align=left bgColor=#383d7b#ed_cl##ed_op#TD#ed_cl##ed_op#TABLE border=0 cellSpacing=0 cellPadding=0 width="100%" bgColor=#fff6e5 height=188#ed_cl##ed_op#TBODY#ed_cl##ed_op#TR#ed_cl##ed_op#TD bgColor=#383d7b height=4 colSpan=3#ed_cl##ed_op#IMG src="http://www.itcsra.org/aom/images/blank.gif" width=1 height=2#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#TR#ed_cl##ed_op#TD height=58 width=40#ed_cl##ed_op#/TD#ed_cl##ed_op#TD height=58 width=480#ed_cl##ed_op#P align=justify#ed_cl##ed_op#BR#ed_cl##ed_op#FONT size=4 face="Arial Narrow"#ed_cl#Born and brought up in a a rural ambience in the hamlet of Lakshmipura in Karnataka, Venkateshkumar was strongly influenced by his father, a renowned folk artiste. Later, under the tutelage of Pandit Puttaraja Gawai, who was impressed by his genuine dedication to music, he effectively inherited all the nuances of the Gwalior gharana. Venkateshkumar is a versatile singer with a mellifluous and vibrant voice, rich in tradition, deep in devotion and dexterous in bhava.#ed_op#BR#ed_cl##ed_op#BR#ed_cl#An `A` grade artiste of All India Radio since 1988, he has featured in its National programme of music. He has also performed in major music concerts of the country and has been conferred with titles such as Swara Sree, Sangeet Sudhakara and Sangeet Ratna by established cultural organisations. Venkateshkumar is a recipient of the Karnataka State Rajyotsava Award and has to his credit many audio cassettes and a CD of devotional songs. Presently, he is on the faculty at Music College, Dharwad University and has authored the text book prescribed for the Music Examination conducted by the Govt. of Karnataka. #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P class=sra-para#ed_cl##ed_op#FONT size=4 face="Arial Narrow"#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#/TD#ed_cl##ed_op#TD height=58 width=40#ed_cl##ed_op#FONT size=4 face="Arial Narrow"#ed_cl##ed_op#/FONT#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#TR#ed_cl##ed_op#TD height=49 width=40#ed_cl##ed_op#FONT size=4 face="Arial Narrow"#ed_cl##ed_op#/FONT#ed_cl##ed_op#/TD#ed_cl##ed_op#TD height=49 vAlign=top width=480 align=middle#ed_cl##ed_op#FORM method=post name=gharana action=/ASPFILES/addfav.asp#ed_cl##ed_op#INPUT type=hidden name=favlink#ed_cl##ed_op#FONT size=4 face="Arial Narrow"#ed_cl# #ed_op#/FONT#ed_cl##ed_op#TABLE border=0 cellSpacing=2 cellPadding=0 width=480 align=center#ed_cl##ed_op#TBODY#ed_cl##ed_op#TR bgColor=#746f70#ed_cl##ed_op#TD class=sra-para-heading vAlign=center width=120 align=middle#ed_cl##ed_op#FONT color=#ffffff size=4 face="Arial Narrow"#ed_cl#Gharana#ed_op#/FONT#ed_cl##ed_op#/TD#ed_cl##ed_op#TD class=sra-para-heading vAlign=center width=100 align=middle#ed_cl##ed_op#FONT color=#ffffff size=4 face="Arial Narrow"#ed_cl#Raga#ed_op#/FONT#ed_cl##ed_op#/TD#ed_cl##ed_op#TD class=sra-para-heading vAlign=center width=80 align=middle#ed_cl##ed_op#FONT color=#ffffff size=4 face="Arial Narrow"#ed_cl#Duration (Minutes) #ed_op#/FONT#ed_cl##ed_op#/TD#ed_cl##ed_op#TD class=sra-para-heading vAlign=center width=80 align=middle#ed_cl##ed_op#FONT color=#ffffff size=4 face="Arial Narrow"#ed_cl#Audio Clip #ed_op#/FONT#ed_cl##ed_op#/TD#ed_cl##ed_op#TD class=sra-para-heading vAlign=center width=80 align=middle#ed_cl##ed_op#FONT color=#ffffff size=4 face="Arial Narrow"#ed_cl##ed_op#/FONT#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#TR align=middle bgColor=#dcd5c6#ed_cl##ed_op#TD class=sra-gharana-text height=15#ed_cl##ed_op#P align=center#ed_cl##ed_op#FONT size=4 face="Arial Narrow"#ed_cl#Gwalior#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#/TD#ed_cl##ed_op#TD class=sra-gharana-text align=middle#ed_cl##ed_op#FONT size=4 face="Arial Narrow"#ed_cl#Puriya #ed_op#/FONT#ed_cl##ed_op#/TD#ed_cl##ed_op#TD class=sra-gharana-text align=middle#ed_cl##ed_op#FONT size=4 face="Arial Narrow"#ed_cl#39.55 #ed_op#/FONT#ed_cl##ed_op#/TD#ed_cl##ed_op#TD align=middle#ed_cl##ed_op#A onclick=javascript:pop2(65,506) href="http://www.itcsra.org/audio/gwalior/venkateshkumar_puriya.ram"#ed_cl##ed_op#FONT size=4 face="Arial Narrow"#ed_cl##ed_op#IMG border=0 src="http://www.itcsra.org/images/sra_story_soundicon.gif" width=12 height=9#ed_cl##ed_op#/FONT#ed_cl##ed_op#/A#ed_cl##ed_op#/TD#ed_cl##ed_op#TD align=middle#ed_cl##ed_op#A href="javascript:JavaScript:addfav(506)"#ed_cl##ed_op#FONT size=4 face="Arial Narrow"#ed_cl##ed_op#/FONT#ed_cl##ed_op#/A#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#TR align=middle bgColor=#dcd5c6#ed_cl##ed_op#TD class=sra-gharana-text height=15#ed_cl##ed_op#P align=center#ed_cl##ed_op#FONT size=4 face="Arial Narrow"#ed_cl#Gwalior#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#/TD#ed_cl##ed_op#TD class=sra-gharana-text align=middle#ed_cl##ed_op#FONT size=4 face="Arial Narrow"#ed_cl#Mishra Piloo, Thumri #ed_op#/FONT#ed_cl##ed_op#/TD#ed_cl##ed_op#TD class=sra-gharana-text align=middle#ed_cl##ed_op#FONT size=4 face="Arial Narrow"#ed_cl#9.30 #ed_op#/FONT#ed_cl##ed_op#/TD#ed_cl##ed_op#TD align=middle#ed_cl##ed_op#A onclick=javascript:pop2(65,507) href="http://www.itcsra.org/audio/gwalior/venkateshkumar_mishrapiloo.ram"#ed_cl##ed_op#FONT size=4 face="Arial Narrow"#ed_cl##ed_op#IMG border=0 src="http://www.itcsra.org/images/sra_story_soundicon.gif" width=12 height=9#ed_cl##ed_op#/FONT#ed_cl##ed_op#/A#ed_cl##ed_op#/TD#ed_cl##ed_op#TD align=middle#ed_cl##ed_op#A href="javascript:JavaScript:addfav(507)"#ed_cl##ed_op#FONT size=4 face="Arial Narrow"#ed_cl##ed_op#/FONT#ed_cl##ed_op#/A#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#TR align=middle bgColor=#dcd5c6#ed_cl##ed_op#TD class=sra-gharana-text height=15#ed_cl##ed_op#P align=center#ed_cl##ed_op#FONT size=4 face="Arial Narrow"#ed_cl#Gwalior#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#/TD#ed_cl##ed_op#TD class=sra-gharana-text align=middle#ed_cl##ed_op#FONT size=4 face="Arial Narrow"#ed_cl#Yaman #ed_op#/FONT#ed_cl##ed_op#/TD#ed_cl##ed_op#TD class=sra-gharana-text align=middle#ed_cl##ed_op#FONT size=4 face="Arial Narrow"#ed_cl#16.17 #ed_op#/FONT#ed_cl##ed_op#/TD#ed_cl##ed_op#TD align=middle#ed_cl##ed_op#A onclick=javascript:pop2(65,508) href="http://www.itcsra.org/audio/gwalior/venkateshkumar_yaman.ram"#ed_cl##ed_op#FONT size=4 face="Arial Narrow"#ed_cl##ed_op#IMG border=0 src="http://www.itcsra.org/images/sra_story_soundicon.gif" width=12 height=9#ed_cl##ed_op#/FONT#ed_cl##ed_op#/A#ed_cl##ed_op#/TD#ed_cl##ed_op#TD align=middle#ed_cl##ed_op#A href="javascript:JavaScript:addfav(508)"#ed_cl##ed_op#FONT size=4 face="Arial Narrow"#ed_cl##ed_op#/FONT#ed_cl##ed_op#/A#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#/TBODY#ed_cl##ed_op#/TABLE#ed_cl##ed_op#/FORM#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#/TBODY#ed_cl##ed_op#/TABLE#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#/TBODY#ed_cl##ed_op#/TABLE#ed_cl##ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#/DIV#ed_cl#


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sur
Tue 13 Mar, 2007 00:39

CLASSICAL TRANQUILITY & MUSIC REVIEW
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#ed_op#DIV#ed_cl##ed_op#TABLE cellSpacing=0 cellPadding=0 width=636 align=center border=0#ed_cl##ed_op#TBODY#ed_cl##ed_op#TR#ed_cl##ed_op#TD class=t_t_11_b dOJkq="0" MdpeF="4"#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#FONT class=t_v_16_b_b color=#7f3f00 dOJkq="0" MdpeF="0"#ed_cl##ed_op#STRONG#ed_cl#Strings yielding wonderful tones#ed_op#/STRONG#ed_cl##ed_op#/FONT#ed_cl##ed_op#BR#ed_cl#By MIO Team#ed_op#BR#ed_cl#Nov 10, 2006, 13:50#ed_op#BR#ed_cl##ed_op#BR#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/TD#ed_cl##ed_op#TD class=t_t_11_b vAlign=top align=right#ed_cl##ed_op#BR#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#/TBODY#ed_cl##ed_op#/TABLE#ed_cl##ed_op#TABLE cellSpacing=0 cellPadding=0 width=636 align=center border=0#ed_cl##ed_op#TBODY#ed_cl##ed_op#TR#ed_cl##ed_op#TD style="FONT-SIZE: 10pt; FONT-FAMILY: Trebuchet MS, Verdana, helvetica, sans-serif; BACKGROUND-COLOR: white"#ed_cl##ed_op#P dOJkq="0" MdpeF="1"#ed_cl##ed_op#TABLE cellSpacing=2 cellPadding=0 align=left border=0#ed_cl##ed_op#TBODY#ed_cl##ed_op#TR#ed_cl##ed_op#TD#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#IMG src="http://www.musicindiaonline.com/z/nimgs/hindustani/94/1.jpg" border=1#ed_cl##ed_op#/FONT#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#/TBODY#ed_cl##ed_op#/TABLE#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#A concert#ed_op#/FONT#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl# was held recently in Delhi where Kolkata-based Deb Prasad Chakravorty, disciple of the late Ajoy Sinha Roy performed sitar recital for two hours. He has also received guidance under late Baba Alauddin Khan and his younger brother Ayet Ali Khan. #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P dOJkq="0" MdpeF="0"#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#He brought the evening to life playing some brilliant tones. He began his recital with the most appropriate dusk-time raga Puriya Dhanashri. The long lasting alap, jod and jhala were comprehensively rendered which summed the entire scheme of the sitar encircling all the three-and-a-half octaves. He handled the bass strings very neatly. However he presented the ragas in a straight manner instead of interlacing them, and this came as a disappointment. This followed the season's raga Mian-ki-Malhar, followed by the slow 16-beat Masitkhani gat-toda, and ended with a speedy Teen tala composition in raga Hemant (composed by late Ustad Alauddin Khan of Maiher) with a Madhyam note and brilliant jhala sequence. He produced rich and innovative, slow and fast Teen tala gat-todas in raga Piloo. However his experimentation with age-old compositions were not impressive enough.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#/TBODY#ed_cl##ed_op#/TABLE#ed_cl##ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#/DIV#ed_cl#


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sur
Tue 13 Mar, 2007 00:43

CULTURAL & CLASSICAL MUSIC REVIEW
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#ed_op#DIV#ed_cl##ed_op#TABLE cellSpacing=0 cellPadding=0 width=636 align=center border=0#ed_cl##ed_op#TBODY#ed_cl##ed_op#TR#ed_cl##ed_op#TD class=t_t_11_b MdpeF="4" dOJkq="0"#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#FONT class=t_v_16_b_b color=#7f3f00 size=5 MdpeF="0" dOJkq="0"#ed_cl##ed_op#STRONG#ed_cl#Come closer to our rich heritage#ed_op#/STRONG#ed_cl##ed_op#/FONT#ed_cl##ed_op#BR#ed_cl#By MIO Team#ed_op#BR#ed_cl#Nov 10, 2006, 13:50#ed_op#BR#ed_cl##ed_op#BR#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/TD#ed_cl##ed_op#TD class=t_t_11_b vAlign=top align=right#ed_cl##ed_op#BR#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#/TBODY#ed_cl##ed_op#/TABLE#ed_cl##ed_op#TABLE cellSpacing=0 cellPadding=0 width=636 align=center border=0#ed_cl##ed_op#TBODY#ed_cl##ed_op#TR#ed_cl##ed_op#TD style="FONT-SIZE: 10pt; FONT-FAMILY: Trebuchet MS, Verdana, helvetica, sans-serif; BACKGROUND-COLOR: white"#ed_cl##ed_op#P MdpeF="1" dOJkq="0"#ed_cl##ed_op#TABLE cellSpacing=2 cellPadding=0 align=left border=0#ed_cl##ed_op#TBODY#ed_cl##ed_op#TR#ed_cl##ed_op#TD#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#IMG src="http://www.musicindiaonline.com/z/nimgs/hindustani/93/1.jpg" border=1#ed_cl##ed_op#/FONT#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#/TBODY#ed_cl##ed_op#/TABLE#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Delhi has always been an outstanding musical platform. Currently it’s echoing with the sounds of ragas as the Spic Macay's Virasat and Samrat's international festival of music has been organized there. #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P MdpeF="0" dOJkq="0"#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Spic Macay has been organizing the Virasat series every twelve months, bringing forth classical music, dance, theatre, #ed_op#/FONT#ed_cl##ed_op#FONT style="FONT-WEIGHT: 400; FONT-SIZE: 11px; COLOR: blue! important; FONT-FAMILY: Trebuchet MS, Verdana, Arial, sans-serif; POSITION: static" color=blue#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#SPAN class=kLink style="FONT-WEIGHT: 400; FONT-SIZE: 11px; COLOR: blue! important; FONT-FAMILY: Trebuchet MS, Verdana, Arial, sans-serif; POSITION: relative"#ed_cl#folk #ed_op#/SPAN#ed_cl##ed_op#SPAN class=kLink style="FONT-WEIGHT: 400; FONT-SIZE: 11px; COLOR: blue! important; FONT-FAMILY: Trebuchet MS, Verdana, Arial, sans-serif; POSITION: relative"#ed_cl#arts#ed_op#/SPAN#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#, and film classics at all educational institutions, in an attempt to take our rich heritage closer to the youth of the time. This year the festival has been dedicated to the late Ustad Bismillah Khan. Another high point is the 1700 events to be held across the country spread over a period between September to December. This year’s event has been named Virasat-2006 and was inaugurated at the Vice Regal Lodge, Delhi University. Virasat-2006 commenced with a Bharatanatyam dance#ed_op#/FONT#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl# recital by Sonal Mansingh who has specially conceived the music and dance performance for the purpose. Enthralling flute piece by Pandit Hari Prasad Chaurasia followed this and he lighted the event playing Yaman raga. He played Jaijaivanti next, reciting the famous composition ‘Paiyaan paroongi palanga na chadhoongi’ set in Teen tala, immortalized by Ustad Faiyaz Khan of the Agra gharana. Sunil Avachat on the flute and Vijay Ghate on the tabla, who are his disciples, supported him ably. #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P MdpeF="0" dOJkq="0"#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Samrat's two-day International Festival of Indian classical music#ed_op#/FONT#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl# was also inaugurated in Delhi as ‘a bond of cultural friendship among the people of the world’. The event will also be organized in Mumbai, Goa, Banglore, London, and New York. The festival was held at Kamani auditorium. Saskia Rao de Haas from Netherlands opened the fest with raga Maru Bihag. She began her training from her husband Shubhendra Rao who has been a disciple of Pandit Ravishankar belonging to the Maihar Senia gharana style. Her rearing in Indian classical music was further groomed by Vidushi Sumati Mutatkar and Deepak Chaudhury. She played compositions in Jhap tala, Teen tala and Shivaranjani.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P MdpeF="1" dOJkq="0"#ed_cl##ed_op#TABLE cellSpacing=2 cellPadding=0 align=right border=0#ed_cl##ed_op#TBODY#ed_cl##ed_op#TR#ed_cl##ed_op#TD#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#IMG src="http://www.musicindiaonline.com/z/nimgs/hindustani/93/2.jpg" border=1#ed_cl##ed_op#/FONT#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#/TBODY#ed_cl##ed_op#/TABLE#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#  The first evening reverberated with the vocal recitals of Pandit Ulhas Kashalkar who appealed with his ragas like Nat Bihag’s ‘Jhan jhan jhan jhan’, Nayaki Kanhara, Sohani and Bhairavi’s ‘Jamuna ke teer’. Pandit Ulhas Kashalkar is trained in the Gwaliar, Jaipur and Agra gharanas and his gayaki generally follows three styles, blended with subtle nuances. His rendition left the audience in a nostalgic state of mind#ed_op#/FONT#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#. The next day Sunanda Sharma offered vilambit and drut khayals in raga Madhuvanti, followed by tappa (Kafi) and thumri (Khamaj). The attraction of the festival was the outstanding old bandishes in Yaman Kalyan raga played melodiously on the sitar by Ustad Shujaat Khan. Shuddha Madhyam’s renditions of the mukhara in a distinct style made this an extraordinary affair.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#/TBODY#ed_cl##ed_op#/TABLE#ed_cl##ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#/DIV#ed_cl#


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sur
Tue 13 Mar, 2007 08:47

CLASSICAL TRANQUILITY & MUSIC REVIEW
-----------------------------------
#ed_op#DIV#ed_cl##ed_op#TABLE cellSpacing=0 cellPadding=0 width=636 align=center border=0#ed_cl##ed_op#TBODY#ed_cl##ed_op#TR#ed_cl##ed_op#TD class=t_t_11_b dOJkq="0" MdpeF="4"#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#FONT class=t_v_16_b_b color=#7f3f00 size=5 dOJkq="0" MdpeF="0"#ed_cl##ed_op#STRONG#ed_cl#Lost in the tranquility of music#ed_op#/STRONG#ed_cl##ed_op#/FONT#ed_cl##ed_op#BR#ed_cl#By MIO Team#ed_op#BR#ed_cl#Nov 10, 2006, 13:50#ed_op#BR#ed_cl##ed_op#BR#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/TD#ed_cl##ed_op#TD class=t_t_11_b vAlign=top align=right#ed_cl##ed_op#BR#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#/TBODY#ed_cl##ed_op#/TABLE#ed_cl##ed_op#TABLE cellSpacing=0 cellPadding=0 width=636 align=center border=0#ed_cl##ed_op#TBODY#ed_cl##ed_op#TR#ed_cl##ed_op#TD style="FONT-SIZE: 10pt; FONT-FAMILY: Trebuchet MS, Verdana, helvetica, sans-serif; BACKGROUND-COLOR: white"#ed_cl##ed_op#P dOJkq="0" MdpeF="1"#ed_cl##ed_op#TABLE cellSpacing=2 cellPadding=0 align=left border=0#ed_cl##ed_op#TBODY#ed_cl##ed_op#TR#ed_cl##ed_op#TD#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#IMG src="http://www.musicindiaonline.com/z/nimgs/hindustani/90/1.jpg" border=1#ed_cl##ed_op#/FONT#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#/TBODY#ed_cl##ed_op#/TABLE#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#The aura around the lawn of a five star hotel was so appealing to the eye and refreshing to mind, and it was all because of the party hosted by Manav Singh. Amaan, Ayaan Ali and Pakistani Sufi #ed_op#/FONT#ed_cl##ed_op#FONT style="FONT-WEIGHT: 400; FONT-SIZE: 11px; COLOR: blue! important; FONT-FAMILY: Trebuchet MS, Verdana, Arial, sans-serif; POSITION: static" face="Arial Narrow" color=blue size=4#ed_cl##ed_op#SPAN class=kLink style="FONT-WEIGHT: 400; FONT-SIZE: 11px; COLOR: blue! important; FONT-FAMILY: Trebuchet MS, Verdana, Arial, sans-serif; POSITION: relative"#ed_cl#singer#ed_op#/SPAN#ed_cl##ed_op#/FONT#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl# Shafkat Ali Khan made the party so memorable by playing some cool music.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P dOJkq="0" MdpeF="0"#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#The rather dull evening turned bright and alive once the #ed_op#/FONT#ed_cl##ed_op#FONT style="FONT-WEIGHT: 400; FONT-SIZE: 11px; COLOR: blue! important; FONT-FAMILY: Trebuchet MS, Verdana, Arial, sans-serif; POSITION: static" face="Arial Narrow" color=blue size=4#ed_cl##ed_op#SPAN class=kLink style="FONT-WEIGHT: 400; FONT-SIZE: 11px; COLOR: blue! important; BORDER-BOTTOM: blue 1px solid; FONT-FAMILY: Trebuchet MS, Verdana, Arial, sans-serif; POSITION: relative; BACKGROUND-COLOR: transparent"#ed_cl#musicians#ed_op#/SPAN#ed_cl##ed_op#/FONT#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl# started performing good music. Shafkat sang some songs#ed_op#/FONT#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl# including the number “Dile-nadaan tujhe hua kya hai” and the audience turned silent. Everyone was lost in his music.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P dOJkq="0" MdpeF="0"#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Many prominent personalities from Delhi city, especially from the corporate sector turned up and had the time of their life. Some of the big names seen on the evening are Shivani Wazir Pasrich, Subhalakshmi’s wife Amjad Ali Khan, Pranav Ansal, Sunjay Kapur, Ponty Chaddha, UK Bose and many others#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#/TBODY#ed_cl##ed_op#/TABLE#ed_cl##ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#/DIV#ed_cl#


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sur
Tue 13 Mar, 2007 16:22

CLASSICAL TRANQUILITY & MUSIC REVIEW
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#ed_op#DIV#ed_cl##ed_op#P#ed_cl##ed_op#FONT class=storyhead color=blue size=4#ed_cl##ed_op#STRONG#ed_cl##ed_op#IMG height=50 src="http://www.hindu.com/thehindu/br/hindux.gif" width=468#ed_cl##ed_op#BR#ed_cl##ed_op#/STRONG#ed_cl##ed_op#FONT size=3#ed_cl##ed_op#FONT color=red#ed_cl#Online edition of India's National Newspaper#ed_op#/FONT#ed_cl##ed_op#BR#ed_cl##ed_op#FONT color=blue#ed_cl#Tuesday, Apr 25, 2006#ed_op#/FONT#ed_cl##ed_op#FONT color=#000000#ed_cl# #ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#P#ed_cl##ed_op#FONT class=storyhead color=#7f3f00 size=5#ed_cl##ed_op#B#ed_cl#Origin and traditions of classical music #ed_op#/B#ed_cl##ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl#JAYA RAMANATHAN #ed_op#P#ed_cl##ed_op#P align=justify#ed_cl##ed_op#P align=justify#ed_cl##ed_op#P align=left#ed_cl##ed_op#CENTER#ed_cl##ed_op#FONT size=-2#ed_cl##ed_op#/FONT#ed_cl##ed_op#BR#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#IMG height=350 src="http://www.hindu.com/br/2006/04/25/images/2006042500531601.jpg" width=239 align=center border=1#ed_cl# #ed_op#BR#ed_cl##ed_op#B#ed_cl##ed_op#B#ed_cl#ASPECTS OF INDIAN MUSIC: Sumati Mutatkar — Editor; pub. by Sangeet Natak Akademi, Rabindra Bhavan, Feroze Shah Road, New Delhi and Hope India Publications, 85 Sector 23, Gurgaon-122017. Rs. 595.#ed_op#/B#ed_cl# #ed_op#/B#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/CENTER#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#The 14 edifying essays that comprise this book written by stalwarts of music were first commissioned by the then chairman of the Sangeet Natak Akademi, Narayana Menon, in the mid-1980s when India was in the throes of international festivals. It was published as a book by the Akademi with Sumati Mutatkar as editor in 1987; the present volume is an "on demand" reprint. #ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#The compilation has roughly three segments, the first dealing with the basic concepts of raga and tala, the second detailing various song forms like `dhrupada' and `thumri', and the third discussing the guru-shishya parampara and well- known gharanas. Two other pieces that don't really blend are on the ragamala paintings and Rabindrasangeet — this is not to say they don't make interesting reading. #ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT class=subsectionhead color=red#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Origin #ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Narayana Menon sets off the tone of the book with his all encompassing essay "Music Cultures of People — Tradition and Contemporaneity in Developing Countries". The roots of Indian music go back several millennia and it is near impossible to separate art and religion — "Music is an instrument in the realisation of God. A song is an yantra, an apparatus of worship." #ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#S. Ramanathan and M.R. Gautam respectively discuss the concept of raga in Carnatic and Hindustani music while Lyon Leifer elaborates on the western view of raga and tala — a handy reference for writers on the lookout for nuances in the three systems. #ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#A most comprehensive survey of Karnatic (sic) music is carried out by R. Satyanarayana. How did it get this name? Like many familiar usages this too eludes a compact definition. Neither can it be explained in terms of content. #ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Roughly the music system followed in the four southern states has come to be defined as Karnatic (Carnatic) music but again the claim that it is a derivative from `karnatakam' (Tamil for traditional) is lexically unsupported. #ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Historically, Karnataka has come to denote different parts of southern India at different times and perhaps at the period when music flourished under the Vijayanagara Empire the entire region was called Karnataka, and the music genre acquired its name. #ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT class=subsectionhead color=red#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Oral tradition #ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Amazingly a musician of Pandit Bhatkande's stature could make an erroneous statement that Karnatic music was confined to Madras while in the rest of the country Hindustani music held sway! #ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Several European musicologists were similarly ill informed; Hindus were synonymous with north Indians, Hindustan meant north India and therefore the music of the place was Hindustani music. Through several historical instances and bloomers the two outstanding schools of music in India thus came to be named! #ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#"The teacher-pupil relationship is the most significant factor in the teaching and learning of music — in fact training in all disciplines — in India," emphasises Narayana Menon. #ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#The recorded history of music goes back to just a few thousands of years, but the real history or oral tradition is almost untraceable and was only possible because of the strict, inviolable, guru-shishya system. But this is not to say that given its ancient lineage, music in India has remained confined and unyielding to changing vicissitudes. #ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#As dynasties rose and fell, as different faiths were accepted and absorbed, various philosophies stimulated intellectual thinking, music alongside architecture, sculpture and dance also underwent a plethora of innovations and experimentations, absorbing outside as well as internally evolving influences. But through it all there remained an identity, a thread of continuity that gave it its unique identity in the world. #ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#The poet T.S. Eliot warned of the dangers of clinging to old tradition, of confusing the real with the sentimental. But the wisest of Indian gurus were aware of such pitfalls; they knew that tradition involved knowledge of not just the past but of the present as well. "The historical sense is a sense of the timeless and of the temporal."#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#/DIV#ed_cl#


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sur
Wed 14 Mar, 2007 08:30

Re: CULTURAL & CLASSICAL MUSIC REVIEW
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#ed_op#DIV#ed_cl##ed_op#TABLE cellSpacing=0 cellPadding=0 width=636 align=center border=0#ed_cl##ed_op#TBODY#ed_cl##ed_op#TR#ed_cl##ed_op#TD class=t_t_11_b wSSGA="0" febrn="4"#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#FONT class=t_v_16_b_b color=#7f3f00 size=5 wSSGA="0" febrn="0"#ed_cl##ed_op#STRONG#ed_cl#Music runs in Pt. Satish Vyas’ veins#ed_op#/STRONG#ed_cl##ed_op#/FONT#ed_cl##ed_op#BR#ed_cl#By MIO Team#ed_op#BR#ed_cl#Nov, 2006#ed_op#BR#ed_cl##ed_op#BR#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/TD#ed_cl##ed_op#TD class=t_t_11_b vAlign=top align=right#ed_cl##ed_op#BR#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#/TBODY#ed_cl##ed_op#/TABLE#ed_cl##ed_op#TABLE cellSpacing=0 cellPadding=0 width=636 align=center border=0#ed_cl##ed_op#TBODY#ed_cl##ed_op#TR#ed_cl##ed_op#TD style="FONT-SIZE: 10pt; FONT-FAMILY: Trebuchet MS, Verdana, helvetica, sans-serif; BACKGROUND-COLOR: white" wSSGA="0" febrn="22"#ed_cl##ed_op#TABLE cellSpacing=2 cellPadding=0 align=left border=0#ed_cl##ed_op#TBODY#ed_cl##ed_op#TR#ed_cl##ed_op#TD#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#IMG src="http://www.musicindiaonline.com/z/nimgs/hindustani/92/1.jpg" border=1#ed_cl##ed_op#/FONT#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#/TBODY#ed_cl##ed_op#/TABLE#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#He has achieved fame as one of the foremost santoor players in the country, and yet he holds a master’s degree in Science as well as Business Management! It is only in 1987 that Pandit Satish Vyas took to full-time music#ed_op#/FONT#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#, that too after a stint as NCPA Programming Head at the National Center For Performing Arts. #ed_op#BR#ed_cl# #ed_op#BR#ed_cl#Son of the late maestro Padma Bhushan C.R.Vyas, one of the most respected classical Indian vocalists, Pt. Satish Vyas took his earliest training in music from his illustrious father. Born on November 16, 1952, Satish started learning vocal music from his father at the age of 14. Although his initial grounding took place in the idiom of his father it was the santoor on which the young Satish’s heart was set. At the request of his father, Pandit Shiv Kumar Sharma took Satish on as his disciple. The combination of training under both his father and Pandt Shiv Kumar has given Satish an ability to display both the gaayaki ang as well as the layakari / tantrakari ang in his playing. #ed_op#BR#ed_cl# #ed_op#BR#ed_cl#Before taking the decision to make music his profession, Satish Vyas had completed his education with a Bachelor’s degree(B.Sc) in Mathematics followed by Master’s degrees in Statistics(M.Sc.) and then Business Administration(MBA). His corporate career took him to work with rather well known organizations such as the Industrial Credit and Investment Corporation of India (ICICI), National Center for Performing Arts, Philips and HMV (now Saregama). At NCPA, he had the fortune to work with Pu La Deshpande. For over ten years now he has been a Director of Navras Records in India. Navras is a prestigious classical and traditional music label, originally set up in London, whose large repertoire is distributed in India through Sony-NAD label of Sony-#ed_op#FONT style="FONT-WEIGHT: 400; FONT-SIZE: 10pt; COLOR: blue! important; FONT-FAMILY: Trebuchet MS, Verdana, helvetica, sans-serif; POSITION: static" color=blue#ed_cl##ed_op#SPAN class=kLink style="FONT-WEIGHT: 400; FONT-SIZE: 10pt; COLOR: blue! important; FONT-FAMILY: Trebuchet MS, Verdana, helvetica, sans-serif; POSITION: relative"#ed_cl#BMG #ed_op#/SPAN#ed_cl##ed_op#SPAN class=kLink style="FONT-WEIGHT: 400; FONT-SIZE: 10pt; COLOR: blue! important; FONT-FAMILY: Trebuchet MS, Verdana, helvetica, sans-serif; POSITION: relative"#ed_cl#Music#ed_op#/SPAN#ed_cl##ed_op#/FONT#ed_cl#. #ed_op#BR#ed_cl# #ed_op#BR#ed_cl##ed_op#/FONT#ed_cl##ed_op#TABLE cellSpacing=2 cellPadding=0 align=right border=0#ed_cl##ed_op#TBODY#ed_cl##ed_op#TR#ed_cl##ed_op#TD#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#IMG src="http://www.musicindiaonline.com/z/nimgs/hindustani/92/2.jpg" border=1#ed_cl##ed_op#/FONT#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#/TBODY#ed_cl##ed_op#/TABLE#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Because of his exposure to the corporate world, his global travel on concert tours and his involvement with the music fraternity and industry, Satish has developed a unique personality. He has very highly developed inter-personal skills as well as an understanding of the practical world of business. His varied background is of tremendous use to him in his capacity as one of the most successful organizers of classical music festivals in India. Pt Satish Vyas has perhaps the unique distinction of having organized and promoted one of the most successful and respected #ed_op#FONT style="FONT-WEIGHT: 400; FONT-SIZE: 10pt; COLOR: blue! important; FONT-FAMILY: Trebuchet MS, Verdana, helvetica, sans-serif; POSITION: static" color=blue#ed_cl##ed_op#SPAN class=kLink style="FONT-WEIGHT: 400; FONT-SIZE: 10pt; COLOR: blue! important; FONT-FAMILY: Trebuchet MS, Verdana, helvetica, sans-serif; POSITION: relative"#ed_cl#music #ed_op#/SPAN#ed_cl##ed_op#SPAN class=kLink style="FONT-WEIGHT: 400; FONT-SIZE: 10pt; COLOR: blue! important; FONT-FAMILY: Trebuchet MS, Verdana, helvetica, sans-serif; POSITION: relative"#ed_cl#festivals#ed_op#/SPAN#ed_cl##ed_op#/FONT#ed_cl# on an all-India basis,the Gunidas Sangeet Sammelan, established in the memory of his father Pandit C. R. Vyas.Not only has this festival presented all the major maestros of the time, but it also provides a respected platform for younger artistes. Because of his pluralistic approach, he has promoted musicians and music of quality and has gained a substantial following among music lovers across India. #ed_op#BR#ed_cl#    #ed_op#BR#ed_cl#A regular and global concert artiste, Pt Satish Vyas was the only non-Western musician invited to perform in Venice at the Mostra #ed_op#FONT style="FONT-WEIGHT: 400; FONT-SIZE: 10pt; COLOR: blue! important; FONT-FAMILY: Trebuchet MS, Verdana, helvetica, sans-serif; POSITION: static" color=blue#ed_cl##ed_op#SPAN class=kLink style="FONT-WEIGHT: 400; FONT-SIZE: 10pt; COLOR: blue! important; FONT-FAMILY: Trebuchet MS, Verdana, helvetica, sans-serif; POSITION: relative"#ed_cl#Mozart#ed_op#/SPAN#ed_cl##ed_op#/FONT#ed_cl# Festival organized by the prestigious European Mozart Foundation and also had the privilege of performing at the world-famous Edinburgh Festival in Scotland. To prove his versatility, Pt Vyas also performed as a guest musician with the Jazz/World Music Fusion group Silk along with Shankar Mahadevan, Sivamani, Louis Banks and Karl Peters at a Barbican Centre Concert in London. #ed_op#BR#ed_cl# #ed_op#BR#ed_cl#A Padma Shri winner in 2003, Pt Satish Vyas has released over a dozen albums on prestigious labels like Music Today, Times Music, Sony-BMG and Navras which include Strings Of Your Soul, Raga Marva, Cascade, Parivar Parampara, Char Prahar (a 4-cassette pack), Shaswat, Dream Waves, Pure Silk, Krishna’s journey, Moods Of Yoga, Raga Dhankoni Kalyan and YOGA. His latest album is Maestro’s Choice.#ed_op#/FONT#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#/TBODY#ed_cl##ed_op#/TABLE#ed_cl##ed_op#/DIV#ed_cl#


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sur
Wed 14 Mar, 2007 17:14

Re: CLASSICAL TRANQUILITY & MUSIC REVIEW
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#ed_op#DIV#ed_cl##ed_op#TABLE cellSpacing=0 cellPadding=0 width=766 border=0#ed_cl##ed_op#TBODY#ed_cl##ed_op#TR#ed_cl##ed_op#TD colSpan=10#ed_cl##ed_op#DIV align=center#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#FONT face="Verdana, Arial, Helvetica, sans-serif" color=#990000#ed_cl##ed_op#STRONG#ed_cl#Padma Shri PANDIT #ed_op#/STRONG#ed_cl##ed_op#/FONT#ed_cl##ed_op#FONT face="Verdana, Arial, Helvetica, sans-serif" color=#990000#ed_cl##ed_op#STRONG#ed_cl#BHAJAN SOPORI#ed_op#/STRONG#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/DIV#ed_cl##ed_op#DIV align=center#ed_cl##ed_op#FONT face="Verdana, Arial, Helvetica, sans-serif"#ed_cl##ed_op#FONT color=#000066 size=4#ed_cl##ed_op#EM#ed_cl##ed_op#STRONG#ed_cl#A GREAT MUSICIAN WITH MANY AWARDS #ed_op#BR#ed_cl#AND HONOURS TO HIS CREDIT#ed_op#BR#ed_cl#“BAD MUSIC IS MORE DANGEROUS THAN AN ATOM BOMB”, he says #ed_op#/STRONG#ed_cl##ed_op#/EM#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/DIV#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#TR#ed_cl##ed_op#TD rowSpan=5#ed_cl##ed_op#/TD#ed_cl##ed_op#TD height=286#ed_cl##ed_op#/TD#ed_cl##ed_op#TD#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#/TD#ed_cl##ed_op#TD vAlign=top colSpan=7 rowSpan=2#ed_cl##ed_op#DIV align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#P#ed_cl#A scion of the family of musicians of “Sufiana gharana” of Kashmir, Pandit Bhajan Sopori is an eminent Santoor maestro and music director who is also a pioneer in bringing Santoor on national and international platforms at par with Sitar and Sarod in Tantrakari and boles and giving it the honour and prestige of a complete concert instrument. Rendition of Dhrupad Ang on Santoor to the accompaniment of Pakhawaj, attaching Tumba (Gaud), introducing “Meend’ and ‘Glides’ , ‘Gamak’ balancing of Kalam (strikers) with boles etc. are also a part of his innovations.#ed_op#/P#ed_cl##ed_op#/FONT#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Pandit Bhajan Sopori, the great grandson of Pandit Shankar Pandit (the great master of Sufi Baj) was initiated into Santoor playing by his grandfather Pandit S.P. Sopori and later by his father Pandit S.N. Sopori, the veteran musician of the State of Jammu and Kashmir under whom he had rigorous #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#/DIV#ed_cl##ed_op#/TD#ed_cl##ed_op#TD vAlign=top colSpan=2 rowSpan=2#ed_cl##ed_op#DIV align=center#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#IMG height=296 src="http://www.indianmotionpictures.com/cinema/oct/feb2004/images/bhajan-sopori.jpg" width=351#ed_cl##ed_op#/FONT#ed_cl##ed_op#/DIV#ed_cl##ed_op#/TD#ed_cl##ed_op#TD width=19 rowSpan=5#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#TR#ed_cl##ed_op#TD height=2#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#/TD#ed_cl##ed_op#TD#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#TR#ed_cl##ed_op#TD height=2#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#/TD#ed_cl##ed_op#TD#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#/TD#ed_cl##ed_op#TD colSpan=9#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#TR#ed_cl##ed_op#TD vAlign=top colSpan=11#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#training that provided him a strong traditional base of raga-sangeet combining both the gayaki and tantrakari styles in his instrument. His recitals demonstrate a high technical virtuosity. His intricate layakari, Chandkari and speedy taan patterns running through three octaves and melodious alaap leave a scintillating effect on the listeners. #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#For his enormous contribution in the field of Hindustani classical music, he is hailed as the “Saint of Santoor” and the “King of Santoor”.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#A highly learned person, Pandit Bhajan Sopori did his Masters both in Santoor and Sitar besides having Masters degree in English literature. He also studied Western classical music at the Washington University, USA. Panditji’s research on sound and his instrument, Santoor, is remarkable. Pharmaceutical companies have released his albums on ‘sound therapy’. One of the highly commended albums which have had tremendous effects on the listeners is ‘Naag Yoga on Santoor’. #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Panditji is a widely travelled person, having propagated Indian classical music and culture all over the world and creating interest for the Indian classical music amongst the general public, specially the youth. #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Panditji, a music director of repute, is the only classical musician of India having composed music for more than 4000 songs in almost all the languages of the country including Sanskrit, Persian, Arabic, etc.#ed_op#BR#ed_cl#He has directed music for films, commercials, documentaries, serials, operas, chorals, orchestras, etc. He has been the youngest composer to compose for the National Orchestra (Vadya Vrinda). #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#He has revived and re-composed the INA songs for national integration and unity of the country. He has composed Anti-Terrorist songs for different television networks and ‘All India Radio ‘ like ‘”Savdhan”, Mere Jannath Mere Kashmir”, etc. Some of his very popular songs, which are loved by the people of all age groups have been sung by almost all eminent playback singers. These include: “ Hum Hoonge Kamyab”, “Bharat Bharat”, “Hum Iske Santan”, “Kadam Kadam Badaye Ja”, “ Sarfaroshi Ke Tamanna”, “ Vijayee Vishva Tiranga Pyara”, “ Vande Matram”, “ Bharat Ke Beti”, Naman Tujko Mera Bharat”, etc. and “ Saare Jahan Se Aachaa” whuch has been sung and played by various eminent Clasical musicians of the country. His instrumrntal version of “ Vande Matram” leaves a soothing impact on the listerners.#ed_op#BR#ed_cl#His Religious Hymns and Vedic Chanting of Shlokas, Mantras, Naats, Guru-bani, etc. are unparalleled like ‘Mahamritunjaya’, Durga Kavach’, Surya Upasana’, etc. His recitals and compositions have proved to be a trendsetter in North Indian musical scenario of the country.#ed_op#BR#ed_cl#Pandit Bhajan Sopori has composed and introduced three new Raga’s: Raga LALALESHWARI, Raga PATWANTI and Raga NIRMALRANJANI.#ed_op#BR#ed_cl#After 13 years of militancy in the valley, he is the only Classical Musician to go back to Kashmir to revive the Indian Classical Music amongst the masses by his concerts in the state.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#For his contribution to the field of music, he has received numerous awards, including the prestigious Sangeet Natak Academy Award( 1993), Delhi Telgu Academy Award, Akashwani Annual Awards, Abhinav Kala Samman, Punjab Sakha Award, Shardha Samman, Shiromani Award, Kala Yogi Award, Delhi Ratan Award, Distinguished leadership award, Shree Bhatt Kirti Award, and Beenkar Award.He was honoured at Golden Jubliee celebrations of AIR (Srinagar) for his contribution to Kashmiri music and also honoured with the National Flag of the Arab Republic of Egypt.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Like fast food#ed_op#BR#ed_cl#One canot help wondering why a musician with such a terrific track record and loads of honours and awards had not so far given a thought to utilize his talent in the film industry too. Asked if he would now give a thought to composing music for films, Panditji tells me during a chat ‘upto now I had never given a thought to compose music for films, but considering the deterioration that has set in and indeed the scope for improvement, now I won’t mind considering film projects where I can contribute my knowledge of music and talent without compromising my self-respect. More so, as I feel that bad music is more dangerous than an atom bomb. It can do harm to generations of people.”#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Who are some of the music directors in the film industry whose music you liked? Panditji says “I liked the work of Anil Biswas, Naushad, Madan Mohan, Vasant Desai, and Khayyam. They are well-versed in classical music and gave raga-based music unlike most of the younger music composers of today whose work is like fast food and is, consequently, short-lived. #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#What, in his opinion, is the particular strength of Indian classical music and how would he contribute to it? ‘The variety and richness one finds in Indian classical music is not found in the music of any other country. As for as my contribution is concerned, I would also contribute, among other things, the rich folk music of Kashmir valley.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#P.S.- As we are going to the press, we heard the welcome news that Shri Bhajan Sopori has been awarded the prestigious Padma Shri. Our Heartiest Congratulations to him.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#/TBODY#ed_cl##ed_op#/TABLE#ed_cl##ed_op#/DIV#ed_cl#


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sur
Thu 15 Mar, 2007 07:39

Re: CLASSICAL TRANQUILITY & MUSIC REVIEW
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#ed_op#DIV#ed_cl##ed_op#P#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#FONT face="Arial Narrow" color=#7f3f00 size=5#ed_cl##ed_op#STRONG#ed_cl#Article: A Vocalist is Born #ed_op#/STRONG#ed_cl##ed_op#/FONT#ed_cl##ed_op#P#ed_cl##ed_op#TABLE cellSpacing=0 cellPadding=0 width="100%" border=0#ed_cl##ed_op#TBODY#ed_cl##ed_op#TR#ed_cl##ed_op#TD colSpan=2#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#  #ed_op#/FONT#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#TR#ed_cl##ed_op#TD class=subheading align=middle colSpan=2#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#By Zekria Rahin #ed_op#/FONT#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#TR#ed_cl##ed_op#TD colSpan=2#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#  #ed_op#/FONT#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#TR#ed_cl##ed_op#TD vAlign=top width=20#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#  #ed_op#/FONT#ed_cl##ed_op#/TD#ed_cl##ed_op#TD class=article#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#The doyens of the art continue to echo this aphorism that it takes more than a few life times to understand Indian Classical Music. And learning Indian Classical Music is an endless journey. Knowing that it’s only possible to live one life time, one can only be a student of the art. Indian Classical Music is a spiritual discipline that is adopted as a way of life. It’s not about entertainment, wealth, and fame. It is a path to connect souls and build personal relationships with the higher powers at emotional and spiritual levels. #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Learning Indian Classical Music is an oral tradition that’s passed on through patience, obedience, and riyazat (Spiritual Perseverance). Today the Guru-Shishya Parampara (The very soul of the oral tradition of India, which embodies the living and learning relationship between master and pupil) approach is not practical, so finding a knowledgeable guru whose teaching style is effective is imperative. A lot of new comers to the world of Indian Classical Music make the mistake of limiting themselves by only wanting to learn from well established performers. Constantine D'Amato who trained former world heavy weight boxing champion Mike Tyson never had a professional fight himself, but he produced world champions at almost every weight category. The key is to find a knowledgeable guru who can effectively teach both the theoretical and practical aspects of the art in a systematic way. All though there are different approaches to learning, one way is this systematic approach: #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#- First is Voice Culture. Voice Culture is a method of taming the voice, which will help develop swar (Musical Notes) accuracy, voice modulation, proper breathing, and extending the range. Every Gharana (School of Music) has adopted its own signature exercises. These exercises will be lifelong friends of the vocalist. #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#- Once the voice is somewhat tamed, the guru (Teacher) starts with the simple technicalities to build the musical foundation. Any compromise will destabilize the foundation. This phase of learning is the most time consuming element of riyazat. And if it’s not enjoyed, the student will drop out. During the initial phase of learning technicalities, the focus will be on learning proper akaar (The aah sound), proper pronunciation of the swars, simple alankars (rendering a specific combination of notes in succession), alapi (A slow rhythmless elaboration), and sometimes a chota khyal (Classical composition in medium to fast tempo) in a common raaga that has fewer restrictions such as Yaman or Bhairav. These raagas have a lot of flexibility for exploration and expansion. #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#- As the student develops a good understanding of these elements, the guru gradually exposes the student to more complex exercises such as extended alankaric phrases eventually up to 16 or more notes. This will help the student develop a sense of spontaneity and will invoke creativity. Sargams (The rendering of 1 -4 notes per beat cycle) will then automatically derive from here on. Memorizing sargams is the most counter productive way of learning because it’s limiting. Since Indian Classical music is mostly improvisation, fixed sargams and fixed alapis don’t work. People who do memorize will soon find out that they are constantly running out of material. #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#- Then comes the other embellishments such as taans (Akaaric Sargam - fast rendering of 1-4 notes ), gamaks (Stressing effect of a note in taans), meends (Gliding of notes), and katkas (The sudden skipping of an in-between note) and so on. Rendering taans properly will take years of rigorous practice. Creating the dhana (special vibratory effect), speed, accuracy and timing is somewhat dependent on your vocal anatomy. But never give up practicing what you can’t do. Riyaz is practicing what you already know how to do and trying to do what you can’t do. Some vocalists like Ustad Salamat Ali Khan have a rare gift for speed, Ustad Amir Khan for clarity, and Ustad Bade Ghulam Ali Khan for true dhana. So don’t be discouraged if you can’t do it all. You will use your strengths later on to create your own style. #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#- The final phase of learning is putting all these elements together and creating a unique musical identity. Adopting the style of the guru is common, but copying the guru is against the principles of learning. Most vocalists pursue to become performers and rarely become wealthy and famous, but the majority continue on the path of riyazat and enjoy the art for itself. #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=5#ed_cl##ed_op#FONT color=#7f3f00#ed_cl##ed_op#B#ed_cl#Some Tips#ed_op#/B#ed_cl# #ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#1. Do your riyaz daily. Ustad Ashiq Ali Khan sahib used to say that if you miss your riyaz one day, you will know. If you miss it two days, your friends will know. If you miss it three days, the whole world will know.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#BR#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#2. Enjoy your riyaz. If you don’t enjoy the learning process, it becomes work. It should be enjoyment.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#BR#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#3. Be patient, humble, and committed.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#BR#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#4. Find the right guru whose intention is not monetary but transferring of knowledge. Indian Classical Music is not a commercial art. Pay your gurus for their time. Their effort is priceless.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#BR#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#5. Listen to good music and avoid what you don’t like. Listening is part of education. #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#BR#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#6. Music is a universal art. Remove barriers such a race, gender, religion, politics, and biases from music. If you are a Hindu, teach a Muslim, and if you are a Muslim, teach a Hindu. #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#BR#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#7. Never compromise.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#BR#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#8. Don’t compare your self #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#BR#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#9. Don’t set timeline goals, just be committed#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#BR#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#10. Don’t worry about wealth, fame, or performance. If it happens, consider it a bonus. #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#BR#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#11. Don’t be impressed by vocal acrobatics. Feel the emotions and moods in music. #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#BR#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#12. Expose your friends and family to Classical Music. Support other artists regardless of their musical abilities. This is how the art will survive.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#BR#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#13. Provide honest feedback if solicited. Don’t be critical to judge or pass on judgment. #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#/TBODY#ed_cl##ed_op#/TABLE#ed_cl##ed_op#/P#ed_cl##ed_op#/FONT#ed_cl##ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#/DIV#ed_cl#


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sur
Thu 15 Mar, 2007 23:52

Re: CLASSICAL TRANQUILITY & MUSIC REVIEW
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#ed_op#DIV#ed_cl##ed_op#TABLE cellSpacing=0 cellPadding=0 width=636 align=center border=0#ed_cl##ed_op#TBODY#ed_cl##ed_op#TR#ed_cl##ed_op#TD class=t_t_11_b#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#FONT class=t_v_16_b_b color=#7f3f00 size=5#ed_cl##ed_op#STRONG#ed_cl#Music is prayer for Girija Devi#ed_op#/STRONG#ed_cl##ed_op#/FONT#ed_cl##ed_op#BR#ed_cl#By MIO Team#ed_op#BR#ed_cl#Nov 10, 2006, #ed_op#BR#ed_cl##ed_op#BR#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/TD#ed_cl##ed_op#TD class=t_t_11_b vAlign=top align=right#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#/TBODY#ed_cl##ed_op#/TABLE#ed_cl##ed_op#TABLE cellSpacing=0 cellPadding=0 width=636 align=center border=0#ed_cl##ed_op#TBODY#ed_cl##ed_op#TR#ed_cl##ed_op#TD style="FONT-SIZE: 10pt; FONT-FAMILY: Trebuchet MS, Verdana, helvetica, sans-serif; BACKGROUND-COLOR: white"#ed_cl##ed_op#P#ed_cl##ed_op#TABLE cellSpacing=2 cellPadding=0 align=left border=0#ed_cl##ed_op#TBODY#ed_cl##ed_op#TR#ed_cl##ed_op#TD#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#IMG src="http://www.musicindiaonline.com/z/nimgs/hindustani/89/1.jpg" border=1#ed_cl##ed_op#/FONT#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#/TBODY#ed_cl##ed_op#/TABLE#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#She is going strong at 77. Age doesn’t make any difference to Girija Devi, the living legend of multiple music traditions. Her hair has grown gray and her health too has deteriorated but she is still 18 when it comes to music. In fact, her voice seems to grow younger with the growing age. She till sings her rich list of kajri, chaiti, thumri, hori and others with great intensity and zeal. She considers music as prayer. So, she prays to Almighty everyday through the form of music.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#It is music that keeps her strong and young at heart. Her teeth are stained from chewing paan and it is like a trademark. Everything in her looks good. People still get stunned on seeing the energy of this exponent of Hindustani music. She recently said that she could sing for 70 hours, as she has been learning music for 70 years. These words from the living legend expose her passion and love for music.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Girija Devi broke the cocoons of conservatism by learning music at a time when girls were confined to homes only. Her father saw her love for music and put her under the guidance of Sarju Prasad Mishra, a sarangiya and a vocalist. He taught her khayal in major ragas and she learnt tappa and thumri too. She said that Sarju Prasad used to play sarangi most of the time. She then learnt under Shrichand Mishra, who is a master of vocals and tabla. Her exposure to various forms of music has given her variety to her work.#ed_op#BR#ed_cl# #ed_op#BR#ed_cl#Learning music was a struggle, as she is a woman. She followed her passion while keeping family responsibilities as a wife. Everyday was a struggle. She used to get up at 3.30 am and practice music till 6 am before handling household works. Then she practiced tanpura when everybody left home till dinnertime set in. The passion in her never died. She used to practice music till midnight when men folks in the family play cards. That was her daily routine. However, she said that she never wanted to perform, though she is known or her stage performance today. She added that she started giving concerts because of her gurus and well-wishers.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#She learnt two distinctly diverse traditions yet she got them with ease. She sings khayal with great amount of calmness and then switches to thumri without any hassle. However, she said that learning various forms of music is not new to the people in Benares. She also clarified that her rendition of thumris is not seductive but philosophical in nature. Musicologist Deepak S. Raja said that Girija Devi couldn’t be compared to Benares stalwarts of the earlier generation like Rasoolan Bai and Siddheshwari Devi, as she is an original musician belonging to romanticist genres. He added that the way she engineers between the poetic, melodic and rhythmic elements is brilliant.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Girija Devi also spent years together, trying to find out the connections between emotion and words. She said that she worked hard for months in order to find the ways in which words like dheere, aao, jaao etc could be negotiated. Deepak Raja also said that the way Girija Devi deploys melodic and rhythmic elements is commendable. He added that she could generate good emotional communication because of her deep involvement with poetic and melodic elements.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#India boosts of only few proficient thumri performers today. Classical musicians once scorned thumri but many youngsters have started taking it up today, which is an encouraging sign. Maybe this conflict gave birth to Bandisha thumri, which is sung by male singers only, as it gives more importance to rhythm rather than the emotional elements.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#However, Girija Devi is unaffected by this conflict. She still devotes to her music and considers a blessing to perform even at this age. She recently performed for two-and-a-half hours in France soon after her bypass surgery. She said that she would cherish the four-minute standing ovation that the audience in France gave her.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#This living legend deserves standing ovation where she goes. She is indeed a treasure to the country and the world at large.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#/TBODY#ed_cl##ed_op#/TABLE#ed_cl##ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#/DIV#ed_cl#


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sur
Sun 18 Mar, 2007 01:09

Re: CLASSICAL TRANQUILITY & MUSIC REVIEW
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#ed_op#DIV#ed_cl##ed_op#TABLE cellSpacing=0 cellPadding=0 width=636 align=center border=0#ed_cl##ed_op#TBODY#ed_cl##ed_op#TR#ed_cl##ed_op#TD class=t_t_11_b wSSGA="0" febrn="4"#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#STRONG#ed_cl##ed_op#FONT class=t_v_16_b_b wSSGA="0" febrn="0"#ed_cl#Concert in memory of Ustad Vilayat Khan on March 13#ed_op#/FONT#ed_cl##ed_op#BR#ed_cl#By MIO Team#ed_op#BR#ed_cl##ed_op#/STRONG#ed_cl#Nov 10, 2006, 13:50#ed_op#BR#ed_cl##ed_op#BR#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/TD#ed_cl##ed_op#TD class=t_t_11_b vAlign=top align=right#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#/TBODY#ed_cl##ed_op#/TABLE#ed_cl##ed_op#TABLE cellSpacing=0 cellPadding=0 width=636 align=center border=0#ed_cl##ed_op#TBODY#ed_cl##ed_op#TR#ed_cl##ed_op#TD style="FONT-SIZE: 10pt; FONT-FAMILY: Trebuchet MS, Verdana, helvetica, sans-serif; BACKGROUND-COLOR: white"#ed_cl##ed_op#P wSSGA="0" febrn="1"#ed_cl##ed_op#TABLE cellSpacing=2 cellPadding=0 align=left border=0#ed_cl##ed_op#TBODY#ed_cl##ed_op#TR#ed_cl##ed_op#TD#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#IMG src="http://www.musicindiaonline.com/z/nimgs/hindustani/88/1.jpg" border=1#ed_cl##ed_op#/FONT#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#/TBODY#ed_cl##ed_op#/TABLE#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Musicians of the calibre of Ustad Vilayat Khan are born once in a life time#ed_op#/FONT#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#FONT color=#000000 size=3#ed_cl# #ed_op#/FONT#ed_cl#and their legacy carries on much after they have departed. Navras Records Ltd, UK, and Sony Nad, India, in association with the Ustad Inayat Khan Music Foundation, will be presenting a tribute to the legendary Sitar Maestro on his death anniversary. Pt. Ulhas Khashalkar and Sujat Khan will perform on this Memorial Concert. The Ustad Vilayat Khan Memorial Concert will be held at Nehru Centre, Worli,on Monday, March 13 at 6.30 pm.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P wSSGA="0" febrn="0"#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Khan sahab was the most influential sitarist of the post-independence period, and amongst the greatest musicians of the 20th century.  He represented the sixth generation of the Etawah Gharana, a lineage of distinguished musicians#ed_op#/FONT#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#, founded in the 18th century. Music came to him naturally. His grandfather Ustad Imdad Khan was the creator of the modern sitar and surbahar, and his father Ustad Inayat Khan was one of the most influential sitarists of his times.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P wSSGA="0" febrn="2"#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#His maternal grandfather Ustad Bande Hassan Khan and maternal uncle Ustad Zinda Hassan Khan - both vocalists - and his paternal uncle Ustad Wahid Khan, a distinguished Sitar and Surbahar player groomed Ustad Vilayat Khan. With sound training in vocalism and a mastery over the Sitar and the Surbahar, Ustadji became the creator of the revolutionary Gayaki Ang of the sitar, which largely overcame the technical limitations of the instrument to simulate the experience of modern vocalism - primarily Khayal and Thumree.#ed_op#BR#ed_cl#At 17, Vilayat Khan exploded on the Hindustani classical music scene in 1944 at the Vikramaditya Music Conference. He was instantly hailed as an Ustad. From then till his demise, Ustadji remained amongst the most respected and popular Hindustani clasical musician#ed_op#/FONT#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl# in India and abroad.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P wSSGA="0" febrn="0"#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Mr. Vibhaker Baxi, Chairman & Managing Director of Navras Records Ltd., UK, said from London that prior to Ustadji’s demise, he was exclusive with Navras Records. “It is very saddening that he is not amongst us today but we feel privileged and honoured to present this concert to keep his memory alive,” he said.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P wSSGA="0" febrn="0"#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Talking about the emotional significance of the concert, Santoor Maestro and Director of Navras Records Pt Satish Vyas said, “Ustad Vilayat Khan was one of the role models of Indian musicians.”#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P wSSGA="0" febrn="0"#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Invitation cards will be available on first come first serve basis at Rhythm House (Tel No: 2284 2835 & Maharashtra Watch Company (Tel No: 2422 3011) Dadar. #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#/TBODY#ed_cl##ed_op#/TABLE#ed_cl##ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#/DIV#ed_cl#


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taal
Tue 20 Mar, 2007 08:48

Re: CLASSICAL TRANQUILITY & MUSIC REVIEW
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#ed_op#DIV#ed_cl#Thanks for sharing these articles Dada. #ed_op#/DIV#ed_cl#


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sur
Wed 21 Mar, 2007 01:15

Re: CLASSICAL TRANQUILITY & MUSIC REVIEW
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#ed_op#DIV#ed_cl##ed_op#TABLE cellSpacing=0 cellPadding=0 width=636 align=center border=0#ed_cl##ed_op#TBODY#ed_cl##ed_op#TR#ed_cl##ed_op#TD class=t_t_11_b febrn="4" wSSGA="0"#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#FONT class=t_v_16_b_b color=#451528 febrn="0" wSSGA="0"#ed_cl##ed_op#STRONG#ed_cl#Classical music not given its due place, says Pandit Jasraj#ed_op#/STRONG#ed_cl##ed_op#/FONT#ed_cl##ed_op#BR#ed_cl#By PTI#ed_op#BR#ed_cl#Nov 10, 2006, #ed_op#BR#ed_cl##ed_op#BR#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/TD#ed_cl##ed_op#TD class=t_t_11_b vAlign=top align=right#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#BR#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#/TBODY#ed_cl##ed_op#/TABLE#ed_cl##ed_op#TABLE cellSpacing=0 cellPadding=0 width=636 align=center border=0#ed_cl##ed_op#TBODY#ed_cl##ed_op#TR#ed_cl##ed_op#TD style="FONT-SIZE: 10pt; FONT-FAMILY: Trebuchet MS, Verdana, helvetica, sans-serif; BACKGROUND-COLOR: white"#ed_cl##ed_op#P febrn="4" wSSGA="0"#ed_cl##ed_op#TABLE cellSpacing=2 cellPadding=0 align=left border=0#ed_cl##ed_op#TBODY#ed_cl##ed_op#TR#ed_cl##ed_op#TD#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#IMG src="http://www.musicindiaonline.com/z/nimgs/hindustani/86/1.jpg" border=1#ed_cl##ed_op#/FONT#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#/TBODY#ed_cl##ed_op#/TABLE#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Chennai, February 24, 2006: Indian Clacal music has not been given its due place #ed_op#FONT color=#111111#ed_cl#by the #ed_op#FONT style="FONT-WEIGHT: 400; FONT-SIZE: 11px; COLOR: blue! important; FONT-FAMILY: Trebuchet MS, Verdana, Arial, sans-serif; POSITION: static"#ed_cl##ed_op#SPAN class=kLink style="FONT-WEIGHT: 400; FONT-SIZE: 11px; COLOR: blue! important; FONT-FAMILY: Trebuchet MS, Verdana, Arial, sans-serif; POSITION: relative"#ed_cl#international #ed_op#/SPAN#ed_cl##ed_op#SPAN class=kLink style="FONT-WEIGHT: 400; FONT-SIZE: 11px; COLOR: blue! important; FONT-FAMILY: Trebuchet MS, Verdana, Arial, sans-serif; POSITION: relative"#ed_cl#music#ed_op#/SPAN#ed_cl##ed_op#/FONT#ed_cl# community, legendary Hindustani classical singer #ed_op#/FONT#ed_cl#Pandit Jasraj said today and likened it to India not being bestowed with a permanent membership in the United Nation Security Council. #ed_op#BR#ed_cl##ed_op#BR#ed_cl#"Though the world has recognised India as a 'power', the world body does not think it fit enough to be made a permanent member of the Security Council. Indian classical music, with its long age and tradition, is also being treated like that," he said.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P febrn="0" wSSGA="0"#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Coming down heavily on the Centre for not doing anything substantial for the promotion of Hindustani and Carnatic music, he said his repeated plea for starting an exclusive channel by Doordarshan for Indian classical music found no takers.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P febrn="0" wSSGA="0"#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Even private channels are not coming forward to start an exclusive channels for sastriya sangeet, he said, adding patronage by satellite channels was a must for the development of classical music.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P febrn="0" wSSGA="0"#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#He said the western music world had not given due recognition to Indian classical music. Awards like Grammy awards should be instituted for classical music, he said.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P febrn="0" wSSGA="0"#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Time was not far off for instituting such awards, he said adding that he, along with other musical geniuses were toying with an idea of Indian music awards, which would recognise all music systems.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#/TBODY#ed_cl##ed_op#/TABLE#ed_cl##ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#/DIV#ed_cl#


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sur
Thu 22 Mar, 2007 01:34

Re: CLASSICAL TRANQUILITY & MUSIC REVIEW
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#ed_op#DIV#ed_cl##ed_op#TABLE cellSpacing=0 cellPadding=0 width=636 align=center border=0#ed_cl##ed_op#TBODY#ed_cl##ed_op#TR#ed_cl##ed_op#TD class=t_t_11_b lastVisited="4" roundtrip="0"#ed_cl##ed_op#FONT color=#111111#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#FONT class=t_v_16_b_b color=#7f3f00 lastVisited="0" roundtrip="0"#ed_cl##ed_op#STRONG#ed_cl#Hangal to be felicitated on her birthday#ed_op#/STRONG#ed_cl##ed_op#/FONT#ed_cl##ed_op#BR#ed_cl#By UNI#ed_op#BR#ed_cl#Nov 10, 2006, 13:50#ed_op#BR#ed_cl##ed_op#BR#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/TD#ed_cl##ed_op#TD class=t_t_11_b vAlign=top align=right#ed_cl##ed_op#FONT color=#111111#ed_cl##ed_op#BR#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#/TBODY#ed_cl##ed_op#/TABLE#ed_cl##ed_op#TABLE cellSpacing=0 cellPadding=0 width=636 align=center border=0#ed_cl##ed_op#TBODY#ed_cl##ed_op#TR#ed_cl##ed_op#TD style="FONT-SIZE: 10pt; FONT-FAMILY: Trebuchet MS, Verdana, helvetica, sans-serif; BACKGROUND-COLOR: white"#ed_cl##ed_op#P lastVisited="3" roundtrip="0"#ed_cl##ed_op#FONT face="Arial Narrow" color=#111111 size=4#ed_cl#Hubli: Eminent Hindustani vocalist Dr Gangubai Hangal will be felicitated on her 94th birthday on March five at a function, to be attended by noted film actor Nana Patekar. #ed_op#BR#ed_cl##ed_op#BR#ed_cl#Announcing this at a press conference here, Padma Vibhushan Dr Hangal Janmotsava Samiti chief Hayavadan Joshi said the fans of Dr Hangal would celebrate the legend's birthday throughout the year in several places, including Pune, Bangalore and Dharwad. #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P lastVisited="0" roundtrip="0"#ed_cl##ed_op#FONT face="Arial Narrow" color=#111111 size=4#ed_cl#He said Dr Hangal had expressed her willingness to sing at the celebrations along with her disciples#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#/TBODY#ed_cl##ed_op#/TABLE#ed_cl##ed_op#/DIV#ed_cl#


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sur
Fri 23 Mar, 2007 17:54

Re: CLASSICAL TRANQUILITY & MUSIC REVIEW
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#ed_op#DIV#ed_cl##ed_op#P align=center#ed_cl##ed_op#SPAN style="FONT-WEIGHT: 700; FONT-FAMILY: Arial"#ed_cl##ed_op#FONT size=5#ed_cl#Instrumental Indian Music#ed_op#/FONT#ed_cl##ed_op#/SPAN#ed_cl##ed_op#/P#ed_cl##ed_op#P align=center#ed_cl# #ed_op#/P#ed_cl##ed_op#P class=MsoPlainText style="TEXT-ALIGN: justify"#ed_cl##ed_op#SPAN style="FONT-SIZE: 12pt; FONT-FAMILY: Times New Roman"#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Instrumental Indian music is generally the basis of the Hindustani category of Indian classical music. Though instruments are used in the background during Carnatic performances, they form an important part of Hindustani music. There are a number of Indian musical instruments that are classified into 3 categories, which are:#ed_op#/FONT#ed_cl##ed_op#/SPAN#ed_cl##ed_op#/P#ed_cl##ed_op#P class=MsoPlainText style="TEXT-ALIGN: justify"#ed_cl##ed_op#SPAN style="FONT-SIZE: 12pt; FONT-FAMILY: Times New Roman"#ed_cl##ed_op#/SPAN#ed_cl# #ed_op#/P#ed_cl##ed_op#P class=MsoPlainText style="MARGIN-LEFT: 36pt; TEXT-INDENT: -18pt; TEXT-ALIGN: justify"#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#SPAN style="FONT-SIZE: 12pt; FONT-FAMILY: Symbol"#ed_cl#·#ed_op#SPAN style="FONT: 7pt 'Times New Roman'"#ed_cl#        #ed_op#/SPAN#ed_cl##ed_op#/SPAN#ed_cl##ed_op#SPAN style="FONT-SIZE: 12pt; FONT-FAMILY: Times New Roman"#ed_cl#Stringed instruments: Sitar, tamboora, sarangi, dilurba and veena, etc.#ed_op#/SPAN#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P class=MsoPlainText style="MARGIN-LEFT: 36pt; TEXT-INDENT: -18pt; TEXT-ALIGN: justify"#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#SPAN style="FONT-SIZE: 12pt; FONT-FAMILY: Symbol"#ed_cl#·#ed_op#SPAN style="FONT: 7pt 'Times New Roman'"#ed_cl#        #ed_op#/SPAN#ed_cl##ed_op#/SPAN#ed_cl##ed_op#SPAN style="FONT-SIZE: 12pt; FONT-FAMILY: Times New Roman"#ed_cl#Wind instruments: Flute popularly known as bansuri, shehnai, naferi nagasvaram, etc.#ed_op#/SPAN#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P class=MsoPlainText style="MARGIN-LEFT: 36pt; TEXT-INDENT: -18pt; TEXT-ALIGN: justify"#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#SPAN style="FONT-SIZE: 12pt; FONT-FAMILY: Symbol"#ed_cl#·#ed_op#SPAN style="FONT: 7pt 'Times New Roman'"#ed_cl#        #ed_op#/SPAN#ed_cl##ed_op#/SPAN#ed_cl##ed_op#SPAN style="FONT-SIZE: 12pt; FONT-FAMILY: Times New Roman"#ed_cl#Percussion instruments: Tabla, pakhawaj, mridangam, dholak, etc.#ed_op#/SPAN#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P class=MsoPlainText style="TEXT-ALIGN: justify"#ed_cl##ed_op#SPAN style="FONT-SIZE: 12pt; FONT-FAMILY: Times New Roman"#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#/SPAN#ed_cl# #ed_op#/P#ed_cl##ed_op#P class=MsoPlainText style="TEXT-ALIGN: justify"#ed_cl##ed_op#SPAN style="FONT-SIZE: 12pt; FONT-FAMILY: Times New Roman"#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Here is a brief introduction to the various musical instruments of India: #ed_op#/FONT#ed_cl##ed_op#/SPAN#ed_cl##ed_op#/P#ed_cl##ed_op#P class=MsoPlainText style="TEXT-ALIGN: justify"#ed_cl##ed_op#SPAN style="FONT-SIZE: 12pt; FONT-FAMILY: Times New Roman"#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#/SPAN#ed_cl# #ed_op#/P#ed_cl##ed_op#P class=MsoPlainText style="MARGIN-LEFT: 36pt; TEXT-INDENT: -18pt; TEXT-ALIGN: justify"#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#SPAN style="FONT-SIZE: 12pt; FONT-FAMILY: Symbol"#ed_cl#·#ed_op#SPAN style="FONT: 7pt 'Times New Roman'"#ed_cl#        #ed_op#/SPAN#ed_cl##ed_op#/SPAN#ed_cl##ed_op#/FONT#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#SPAN style="FONT-SIZE: 12pt; FONT-FAMILY: Times New Roman"#ed_cl#Sitar is a stringed instrument and is played with a plectrum worn on the finger. #ed_op#/SPAN#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P class=MsoPlainText style="MARGIN-LEFT: 36pt; TEXT-INDENT: -18pt; TEXT-ALIGN: justify"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#SPAN style="FONT-SIZE: 12pt; FONT-FAMILY: Symbol"#ed_cl#·#ed_op#SPAN style="FONT: 7pt 'Times New Roman'"#ed_cl#        #ed_op#/SPAN#ed_cl##ed_op#/SPAN#ed_cl##ed_op#SPAN style="FONT-SIZE: 12pt; FONT-FAMILY: Times New Roman"#ed_cl#Sarod is a stringed instrument carved from teakwood and is played with a plectrum generally made from coconut shell. Ustad Ali Akbar Khan is known for his sarod compositions#ed_op#/SPAN#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P class=MsoPlainText style="MARGIN-LEFT: 36pt; TEXT-INDENT: -18pt; TEXT-ALIGN: justify"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#SPAN style="FONT-SIZE: 12pt; FONT-FAMILY: Symbol"#ed_cl#·#ed_op#SPAN style="FONT: 7pt 'Times New Roman'"#ed_cl#        #ed_op#/SPAN#ed_cl##ed_op#/SPAN#ed_cl##ed_op#SPAN style="FONT-SIZE: 12pt; FONT-FAMILY: Times New Roman"#ed_cl#Sarangi is a musical instrument that is played with a bow. I it not used for solo instrumental performances as it requires a vocalist to complement its tunes#ed_op#/SPAN#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P class=MsoPlainText style="MARGIN-LEFT: 36pt; TEXT-INDENT: -18pt; TEXT-ALIGN: justify"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#SPAN style="FONT-SIZE: 12pt; FONT-FAMILY: Symbol"#ed_cl#·#ed_op#SPAN style="FONT: 7pt 'Times New Roman'"#ed_cl#        #ed_op#/SPAN#ed_cl##ed_op#/SPAN#ed_cl##ed_op#SPAN style="FONT-SIZE: 12pt; FONT-FAMILY: Times New Roman"#ed_cl#Tanpura is a stringed instrument that produces the essential backdrop for all Indian music compositions#ed_op#/SPAN#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P class=MsoPlainText style="MARGIN-LEFT: 36pt; TEXT-INDENT: -18pt; TEXT-ALIGN: justify"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#SPAN style="FONT-SIZE: 12pt; FONT-FAMILY: Symbol"#ed_cl#·#ed_op#SPAN style="FONT: 7pt 'Times New Roman'"#ed_cl#        #ed_op#/SPAN#ed_cl##ed_op#/SPAN#ed_cl##ed_op#SPAN style="FONT-SIZE: 12pt; FONT-FAMILY: Times New Roman"#ed_cl#Esraj is a stringed instrument commonly played in the northern region of India#ed_op#/SPAN#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P class=MsoPlainText style="MARGIN-LEFT: 36pt; TEXT-INDENT: -18pt; TEXT-ALIGN: justify"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#SPAN style="FONT-SIZE: 12pt; FONT-FAMILY: Symbol"#ed_cl#·#ed_op#SPAN style="FONT: 7pt 'Times New Roman'"#ed_cl#        #ed_op#/SPAN#ed_cl##ed_op#/SPAN#ed_cl##ed_op#SPAN style="FONT-SIZE: 12pt; FONT-FAMILY: Times New Roman"#ed_cl#Santoor is an instrument that originated from Kashmir. Pandit Shiv Kumar Sharma is known globally for his santoor performances and compositions. #ed_op#/SPAN#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P class=MsoPlainText style="MARGIN-LEFT: 36pt; TEXT-INDENT: -18pt; TEXT-ALIGN: justify"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#SPAN style="FONT-SIZE: 12pt; FONT-FAMILY: Symbol"#ed_cl#·#ed_op#SPAN style="FONT: 7pt 'Times New Roman'"#ed_cl#        #ed_op#/SPAN#ed_cl##ed_op#/SPAN#ed_cl##ed_op#SPAN style="FONT-SIZE: 12pt; FONT-FAMILY: Times New Roman"#ed_cl#Veena is an ancient stringed instrument. #ed_op#/SPAN#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P class=MsoPlainText style="MARGIN-LEFT: 36pt; TEXT-INDENT: -18pt; TEXT-ALIGN: justify"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#SPAN style="FONT-SIZE: 12pt; FONT-FAMILY: Symbol"#ed_cl#·#ed_op#SPAN style="FONT: 7pt 'Times New Roman'"#ed_cl#        #ed_op#/SPAN#ed_cl##ed_op#/SPAN#ed_cl##ed_op#SPAN style="FONT-SIZE: 12pt; FONT-FAMILY: Times New Roman"#ed_cl#Tabla is the name given to the two-drum set, which is played by musicians. Pandit Zakir Hussain is amongst the popular contemporary tabla maestros. #ed_op#/SPAN#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P class=MsoPlainText style="MARGIN-LEFT: 36pt; TEXT-INDENT: -18pt; TEXT-ALIGN: justify"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#SPAN style="FONT-SIZE: 12pt; FONT-FAMILY: Symbol"#ed_cl#·#ed_op#SPAN style="FONT: 7pt 'Times New Roman'"#ed_cl#        #ed_op#/SPAN#ed_cl##ed_op#/SPAN#ed_cl##ed_op#SPAN style="FONT-SIZE: 12pt; FONT-FAMILY: Times New Roman"#ed_cl#Pakhawaj is a long bodied wooden drum that has both the sides covered in skin. #ed_op#/SPAN#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P class=MsoPlainText style="MARGIN-LEFT: 36pt; TEXT-INDENT: -18pt; TEXT-ALIGN: justify"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#SPAN style="FONT-SIZE: 12pt; FONT-FAMILY: Symbol"#ed_cl#·#ed_op#SPAN style="FONT: 7pt 'Times New Roman'"#ed_cl#        #ed_op#/SPAN#ed_cl##ed_op#/SPAN#ed_cl##ed_op#SPAN style="FONT-SIZE: 12pt; FONT-FAMILY: Times New Roman"#ed_cl#Mridangam is similar to the Pakhawaj, with a variant texture at the two ends. #ed_op#/SPAN#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P class=MsoPlainText style="MARGIN-LEFT: 36pt; TEXT-INDENT: -18pt; TEXT-ALIGN: justify"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#SPAN style="FONT-SIZE: 12pt; FONT-FAMILY: Symbol"#ed_cl#·#ed_op#SPAN style="FONT: 7pt 'Times New Roman'"#ed_cl#        #ed_op#/SPAN#ed_cl##ed_op#/SPAN#ed_cl##ed_op#SPAN style="FONT-SIZE: 12pt; FONT-FAMILY: Times New Roman"#ed_cl#Dholak is a cylindrical side drum that is made from solid wood. #ed_op#/SPAN#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P class=MsoPlainText style="MARGIN-LEFT: 36pt; TEXT-INDENT: -18pt; TEXT-ALIGN: justify"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#SPAN style="FONT-SIZE: 12pt; FONT-FAMILY: Symbol"#ed_cl#·#ed_op#SPAN style="FONT: 7pt 'Times New Roman'"#ed_cl#        #ed_op#/SPAN#ed_cl##ed_op#/SPAN#ed_cl##ed_op#SPAN style="FONT-SIZE: 12pt; FONT-FAMILY: Times New Roman"#ed_cl#Jal tarang is a water-xylophone that has six china bowls of varying sizes containing water and is played with two sticks. #ed_op#/SPAN#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P class=MsoPlainText style="MARGIN-LEFT: 36pt; TEXT-INDENT: -18pt; TEXT-ALIGN: justify"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#SPAN style="FONT-SIZE: 12pt; FONT-FAMILY: Symbol"#ed_cl#·#ed_op#SPAN style="FONT: 7pt 'Times New Roman'"#ed_cl#        #ed_op#/SPAN#ed_cl##ed_op#/SPAN#ed_cl##ed_op#SPAN style="FONT-SIZE: 12pt; FONT-FAMILY: Times New Roman"#ed_cl#Pung is a Manipuri side drum with its ends covered with varied skins. #ed_op#/SPAN#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P class=MsoPlainText style="MARGIN-LEFT: 36pt; TEXT-INDENT: -18pt; TEXT-ALIGN: justify"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#SPAN style="FONT-SIZE: 12pt; FONT-FAMILY: Symbol"#ed_cl#·#ed_op#SPAN style="FONT: 7pt 'Times New Roman'"#ed_cl#        #ed_op#/SPAN#ed_cl##ed_op#/SPAN#ed_cl##ed_op#SPAN style="FONT-SIZE: 12pt; FONT-FAMILY: Times New Roman"#ed_cl#Bansuri is the Indian name for the flute, which is carved from bamboo #ed_op#/SPAN#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P class=MsoPlainText style="MARGIN-LEFT: 36pt; TEXT-INDENT: -18pt; TEXT-ALIGN: justify"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#SPAN style="FONT-SIZE: 12pt; FONT-FAMILY: Symbol"#ed_cl#·#ed_op#SPAN style="FONT: 7pt 'Times New Roman'"#ed_cl#        #ed_op#/SPAN#ed_cl##ed_op#/SPAN#ed_cl##ed_op#SPAN style="FONT-SIZE: 12pt; FONT-FAMILY: Times New Roman"#ed_cl#Shehnai is a wind instrument with a tube that widens at the lower end. This instrument is generally played during celebratory of festive occasions. #ed_op#/SPAN#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#/DIV#ed_cl#


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sur
Sat 24 Mar, 2007 00:43

Re: CLASSICAL TRANQUILITY & MUSIC REVIEW
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#ed_op#DIV#ed_cl##ed_op#H3#ed_cl##ed_op#FONT color=#7f3f00 size=6#ed_cl##ed_op#IMG height=50 src="http://www.hinduonnet.com/2001/07/icons/hindux.gif" width=468#ed_cl##ed_op#BR#ed_cl##ed_op#FONT face=verdana color=blue size=-1#ed_cl#Online edition of India's National Newspaper#ed_op#/FONT#ed_cl##ed_op#BR#ed_cl##ed_op#FONT color=#800080 size=4#ed_cl#Friday, July 20, 2001#ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/H3#ed_cl##ed_op#H3#ed_cl##ed_op#FONT color=#7f3f00 size=6#ed_cl#Decoration in proportion #ed_op#/FONT#ed_cl##ed_op#/H3#ed_cl##ed_op#P#ed_cl##ed_op#IMG height=149 alt=" " src="http://www.hinduonnet.com/2001/07/20/images/0920070b.jpg" width=251 align=right border=1#ed_cl##ed_op#BR#ed_cl##ed_op#FONT size=3#ed_cl##ed_op#P#ed_cl##ed_op#!-- Date: 20-07-2001 :: Pg: 28 :: Col: d --#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#In Semmangudi's concerts, kalpanaswaras flow smoothly without marring the melody, observes V. SUBRAHMANIAM in the last part of the series, a tribute to his mentor who turns 93 on July 25.#ed_op#/FONT#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl# #ed_op#/FONT#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#DRAWING FREELY from the artiste's imagination and rendering kalpanaswara embellishments for compositions or Ragam Tanam Pallavi has become an established practice in concerts. #ed_op#/FONT#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#The aspect is unique to the Indian system of music more so to the Carnatic. An adaptation of this is now prevalent in the Hindustani styles and its inclusion is comparatively recent. Several patterns are woven in the relevant raga in the slow and fast tempos. In this aspect of music also Sri Semmangudi is a past master. His style is based on strict adherence to the Sarvalaghu-basic rhythm. The swaras that he renders in the slow tempo would abound in the bhava of the raga with all the nuances, gamakas and Anuswaras. #ed_op#/FONT#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#His fast tempo rendition of swaras would rush as the flow of the Ganga in Haridwar, the fastness in no way marring the melody of the bhava-laden raga packing the fast tempo swaras with speed, clarity, bhava and easy flow. Sri Semmangudi's kalpanaswaras would never leave the listener weary. His lengthy fast tempo swaras without even one elongated note (Deergha swara) is unparalleled and it would be no exaggeration to state that Semmangudi is the only maestro to achieve this. #ed_op#/FONT#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#In one of his concerts he rendered such fast tempo swaras for the pallavi in Sankarabharanam at a stretch for almost 4-1/2 minutes that the accompanying artistes were left stunned for a few seconds before picking up.#ed_op#/FONT#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl# #ed_op#/FONT#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Semmangudi always feels that swara singing should not be a mere rhythmic exercise which will tend to rob the music of bhava. #ed_op#/FONT#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#The bhava aspect should never be subjugated to the rhythmic patterns. Mere arithmetic adherence to rhythmic patterns in swara renditions would end up as tight rope walking making the singer and the listener tense. #ed_op#/FONT#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#An appropriate remark was made by one senior violin maestro about Semmangudi's swara renditions. ``While singing the swara he is singing the raga in the rhythmic frame.'' The audience, generally, prefer to listen to keertanas (compositions), raga alapanas and then kalpanaswaras in this order. #ed_op#/FONT#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#In Semmangudi's concerts it can be observed that audiences are thrilled and impressed by the punch of the maestro's kalpanaswara renditions touched by their melodic bhava and rich content that they all look forward to them. Another important aspect of Semmangudi's swaraprasthara is the sense of proportion. The listener would never be left feeling that there has been an overdose of swaras. #ed_op#/FONT#ed_cl##ed_op#P#ed_cl# #ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Blessed with abundant and refined sangita jnana and kutchery craftsmanship par excellence the great maestro has been shining as a brilliant Sun in the firmament of Carnatic music for more than seven and a half decades.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#/FONT#ed_cl##ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#/DIV#ed_cl#


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sur
Sun 25 Mar, 2007 23:31

Re: CLASSICAL TRANQUILITY & MUSIC REVIEW
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#ed_op#DIV#ed_cl##ed_op#TABLE cellSpacing=0 cellPadding=0 width=636 align=center border=0#ed_cl##ed_op#TBODY#ed_cl##ed_op#TR#ed_cl##ed_op#TD class=t_t_11_b QByxa="4" bsG7Z="0"#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#FONT class=t_v_16_b_b QByxa="0" bsG7Z="0"#ed_cl#Musicians now seek 'instant success': Bismillah Khan#ed_op#/FONT#ed_cl##ed_op#BR#ed_cl#By IANS#ed_op#BR#ed_cl#Nov 10, 2006, 13:50#ed_op#BR#ed_cl##ed_op#BR#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/TD#ed_cl##ed_op#TD class=t_t_11_b vAlign=top align=right#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#/TBODY#ed_cl##ed_op#/TABLE#ed_cl##ed_op#TABLE cellSpacing=0 cellPadding=0 width=636 align=center border=0#ed_cl##ed_op#TBODY#ed_cl##ed_op#TR#ed_cl##ed_op#TD style="FONT-SIZE: 10pt; FONT-FAMILY: Trebuchet MS, Verdana, helvetica, sans-serif; BACKGROUND-COLOR: white"#ed_cl##ed_op#P QByxa="1" bsG7Z="0"#ed_cl##ed_op#TABLE cellSpacing=2 cellPadding=0 align=left border=0#ed_cl##ed_op#TBODY#ed_cl##ed_op#TR#ed_cl##ed_op#TD#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#IMG src="http://www.musicindiaonline.com/z/nimgs/hindustani/83/1.jpg" border=1#ed_cl##ed_op#/FONT#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#/TBODY#ed_cl##ed_op#/TABLE#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Shehnai maestro Ustad Bismillah Khan, who received the Bharat Ratna in 2001, is upset with the musician#ed_op#/FONT#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl# of today and their disciples, saying they only hunger for instant success. #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P QByxa="0" bsG7Z="0"#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#The 'guru-shishya parampara', the sacred relationship between the musician teacher and the disciple, is "finished", bemoaned the nonagenarian musician. "Sab kuch khatam ho gaya (everything is finished)," Khan told a Delhi-based journalist couple Neena and Shivnath Jha at his Varanasi home.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P QByxa="0" bsG7Z="0"#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Neena Jha runs an all-women magazine 'The Indraprastha NCR', while her husband works with #ed_op#/FONT#ed_cl##ed_op#A class=kLink oncontextmenu="return false;" id=KonaLink2 onmouseover=adlinkMouseOver(event,this,2); style="POSITION: static; TEXT-DECORATION: underline! important" onclick=adlinkMouseClick(event,this,2); onmouseout=adlinkMouseOut(event,this,2); href="http://www.musicindiaonline.com/n/i/hindustani/83/#" target=_top#ed_cl##ed_op#FONT style="FONT-WEIGHT: 400; FONT-SIZE: 11px; COLOR: blue! important; FONT-FAMILY: Trebuchet MS, Verdana, Arial, sans-serif; POSITION: static" face="Arial Narrow" color=blue size=4#ed_cl##ed_op#SPAN class=kLink style="FONT-WEIGHT: 400; FONT-SIZE: 11px; COLOR: blue! important; FONT-FAMILY: Trebuchet MS, Verdana, Arial, sans-serif; POSITION: relative"#ed_cl#Sahara#ed_op#/SPAN#ed_cl##ed_op#/FONT#ed_cl##ed_op#/A#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl# Time, a weekly news magazine.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P QByxa="0" bsG7Z="0"#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Khan said the teachers and disciples of today have no patience to hone their music.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P QByxa="0" bsG7Z="0"#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#"Today, both the guru and the disciple want instant results and have stopped believing in the virtue of patience. The guru today has neither discipline nor does his shishya possess 'adab' (respect). Everything is gone. Ab to Allah ka hi karam hoga to music bachega... sab khatam ho gaya (Only if god is merciful will music survive)."#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P QByxa="0" bsG7Z="0"#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#The musician, who has been ailing for a while, reminisced how his forefathers would perform for a few rupees a month at a temple in Varanasi on the banks of the Ganges.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P QByxa="0" bsG7Z="0"#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#"When my grandmother performed, do you know what the deal was fixed for? Fourteen annas!" he told the Jhas at his double-storied dilapidated house in a narrow lane of Sarai Rohla in Varanasi, 280 km from Lucknow. (Sixteen annas made a rupee then)#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P QByxa="0" bsG7Z="0"#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#The Jhas presented the great maestro, who has also received the Padma Shri, Padma Bhushan and Padma Vibhushan, a book on his life. They hope to raise money through the sales of the book to help the musician who is not well off financially.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#On his frail health, Khan said: "Sab Allah ki meharbani hai (it is all a gift of god). I am too old to fight age. But I still feel young. My begum (the shehnai) is with me."#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Khan, who turns 91 on March 21, will cut a 91-kg cake in celebration. He will pay tribute to the old maharajas of Dumraon and Darbhanga in Bihar whose palaces he used to visit as a child.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#"I have never celebrated such a type of birthday," he said.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Khan, who was born in Dumraon in Bihar, reminisced how he would do rigorous 'riyaaz' (practice) for four or five hours every morning under the guidance of his maternal uncle Alibux Khan. #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#He regretted that his old age had made it difficult to go to some of the Hindu temples in Varanasi as he would do in earlier days. #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#"I do feel like going there, but my old age prevents me," he said.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#To a question, Khan said he had never faced any hurdles on account of being a Muslim.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#"Music has no caste. I have received love and affection all over the world. The government has given me all the four highest civilian awards in the past five decades." #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#However, the maestro at the same time alleged that he had been denied an opportunity to play at New Delhi's India Gate because he was a Muslim.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#According to Khan, since musical functions had been held at the India Gate lawns earlier, he should also be invited to play there.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#The maestro became emotional when asked if the government had given him any financial aid. He received Rs.500,000 from the Atal Bihari Vajpayee government when he was ill.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#"No one in the government or any of the prime ministers has extended any financial support. Barring that (Rs.500,000), the government has extended no support. They have not released a single paisa which they promised me down the years."#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Asked how much he was expecting to get from the government, Khan said: "Not less than Rs.10 lakhs (1 million)."#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#The maestro said he believes that music dispels all evil. "The shehnai is one such instrument whose melodious sound dispels all evil."#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#/TBODY#ed_cl##ed_op#/TABLE#ed_cl##ed_op#/DIV#ed_cl#


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sur
Tue 27 Mar, 2007 00:25

Re: CLASSICAL TRANQUILITY & MUSIC REVIEW
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#ed_op#DIV#ed_cl##ed_op#TABLE cellSpacing=0 cellPadding=5 border=0#ed_cl##ed_op#TBODY#ed_cl##ed_op#TR#ed_cl##ed_op#TD class=black#ed_cl##ed_op#H3#ed_cl##ed_op#FONT face="Arial Narrow" color=#7f3f00 size=5#ed_cl#Truth - Amaan Ali Khan, Ayaan Ali Khan #ed_op#/FONT#ed_cl##ed_op#/H3#ed_cl##ed_op#P#ed_cl##ed_op#SCRIPT#ed_cl#document.write('#ed_op#i#ed_cl#Aelina#ed_op#/i#ed_cl#,')#ed_op#/SCRIPT#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#I#ed_cl#Aelina#ed_op#/I#ed_cl#, IndiaGlitz  #ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl#January 27, 2007#ed_op#BR#ed_cl##ed_op#/P#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#TR#ed_cl##ed_op#TD class=black#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#IMG src="http//image1.indiaglitz.com/hindi/musicreviews/aabrother270107_1.jpg" align=right border=1#ed_cl# #ed_op#/FONT#ed_cl##ed_op#P align=justify #ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#It is a good time for music lovers as different genres are cutting boundaries with the distinction between mass and class music diminishing fast. While Rahul Sharma has become a household name with a dozen odd 'Santoor' albums of his making inroads into people's living rooms, Amaan Ali Khan and Ayaan Ali Khan too are slated to repeat the fate with their expertise on 'Sarod'. With the arrival of their latest album 'Truth', one realizes soon that we would be hearing more of these two young brothers.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#[Some of the portions of the review have been recreated from the details given along with the CD]#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P align=justify#ed_cl##ed_op#STRONG#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#1) The Blessing - Original and remix (Lyrics Madan Gopal Singh]#ed_op#/FONT#ed_cl##ed_op#/STRONG#ed_cl##ed_op#/P#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#With the very first track, it becomes quite obvious that 'Truth' is a kind of album with a lounge feel to it since other than 'sarod', the instruments used are flute, 'sarangi', 'dholak', 'tabla', 'dhaf' and even electronic western instruments to create the right mood. An engaging piece, 'The Blessing' is made of the lyrics "Angana Moray Toray Kadam, Khwaja Moray, Kariyo Karam'. Based in the traditional raga Bageshwari, this track is a prayer to khwaja and is about a journey that really has no end. The End is the beginning, which is nothing but the Truth! A good haunting piece that also arrives in a remix version to go with the party mood.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P align=justify#ed_cl##ed_op#STRONG#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#2) Searching Love (Lyrics Traditional)#ed_op#/FONT#ed_cl##ed_op#/STRONG#ed_cl##ed_op#/P#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#"Kaun Gali Gayo Shyam, Aji Kaun Gali Gayo Shyam" - The lyrics here are rendered in such a faded manner that one actually has to listen to the track closely to realize it. The track narrates the romance of Radha and Lord Krishna wherein Radha is wondering where Shyam (Krishna) is. Based in the dreamy Raga Khammaj, some traditional compositions of instrumental music are used along with the Sarangi, dholak, Sarod, vocals and electronics. Yet another haunting piece, 'Searching Love' is all about love and roses and undying selfless love.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P align=justify#ed_cl##ed_op#STRONG#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#3. Sacred Calling (Lyrics Traditional with variation with Ustad Amjad Ali Khan Saheb)#ed_op#/FONT#ed_cl##ed_op#/STRONG#ed_cl##ed_op#/P#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#The track takes a grand feel with the usage of musical instrument 'Dhaf' which manages to create a bold feel to the proceedings. Based on Raag Bhairavi, 'Sacred Calling' has some haunting rendition by Ayaan Ali Khan who croons the words 'Alla Tero Naam Ishwar Bhi Tero Naam'. A beautiful musical piece that has to be heard in isolation without any external interruptions whatsoever, it has an introspective effect on you.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P align=justify#ed_cl##ed_op#STRONG#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#4. Ray Of Hope#ed_op#/FONT#ed_cl##ed_op#/STRONG#ed_cl##ed_op#/P#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Moving at a slow pace, 'Ray Of Hope' is based on early evening Raga Madhuwanti which, as the title suggests, evokes a strong sense of hope. An instrumental piece with Amaan Ali Khan coming up with an extended 'alaap' throughout the 6 and a half minutes duration, 'Ray Of Hope' just continues to consolidate on the stage that has been set by Amaan and Ayaan.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P align=justify#ed_cl##ed_op#STRONG#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#5. Realization (Lyrics Amaan Ali Khan)#ed_op#/FONT#ed_cl##ed_op#/STRONG#ed_cl##ed_op#/P#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Continuing on the lounge mood being set by the album, 'Realization' is based in the morning 'Raga Gujri Todi' and comes with a deep feel to it. Highlight of this musical piece is the way it has been engineered since initially traditional composition is incorporated in the Sarod and later the faster patterns take over. A good fusion track.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P align=justify#ed_cl##ed_op#STRONG#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#6. Time Zone#ed_op#/FONT#ed_cl##ed_op#/STRONG#ed_cl##ed_op#/P#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Based on Raga tilak Kamod, 'Time Zone' has been set as a rhythmic track with the haunting effect as heard in the musical pieces earlier still being intact. As per Amaan and Ayaan, the song is special to them for nostalgic reasons. That's because Tilak Kamod was the first raga that they learnt as kids! The track is again a mix of 'sarod' and background vocals that makes it yet another piece fit for a lunge outing.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P align=justify#ed_cl##ed_op#STRONG#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#7. Ecstatic Connection (Lyrics Madan Gopal Singh)#ed_op#/FONT#ed_cl##ed_op#/STRONG#ed_cl##ed_op#/P#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#A track which fuses the western elements well with Indian classical mood, 'Ecstatic Connection' truly lives up to its name! Based on 'Raga Kausi Kanhara', it is a follow-up to the lounge mood of the album and also has some similarities with the opening track 'The Blessing'. Highlighted as a tribute to Nusrat Fateh Ali Khan, the music here bridges the East West gap and brings to fore a truly lovable sound.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P align=justify#ed_cl##ed_op#STRONG#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#8. Truth (Lyrics Madan Gopal Singh)#ed_op#/FONT#ed_cl##ed_op#/STRONG#ed_cl##ed_op#/P#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#A track which is extra special for Amaan and Ayaan, it has their mother Subhalakshmi Khan arriving behind the mike along with their father Ustad Amjad Ali Khan who also handles the sarod. The result is for all to hear as the senior Khan bases 'Truth' on Raga Lalita Dhwani that was created by him in the 70s.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#'The Truth' is for the connoisseurs of world music; basically a select set of audience which like its music to have strong classical shades. While the music may not appeal to those who have been bred on conventional Bollywood or Indi-pop soundtrack, for those who like to experiment with their sound, 'Truth' is worth a hear.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#/TBODY#ed_cl##ed_op#/TABLE#ed_cl##ed_op#/DIV#ed_cl#


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sur
Tue 27 Mar, 2007 18:10

Re: CLASSICAL TRANQUILITY & MUSIC REVIEW
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#ed_op#DIV#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#FONT color=#ff000f size=5#ed_cl##ed_op#B#ed_cl##ed_op#P#ed_cl##ed_op#IMG height=20 alt="THE TRIBUNE" src="http://www.tribuneindia.com/1999/images/mast-s1.jpg" width=165#ed_cl##ed_op#BR#ed_cl##ed_op#A href="http://www.tribuneindia.com/1999/99apr18/sunday/index.htm"#ed_cl##ed_op#FONT face=Arial color=#ff0000 size=2#ed_cl##ed_op#STRONG#ed_cl##ed_op#IMG height=33 alt="sunday reading" src="http://www.tribuneindia.com/1999/images/sun-s.jpg" width=191 border=0#ed_cl##ed_op#/STRONG#ed_cl##ed_op#/FONT#ed_cl##ed_op#/A#ed_cl##ed_op#FONT face=Arial color=#ff0000 size=2#ed_cl##ed_op#STRONG#ed_cl##ed_op#BR#ed_cl##ed_op#/STRONG#ed_cl##ed_op#/FONT#ed_cl##ed_op#A name=1#ed_cl##ed_op#FONT face=Arial color=#400080 size=1#ed_cl##ed_op#STRONG#ed_cl#Sunday,#ed_op#/STRONG#ed_cl##ed_op#/FONT#ed_cl##ed_op#/A#ed_cl##ed_op#FONT face=Arial color=#400080 size=1#ed_cl##ed_op#STRONG#ed_cl# April 18, 1999#ed_op#/STRONG#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#BR#ed_cl##ed_op#FONT face=Verdana color=#7f3f00 size=4#ed_cl##ed_op#B#ed_cl#"Message of music is freedom within discipline"#ed_op#/B#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face=Verdana color=#7f3f00 size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#/B#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#FONT color=#ff000f size=5#ed_cl##ed_op#B#ed_cl#E#ed_op#/B#ed_cl##ed_op#/FONT#ed_cl#VERYTHING about him spells class -- be it his dress, mannerisms, his family or his home. To Amjad Ali Khan, the top sarod player of the country, the gift of music was bequeathed as a legacy. The sarod has been played by his family for the last seven generations. He has turned his ancestral home in Gwalior into a museum of musical instruments. It is called Sarod-Ghar.#ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#IMG height=147 hspace=5 src="http://www.tribuneindia.com/1999/99apr18/sunday/8tt17.jpg" width=230 align=right vspace=1 border=1#ed_cl#Amjad Ali has popularised the sarod all over the world and has won awards and honours, both in India and abroad. Many universities have conferred doctorates on him but, for him, it is the audience applause which is the ultimate commendation. He is known to be a media-savvy artist who stays away from controversies. In art circles, he is known as a gentleman-musician. He gives his wife Subhaluxmi her due and acknowledges her contribution to his growth.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#One cannot but help admiring his home in one of the poshest colonies of New Delhi. Aesthetically decorated, every room has its individuality. From the reception room, which is more like a corporate reception area complete which a receptionist and a computer, to his #ed_op#I#ed_cl#riyaaz #ed_op#/I#ed_cl#room in the basement to the piano room or the drawing room everything sparkles and has character. The #ed_op#I#ed_cl#riyaaz #ed_op#/I#ed_cl#room has wood panelling on the walls and the floor. Portraits of ancestors hang on walls and sarods and tablas have been kept on thick mattresses. The drawing room has four separate seating arrangements, each with its own theme and colour. Even the flowers match the decor. What is most striking is a wall full of paintings of Ganesha in different moods and hues, executed with perfection. These have been painted by the youngest son, Ayaan. The artefacts are mostly made of silver. It is rare to find such a tastefully decorated home. Every nook and corner blends exqusitively into the whole.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#B#ed_cl#Belu Maheshwari#ed_op#/B#ed_cl# met Amjad and his wife recently for a long interview. Excerpts:#ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#B#ed_cl#How were you initiated into the world of music?#ed_op#/B#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#STRONG#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#/STRONG#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#It was a privilege to be born in a musician’s family at Gwalior, which is the Mecca of classical music since it is the birth-place of Tansen. My house was run on very traditional lines. My #ed_op#I#ed_cl#walid#ed_op#/I#ed_cl# (father), Ustad Hafiz Ali Khan Sahib, was also my #ed_op#I#ed_cl#Guru. #ed_op#/I#ed_cl#He was like a #ed_op#I#ed_cl#faqir, #ed_op#/I#ed_cl#absolutely committed to God and his art. I was the youngest child. As my eldest brother could not meet my father’s expectations and girls in our family did not perform, the mantle of the family tradition fell on#ed_op#B#ed_cl# #ed_op#/B#ed_cl#me.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#B#ed_cl#Have you ever felt the burden of carrying on the family tradition? Has there been a nagging resentment for not getting an option?#ed_op#/B#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#We ate, breathed and lived music in our house. I cannot recall when I was initiated into playing. #ed_op#I#ed_cl#Jab se hosh sambhala hai tab se baja rahe hain. #ed_op#/I#ed_cl#I did not have an option, I had seen my father’s suffering when my brother could not be by his side. His contemporaries’children like Vilayat Ali Khan and Ali Akbar Khan#ed_op#B#ed_cl# #ed_op#/B#ed_cl#had entered the profession. My father’s last hope was me. Even his friends used to say, "You have to live up to the expectation. You have to keep the tradition alive". I could not enjoy my childhood. I had to go out, earn and contribute to the running of the house. The last 25 to 30 years of my father’s life were tough. He led a retired existence.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#B#ed_cl#What formal education did you have?#ed_op#/B#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#STRONG#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#/STRONG#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#I had my initial education at home. Gwalior had Scindia School but it was a boarding school and as I was in to music it was ruled out. It was only in 1957, when we shifted to Delhi, that I joined Modern School. I was fortunate to have very good teachers. Because of my schooling, I can face the world and talk about my country and my music.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#B#ed_cl#What about higher education? Did you go to college?#ed_op#/B#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#STRONG#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#/STRONG#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#In #ed_op#I#ed_cl#kala, #ed_op#/I#ed_cl#you have to inculcate a single-track mind and surrender yourself to it. If you start doing a BA or an MA, then you ruin an artiste. I did not miss going to college as I spent the time fruitfully learning music. I feel it is education that is necessary and not degrees. The British system of education in our country dishes out clerks. We have a complex. No other art matters, except BA or MA. Thus, in the process, mediocrity is encouraged.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#B#ed_cl#Can you explain how you improvise on your music?#ed_op#/B#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#STRONG#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#/STRONG#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Ours is not commercial music. It does not come under the matrix of pop style. In our music, we try to ensure the beauty and purity of the #ed_op#I#ed_cl#raga. #ed_op#/I#ed_cl#We improvise within the ascendancy and descendancy of the classical form. The message of music is freedom within discipline. In instrumental music there is pure sound, like in symphony.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#B#ed_cl#It is not simple to understand classical music. How should the uninitiated learn to appreciate it?#ed_op#/B#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#STRONG#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#/STRONG#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#To appreciate music you do not have to be a knowledgeable person. You do not really have to understand anything. It is an art where you just flow with the rhythm and give in to the sound. Research shows plants grow faster by listening to #ed_op#I#ed_cl#ragas#ed_op#/I#ed_cl# they do not understand.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#B#ed_cl#You were among the first to start the trend of talking to your audience about your music. How did the idea germinate?#ed_op#/B#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#STRONG#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#/STRONG#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl#The initial talk helps to thaw the atmosphere, it leads to creation of a rapport. If you just start playing, #ed_op#I#ed_cl#purdah pada rehta hai #ed_op#/I#ed_cl#between the artiste and his listeners. Giving a talk also helps in explaining my music and initiating the audience into the world of#ed_op#I#ed_cl# ragas.#ed_op#/I#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#EM#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#/EM#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#B#ed_cl#Most artistes feel this is the golden period of Indian music. Do you agree?#ed_op#/B#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#STRONG#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#/STRONG#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Yes, encouragement is being given to classical music; corporate houses are promoting art. There is fame and #ed_op#I#ed_cl#izzaat,#ed_op#/I#ed_cl# but still there is too much uncertainty attached to the profession. A joke explains the point: The father of a girl asked her suitor, "What do you do?" "I play the #ed_op#I#ed_cl#sitar,"#ed_op#/I#ed_cl# replied the boy. "Good, very great, you are keeping up the tradition but what do you do," again asked the father. Even today, parents are not happy marrying their daughter to a musician.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#B#ed_cl#Why is it that only musicians’ children are coming forward? Is this because the other disciples are being neglected?#ed_op#/B#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#STRONG#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#/STRONG#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Where are the children of Bhim Sen Joshi, Ustad Bade Gulam Ali Khan and Amir Ali Khan? By living in a musician’s family children do imbibe music. Many start playing or singing. But if a child is not good or does not surrender himself to the art and God, he will not succeed. The ultimate test is of survival where all are equal.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#B#ed_cl#Do you ever feel guilty that you nipped the career of your wife in the bud because after marriage she stopped dancing?#ed_op#/B#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#STRONG#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#/STRONG#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#My wife Subhaluxmi was an outstanding dancer. Her guru was the famous Rukmani Arundale of Kalakshetra in Madras. I have never seen such an expressive dancer as her. Many dancers have figures but most are expressionless. We met in Calcutta in the 70s and got attracted to each other and then married. Even after marriage she performed. We gave joint performances. Gradually, on her own, she gave up dancing and made her family and house her life. She remains an artiste, may be not a performing one. She was not an over-ambitious person. Do really ambitious women, who are ready to put everything at stake only for fame and wealth, really at peace? Are they happy? Even today, women face a lot of problem in the world of art. It is not easy to live alone. Old people understood the problems of women. Our attitudes have not changed much towards them.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#B#ed_cl#You are supposed to have a fantastic marriage. What is the secret of your success?#ed_op#/B#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#STRONG#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#/STRONG#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Our basic #ed_op#I#ed_cl#bandhan #ed_op#/I#ed_cl#is that we feel the presence of God. We are closely connected with the Almighty, though we call Him by different names. We are trying to follow the bond of love and humanity. I have created a #ed_op#I#ed_cl#raga #ed_op#/I#ed_cl#called Subhaluxmi which I have dedicated to my wife. It is a tribute to all great ladies of India who have sacrificed their ambitions and careers for their houses. Mother is the most important #ed_op#I#ed_cl#guru. #ed_op#/I#ed_cl#She is the one who teaches #ed_op#I#ed_cl#tehzeeb #ed_op#/I#ed_cl#and culture. I want my sons to introduce themselves as Amjad and Subhaluxmi’s children.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#B#ed_cl#After marriage you gave up dancing. Did you feel it was a sacrifice?#ed_op#/B#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#STRONG#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#/STRONG#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#B#ed_cl#Subhaluxmi: #ed_op#/B#ed_cl#I know the taste of stage. One enjoys the applause but it should not go to one’s head. Giving it up was no sacrifice, I get so much happiness in my home. I am really contented.#ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#B#ed_cl#What is the strength of your marriage?#ed_op#/B#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#STRONG#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#/STRONG#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Khan Sahib is a soft-person. We were married in 1976 and from then onwards we have worked on our relationship. Communication is very important. I have#ed_op#B#ed_cl##ed_op#I#ed_cl# #ed_op#/I#ed_cl##ed_op#/B#ed_cl#provided a nest which he can come back to.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#B#ed_cl#You are literally supposed to be the woman behind the success of her man?#ed_op#/B#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#STRONG#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#/STRONG#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Khan Sahib was quite successful when we got married. In a family, a man’s career is very important. The world over it is like that. I help him in whatever way he needs. My family finds an anchor in me. I do not push him or play for him. I am a foil to him.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#B#ed_cl#Amjad Ali is a good looking man, when women fall for him how do you react?#ed_op#/B#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#STRONG#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#/STRONG#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#I trust my man. If you give love and provide peace in the house, the man will not betray it. Our culture is not a live-in culture. So a man also does not stray easily. As for women throwing themselves at him, I just do not react.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#B#ed_cl#What is your contribution to the decision of your sons joining their father?#ed_op#/B#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#STRONG#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#/STRONG#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#We were hoping and praying that they would continue the family tradition. We did not push them. As a family, we sit and discuss everything. There are raised voices also, but we all have to be convinced of our actions. I keep telling them to never lose their dignity and allow name, fame or money to go to their heads.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#B#ed_cl#You have missed your vocation. You should have been an interior decorator or a designer. You are also supposed to have the best collection of sarees in Delhi. Where do you collect them from?#ed_op#/B#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#STRONG#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#/STRONG#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Thank you. I am attached to every piece in the house. As for sarees, I buy traditional ones from allover, especially from Kalakshetra.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#B#ed_cl#How have you acquired the sobriquet of a "gentleman musician?#ed_op#/B#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#STRONG#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#/STRONG#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#B#ed_cl#Amjad:#ed_op#/B#ed_cl# I try not to hurt anyone. I always give respect to elders. My attitude is to concentrate on my music and not get into controversies. Recently, the whole music world was agog with the controversy about Ravi Shankar being awarded the Bharat Ratna. I feel the audience should stay with me. That is my reward. When you go to the depth of #ed_op#I#ed_cl#swar#ed_op#/I#ed_cl#s, you become one with God. I believe in destiny and feel music is the only field in which you cannot calculate the gains.#ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl# #ed_op#/P#ed_cl##ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#/DIV#ed_cl#


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sur
Wed 28 Mar, 2007 01:20

Re: CLASSICAL TRANQUILITY & MUSIC REVIEW
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#ed_op#DIV#ed_cl##ed_op#P#ed_cl##ed_op#FONT color=#7f3f00 size=5#ed_cl#Indian Classical Music - A Recent History#ed_op#/FONT#ed_cl##ed_op#BR#ed_cl##ed_op#FONT class=copyright#ed_cl#By Shane Magee #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#India has always had a history of expressing the loftiest truths through music, and in the last hundred years, this wealth of music has now become available to the West.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#The first great musician to come to light in the West was Rabindranath Tagore from Bengal. His poems were championed by such luminaries as Ezra Pound and W.B Yeats, and earned him the Nobel Prize in 1913. Over two thousand of these poems were put to music, and their haunting melodies remain sung to this day by both the educated and illiterate classes all over India. Kazi Nazrul Islam was another great singer to come out of Bengal; and wrote many songs expressing his appreciation for bot the Hindu and Muslim religions. The singer Dilip Kumar Roy was known as 'the golden voice' and legend has it that wherever he went, people would stop the trains he was travelling on to hear him sing. He travelled all over India collecting music from all the great teachers. In recent times, the composer Sri Chinmoy has written over thirteen thousand songs in his native Bengali, and regularly holds concerts all over the west playing his compositions on a variety of instruments.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#The instrumental music of India has been more widely received in the West than the vocal music. In the early part of the 20th century, the Sufi master Hazrat Inayat Khan came to the West as an exponent of spiritual music. Nowadays, the most famous name in Indian music is of course that of legendary sitar player Ravi Shankar. His association with George Harrison in the 1960's brought Indian music to a whole new audience. Many other Indian instrumentalists have come to prominence since the 1960's, including Ali Ustad Khan on sarangi, Zakir Hussain on tabla and Nikhil Bannerjee on sitar.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl# #ed_op#/P#ed_cl##ed_op#/DIV#ed_cl#


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sur
Wed 28 Mar, 2007 23:29

Re: CLASSICAL TRANQUILITY & MUSIC REVIEW
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#ed_op#TABLE cellSpacing=0 cellPadding=0 width="100%" align=left border=0#ed_cl##ed_op#TBODY#ed_cl##ed_op#TR#ed_cl##ed_op#TD vAlign=top height=97#ed_cl##ed_op#TABLE cellSpacing=0 cellPadding=0 width="94%" align=left border=0#ed_cl##ed_op#TBODY#ed_cl##ed_op#TR#ed_cl##ed_op#TD#ed_cl##ed_op#DIV class=KonaBody p4E55="true"#ed_cl##ed_op#DIV style="FONT-SIZE: 12px"#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#.#ed_op#/FONT#ed_cl##ed_op#/DIV#ed_cl##ed_op#DIV style="FONT-SIZE: 12px"#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#BR#ed_cl##ed_op#/FONT#ed_cl##ed_op#IMG style="WIDTH: 708px; HEIGHT: 645px" height=565 src="http://epaper.hindustantimes.com/Web/Photographs/2007/03/29/001/29_03_2007_001_016_002.jpg" width=820#ed_cl# #ed_op#DIV id=speechData style="DISPLAY: none; FONT-SIZE: 12px"#ed_cl# #ed_op#/DIV#ed_cl##ed_op#/DIV#ed_cl##ed_op#/DIV#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#/TBODY#ed_cl##ed_op#/TABLE#ed_cl##ed_op#DIV align=justify#ed_cl##ed_op#/DIV#ed_cl##ed_op#/TD#ed_cl##ed_op#TD width=19#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#TR bgColor=#4b4b4b#ed_cl##ed_op#TD vAlign=top align=right colSpan=3 height=31#ed_cl##ed_op#TABLE cellSpacing=0 cellPadding=0 width="94%" align=center border=0#ed_cl##ed_op#TBODY#ed_cl##ed_op#TR vAlign=bottom#ed_cl##ed_op#TD vAlign=center align=left#ed_cl##ed_op#TABLE width="100%" border=0#ed_cl##ed_op#TBODY#ed_cl##ed_op#TR#ed_cl##ed_op#TD align=left width=4#ed_cl#BC#ed_op#/TD#ed_cl##ed_op#TD align=left#ed_cl##ed_op#DIV class=pic_enlargewhite id=dLnk#ed_cl##ed_op#/DIV#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#/TBODY#ed_cl##ed_op#/TABLE#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#/TBODY#ed_cl##ed_op#/TABLE#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#/TBODY#ed_cl##ed_op#/TABLE#ed_cl##ed_op#DIV#ed_cl##ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#/DIV#ed_cl#


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sur
Mon 02 Apr, 2007 14:52

Re: CLASSICAL TRANQUILITY & MUSIC REVIEW
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#ed_op#DIV#ed_cl##ed_op#FONT face=Helvetica#ed_cl# #ed_op#/FONT#ed_cl##ed_op#B#ed_cl#MUSIC REVIEW#ed_op#/B#ed_cl# #ed_op#H1#ed_cl#Shankar Thrills Carnegie#ed_op#/H1#ed_cl##ed_op#H3#ed_cl##ed_op#I#ed_cl#Captures Essence of Indian Classical Music#ed_op#/I#ed_cl##ed_op#/H3#ed_cl##ed_op#B#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#By Shankar Mukherji #ed_op#/FONT#ed_cl##ed_op#P#ed_cl##ed_op#/B#ed_cl##ed_op#I#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Staff writer #ed_op#/FONT#ed_cl##ed_op#P#ed_cl##ed_op#/I#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Called by many the “doyen of Indian classical music,” Pandit Ravi Shankar performed to critical acclaim last October in New York City’s Carnegie Hall. The concert, recorded and released by Angel Records, featured both newly composed pieces by Shankar as well as his family’s next generation of artistic talents as daughter Anoushka Shankar accompanied on the sitar. For Shankar the concert marked a return to Carnegie, where he first performed as a dancer and instrumentalist in 1938. #ed_op#/FONT#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Although ostensibly composed in a very traditional form, Shankar does not blindly follow the style of his musical forebears. In the #ed_op#I#ed_cl#Alap#ed_op#/I#ed_cl#, or opening, section of the #ed_op#I#ed_cl#Raga Kaushi Kanhara#ed_op#/I#ed_cl#, a night #ed_op#I#ed_cl#raga#ed_op#/I#ed_cl#, the sitarist clearly is attuned to the harmonic blends of his notes with those of the #ed_op#I#ed_cl#tanpura#ed_op#/I#ed_cl#, a stringed instrument used for its drone effects, in a manner reminiscient of the Western musical tradition. At the same time, however, the composition remains grounded in its Indian classical roots as Shankar repeatedly intersperses expressive, slurred phrases with highly rhythmic, nearly staccato notes thus driving the beat even in the absence of the #ed_op#I#ed_cl#tabla#ed_op#/I#ed_cl#. #ed_op#/FONT#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#The next section, the #ed_op#I#ed_cl#Gat#ed_op#/I#ed_cl#, is performed in the 14 beat cycle #ed_op#I#ed_cl#dhamar taal#ed_op#/I#ed_cl#. The entrance of the #ed_op#I#ed_cl#tabla#ed_op#/I#ed_cl# allows Shankar to dance around the rhythm, interleaving short trill sections within the main melodic line of the #ed_op#I#ed_cl#raga#ed_op#/I#ed_cl#. Furthermore the sitarists make exquisite use the 5-5-4 division of the beat cycle in their rapid runs, especially in conjunction with the creative mixture of on and off beat notes. The end effect is one that keeps the music, based on an ancient melodic line, fresh and exciting. #ed_op#/FONT#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#This idea of grounding the melodic line in a particular rhythm while keeping the music from being predictable is best witnessed at the end of the section. The extremely effective #ed_op#I#ed_cl#crescendo#ed_op#/I#ed_cl# and #ed_op#I#ed_cl#accelerando#ed_op#/I#ed_cl# up until the #ed_op#I#ed_cl#raga’s#ed_op#/I#ed_cl# conclusion is met with enthusiastic applause. #ed_op#/FONT#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#The second #ed_op#I#ed_cl#raga#ed_op#/I#ed_cl# presented, #ed_op#I#ed_cl#Raga Mishra Gara#ed_op#/I#ed_cl#, according to Shankar himself, “is played in the contemporary Khyal and Thumri forms.” As he further explains, he changes from the #ed_op#I#ed_cl#raga’s#ed_op#/I#ed_cl# tonic note, #ed_op#I#ed_cl#Sa#ed_op#/I#ed_cl#, to the fourth, #ed_op#I#ed_cl#Ma#ed_op#/I#ed_cl#. Described as a light, romantic #ed_op#I#ed_cl#raga#ed_op#/I#ed_cl#, Ravi Shankar and daughter play the piece in a technically precise manner, again exemplifying the Indian classical emphasis on rhythm and melody. #ed_op#/FONT#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#In this #ed_op#I#ed_cl#raga#ed_op#/I#ed_cl# the #ed_op#I#ed_cl#tabla#ed_op#/I#ed_cl# enters soon after the opening which again allows the main voices to develop the melody from one of simple to complex lines. The melody of the slow section of the #ed_op#I#ed_cl#Gat#ed_op#/I#ed_cl#, in fact, can be described as almost song-like in its simple beauty at onetime and highly ornamented nature the next, clearly the result of the highly improvisatory nature of the art form. #ed_op#/FONT#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#The slow section features the bass #ed_op#I#ed_cl#tanpura#ed_op#/I#ed_cl# prominently, played by Ajay Sharma, adding a highly effective contrast to the melody of the #ed_op#I#ed_cl#sitar#ed_op#/I#ed_cl#; the elder statesman of Indian classical music then effectively closes the slow section with a highly intricate melodic run, showing that even at age 80 his fingers are still nimble enough to race up and down the instrument. #ed_op#/FONT#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#The transition to the fast section of the #ed_op#I#ed_cl#Gat#ed_op#/I#ed_cl# is extremely smooth as the #ed_op#I#ed_cl#tabla#ed_op#/I#ed_cl# is able to seamlessly translate the rhythm to the new, accelerated beat. The new section is built around a simple refrain which is repeated throughout the remainder of the #ed_op#I#ed_cl#raga#ed_op#/I#ed_cl#. Flirting about the refrain, Ravi Shankar is allowed to display his full brilliance as a master of improvisation, using the full tonal range of his instrument as well as the full scale of his extraordinary sense of rhythm. #ed_op#/FONT#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#The final, frenetic moments of the #ed_op#I#ed_cl#raga#ed_op#/I#ed_cl# bring to culmination all the emotion evoked in the melodic lines. It leads to a moment of catharsis in which the audience can lose itself in the musical storm. Despite the furious pace of the conclusion there is remarkable unity between the various instrumentalists, held together by an impressive display by #ed_op#I#ed_cl#tabla#ed_op#/I#ed_cl# players Bikram Ghosh and Tanmoy Bose. #ed_op#/FONT#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#The concert clearly marks a triumphal 19th performance at Carnegie for Indian classical music’s greatest ambassador. Shankar will be appearing at Carnegie again on the November 18 and will be coming to Boston on May 5, 2002. #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#/DIV#ed_cl#


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taal
Tue 03 Apr, 2007 02:01

Re: CLASSICAL TRANQUILITY & MUSIC REVIEW
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#ed_op#DIV#ed_cl#Dada,#ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl# #ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl#I tried my level best to not write a post in between the articles you are posting, But I am compelled now to post.#ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl# #ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl#This is going to be one wonderful thread.#ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl# #ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl# #ed_op#/DIV#ed_cl#


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sur
Wed 04 Apr, 2007 00:48

Re: CLASSICAL TRANQUILITY & MUSIC REVIEW
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#ed_op#DIV#ed_cl##ed_op#SPAN class=second_header#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Hanif Khan #ed_op#/FONT#ed_cl##ed_op#/SPAN#ed_cl##ed_op#TABLE cellSpacing=0 cellPadding=0 width="100%" border=0#ed_cl##ed_op#TBODY#ed_cl##ed_op#TR#ed_cl##ed_op#TD class=style21 vAlign=top width="25%"#ed_cl##ed_op#BR#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#IMG height=100 alt="Hanif Khan" src="http://www.amc.org.uk/artists/images/hanif_khan.jpg" width=100 align=left border=1#ed_cl##ed_op#/FONT#ed_cl##ed_op#/TD#ed_cl##ed_op#TD width="75%"#ed_cl##ed_op#P class=small_text#ed_cl##ed_op#B#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Profile #ed_op#/FONT#ed_cl##ed_op#/B#ed_cl##ed_op#/P#ed_cl##ed_op#P class=small_text#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Hanif Khan is the son and disciple of the illustrious and highly renowned master of tabla, Ustad Hidayat Khan. He has inherited a rich legacy of #ed_op#I#ed_cl#gats #ed_op#/I#ed_cl#and #ed_op#I#ed_cl#bols #ed_op#/I#ed_cl#(compositions) from his father under the traditional Indian Classical learning system. Since teenager, he has toured extensively in small and large ensembles. Although an accomplished classically trained tabla player, earning the respect of both Indian classical and semi classical artists, Hanif also has an expert touch for the light genres including #ed_op#I#ed_cl#lok geet #ed_op#/I#ed_cl#, #ed_op#I#ed_cl#bhajans #ed_op#/I#ed_cl#, folk and western fusion styles. #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P class=small_text#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Currently Hanif is considered one of the top tabla players in the UK and is a regularly sought after accompanist at the Nehru Centre, Mayfair for visiting Indian artists. Hanif's musical career has taken him across the world both as an accompanist and solo performer. This includes visits to the US, Canada, Israel, Jordan, Belgium, Italy, France, Germany, Switzerland, Czech Republic and Spain. #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#H1 class=small_text#ed_cl##ed_op#B#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Accompanist to #ed_op#/FONT#ed_cl##ed_op#/B#ed_cl##ed_op#/H1#ed_cl##ed_op#UL#ed_cl##ed_op#LI class=small_text#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Pt Arvind Parikh (sitar) - Purcell Room #ed_op#/FONT#ed_cl##ed_op#LI class=small_text#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Ustadh Fateh Ali Khan (vocal) - Purcell Room #ed_op#/FONT#ed_cl##ed_op#LI class=small_text#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Gulam Ali (ghazal) -Queen Elizabeth Hall #ed_op#/FONT#ed_cl##ed_op#LI class=small_text#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Wajahat Khan (sarod) with Sinfonia Verdi - St Albans #ed_op#/FONT#ed_cl##ed_op#LI class=small_text#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Hariharran (ghazal) - SOAS #ed_op#/FONT#ed_cl##ed_op#LI class=small_text#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Nirmal Udas (ghazal) various venues - London #ed_op#/FONT#ed_cl##ed_op#LI class=small_text#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Ustadh Gulam Mustafa Khan (vocal) - London #ed_op#/FONT#ed_cl##ed_op#LI class=small_text#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Sanjeev & Karuna (ghazal) US National Public Radio - Arizona #ed_op#/FONT#ed_cl##ed_op#LI class=small_text#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Pt Arvind Parikh (sitar) Radio France #ed_op#/FONT#ed_cl##ed_op#LI class=small_text#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Ustadh Nishad Khan (sitar) private audience for Paul McCartney – India #ed_op#/FONT#ed_cl##ed_op#LI class=small_text#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Nicolas Magriel (sarangi) British Museum #ed_op#/FONT#ed_cl##ed_op#LI class=small_text#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#“DHA” an Indian/ western jazz improvisation ensemble currently playing various UK venues #ed_op#/FONT#ed_cl##ed_op#LI class=small_text#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Sunanda Sjarma-Purcell Roompart of the AMC's 2004 “The little Chilli Festival” #ed_op#/FONT#ed_cl##ed_op#/LI#ed_cl##ed_op#/UL#ed_cl##ed_op#H1 class=small_text#ed_cl##ed_op#B#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Festivals #ed_op#/FONT#ed_cl##ed_op#/B#ed_cl##ed_op#/H1#ed_cl##ed_op#UL#ed_cl##ed_op#LI class=small_text#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Israel - Mevaserat Festival Solo Performance #ed_op#/FONT#ed_cl##ed_op#LI class=small_text#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Israel - Arat Festival Solo Performance #ed_op#/FONT#ed_cl##ed_op#LI class=small_text#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Jordan - UN Festival of Music Petra #ed_op#/FONT#ed_cl##ed_op#LI class=small_text#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#UK - Womad Festival accompanied Purbayan Chatterjee #ed_op#/FONT#ed_cl##ed_op#LI class=small_text#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Numerous Italian festivals with Indo-European Music Ensemble #ed_op#/FONT#ed_cl##ed_op#/LI#ed_cl##ed_op#/UL#ed_cl##ed_op#H2 class=small_text#ed_cl##ed_op#B#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Workshop/ Masterclass #ed_op#/FONT#ed_cl##ed_op#/B#ed_cl##ed_op#/H2#ed_cl##ed_op#P class=small_text#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Sitar accompaniment with Pt Arvind Parikh – Canada, Jordan, Leeds School of Music & SOAS #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P class=small_text#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Sitar accompaniment with Ustadh Nishad Khan Victoria & Albert Museum #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P class=small_text#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Mr Hanif Khan has also taught at various workshops and schools across UK.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#/TBODY#ed_cl##ed_op#/TABLE#ed_cl##ed_op#/DIV#ed_cl#


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sur
Thu 05 Apr, 2007 19:48

Re: CLASSICAL TRANQUILITY & MUSIC REVIEW
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#ed_op#DIV#ed_cl##ed_op#IMG alt="Ayan Ali Khan" hspace=10 src="http://www.apunkachoice.com/scoop/music/img/20070210-0.gif" align=left vspace=5 border=0 valign="top"#ed_cl##ed_op#FONT face=Verdana color=#7f3f00 size=4#ed_cl#Sarod player Ayan Ali Khan open to composing for Bollywood#ed_op#BR#ed_cl##ed_op#/FONT#ed_cl##ed_op#FONT face=arial size=1 sWe3b="0" HGxPN="2"#ed_cl#10th Feb 2007  12.17 IST #ed_op#BR#ed_cl#By Agencies  #ed_op#/FONT#ed_cl##ed_op#BR#ed_cl##ed_op#BR#ed_cl##ed_op#FONT sWe3b="0" HGxPN="56"#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#He is an established Sarod player, he has hosted television show, he has penned a book and now wants to compose music for Bollywood movies. #ed_op#BR#ed_cl##ed_op#BR#ed_cl##ed_op#B#ed_cl#Ayan Ali Khan#ed_op#/B#ed_cl# , the younger son of Sarod legend #ed_op#B#ed_cl#Ustad Amjad Ali Khan#ed_op#/B#ed_cl# is a bundle of talent. Recently during a performance in the capital he said, "If anyone offers me an opportunity, I am open to composing music#ed_op#/FONT#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl# for Bollywood films". #ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#The winner of MTV Asia's 'Most Stylish Person Award' last year along with his elder brother Aman, Ayan may not fit in to the stereotype of an Indian classical musician#ed_op#/FONT#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#, but he is determined to make Sarod a popular instrument among the masses. #ed_op#BR#ed_cl##ed_op#BR#ed_cl#"I want to make the Sarod as popular as the guitar. It is a collective mission of our entire family," he said. #ed_op#BR#ed_cl##ed_op#BR#ed_cl#When asked about the challenges of carrying forward the legacy of his legendary father, Ustad Amjad Ali Khan, Ayan says: "It feels very fortunate and overwhelming to belong to such a great family." #ed_op#BR#ed_cl##ed_op#BR#ed_cl#"We are trying our best to carry forward his legacy," he says. #ed_op#BR#ed_cl##ed_op#BR#ed_cl#Having performed in music concerts#ed_op#/FONT#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl# and shows all over the world, Ayan refuses the belief that Indian classical music is loosing its popularity among the young generation. #ed_op#BR#ed_cl##ed_op#BR#ed_cl#"Wherever we have performed, a whole lot of youths have come to listen to our concerts. Large venues have been sold out. So, I do not think there is any problem at all," he says. #ed_op#BR#ed_cl##ed_op#BR#ed_cl#The Bangash brothers, after the massive success of their last album 'Reincarnation' are now ready with their new venture 'Mystic Dunes'. #ed_op#BR#ed_cl##ed_op#BR#ed_cl#"It is a theme based album#ed_op#/FONT#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl# and the theme is desert," he says. #ed_op#BR#ed_cl##ed_op#BR#ed_cl#"For this particular project, we were given specific guidelines to work on sounds related to the deserts. So it was really challenging," he says. #ed_op#BR#ed_cl##ed_op#BR#ed_cl#"We had put on the hat of a composer to create the sounds. It was hard work," he says. #ed_op#BR#ed_cl##ed_op#BR#ed_cl#While, the duo experimented with many different sounds for 'Mystic Dunes', Ayan loves to go back to pure Indian #ed_op#FONT face=Georgia color=#000000#ed_cl#classical music#ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl# after all the fusion and experimentation. #ed_op#BR#ed_cl##ed_op#BR#ed_cl#"We are also doing real classical work. Recently, we played only pure classical tunes in a programmme in Kolkata," he says. #ed_op#BR#ed_cl##ed_op#BR#ed_cl#Asked about his chemistry with elder brother Aman, he shoots back with a question, "After watching us perform together, what do you think?" #ed_op#BR#ed_cl##ed_op#BR#ed_cl#"Well, when you know the person you are performing with so well, it becomes really easy. He is a wonderful musician#ed_op#/FONT#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#," he adds with a smile on his face. #ed_op#BR#ed_cl##ed_op#BR#ed_cl#Ayan has also taken to painting recently with his work titled 'Khushi' being sold for a whopping six and a half lakh in a charity auction. #ed_op#BR#ed_cl##ed_op#BR#ed_cl#"I paint only for charity. It is certainly not my career. I am happy with what I am doing," he says. #ed_op#BR#ed_cl##ed_op#/FONT#ed_cl##ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#/DIV#ed_cl#


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sur
Mon 09 Apr, 2007 01:07

Re: CLASSICAL TRANQUILITY & MUSIC REVIEW
-----------------------------------
#ed_op#DIV#ed_cl##ed_op#TABLE cellSpacing=0 cellPadding=0 width="100%" border=0#ed_cl##ed_op#TBODY#ed_cl##ed_op#TR#ed_cl##ed_op#TD width="100%"#ed_cl##ed_op#STRONG#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#FONT color=#0000a0#ed_cl#           #ed_op#FONT size=5#ed_cl##ed_op#U#ed_cl#Columns by#ed_op#/U#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#FONT color=#dd3504#ed_cl##ed_op#BIG#ed_cl##ed_op#U#ed_cl# Nanditha Krishna#ed_op#/U#ed_cl##ed_op#/BIG#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/STRONG#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#TR#ed_cl##ed_op#TD width="100%"#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl# #ed_op#/FONT#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#TR#ed_cl##ed_op#TD vAlign=top width="100%"#ed_cl##ed_op#BLOCKQUOTE#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT color=navy#ed_cl##ed_op#BIG#ed_cl##ed_op#B#ed_cl#Creations#ed_op#/B#ed_cl##ed_op#/BIG#ed_cl##ed_op#/FONT#ed_cl##ed_op#BR#ed_cl##ed_op#BR#ed_cl##ed_op#FONT color=black#ed_cl##ed_op#BIG#ed_cl##ed_op#B#ed_cl#Unchanging musical tradition#ed_op#/B#ed_cl##ed_op#/BIG#ed_cl##ed_op#/FONT#ed_cl##ed_op#BR#ed_cl##ed_op#BR#ed_cl##ed_op#/FONT#ed_cl##ed_op#SMALL#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Ah! December. The month of music and dance, when the weather is pleasant, silk saris can be worn and Chennai's beautiful people are busy at the Sabhas, to see and be seen. The Tamil month of Margali beginning on December 15 celebrates Andal's Thiruppaavai and Manikkavachagar's Thiruvembaavai, when the air is full of music and romance. Living in Chennai, I too am inspired to write about music, the soul of Carnatic culture. As we listen to the range of the human voice and the depth of Indian music, it is amazing to think of its age, beauty and its enhancement by a variety of influences-folk, classical stylisation and cross cultural. #ed_op#BR#ed_cl##ed_op#BR#ed_cl#Indian music claims origin from the Rig and Sama Vedas, the latter being the Rig set to music. There is mention of musical instruments such as the gargara (probably a string instrument), aghati (cymbals), and a variety of drums, flutes and veenas. But music and dance have existed among all tribes and peoples all over the world. Pre-Vedic cave paintings show scenes of dance, which must have been accompanied by music. The Harappan sites have yielded cymbals, flutes and whistles, while the seals show harps and long drums. Several deities were associated with music: Saraswati with the veena, Shiva with the damaru or udukkai (drum), Vishnu with the conch and Krishna with the flute. The gods were given the simplest folk instruments: the ektara, dhamaru, conch and flute. Ravana was a great veena exponent. Narada, in the first century, could play the flute and was also accompanied by the tambura. #ed_op#BR#ed_cl##ed_op#BR#ed_cl#Bharata, in the second century, describes instruments and their uses extensively. He had four classifications: ghana (solid) or idiophones, avanaddha (covered vessels) or drums, sushira (hollow) or wind instruments and tata (stretched) or string instruments. He also mentions the kutapa or orchestra. Tamil Sangam Literature mentions five classes of instruments: the human voice, leather instruments, gut instruments, hollow instruments and metal instruments. The most common word for instruments is vadya, although atodya, turya and karuvi are also used. Bharata's classification is as relevant today as it was in the second century. #ed_op#BR#ed_cl##ed_op#BR#ed_cl#The earliest instruments mentioned in Tamil literature are the yal (or yazh: harp), kulal (or kuzhal: flute) and maddalam (drum). The most popular ancient instrument was the yal, a harp based on the bow, crossed with strings. The vil (bow) yal even appears on the Harappan seals, although we do not know what it stands for. The instrument disappeared in the 10th century and with it, probably, a certain system of music. For, each instrument profoundly influences the system of music. In the last fifty years we have seen the changes in music wrought by the electric keyboard, which gives varying rhythms and sounds to which the composer and singer must adapt and change their entire styles. The use of the bow as a musical instrument lives on in the villaadi vaadyam used for the villupaattu, an inter-active folk medium combining music and story telling with this huge adaptation of the bow. #ed_op#BR#ed_cl##ed_op#BR#ed_cl#After the 10th century, the veena became more popular, even though it was known from the Vedic period. In the 11th century, the Sufis introduced the duff, sitar, sarod and shehnai in North India. A violin-like instrument was used in the 10th century, but the present western violin was adapted to Carnatic music in the 19th century by Baluswami Dikshatar of Madras. #ed_op#BR#ed_cl##ed_op#BR#ed_cl#The number and variety of instruments, especially folk instruments, is endless. All classical music and its accompaniments had humble folk beginnings before they were accepted on the concert stage. A newspaper report last week bemoaned the adaptation of "filmi" tunes by children at Children's Day functions. I abhor the obscene lyrics and unnatural gyrations that go with film songs. They are better suited to be aerobics, but hardly keep our stars slim! But the tune, after all, is good music-and some of the best too. If a teacher rewrites the song with patriotic messages, she should be congratulated for her creativity. After all, film songs are the "folk" songs of contemporary culture, and find more adherents than classical music, especially among the young. In recent years, western instruments like the clarinet and mandolin have been accepted in classical Carnatic music. Culture develops as people discover and adapt to their needs. The assimilation process never ends. #ed_op#BR#ed_cl##ed_op#BR#ed_cl#Classical arts are invariably derived from folk arts, and a close study of temple sculpture will reveal a dancer moving to the rhythm of a folk instrument. Since we cannot know the sounds that were produced in the past, I searched the earliest stone constructions in the South, to find out what musical instruments were used. There was not much at Mamallapuram, but at the Kailasanatha Temple at Kanchipuram, dedicated to Shiva, the arts have a prominent place and a variety of instruments can be seen. #ed_op#BR#ed_cl##ed_op#BR#ed_cl#A Kinnara-Kinnari couple-painted on the wall of one of the shrines plays on the flute and the cymbals, both basically folk instruments. After all, Krishna was a cowherd. In this mural, the flute is held on the side of the face, like the pictures of Krishna and unlike the Carnatic music way of holding the flute in front. The conch appears only as an attribute of Vishnu. The conch was rarely used in Northern Tamil Nadu, although it was a popular instrument in Madurai and the region to its south, where it is harvested from the Gulf of Mannar. The third wind instrument is the windpipe, a long trumpet described by Bharata as the thundaki, which first appeared in Gupta and Chalukyan sculpture. #ed_op#BR#ed_cl##ed_op#BR#ed_cl#Several types of string instruments-forerunners of the veena-have been identified in the temple. Veenadhara Shiva holds a single string ghoshaka veena across the chest and shoulder, with a gourd at the upper end. This instrument also appears in the paintings and sculptures of Ajanta, Badami and Mamallapuram and other Pallava sites, indicating its popularity in that period. Another single string veena found in the temple is the veena alapini, without the gourd, a forerunner of the later svaramandala of medieval India. The single string veena-the ektara-is still used by wandering minstrels in the countryside. The sculptures of Harihara and Gangadhara are portrayed holding kinnari veenas with two gourds, one on either end, the earliest known representation of the kinnari veena and the prototype of today's veena. The fourth string instrument is a tambura held by Goddess Saraswati on her lap. It is a string instrument with a single gourd, held across the lap of the Goddess and not vertically as is done nowadays. #ed_op#BR#ed_cl##ed_op#BR#ed_cl#No concert is complete without percussion instruments, which are probably the oldest musical instruments. Three types of percussion instruments are found in the Kailasanatha temple. The simplest is the ghatam, the common mud pot, known to the literature of that period as the dardura, played by Tandu during the dance of Shiva. A variation of the dardura consists of three equal-sized pots piled one on top of another. Another percussion instrument is the vertical drum pair, with one larger than the other, placed in front of the player, who crosses his hands to play on this instrument. Such drums are to be seen in Gupta, Vakataka, Chalukya and Pallava sculptures, and are the forerunner of the tablas. Interestingly, although the popular percussion instrument in Carnatic music today is the mridangam, the mridangam is not to be seen in early sculpture, and the tabla is no longer used in Carnatic music. The third type of percussion instrument is the damaru or udukkai, seen in Shiva's hand, which produces a rattling sound and accompanies him as he dances the ananda tandava, the dance of creation. The udukkai is commonly used in rural areas to call people to assemble for entertainment. #ed_op#BR#ed_cl##ed_op#BR#ed_cl#This early Pallava temple also contains two types of ghanas or solid instruments to keep the beat. One is a pair of cymbals consisting of two discs with a hole in the centre through which passes a string. One type of cymbals has circular discs, the other a pair of small cups. The other ghana is the bell or ghanta. #ed_op#BR#ed_cl##ed_op#BR#ed_cl#So what did a Pallava concert sound like? A flute, veena, tabla, ghatam, cymbals and a tambura to accompany the singer. Does it sound familiar? Go to any concert in one of Chennai's sabhas this December, and watch the instrumentalists and the singers. If the instruments have not changed, the music would hardly be different, then and now. Shut your eyes and imagine that you are in the court of Narasimhavarman II, Rajasimha Pallava, who built the Kailasanatha Temple to celebrate the Lord of music and dance-Shiva. Is there a sense of deja vu? #ed_op#BR#ed_cl##ed_op#BR#ed_cl#The author is Director, The C P Ramaswami Aiyar Foundation, Chennai #ed_op#BR#ed_cl##ed_op#/FONT#ed_cl##ed_op#/SMALL#ed_cl##ed_op#/P#ed_cl##ed_op#/BLOCKQUOTE#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#/TBODY#ed_cl##ed_op#/TABLE#ed_cl##ed_op#/DIV#ed_cl#


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sur
Mon 09 Apr, 2007 01:08

Re: CLASSICAL TRANQUILITY & MUSIC REVIEW
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#ed_op#DIV#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Spiritual Gathering Of Musical Maestros   #ed_op#/FONT#ed_cl##ed_op#DIV class=post-text#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#SPAN style="FONT-SIZE: 18px"#ed_cl##ed_op#SPAN style="COLOR: #a50000"#ed_cl##ed_op#B#ed_cl#Delhiites to be treated to spiritual music#ed_op#/B#ed_cl##ed_op#/SPAN#ed_cl##ed_op#/SPAN#ed_cl##ed_op#FONT size=4#ed_cl# #ed_op#BR#ed_cl##ed_op#BR#ed_cl#Rajesh Ahuja (UNI) #ed_op#BR#ed_cl##ed_op#BR#ed_cl#New Delhi, November 21, 2006 #ed_op#BR#ed_cl##ed_op#BR#ed_cl#After being enthralled for nearly a year by live performances from musical maestros Ustad Bismillah Khan, Pt Hari Prasad Chaurasia, Shubha Mudgal, Pt Vishv Mohan Bhatt and Girija Devi, Delhiites are all set to relish another series of "spiritually uplifting" musical experiences that will "warm the cockles of their hearts" this winter. #ed_op#BR#ed_cl#The coming months will witness several musical maestros like Ustad Amjad Ali Khan, Praveen Sultana, Shubha Mudgal and Dr Balamurli Krishna mesmerise music lovers in the national capital with their 'soul-stirring' performances. #ed_op#BR#ed_cl##ed_op#BR#ed_cl#The maestros, the greatest of our times and the best exponents of their crafts in India, will perform in the capital as part of the third series of Music in the Park, concerts held in serene settings in the lap of nature, creating a unique experience where music and nature are in perfect harmony. #ed_op#BR#ed_cl##ed_op#BR#ed_cl#The third series of Music in the Park, which began on October 14 with a performance by famous classical singer Kishori Amonkar, will conclude in March next year. #ed_op#BR#ed_cl##ed_op#BR#ed_cl#Accompanying Kishori Amonkar was Partho Sarothy on the Sarod. #ed_op#BR#ed_cl##ed_op#BR#ed_cl#October 28 saw a performance by Girija Devi, who was accompanied by Pt Kishan Maharah and Bahauddin Dagar on the Veena, while the concert on November 11 featured Pt Shiv Kumar Sharma on the Sarod, accompanied by vocalist Venkatesh Kumar. #ed_op#BR#ed_cl##ed_op#BR#ed_cl#The coming Sunday will witness a performance by Ustad Amjad Ali Khan and a vocalist. #ed_op#BR#ed_cl##ed_op#BR#ed_cl#This will be followed by a performance by music maestro Praveen Sutana on February 17 who will be accompanied by Master Shashank on the Flute-Carnatic#ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#BR#ed_cl##ed_op#/DIV#ed_cl##ed_op#/DIV#ed_cl#


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sur
Mon 09 Apr, 2007 01:14

Re: CLASSICAL TRANQUILITY & MUSIC REVIEW
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#ed_op#DIV#ed_cl#  #ed_op#DIV class=post-text#ed_cl##ed_op#DIV#ed_cl##ed_op#P#ed_cl##ed_op#SPAN style="FONT-SIZE 10pt; FONT-FAMILY Verdana; mso-bidi-font-size 10.0pt" SPAN#ed_op##ed_cl##ed_op#FONT color=#ff0000 size=6#ed_cl##ed_op#SPAN style="FONT-SIZE 10pt; FONT-FAMILY Verdana; mso-bidi-font-size 10.0pt" SPAN#ed_op##ed_cl##ed_op#FONT color=#ff0000 size=6#ed_cl##ed_op#FONT color=#000000 size=2#ed_cl##ed_op#FONT color=#ff0000 size=6#ed_cl##ed_op#FONT color=#000000 size=2#ed_cl##ed_op#FONT color=#ff0000 size=6#ed_cl##ed_op#SPAN style="FONT-SIZE 10pt; FONT-FAMILY Verdana; mso-bidi-font-size 10.0pt" SPAN#ed_op##ed_cl##ed_op#FONT color=#ff0000 size=6#ed_cl##ed_op#SPAN style="FONT-SIZE 10pt; FONT-FAMILY Verdana; mso-bidi-font-size 10.0pt" SPAN#ed_op##ed_cl##ed_op#FONT color=#ff0000 size=6#ed_cl##ed_op#FONT color=#000000 size=2#ed_cl##ed_op#FONT color=#ff0000 size=6#ed_cl##ed_op#FONT color=#000000 size=2#ed_cl##ed_op#FONT color=#ff0000 size=6#ed_cl##ed_op#FONT color=#660000 HGxPN="0" sWe3b="0" K2XpR="0" Wicpm="0"#ed_cl#Three divas, one stage #ed_op#BR#ed_cl##ed_op#BR#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/SPAN#ed_cl##ed_op#/FONT#ed_cl##ed_op#/SPAN#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/SPAN#ed_cl##ed_op#/FONT#ed_cl##ed_op#/SPAN#ed_cl##ed_op#SPAN style="FONT-SIZE 10pt; FONT-FAMILY Verdana; mso-bidi-font-size 10.0pt" SPAN#ed_op# K2XpR="0" Wicpm="19"#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#FONT color=gray#ed_cl##ed_op#FONT color=#451528 HGxPN="0" sWe3b="0" K2XpR="0" Wicpm="0"#ed_cl#Parveen Sultana, Girija Devi and Kishori Amonkar sang in Mumbai, one after the other, and Abhay Phadnis listened intently #ed_op#/FONT#ed_cl##ed_op#BR#ed_cl##ed_op#BR#ed_cl##ed_op#BR#ed_cl##ed_op#/FONT#ed_cl##ed_op#FONT HGxPN="0" sWe3b="0"#ed_cl#On October 2, I attended a morning concert#ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#FONT HGxPN="3" sWe3b="0"#ed_cl# at Shanmukhananda Hall in Mumbai. The singers featured (in order of appearance) were Parveen Sultana, Girija Devi, and Kishori Amonkar. I had made a few notes after the event, and thought of posting them on RMIC as a record of the concert. (Record, not review, because the latter needs technical knowledge that is beyond me.)#ed_op#BR#ed_cl##ed_op#BR#ed_cl#The concert started (only 20 minutes later than scheduled -- surely a record in Mumbai!) with raga Miyan ki Todi by Parveen Sultana. She was accompanied by Mohammed #ed_op#/FONT#ed_cl##ed_op#FONT HGxPN="0" sWe3b="0"#ed_cl#Dholpuri on the harmonium (he is apparently Delhi-based) and Mukundraj Deo on the tabla. I am not a major fan of the Begum (though I do like her early recordings and quite used to enjoy her concerts till the early '80s), but she sang much better than I had expected. She spent a significant amount of time developing the raga in the lower registers, where she sounded very good indeed. But then came the inevitable ati-#ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#FONT face="Arial Narrow" size=4 HGxPN="3" sWe3b="0"#ed_cl#taar forays and sargams@speed-of-light, the latter quite often going distinctly besuraa. Her voice seems to have deteriorated a bit (with age?) and she could not hit the high notes with quite the elan (or precision) she once could. Mercifully, the ati-taar ventures were limited in number.#ed_op#BR#ed_cl##ed_op#BR#ed_cl#She did something that was new to me she would start off a taan, repeat the phrase an octave lower, go back to the higher octave for the next phrase, again repeat THAT an octave lower, and so on. It sounded good the first few times, but when she kept doing it over and over, it jarred a bit. Is this done by any other singers#ed_op#/FONT#ed_cl##ed_op#FONT face="Arial Narrow" size=4 HGxPN="3" sWe3b="0"#ed_cl#? I have never noticed it - even in PS herself - before this (but then I have not heard much of her in the last 10 years or so).#ed_op#BR#ed_cl##ed_op#BR#ed_cl#Following the vilambit and drut bandish-es in Todi, she launched into something she called "Ambika Sarang". She said it was based on the Karnatak melakarta Vachaspati, and then also mumbled something about Khambavati. The wording of the bandish was unusual - "saarii jaaminii jaagii re". While "jaaminii/yaaminii" IS a synonym for "raat", I have never heard it used like this. She then went on to a forgettable rendition of a bhajan (mai.n to lino gobi.ndo mol), allegedly presented because many people had sent in a "farmaaish" for it. The last item was a Marathi song,#ed_op#/FONT#ed_cl##ed_op#FONT face="Arial Narrow" size=4 HGxPN="9" sWe3b="0"#ed_cl# "rasikaa tujhyaach saaThii", which was sung passably well.#ed_op#BR#ed_cl##ed_op#BR#ed_cl#After a short interval came Girija Devi. I had last heard her live 10 years ago at Pune, and was keenly looking forward to listening to her, and was not disappointed -- she was in great form and sang very well indeed. She started with a vilambit and a drut khyal in Jaunpuri, and then a short tap-khyal in 'Gandhari Bahaar', which she described as "hamaare ghar kii khaas chiiz". Then came a marvellous tappa ("piyaa nazar nahii.n aa.Ndaa"), a Pilu thumri, and a delicious jhoola ("dekho saa.Nware ke sa.ng gorii jhuulalii jhuule"). She ended with one of my favourite pieces - "diiwaanaa kiye shyaam, kyaa jaaduu Daaraa". It is a beautiful composition, and she did full justice to it.#ed_op#BR#ed_cl##ed_op#BR#ed_cl#She was accompanied on the harmonium by Puruthottam Walavalkar, on the saarangi by Dhruba Ghosh, and on the tabla by Aneesh Pradhan. The surprise package was one of her students who was accompanying her on the tanpura, Rupan Talwar (or Sarkar - didn't get the last name very clearly); the girl has a beautiful voice and sang with a lot of 'taiyyarii' (though she did fumble in the antaraa of the jhoolaa), and Girija Devi gave her a lot of scope to show it off!#ed_op#BR#ed_cl##ed_op#BR#ed_cl#Another short break, and then Kishori Amonkar started off with Raga Gaud Sarang. The vilambit chiiz was "kajaraare gorii tore nainaa". [I have always found the sam placement in this cheez unusual -- it seems to land#ed_op#/FONT#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#FONT HGxPN="0" sWe3b="0"#ed_cl# on a non-existent syllable! To make the sam, the "aa" in "kajaraare" is drawn out -- "kajaraa_aa_re", with the sam on the elongated "aa". Can some knowledgeable soul say whether this happens in any/many other instances?] Her throat seemed to be troubling her for the first 15-20 minutes, but once it freed, there resulted a shower of breath-taking taan-s. Not the best I have heard from her, but very good indeed! Her disciples -- Sanghamitra Bagchi and Nirmala Bedekar -- were in good form too and provided very good vocal support. Also providing fitting accompaniment were Purushottam Walavalkar on the harmonium and Balakrishna Iyer on the tabla.#ed_op#BR#ed_cl##ed_op#BR#ed_cl#After the drut cheez ("piyu pal na laage morii a.Nkhiyaa.N") in Gaud Sarang, there were some noises about Bhairavi, when she suddenly said "mazhii aaj khuup ichchha aahe kii tumhaalaa aamachyaa jaipuur gharaaNyaachii ek khaas chiiz aikavaavii - aamhii tyaalaa luur saara.ng mhaNato. aapalii aikaayachii ichchhaa aahe kaay?" ("I very much want to sing for you a speciality of our Jaipur gharana -- we call it Loor Sarang. Would you want to hear it?") Of course there was chorus of "yes!" from the audience, and she sand a beautiful bhajan-like composition for about 20 minutes (the same composition that is on her "SwarUtsav" release by Music Today, but sung much better!).#ed_op#BR#ed_cl##ed_op#BR#ed_cl#And then, suddenly, she and her accompanists started winding up! One of the organisers (Shashi Vyas) came up on stage and launched into a speech that led to a round of felicitation for all the artistes and accompanists and then a vote of thanks. A side-show was a lot of feet-touching and hugging between the artistes, with Parveen Sultana touching the feet of the other two and Kishori touching the feet of Girija Devi and all of them hugging each other. Quite genuine, I'm sure, but just seemed overdone.#ed_op#BR#ed_cl##ed_op#BR#ed_cl#And as Vyas launched into his vote of thanks, he said, "I have told Kishori-tai that I am not leaving this hall until she has sung 'baabul moraa'." This, after all the artistes had got up and some of the instruments had been taken off! KA protested, pointing at her watch (it was getting on to 3 pm - the concert had started at 9.20 am!) and saying, "Let people go home". The ball was again in the audience's court, with Vyas asking whether we wanted to hear "baabul moraa" or not. The response being a foregone conclusion, KA and her accompanists sat down again, the taanpura-s and the swaramandal were tuned again, and she launched into a very moving rendition of "baabul moraa". A noteworthy feature of her rendition was that - unlike many khyaaliyaa-s who sing it - she gave full play to both antaraa-s, ending with a very evocative recital of all the lines of both antaraa-s strung together. A great finale to a memorable morning!#ed_op#BR#ed_cl##ed_op#BR#ed_cl#General comments#ed_op#BR#ed_cl##ed_op#BR#ed_cl#- All the three artistes were in very good humour and took trouble to establish a rapport with the audience. (It was a relief to see KA, especially, in a bonhomous mood - not an everyday occurrence!) This made the concert that much more enjoyable.#ed_op#BR#ed_cl##ed_op#BR#ed_cl#- Parveen Sultana and her two disciples used taanpura-s with six strings, something I have noticed earlier too in her concerts. Can someone shed light on the utility of the two extra strings? Do they add to the tonal effect of the taanpura?#ed_op#BR#ed_cl##ed_op#BR#ed_cl#- The multiple-artiste format worked quite well, though I for one wouldn't have complained if the available time had been divided between just two artistes rather than three (no prizes for guessing which two! )). The breaks in between the artistes were kept to the minimum time needed for the next artiste to come on and get the instruments tuned. #ed_op#BR#ed_cl##ed_op#BR#ed_cl#- WHY do Mumbai audiences start leaving - in large numbers - well before the end of the concert?? I have seen this happen in ever so often. When it happens at night, one can blame it on the timings of the last bus/train, but why in a morning concert?? I have yet to see a Pune audience do this, even for late night concerts.#ed_op#BR#ed_cl##ed_op#BR#ed_cl#- This business of interrupting the artiste mid-way to get the felicitations and vote of thanks through was disgusting. Surely they could have finished it in the interval between GD's and KA's concerts!#ed_op#BR#ed_cl##ed_op#BR#ed_cl#- Vyas hinted in his speech at making the recordings commercially available, "with the artistes' permission". Let's hope that happens!#ed_op#BR#ed_cl##ed_op#/FONT#ed_cl##ed_op#BR#ed_cl##ed_op#BR#ed_cl##ed_op#B#ed_cl##ed_op#I#ed_cl#Abhay Phadnis#ed_op#/I#ed_cl##ed_op#/B#ed_cl##ed_op#BR#ed_cl##ed_op#BR#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/SPAN#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/SPAN#ed_cl##ed_op#/FONT#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT color=#000000#ed_cl##ed_op#SPAN style="FONT-SIZE 10pt; FONT-FAMILY Verdana; mso-bidi-font-size 10.0pt" SPAN#ed_op##ed_cl##ed_op#FONT face="Arial Narrow" color=#0066ff size=4#ed_cl##ed_op#EM#ed_cl#Published on 6 November 2002#ed_op#/EM#ed_cl##ed_op#/FONT#ed_cl##ed_op#/SPAN#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#/DIV#ed_cl##ed_op#/DIV#ed_cl##ed_op#/DIV#ed_cl#


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sur
Thu 12 Apr, 2007 00:44

Re: CLASSICAL TRANQUILITY & MUSIC REVIEW
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#ed_op#DIV#ed_cl##ed_op#FONT face=Arial color=#40007f size=5#ed_cl##ed_op#STRONG#ed_cl#MUSIC#ed_op#/STRONG#ed_cl##ed_op#/FONT#ed_cl##ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#FONT face=Arial color=#000099#ed_cl#News#ed_op#/FONT#ed_cl##ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#TABLE cellSpacing=0 cellPadding=0 width=780 border=0#ed_cl##ed_op#TBODY#ed_cl##ed_op#TR#ed_cl##ed_op#TD width=583#ed_cl##ed_op#/TD#ed_cl##ed_op#TD width=16#ed_cl# #ed_op#/TD#ed_cl##ed_op#TD width=12#ed_cl# #ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#TR#ed_cl##ed_op#TD width=22#ed_cl# #ed_op#/TD#ed_cl##ed_op#TD width=583#ed_cl##ed_op#!-- #BeginEditable "heading" --#ed_cl##ed_op#FONT face="Arial, Helvetica, sans-serif" color=#cc0000 size=4#ed_cl#Sangeet Martand Pt. Jasraj honoured with Saraswati Samman#ed_op#/FONT#ed_cl##ed_op#!-- #EndEditable --#ed_cl##ed_op#/TD#ed_cl##ed_op#TD width=16#ed_cl# #ed_op#/TD#ed_cl##ed_op#TD width=12#ed_cl# #ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#TR#ed_cl##ed_op#TD width=22#ed_cl# #ed_op#/TD#ed_cl##ed_op#TD width=583#ed_cl# #ed_op#/TD#ed_cl##ed_op#TD width=16#ed_cl# #ed_op#/TD#ed_cl##ed_op#TD width=12#ed_cl# #ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#TR#ed_cl##ed_op#TD width=22#ed_cl# #ed_op#/TD#ed_cl##ed_op#TD vAlign=top width=583#ed_cl##ed_op#TABLE class=bodycopy cellSpacing=0 cellPadding=0 width=575 border=0#ed_cl##ed_op#TBODY#ed_cl##ed_op#TR vAlign=top#ed_cl##ed_op#TD#ed_cl##ed_op#!-- #BeginEditable "Story" --#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial, Helvetica, sans-serif" size=2#ed_cl##ed_op#IMG height=202 hspace=5 src="http://www.screenindia.com/20020322/pics/mn1.jpg" width=150 align=right vspace=3 border=1#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Sangeet Martand Pandit Jasraj was honoured with the Saraswati Samman on March 16, in a programme at Nasik. He received the honour from the organisation Kailash Math and Maharshi Sandipani Rashtriya Ved Vidya Pratishthan. On the occasion, Panditji said, “This is a great time for me that my country people are giving me such an award. If people recognise the work of an artist, that is the biggest award for any one. I am feeling good and enjoying the moment.” The ceremony was held on the occasion of three days of Akhil Bhartiya Vaidik Sammelana. Panditji also got Rs. 25,000 in cash, an idol of goddess of learning Maa Saraswati and a Mahavastram.#ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Quite a few awards have been instituted in Panditji’s name. The University of Toronto has instituted a scholarship in his name for young Canadians wanting to train in Indian Music. Also, the first Distinguished Visitor Award was created specially in honor of Panditji by the same university in 1999, for the first time since its inception 200 years ago. The Pandit Jasraj Rolling Trophy by the Rotary Club of Bombay (Shivaji Park), Pandit Jasraj Gaurav Puraskar by the public of Pune, Pandit Jasraj Auditorium in New York, Pandit Jasraj Scholarship by the Rotary Club of Hyderabad and the Pandit Jasraj center for art, aesthetics and culture in Hyderabad are among some of the honours in his name.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Born in a family that gave Indian classical music four generations of outstanding musicians, Panditji is the fifth in the great lineage of the Mewati gharana. He had his initial grooming in music from his father, late Pandit Motiramji.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Panditji’s singing is a harmonious blend of pure classicism through musical and rhythmic ornamentations, combined with an intense spiritual expression. He is known for his perfect diction, clarity in sur and a command over all aspects of laya. His singing has a lyrical quality, which is the quintessence of the Mewati style of singing#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#/TBODY#ed_cl##ed_op#/TABLE#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#/TBODY#ed_cl##ed_op#/TABLE#ed_cl##ed_op#/DIV#ed_cl#


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sur
Thu 12 Apr, 2007 01:27

Re: CLASSICAL TRANQUILITY & MUSIC REVIEW
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#ed_op#DIV#ed_cl##ed_op#H3#ed_cl##ed_op#FONT face="Arial Narrow" color=#40007f#ed_cl#Decoration in proportion #ed_op#/FONT#ed_cl##ed_op#/H3#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#IMG height=149 alt=" " src="http://www.hinduonnet.com/2001/07/20/images/0920070b.jpg" width=251 align=right border=1#ed_cl##ed_op#BR#ed_cl##ed_op#/FONT#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#!-- Date: 20-07-2001 :: Pg: 28 :: Col: d --#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#In Semmangudi's concerts, kalpanaswaras flow smoothly without marring the melody, observes V. SUBRAHMANIAM in the last part of the series, a tribute to his mentor who turns 93 on July 25. #ed_op#/FONT#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#DRAWING FREELY from the artiste's imagination and rendering kalpanaswara embellishments for compositions or Ragam Tanam Pallavi has become an established practice in concerts. #ed_op#/FONT#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#The aspect is unique to the Indian system of music more so to the Carnatic. An adaptation of this is now prevalent in the Hindustani styles and its inclusion is comparatively recent. Several patterns are woven in the relevant raga in the slow and fast tempos. In this aspect of music also Sri Semmangudi is a past master. His style is based on strict adherence to the Sarvalaghu-basic rhythm. The swaras that he renders in the slow tempo would abound in the bhava of the raga with all the nuances, gamakas and Anuswaras. #ed_op#/FONT#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#His fast tempo rendition of swaras would rush as the flow of the Ganga in Haridwar, the fastness in no way marring the melody of the bhava-laden raga packing the fast tempo swaras with speed, clarity, bhava and easy flow. Sri Semmangudi's kalpanaswaras would never leave the listener weary. His lengthy fast tempo swaras without even one elongated note (Deergha swara) is unparalleled and it would be no exaggeration to state that Semmangudi is the only maestro to achieve this. #ed_op#/FONT#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#In one of his concerts he rendered such fast tempo swaras for the pallavi in Sankarabharanam at a stretch for almost 4-1/2 minutes that the accompanying artistes were left stunned for a few seconds before picking up. #ed_op#/FONT#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Semmangudi always feels that swara singing should not be a mere rhythmic exercise which will tend to rob the music of bhava. #ed_op#/FONT#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#The bhava aspect should never be subjugated to the rhythmic patterns. Mere arithmetic adherence to rhythmic patterns in swara renditions would end up as tight rope walking making the singer and the listener tense. #ed_op#/FONT#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#An appropriate remark was made by one senior violin maestro about Semmangudi's swara renditions. ``While singing the swara he is singing the raga in the rhythmic frame.'' The audience, generally, prefer to listen to keertanas (compositions), raga alapanas and then kalpanaswaras in this order. #ed_op#/FONT#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#In Semmangudi's concerts it can be observed that audiences are thrilled and impressed by the punch of the maestro's kalpanaswara renditions touched by their melodic bhava and rich content that they all look forward to them. Another important aspect of Semmangudi's swaraprasthara is the sense of proportion. The listener would never be left feeling that there has been an overdose of swaras. #ed_op#/FONT#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Blessed with abundant and refined sangita jnana and kutchery craftsmanship par excellence the great maestro has been shining as a brilliant Sun in the firmament of Carnatic music for more than seven and a half decades.#ed_op#/FONT#ed_cl##ed_op#FONT size=3#ed_cl##ed_op#/P#ed_cl##ed_op#/FONT#ed_cl##ed_op#/DIV#ed_cl#


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sur
Thu 12 Apr, 2007 01:32

Re: CLASSICAL TRANQUILITY & MUSIC REVIEW
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#ed_op#DIV#ed_cl##ed_op#H3#ed_cl##ed_op#FONT face="Arial Narrow" color=#40007f#ed_cl#Music in three dimensions #ed_op#/FONT#ed_cl##ed_op#/H3#ed_cl##ed_op#P#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#!-- Date: 20-07-2001 :: Pg: 29 :: Col: f --#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#PRAYAG or Triveni Sangamam at Allahabad is where the three rivers Ganga, Yamuna and Saraswathi merge. The last mentioned is the mythical `Guptha Gamini'. The talented musicians (brothers) O. S. Tyagarajan, O. S. Sundar and O. S. Arun have named their new centre `Prayag' and a performance was held on July 15 under the auspices of Sangeet. The performance was a great success at the Narada Gana Sabha Hall. The trio divided music into three divisions - Sampradaya Bhajan (OSS), Sastriya Sangeetham (OST) and Hindustani music (OSA). Sundar opened the concert with sampradaya bhajan ``Thodaya Mangalam''. The Dyana slokam was rendered in `Chandrakauns' which was melodious followed by Chintayale of Narayana Theertha. Tyagarajan rendered the slokam of Ashtapadi in Anandabhairavi followed by a brief sketch of Sankarabharanam and the Ashtapadi `Pasyathi' with good diction of sahitya. Sastriya Sangeetham was rendered with skill and proficiency. While Kambodi (``Emaiya Rama'') of Bhadrachala Ramadas was sedate and made an impact, Kharaharapriya reflected the artiste's manodharma. Subha Pantuvarali was soulfully rendered with a Purandaradasa Devaranama, ``Neene Anatha Bandhu''. #ed_op#/FONT#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Hindustani music was skilfully rendered. Arun delighted the audience with ``Gayathri Vanamali'' in Hamsadhwani (Madhyama Sruthi) which was tuned by Dr. Balamuralikrishna long ago. ``Chalomana Ganga theer'', a bhajan of Tulasi Das, popularised by Paluskar drew spontaneous applause. The orchestra gave full support to the artistes. #ed_op#/FONT#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Performing for Tyagaraja Vidwath Samajam, Radha Ramji presented a satisfying concert. The Pantuvarali varnam was followed by ``Brocheva revaru'' in Sriranjani with a short spell of swaras. Sri Lakshmi played a neat Vachaspathy on the violin. V. Kalyanaraman (mridangam) rendered good support. #ed_op#/FONT#ed_cl##ed_op#FONT size=3#ed_cl##ed_op#/P#ed_cl##ed_op#/FONT#ed_cl##ed_op#/DIV#ed_cl#


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sur
Fri 13 Apr, 2007 00:38

Re: CLASSICAL TRANQUILITY & MUSIC REVIEW
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#ed_op#DIV#ed_cl##ed_op#TABLE cellSpacing=0 cellPadding=0 width=636 align=center border=0#ed_cl##ed_op#TBODY#ed_cl##ed_op#TR#ed_cl##ed_op#TD class=t_t_11_b vc3Gn="4" OZo0a="0"#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#FONT class=t_v_16_b_b color=#7f3f00 size=5 vc3Gn="0" OZo0a="0"#ed_cl##ed_op#STRONG#ed_cl#Off tune? Blame it on poor sound#ed_op#/STRONG#ed_cl##ed_op#/FONT#ed_cl##ed_op#BR#ed_cl#By TT#ed_op#BR#ed_cl#Apr 11, 2007#ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#BR#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#/TD#ed_cl##ed_op#TD class=t_t_11_b vAlign=top align=right#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#BR#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#/TBODY#ed_cl##ed_op#/TABLE#ed_cl##ed_op#TABLE cellSpacing=0 cellPadding=0 width=636 align=center border=0#ed_cl##ed_op#TBODY#ed_cl##ed_op#TR#ed_cl##ed_op#TD style="FONT-SIZE: 10pt; FONT-FAMILY: Trebuchet MS, Verdana, helvetica, sans-serif; BACKGROUND-COLOR: white"#ed_cl##ed_op#P vc3Gn="1" OZo0a="0"#ed_cl##ed_op#TABLE cellSpacing=2 cellPadding=0 align=left border=0#ed_cl##ed_op#TBODY#ed_cl##ed_op#TR#ed_cl##ed_op#TD#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#IMG src="http://www.musicindiaonline.com/z/nimgs/hindustani/82/1.jpg" border=1#ed_cl##ed_op#/FONT#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#/TBODY#ed_cl##ed_op#/TABLE#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#The 8-session (December 11-18) birth centenary tribute to the late amateur tabla maestro Krishna Kumar Ganguly organised by Sangeet Piyasi closed with a tabla duet by Pandit Kishen Maharaj of Varanasi and his son Puran Maharaj at Nazrul Manch last Sunday night. The octogenarian was offered bahu puja before his recital. The recital itself was interesting in the #ed_op#/FONT#ed_cl##ed_op#A class=kLink oncontextmenu="return false;" id=KonaLink1 onmouseover=adlinkMouseOver(event,this,1); style="POSITION: static; TEXT-DECORATION: underline! important" onclick=adlinkMouseClick(event,this,1); onmouseout=adlinkMouseOut(event,this,1); href="http://www.musicindiaonline.com/n/i/hindustani/82/#" target=_top#ed_cl##ed_op#FONT style="FONT-WEIGHT: 400; FONT-SIZE: 11px; COLOR: blue! important; FONT-FAMILY: Trebuchet MS, Verdana, Arial, sans-serif; POSITION: static" face="Arial Narrow" color=blue size=4#ed_cl##ed_op#SPAN class=kLink style="FONT-WEIGHT: 400; FONT-SIZE: 11px; COLOR: blue! important; FONT-FAMILY: Trebuchet MS, Verdana, Arial, sans-serif; POSITION: relative"#ed_cl#antiquarian#ed_op#/SPAN#ed_cl##ed_op#/FONT#ed_cl##ed_op#/A#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl# sense as the duo played old-style Banaras gharana pieces on low-pitched tablas. #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P vc3Gn="0" OZo0a="0"#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Among the nine tabla solos and duets at the festival, those by Kumar Bose (trital), the veteran Pandit Shankar Ghosh (Sankirna tala of nine matras and talamala) and Sanjay Mukherjee (trital and nine-matra Nazruk) were the most impressive. The first for the keen sense of dynamics and artistry it showed, the second for the aura of mellow ripeness it exuded and the third for its interestingly varied repertoire. Swapan Chowdhury (trital) was impressive when he played classic compositions of Ustad Abid Hussain, but rather routinely competent on the whole. On the other hand, Anindo Chatterjee (jhaptal and trital) displayed an unquestionable skill but tended to be monotonous. Sabir Khan and son Arif (trital), despite their skill and exclusive repertoire, were betrayed by tablas that frequently went out of tune in the middle of long sorties. Gobindo Bose (trital) walked off the stage in a huff as sound technicians failed to satisfy him. #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P vc3Gn="0" OZo0a="0"#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#In fact, the sound system played a mysterious role both at the two sessions at Nazrul Manch and the six at Uttam Mancha. The sound was perfect for sarod player Tejendra Narayan Majumdar’s exceptionally tuneful and well-structured alap and gatkari in Abhogi at Uttam Mancha. It was also perfect for sarod player Debojyoti Bose’s alap and gatkari in Shuddh Kalyan with a virtually musical tabla playing by Bikram Ghosh. But it apparently failed at sarod player Buddhadeb Dasgupta’s recital in Kaunsi Kanada. He repeatedly broke the main string and complained that this was because he had to strike hard to hear himself! #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Of the four sitar players, veteran Manilal Nag was at his best in his alap and gatkari in Jaijayanti and Narendra Mishra showed an impressive skill in his alap and gatkari in Yaman, though he did not use the pancham in the alap. Poor sound management made Budhaditya Mukherjee speed up his alap in Bhimpalasi and rely more on straight notes than meends. During the gatkari in Tilak Kamod, tonality improved when the main string was played singly but deteriorated whenever it was struck along with the jodi. Kushal Das was impressive in his Hemant alap and Gorakh Kalyan gatkari. #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Among the singers Rashid Khan sang his khayals in Todi as well as he usually does, and veteran Girija Devi was very much her old self in her Yaman khayals and Khamaj thumri. Ajay Chakraborty sang his khayals in Yaman with skill and musicianship. Manas Chakraborty (Mian ki Sarang and Suha Sugh-rai), Shubhra Guha (Nand), Ma-shkoor Ali Khan (Puria), Sama-resh Chowdhury (Puria Kalyan) and Amiya Ranjan Banerjee (Bihag) were in form but Arun Bhaduri (Maru Bihag) was let down by an unsteady voice. Falguni Mitra sang alap and dhrupad in the rare raga Maru Kaly-an and it was good to hear Aloke Chatterjee after a long time.#ed_op#BR#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#/TBODY#ed_cl##ed_op#/TABLE#ed_cl##ed_op#/DIV#ed_cl#


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sur
Sat 14 Apr, 2007 01:34

Re: CLASSICAL TRANQUILITY & MUSIC REVIEW
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#ed_op#DIV#ed_cl##ed_op#TABLE cellSpacing=0 cellPadding=0 width=636 align=center border=0#ed_cl##ed_op#TBODY#ed_cl##ed_op#TR#ed_cl##ed_op#TD class=t_t_11_b#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#FONT class=t_v_16_b_b size=5#ed_cl##ed_op#STRONG#ed_cl#L Subramaniam: India's violin icon#ed_op#/STRONG#ed_cl##ed_op#/FONT#ed_cl##ed_op#BR#ed_cl#By PTI#ed_op#BR#ed_cl#Apr 11, 2007#ed_op#BR#ed_cl##ed_op#BR#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/TD#ed_cl##ed_op#TD class=t_t_11_b vAlign=top align=right#ed_cl##ed_op#BR#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#/TBODY#ed_cl##ed_op#/TABLE#ed_cl##ed_op#TABLE cellSpacing=0 cellPadding=0 width=636 align=center border=0#ed_cl##ed_op#TBODY#ed_cl##ed_op#TR#ed_cl##ed_op#TD style="FONT-SIZE: 10pt; FONT-FAMILY: Trebuchet MS, Verdana, helvetica, sans-serif; BACKGROUND-COLOR: white"#ed_cl##ed_op#P#ed_cl##ed_op#TABLE cellSpacing=2 cellPadding=0 align=left border=0#ed_cl##ed_op#TBODY#ed_cl##ed_op#TR#ed_cl##ed_op#TD#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#IMG src="http://www.musicindiaonline.com/z/nimgs/carnatic/145/1.jpg" border=1#ed_cl##ed_op#/FONT#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#/TBODY#ed_cl##ed_op#/TABLE#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#New Delhi, Sept. 19 (PTI): He is one of the few exponents of Indian classical music who has wowed western audiences by playing Indian classical music on what is essentially a western instrument--violin. #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Dr L Subramaniam has performed the Carnatic and Western classical music on stage in various parts of the world, besides conducting some of the most famous orchestar#ed_op#/FONT#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl# and sharing the state with western and Indian music geniuses. But it is in playing Carnatic music that he says, he finds 'real joy.' #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#"Playing Carnatic music in India or the West is a challenge in the sense that Indian audience are not that familiar with the violin, whereas the westerners listen to somebody playing the instrument rather critically as they are well aware of the instrument and the technique." Subramaniam said. #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Initially, sitting cross legged and playing the violin was a bit of a shock for the westerners. "But once they started listening to the Indian music, perceptions changed," says the legend. Subramaniam was here to participate in the annual SPIC-MACAY festival for the youth. #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Subramaniam studied medicine and got registered as a general practitioner before deciding to dedicate his life to playing the violin. #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#"Violin#ed_op#/FONT#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl# is the most expressive of all instruments I know and it called me to dedicate myself to it," he says. #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Subramaniam who has many pupils under his tutelage including his own son and daughter feels that though the opportunities for youngsters are vast, dedication to any art form they choose is not the same as he saw during his younger days. #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#"Youngsters these days want to be most well known artists rather than great exponents of their art" he says. #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Citing carnatic singing legend MS Subbulakshmi and late Sarod maestro Bismillah Khan as great examples to follow for youngsters, he says, "They were only concerned with dedicating themselves to the music form they chose and better themselves at it, all throughout their lives. Nothing else mattered to them." #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Subramaniam is of the opinion that Indian classical music should be made part of the school and college curriculum in the country. "If youngsters learn and start appreciating the Indian classical music#ed_op#/FONT#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#, we can have not just more talented people in the field, but also the future of our music will be in safer hands," he says. #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#But he is certainly not impressed with the television driven talent-hunt shows. "I don't like this sms business," he says in exasperation. How can the audience judge a singer, when the judges are already there, he asks. #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#In his opinion only a judge can evaluate a singer's#ed_op#/FONT#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl# pitch, rhythm and emotion. "Some people like a cute face and they will vote for it, that is not a talent hunt," he says. #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Subramaniam who has composed music for Mira Nair's films "Salaam Bombay" and "Mississippi Masala" besides a solo background recital in Bernardo Bertolucci's "Little Buddha" is not very excited about the Indian film#ed_op#/FONT#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl# music scene. "We had great musicians like Madan-Mohan and Laxmikanth-Pyarelal in the past, but now the music that is being composed is not something that will linger on forever," he says. #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Although he is not averse to composing film music, Subramaniam says that time is a major factor. "All my programmes are decided almost two years in advance, so taking out time is almost impossible," he says. Subramaniam is married to Bollywood singer Kavitha Krishnamurthy. #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Subramaniam has more than 150 recordings to his credit, including with legends like Menuhin, Stephane Grappelli, Ruggiero Ricci and many others. "I have only enriched myself by playing with so many legends and made some great friends in the process," he says. He specially treasures his recordings with Yehudi Menuhin. #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#/TBODY#ed_cl##ed_op#/TABLE#ed_cl##ed_op#/DIV#ed_cl#


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sur
Mon 16 Apr, 2007 11:50

Re: CLASSICAL TRANQUILITY & MUSIC REVIEW
-----------------------------------
#ed_op#DIV#ed_cl##ed_op#TABLE cellSpacing=0 cellPadding=5 border=0#ed_cl##ed_op#TBODY#ed_cl##ed_op#TR#ed_cl##ed_op#TD class=black#ed_cl##ed_op#H3#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl#Ustad & The Divas - Chitra, Sunidhi Chauhan, Shreya Ghoshal #ed_op#/FONT#ed_cl##ed_op#/H3#ed_cl##ed_op#P#ed_cl#<>document.write('#ed_op#I#ed_cl#Aelina#ed_op#/I#ed_cl#,')#ed_op#/#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#I#ed_cl#Aelina#ed_op#/I#ed_cl#, IndiaGlitz #ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl#December 10, 2006#ed_op#BR#ed_cl##ed_op#/P#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#TR#ed_cl##ed_op#TD class=black#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#IMG src="http//image1.indiaglitz.com/hindi/musicreviews/UstadSultanK041106_1.jpg" align=right border=1#ed_cl# #ed_op#/FONT#ed_cl##ed_op#P align=justify #ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#For years 'Piya Basanti' is one song that has been etched in the memories of all those who have ever loved someone. Simplicity of innocent love was brought to fore in a magnificent way in the vocals of Ustad Sultan Khan. Hence when the veteran arrives with his latest album 'Ustad & The Divas' with Chitra, Sunidhi Chauhan and Shreya Ghoshal being the divas, the excitement only doubles up. Especially so, because the composer at the helm is terribly underrated Sandesh Shandilya who has given some gems earlier on for films like K3G, 'Socha Na Tha',  'Chameli' and more. Irhad Kamil, a new generation writer who has written songs for films like 'Shabd', 'Socha Na Tha', 'Neal N Nikki', 'Ahista Ahista' and many more has been roped in as the sole lyricist for the album. D.J. Mit is behind the remix versions while Salim-Sulaiman are roped in for programming and arranging the songs.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P align=justify#ed_cl##ed_op#STRONG#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#1) Leja Leja (Original, Club Mix and Reggaeton) [Ustad Sultan Khan and Shreya Ghoshal]#ed_op#/FONT#ed_cl##ed_op#/STRONG#ed_cl##ed_op#/P#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Mesmerizing! That's the word to describe the opening track of the album, 'Leja Leja', which is so melodious that it is difficult to come out of the spell it weaves around you. What is special about the song is the fact that there is no fixed 'antara' or 'mukhda' in the conventional sense and the music just breezes by with numerous twists that the song takes throughout its 4 and a half minute duration. A song completely belonging to Shreya Ghoshal with Ustad Sultan Khan's vocals being heard at just the right points in the song, it has different moods ranging from being sad to ecstatic as it takes you through a journey of woman searching for true love in her life. Brilliant lyrics combined with some excellent composition, 'Leja Leja' is an Indian melody at its best. Hats off to the team for bringing on such a beautiful number that is intoxication at its best.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#There are apprehensions when one realizes that there are 2 remix versions of the song to follow since one would have wanted to hear the song in its unadulterated version. Thankfully the 'Club Mix' version that comes first is not a bad hear at all even when the pace is slightly increased here. A true blue club mix which invites one and all to join the dance floor, it has some interesting rap by Arya coupled with entirely pepped up arrangements by DJ Mit that makes the song suitable for a different mood altogether. Reggaeton version that comes last has a different beats arrangement altogether but if one has to choose between the two remixes then 'Club Mix' is going to be the one. And needless to say, the original unadulterated versions tops them all!#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P align=justify#ed_cl##ed_op#STRONG#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#2) Haiye Re [Ustad Sultan Khan and Chitra]#ed_op#/FONT#ed_cl##ed_op#/STRONG#ed_cl##ed_op#/P#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#The dream continues as 'Haiye Re' turns out to be second excellent number in succession by Shandilya and Kamil. A cool'n'breezy romantic number that has much more of Khan when compared to 'Leja Leja', it has ever-so-young Chitra crooning brilliantly once again. A song about a female feeling good about the love that booms in her heart, it is again the Indian feel to the entire arrangement that helps the number turn out to be a winner, just like 'Leja Leja'. Beautiful!#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P align=justify#ed_cl##ed_op#STRONG#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#3) More Piya [Ustad Sultan Khan and Sunidhi Chauhan]#ed_op#/FONT#ed_cl##ed_op#/STRONG#ed_cl##ed_op#/P#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Remember 'Bairi Piya Bada Bedardi' [Devdas]? If you liked it then you would surely be liking 'More Piya' too since it belongs to a similar genre and mood. Third of the divas, Sunidhi Chauhan, makes her debut in the album as she is completely out of her item-song mode and does quite well while singing in low pitch. Yet another song of selfless love which is divine and also spiritual, 'More Piya' has a classical element to it but kudos to Shandilya and the pair of Salim-Sulaiman that it sounds exciting even for an average listener.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P align=justify#ed_cl##ed_op#STRONG#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#4) Billo (Original, remix and club mix) [Ustad Sultan Khan and Sunidhi Chauhan]#ed_op#/FONT#ed_cl##ed_op#/STRONG#ed_cl##ed_op#/P#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Hear 'Billo' for the first time in the album and there is an element of disbelief that comes in. Reason? It appears pretty out of place when compared with the songs heard so far because while the first three tracks were focused on melody, 'Billo' is rhythmic with good dose of western arrangements. But then after you hear it in the remix version followed by the club mix version, the initial apprehension starts wearing off as one gets hooked on to the song. In fact by the time one reaches the club mix version, you realize that the album's mood had taken a 180 degrees turn with melody making way strictly and firmly for 'get-on-the-dance-floor' mood. Guess what Ustad Sultan Khan may have to say about it since by this time the song just doesn't appear to be of the kind that one may associate with him. Nevertheless, as a listener, one doesn't have any reason to complain as DJ Mit does remarkably well, especially in the club mix version, which has half its duration going in setting the prelude to the song. Hear it to be a part of a unique experience altogether!#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P align=justify#ed_cl##ed_op#STRONG#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#5) Hainiya [Ustad Sultan Khan and Sunidhi Chauhan]#ed_op#/FONT#ed_cl##ed_op#/STRONG#ed_cl##ed_op#/P#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Melody make a comeback with a vengeance as a feel-good love song with a melody to cherish appears in the form of 'Hainiya'. If one has to choose between the best of the three tracks sung by Sunidhi so far, it has to be this one since it is the kind of track that one would expect her to sing more often. Ustad Sultan Khan plays a supporting role well once again as Shandilya excels as a composer. His style of coming with surprises at number of points in the song works wonders once again while the sound of 'dholki' forming a major part of the beats comes very easy on ears. A sweet love song.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P align=justify#ed_cl##ed_op#STRONG#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#6) Rageelo Rut [Ustad Sultan Khan and Chitra]#ed_op#/FONT#ed_cl##ed_op#/STRONG#ed_cl##ed_op#/P#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#'Rangeelo Rut' which comes in the end is based on Rajasthani folk and though it may not come across as a song which is first of its kinds experience by any means, it is a decent hear nevertheless. Yes, when compared to the songs preceding it, it does lag a little since each of them had certain freshness about it. In case of 'Rangeelo Rut', it become quite Bollywood-ish in its presentation. Though nothing wrong with it, one was probably expecting a lot more from this ensemble album.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#STRONG#ed_cl#'Ustad & The Divas'#ed_op#/STRONG#ed_cl# turns out to be a good album though one can't help but point out the fact that 'Leja Leja' is the best song of the enterprise. Fantastic promotion by YBR (the music company) meant that 'Leja Leja' was a number blazing on all music channels and hence expectations were sky high for the album. If one doesn't measure the rest of the songs on the same parameters as 'Leja Leja' then it turns out to be a truly enjoyable album. Sandesh Shandilya and Irshad Kamil do well as a composer-lyricist team and it shouldn't be too long before they are on the wish list of many a Bollywood film makers.#ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#/TBODY#ed_cl##ed_op#/TABLE#ed_cl##ed_op#/DIV#ed_cl#


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sur
Wed 18 Apr, 2007 23:04

Re: CLASSICAL TRANQUILITY & MUSIC REVIEW
-----------------------------------
#ed_op#DIV#ed_cl##ed_op#BR#ed_cl##ed_op#DIV align=center#ed_cl##ed_op#CENTER#ed_cl##ed_op#TABLE cellSpacing=0 cellPadding=5 width=750 border=0#ed_cl##ed_op#TBODY#ed_cl##ed_op#TR#ed_cl##ed_op#TD vAlign=top align=middle width=161#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#/TD#ed_cl##ed_op#TD vAlign=top width=568#ed_cl##ed_op#P align=center#ed_cl##ed_op#B#ed_cl##ed_op#A name=1#ed_cl##ed_op#FONT face="Arial Narrow" color=#451528 size=5#ed_cl#Keeping#ed_op#/FONT#ed_cl##ed_op#/A#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#FONT color=#451528#ed_cl##ed_op#FONT size=5#ed_cl# pakhawaj alive#ed_op#/FONT#ed_cl##ed_op#BR#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/B#ed_cl##ed_op#FONT face="Arial Narrow" color=#451528 size=4#ed_cl##ed_op#B#ed_cl#Parbina Rashid#ed_op#/B#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#B#ed_cl#T#ed_op#/B#ed_cl#he Indian classical music scene has changed over the years, simultaneously bringing a change in the accompanying instruments. So, when ‘dhrupad’ gave way to ‘khayal’, pakhawaj — one of the oldest musical instruments — was forced to take a backseat, paving the path for the tabla. This is the reason accomplished pakhawaj exponents are a declining community. Outstanding as pakhawaj maestro Pandit Bhavani Shankar comes as an exception and the interaction with him remains imprinted in one’s mind.#ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#"The pakhawaj owes its origin to dhrupad when it used to be played in temples as an offering to the deities. But today, is having a tough time keeping pace with the changed Indian classical music," says Bhavani Shankar who recently visited Chandigarh to accompany the doyen of kathak, Sandeep K. Mahavir in a concert.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#With more and more musicians opting for the tabla the responsibility to keep the old instrument alive fell on the lap of people like Bhavani Shankar who share a close tie with the instrument in spite of being equally adept in other music related fields.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#After identifying the main loophole in this instrument, Bhavani Shankar is all geared to uplift its status. "The main problem for the pakhawaj not gelling well with the fast-paced ‘khayal’ is its slowness," says Bhavani Shankar. But after years of practice, he has proved that pakhawaj can be as fast as the tabla if not more.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#"Now I can start the pakhawaj with a note as high as Zakir Hussain does with his tabla", he says.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Bhavani Shankar is the right person to tell you so because coming from a family of the Jaipur gharana, he has carved a niche for himself in the fields of traditional classical tabla, pakhawaj and music direction. His father Pandit Babulal, one of India’s leading kathak dancers made him learn pakhawaj and tabla at a tender age, pushing him to take a centrestage with Sitara Devi and Kishen Maharaj when he was only eight years old.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#The journey which started on the stage of the Patna Conference of Classical Music, continued with performances at Sawai Gandharva in Pune, Gunidas Festival in Mumbai, Rajiv Gandhi Foundation in New Delhi, Khajuraho Festival in Madhya Pradesh etc., taking him to the zenith of fame. He also gave public performances with Ustad Allarakha, Pt Samtaprasad, Pt Bhimsen Joshi, Pt Jasraj, Pt Hariprasad Chaurasiya, Ustad Zakir Hussain and singers like Lata Mangeshkar, Asha Bhosle, Kishore Kumar and Mohammed Rafi.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#It was his versatile talent that caught the attention of film producer and director Dr V. Shantaram and he introduced Bhavani Shankar as music director for his films. He has composed music for films like "Adhuri Duniya", "Mata Saraswati ki Mahima Nirali", "Pyar Hua Dhire Dhire", "Man Gaya Ustad". His audio albums include names like "Rangilo Rajasthan", "Jai Jai Hanuman", "Bhajan Prabhat", "Deepanjali" and "Sampuran Ramayan". The set of Sampuran Ramayan" which was completed in 20 cassettes earned him a name in the Limca Book of Records.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P align=justify#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#After receiving such prestigious awards like Taalshri and Taalvilas, what motivates him to scale newer heights? "I would like to experiment with pakhawaj and show to the world that this instrument can be played to suit all kinds of moods — from the slow melodious kind to fast ‘tandava ras’," he says.#ed_op#/FONT#ed_cl##ed_op#A href="http://www.tribuneindia.com/2002/20020705/art-trib.htm#top"#ed_cl##ed_op#/A#ed_cl##ed_op#/P#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#/TBODY#ed_cl##ed_op#/TABLE#ed_cl##ed_op#/CENTER#ed_cl##ed_op#/DIV#ed_cl##ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#/DIV#ed_cl#


-----------------------------------
sur
Sat 21 Apr, 2007 02:52

Re: CLASSICAL TRANQUILITY & MUSIC REVIEW
-----------------------------------
#ed_op#DIV#ed_cl##ed_op#P#ed_cl##ed_op#FONT class=storyhead face="Arial Narrow" color=blue size=4#ed_cl##ed_op#B#ed_cl#Mellifluous chords of harmony #ed_op#/B#ed_cl##ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#G. JAYAKUMAR #ed_op#/FONT#ed_cl##ed_op#P#ed_cl##ed_op#TABLE width="100%" bgColor=#ddffdd border=0#ed_cl##ed_op#TBODY#ed_cl##ed_op#TR#ed_cl##ed_op#TD#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Ustad Rashid Khan and Rupak Kulkarni wove a musical spell that captivated the listeners. #ed_op#/FONT#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#/TBODY#ed_cl##ed_op#/TABLE#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#CENTER#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl#PHOTOS: S. GOPAKUMAR #ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/CENTER#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#CENTER#ed_cl##ed_op#BR#ed_cl##ed_op#IMG height=261 src="http://www.hindu.com/thehindu/fr/2006/09/15/images/2006091500040201.jpg" width=350 align=center border=1#ed_cl# #ed_op#BR#ed_cl##ed_op#B#ed_cl#SPELLBINDING: Vocalist Ustad Rashid Khan. #ed_op#/B#ed_cl##ed_op#/CENTER#ed_cl##ed_op#CENTER#ed_cl##ed_op#STRONG#ed_cl##ed_op#/STRONG#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/CENTER#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#A robust voice that smoothly glided from one note to another and vigorous and fast `taans' were the characteristic features of Ustad Rashid Khan's Hindustani vocal concert. Earlier, Rupak Kulkarni's enchanting flute recital displayed his superb breath control and nimble finger work. The audience at AKG Hall in Thiruvananthapuram travelled through a range of emotions as the two artistes put up a scintillating performance. #ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#P align=justify#ed_cl##ed_op#FONT class=subsectionhead color=red#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#STRONG#ed_cl#Long journey#ed_op#/STRONG#ed_cl# #ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT class=subsectionhead color=red#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Rashid Khan follows the Rampur Sahaswan gharana of singing. It has been a long journey for him in the field of Hindustani music. From the age of six, for more than two decades, he underwent training in the gurukul system under Ustad Nissar Hussein Khan of Rampur Sahaswan gharana. #ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#CENTER#ed_cl##ed_op#BR#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#IMG height=266 src="http://www.hindu.com/thehindu/fr/2006/09/15/images/2006091500040202.jpg" width=350 align=center border=1#ed_cl# #ed_op#BR#ed_cl##ed_op#B#ed_cl#flautist Rupak Kulkarni put up a scintillating performance. #ed_op#/B#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/CENTER#ed_cl##ed_op#CENTER#ed_cl##ed_op#STRONG#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#/STRONG#ed_cl# #ed_op#/CENTER#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Rashid Khan's performance vindicated Pandit Bhimsen Joshi's statement way back in 1988 when Rashid Khan was only 22. After hearing him sing, Bhimsen Joshi had declared that the future of Hindustani vocal music was safe with Rashid Khan. #ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Rashid Khan began his concert with a khayal, a musical form with an emotional content usually romantic in appeal, in vilambit taal (slow tempo). Bihag, one of his favourite ragas, is an ouda sampoorna raag wherein some swaras are omitted in the arohana (ascending order) and avarohana. He sang an elaborate alaap in a meditative mood, followed by jhod and jhala, rhythmic patterns. #ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Satyajith provided able support on the tabla, moving from slow beats to drut, fast tempo. Against the taal, Rashid Khan rendered `Mero manne' with imaginative skill involving sargam taankari, which added charm to the rendition. #ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Rashid Khan was supported on the harmonium by Mukund Pedkar and on the tampura by Satish Balaji. #ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Next, Rashid Khan rendered a short piece in raag Hamsadwani. It was noted for the excellent voice techniques that he displayed. In the raag Hansdwani, belonging to the bilaval thaat (musical scale of basic notes), Rashid Khan sang `Kahe manne.' The short piece was noted for the use of voice techniques similar to the brigas (vibrations in sound ) used by Carnatic musicians. #ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#At the end of the programme, following a request from the audience, Rashid Khan obliged with a number in raag Thodi. #ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#P align=justify#ed_cl##ed_op#FONT class=subsectionhead color=red#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#STRONG#ed_cl#Disciple of Chaurasia#ed_op#/STRONG#ed_cl# #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#FONT face="Times New Roman" color=#ff0000 size=3#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Rupak Kulkarni, a disciple of the renowned flautist Pandit Hariprasad Chaurasia, began his flute recital in raag Pooryakalyan. He played the ang, the root from which the raag originates, in the alaap. Satyajit's tabla graduated from a slow pace and subsequently gained momentum. Rupak Kulkarni was supported by his student Varad on the flute. #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Rupak Kulkarni's brief concert concluded with a semi-classical piece in the popular raag Desh. #ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#The concert was followed by an interactive session in which Rasid Khan and music lovers took part. #ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#The music programme Jalsa was third in a series of 12 concerts, organised by Indian Music Academy, in association with Pandit Motiram Narayan Sangeeth Vidhyalay, Thiruvananthapuram, and Swaralaya. Jalsa is sponsored by Idea Cellular#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P align=justify#ed_cl# #ed_op#/P#ed_cl##ed_op#/DIV#ed_cl#


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sur
Sat 21 Apr, 2007 02:55

Re: CLASSICAL TRANQUILITY & MUSIC REVIEW
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#ed_op#DIV#ed_cl##ed_op#P#ed_cl##ed_op#FONT class=storyhead face="Arial Narrow" color=blue size=4#ed_cl##ed_op#B#ed_cl#Two musicians and unending applause #ed_op#/B#ed_cl##ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#P#ed_cl##ed_op#TABLE width="100%" bgColor=#ddffdd border=0#ed_cl##ed_op#TBODY#ed_cl##ed_op#TR#ed_cl##ed_op#TD#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Pt. Shiv Kumar Sharma and Ustad Rashid Khan perform to a packed auditorium. #ed_op#/FONT#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#/TBODY#ed_cl##ed_op#/TABLE#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#CENTER#ed_cl##ed_op#BR#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#IMG height=350 src="http://www.hindu.com/thehindu/fr/2006/07/28/images/2006072801090301.jpg" width=222 align=center border=1#ed_cl# #ed_op#BR#ed_cl##ed_op#B#ed_cl#Ustad Rashid Khan. #ed_op#/B#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/CENTER#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Beautiful weather, the rains and music by biggest names in the field. Could the combination get any better? Perhaps not. For at the `Barkha Ritu-Rains and Ragas' held by Banyan Tree events, the occasion and the weather were partners in crime to create the perfect ambience. #ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#The event began on time. A one and a half hour concert by Pt. Shivkumar Sharma was followed by an hour-long vocal performance by Ustad Rashid Khan. #ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Accompanists included Pt. Bhavani Shankar on the ghatak, Vijay Ghate on the tabla for Pt Shivkumar Sharma and Yogesh Samsi and Jyoti Goho for Ustad Rashid. #ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Both masters made extensive use of the raga associated with the event and the season — #ed_op#I#ed_cl#Megh Malhar raga #ed_op#/I#ed_cl#and did a fine job of rendering their versions of it. #ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Many compositions were done impromptu - like a sort of jugalbandi. So neither the musicians nor the audience knew what to expect next and the result was simply breathtaking. Especially the trio of Pandit#ed_op#I#ed_cl#ji#ed_op#/I#ed_cl#, Pt. Bhavani Shankar and Vijay Ghate. #ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#You could tell that they were enjoying creating their music as much as the audience was enjoying listening to it. And the musicians didn't hold back in applauding each other either. #ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Complex compositions by these three musicians and ones that oscillated between high and low octaves had them applauding each other as well. Pt. Shivkumar Sharma has pioneered the santoor, so technically, no one can get better than him. They can be different yes, but better? — It seems quite impossible. #ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Ustad Rashid Khan too built up the tempo and the many #ed_op#I#ed_cl#wah-wah's #ed_op#/I#ed_cl#that were heard stands testimony to the fact that there are many takers for music that emanates from the Rampur Shaswan Khayal Gharana that Ustad Rashid is a part of. Music can sometimes take you to a different dimension and the Ustads' voice does that sometimes. #ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#This was one of those few events that went off without any hitches. Nandini, the compere from Mumbai who usually hosts Banyan Tree events, did a good job of introducing the artistes and holding the event together. Altogether, the event was something the city needed and got after many months— the gift of music from musical geniuses. #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#/DIV#ed_cl#


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sur
Sat 28 Apr, 2007 01:52

Re: CLASSICAL TRANQUILITY & MUSIC REVIEW
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#ed_op#DIV#ed_cl##ed_op#P#ed_cl##ed_op#FONT class=storyhead face="Arial Narrow" color=blue size=4#ed_cl##ed_op#B#ed_cl#A meeting of melodies #ed_op#/B#ed_cl##ed_op#/FONT#ed_cl##ed_op#P#ed_cl##ed_op#STRONG#ed_cl##ed_op#FONT face="Arial Narrow" color=#0000ff size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#/STRONG#ed_cl# #ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#MANJARI SINHA #ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#P#ed_cl##ed_op#TABLE width="100%" bgColor=#ddffdd border=0#ed_cl##ed_op#TBODY#ed_cl##ed_op#TR#ed_cl##ed_op#TD#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Many a stalwart shared the platform with young artistes in New Delhi this past week for a nightlong "Jalsa". #ed_op#/FONT#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#/TBODY#ed_cl##ed_op#/TABLE#ed_cl##ed_op#P#ed_cl# #ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#CENTER#ed_cl##ed_op#BR#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#IMG height=250 src="http://www.hindu.com/thehindu/fr/2007/04/13/images/2007041301170201.jpg" width=198 align=center border=1#ed_cl# #ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/CENTER#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#CENTER#ed_cl##ed_op#BR#ed_cl##ed_op#B#ed_cl#THE MAESTROS AT PLAY L. Subramaniam. #ed_op#/B#ed_cl##ed_op#/CENTER#ed_cl##ed_op#CENTER#ed_cl##ed_op#STRONG#ed_cl##ed_op#/STRONG#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/CENTER#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Indian Music Academy (IMA) in association with Idea Cellular presented the finale of their 12-City Concert Series as an all-night music festival at New Delhi's historic Purana Qila this past week. An initiative of Art and Artistes for spreading and popularising Indian Music around the globe, the IMA - `a body of the musicians, for the musicians and by the musicians', was launched by the President APJ Abdul Kalam at NCPA, Mumbai, last year. The Academy promises the facility of medical aid to needy musicians and poets and already has more than 1200 members across the country who have served different genres of music professionally for a minimum of 10 years. #ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Musicians like Pandit Jasraj, Pandit Shiv Kumar Sharma, Pandit Hari Prasad Chaurasia and Ustad Zakir Hussain came together to lend their support to the `Idea Jalsa' concert series held in 12 cities across the country. The initiative has given a platform to worthy young artistes along with doyens and has also made an impact on young audiences, bridging the gap between them and the artistes, with the interactive sessions that follow the performances. The 12th Idea Jalsa at Purana Qila presented L. Subramaniam (violin), Pandit Hari Prasad Chaurasia (flute) and Pandit Shiv Kumar Sharma (santoor) preceded by the young and talented Kaushiki Chakravarti (vocal) and Selva Ganesh (kanjira). The overnight festival was scheduled to conclude with the vocal recital of Pandit Jasraj but he could not make it. #ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#The evening took off with the vocal recital of the young and talented Kaushiki Chakravarti. Initiated into Hindustani classical music by her mother, Kaushiki had the rare privilege to be the youngest #ed_op#I#ed_cl#gandabandh#ed_op#/I#ed_cl# #ed_op#I#ed_cl#shagird #ed_op#/I#ed_cl#of Pandit Jnanprakash Ghosh. Later on, she became the disciple of her father Pandit Ajay Chakravarti, the leading light of the Patiala gharana. Her recitals are marked with a remarkable spontaneity and maturity far beyond her age. Gifted with a melodious and flexible voice, Kaushiki enthralled the audience with two compositions in raga Puria Kalyan and a dadra in Mishra Khamaj adorned with shades of ragas like Nand, Kedar, Hamir and Jaijaiwanti, et al. She had ace accompanying artistes like Sudhir Nayak on the harmonium and Kedar Pandit on the tabla. #ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#P align=justify#ed_cl##ed_op#FONT class=subsectionhead color=red#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#STRONG#ed_cl#Interactive session#ed_op#/STRONG#ed_cl# #ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT class=subsectionhead color=red#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#During the interactive session, answering very honestly a question from a computer savvy rasika who asked why Kaushiki does not contribute to the electronic media such as the net if she can't perform frequently in Delhi, Kaushiki confessed that she was not good at it, and secondly, this would take away time from the much needed #ed_op#I#ed_cl#sadhana#ed_op#/I#ed_cl#. #ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#She won admirers not only by her singing but also by her eloquence while interacting with them in her lucid English. #ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Selva Ganesh on the kanjira, accompanied by N. Ramkrishna on the mridangam and V. Umashankar on the ghatam, hypnotised the audience right from the invocatory Shiv-Tandav stotra to the concluding crescendo of exquisite brilliance that won thunderous applause. #ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#His poetic recitation of the mnemonics of the percussion instruments depicted the divine dance of Nataraja, the Lord of Chidambaram in all its splendour. #ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#CENTER#ed_cl##ed_op#BR#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#IMG height=214 src="http://www.hindu.com/thehindu/fr/2007/04/13/images/2007041301170202.jpg" width=351 align=center border=1#ed_cl# #ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/CENTER#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#CENTER#ed_cl##ed_op#BR#ed_cl##ed_op#B#ed_cl#Pandit Hariprasad Chaurasia. #ed_op#/B#ed_cl##ed_op#/CENTER#ed_cl##ed_op#CENTER#ed_cl##ed_op#STRONG#ed_cl##ed_op#/STRONG#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/CENTER#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#The gradually receding maatraas in gopuchha or the vice versa designs of permutations and combinations were awesome. #ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#The way he established a rapport with the audience using words like "tag dha, takita dha... ." and so on was mesmerising. The percussionists stole the show with their sheer brilliance. #ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#L. Subramaniam along with his gifted son Ambi represented Carnatic music on his bewitching violin. #ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Pandit Hari Prasad Chaurasia's flute recital came next with his alluring elaboration of raga Dhaani, assisted on the flute by his capable disciple Sunil Avachat. #ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Pandit Shiv Kumar Sharma concluded the nightlong festival with the early morning raga Basant-Mukhari on the santoor. #ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl# #ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Vijay Ghate gave able tabla accompaniment to both the stalwarts.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#/DIV#ed_cl#


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sur
Sun 29 Apr, 2007 03:16

Re: CLASSICAL TRANQUILITY & MUSIC REVIEW
-----------------------------------
#ed_op#DIV#ed_cl##ed_op#FONT face="Arial Narrow" color=#0000ff size=4#ed_cl##ed_op#IMG height=50 src="http://www.hindu.com/thehindu/fr/hindux.gif" width=468#ed_cl##ed_op#BR#ed_cl##ed_op#CENTER#ed_cl##ed_op#FONT color=red#ed_cl#Online edition of India's National Newspaper#ed_op#/FONT#ed_cl##ed_op#BR#ed_cl##ed_op#FONT color=blue#ed_cl#Friday, Nov 09, 2001#ed_op#/FONT#ed_cl# #ed_op#/CENTER#ed_cl##ed_op#/FONT#ed_cl##ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#FONT face="Arial Narrow" color=#0000ff size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#FONT face="Arial Narrow" color=#0000ff size=4#ed_cl#Evening of melodies #ed_op#/FONT#ed_cl##ed_op#/DIV#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#"WE MAY have grown old physically but we are still young at heart... " That statement made by one of the members captured the spirit of the Madras Youth Choir, which performed for a select audience at the Kalakshetra auditorium, this past week. #ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#The choir, the dream of composer M.B. Srinivasan, chose choral pieces from different Indian languages. Conducted by Rajarajeshwari, there was perfect synchrony in the singing. The music for most of the choral pieces has been composed by Srinivasan, who blends folk and classical styles. #ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#The evening began with "Ananda Loke", that beautiful invocation by Rabindranath Tagore.If the Kannada song, written by R.N. Jayagopal, was an ode to the Creator of the Universe, Bharatidasan's composition was all about the author's unconditional love for his mother. #ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#No music programme is complete without songs by the firebrand poet Subramania Bharati. The Madras Youth Choir was no exception. It had included four, including the spirited "Achamillai Achamillai", in its repertoire. It was a pleasant evening all the way for the audience. Most importantly, it was kept short and sweet. #ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl#SAVITHA GAUTAM #ed_op#/P#ed_cl#


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sur
Sun 29 Apr, 2007 17:39

Re: CLASSICAL TRANQUILITY & MUSIC REVIEW
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#ed_op#DIV#ed_cl##ed_op#STRONG#ed_cl##ed_op#FONT face="Arial Narrow" color=#0000ff size=4#ed_cl#Graceful and melodic #ed_op#/FONT#ed_cl##ed_op#/STRONG#ed_cl##ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#STRONG#ed_cl##ed_op#FONT face="Arial Narrow" color=#0000ff size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#/STRONG#ed_cl# #ed_op#/DIV#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#RAJESWARI SATISH, a U.S.-based pleasant voiced vocalist, has recorded a compact disc with Radhika Mani on the violin, Dr. Balachandran on the mridangam and Murali Balachandran on the ghatam. An invocatory song in Malayalam on Lord Ganesha composed by one of the gurus of the artiste, C. S. Krishna Iyer in Gambheera Nattai and the kalpana swaras in the Pallavi have a vibrant bearing. Dikshitar's Nattakuranji kriti ``Parvati Kumaran'' with its jati and sahitya structure is pleasing, while the detailed Pantuvarali alapana is a convincing effort in terms of a graceful flow and melodic prayogas. #ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#The violinist responds with a concise, compact essay. ``Sankari ninne'' of Mysore Vasudevachar, with the inimitable touch of T. M. Tyagarajan, the niraval and solfa sequences for``Pankajakshi needhu mahima" are precise and pertinent. #ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Brief expansions of Gowrimanohari by the singer and the violinist and Tyagaraja's ``Gurulekha'' extolling the glory of the preceptor, have commendable musical effluence. #ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#The methodical rung-by-rung build up of the Saveri dissertation, dotted with Karvais and prayogas in various kalapramanams encompassing the different octaves, soothes listening sensibilities. #ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Swati Tirunal's``Anjaneya'' is rendered with poise in keeping with its kalapramanam and is embellished with competent kalpana swaras and a well-organised korvai in two speeds. #ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#The tani avartanam between the mridangist and the ghatam player nourished with impromptu accurate rhythmic patterns is punctilious. #ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl# #ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#The eleven-raga composition of Tharangampadi Panchanathayya ``Aarabhimanam'' and a Purandaradasa song in winsome Bageshree are the concluding numbers in the album._S. P. #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#DIV#ed_cl##ed_op#/DIV#ed_cl#


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sur
Tue 01 May, 2007 00:52

Re: CLASSICAL TRANQUILITY & MUSIC REVIEW
-----------------------------------
#ed_op#DIV#ed_cl##ed_op#TABLE cellSpacing=0 cellPadding=0 width="100%" border=0#ed_cl##ed_op#TBODY#ed_cl##ed_op#TR#ed_cl##ed_op#TD vAlign=top align=left width="100%" colSpan=2#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#FONT class=title#ed_cl#Pandit Bhimsen Joshi#ed_op#/FONT#ed_cl##ed_op#BR#ed_cl##ed_op#FONT color=#c00000#ed_cl##ed_op#FONT class=subtitle#ed_cl##ed_op#STRONG#ed_cl#Tansen of Today#ed_op#/STRONG#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/FONT#ed_cl##ed_op#BR#ed_cl##ed_op#BR#ed_cl##ed_op#SPAN class=verdanatxt8#ed_cl#Updated On: 2/8/2007#ed_op#/SPAN#ed_cl# #ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#TR#ed_cl##ed_op#TD vAlign=top align=right width="100%" colSpan=2#ed_cl##ed_op#FONT class=verdanatxt8#ed_cl##ed_op#FORM name=voteform action=vote.asp method=post#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#   #ed_op#HR noShade SIZE=1#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FORM#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#TR#ed_cl##ed_op#TD vAlign=top align=left width="100%" colSpan=2#ed_cl##ed_op#P class=justification#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#P class=justification#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#IMG height=241 hspace=10 src="http://www.4to40.com/images/legends/PanditBhimsenJoshi/Pandit_Bhimsen_Joshi.gif" width=187 align=right vspace=4 border=1#ed_cl#Pandit Bhimsen Joshi, who holds a legendary status in Indian Classical music was born in Gadag (Karnataka) on 14 February 1922. His unique style and mastery over ragas has made him un parallel to any other vocalist in the country.#ed_op#BR#ed_cl##ed_op#BR#ed_cl#A conservative schoolmaster's son, Bhimsen Joshi had a passion for music even from his early childhood. The little boy deeply moved by a recording of Abdul Karim Khan, the founder father of the 'Kirana gharana', was later destined to become an accomplished jewel of the gharana. He left home in 1932 and was on the move for the next two years in search of a guru. He travelled to Bijapur, Pune, Gwalior where he tutored under Ustad Hafiz Ali Khan, the well-known sarodiya and father of Ustad Amjad Ali Khan, then to Calcutta, Punjab and back home, only to goad his father into sending him to Sawai Gandharva for training.#ed_op#BR#ed_cl##ed_op#BR#ed_cl#In 1936, Joshi started his rigorous training under Sawai Gandharva (Pandit Rambhan Kundgolkar), the eminent Khyal singer student of Abdul Karim Khan at Kundgol, near Gadag. He taught him the basics of Khayal singing. The tutoring spanning several years honed his inborn talent and helped him attain his mastery over ragas. #ed_op#BR#ed_cl##ed_op#BR#ed_cl#Bhimsen Joshi sings in the khayal style and has also rendered heavenly thumris and bhajans. Some of his popular numbers are 'Piya milan ki aas', 'Jo bhaje hari ko sada', 'Mile sur mera tumhara' etc. He has improvised and combined ragas to form new ragas like the Kalashri (Kalavati and Rageshri) and LalitBhatiyar (Lalit and Bhatiyar ragas) and has also developed and excelled in an unique style of singing adapting characteristics from other gharanas. Be it a new raga or a bhajan, khyal or kirti he performs with absolute ease moving from one pitch to another in the same breath effortlessly. His first public concert, to mark the shashtyabdipoorti (60th birthday) of his guru Sawai Gandharva, was held in Pune in January 1946. By the early 50's his voice became known throughout the country and then he began to travel extensively in India and abroad giving concerts. #ed_op#BR#ed_cl##ed_op#BR#ed_cl#This musical marvel is the recipient of prestigious awards like the Padma Shri from the Indian government, Sangeet Natak Academy Award, the Mysore Sangeet Natak Academy Award etc. Every year he has been conducting a music festival at Pune with performances of famous classical musicians, to observe his Gurus death anniversary. He married twice, the second time to Valsalabai his own disciple who played a big role in his success. Apart from singing his other passion was automobiles, where he had a definite flair for fixing engines. In his eighties now, the Pundit who had been riding the crest of popularity for the last several decades has announced his retirement plan in a recent concert. Connoisseurs of classical music the world over are going to miss the divine musical experience of hearing this master sing.#ed_op#BR#ed_cl##ed_op#BR#ed_cl#Pandit Bhimsen Gururaj Joshi is a renowned vocalist in India. A descendant of the Kirana Gharana (stream) of Hindustani classical music tradition, he is particularly renowned for Khayal form singing.#ed_op#BR#ed_cl##ed_op#BR#ed_cl#Tansen of today -- this is how he is regarded by his conptemporaries. Pandit ji is considered as one of the very best singers alive today. From the very beginning of his career he has been very popular, and today without doubt holds the throne as the king of Hindustani classical singing.#ed_op#BR#ed_cl##ed_op#BR#ed_cl#He currently lives and teaches music in Pune, India.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P class=subtitle#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Background#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P class=justification#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#The education of this music form, till first half of 20th century, was carried out through Master-disciple (or the Guru Shishya) tradition. Sawai Gandharva was the chief disciple of Abdul Karim Khan, who along with his cousin Abdul Waheed Khan was the founder of the Kirana Gharana school of Hindustani music.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P class=subtitle#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Early life#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P class=justification#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Pandit Bhimsen Joshi was born in a small town Gadag, in the Dharwad district of Karnataka in South India. His father was a conservative school-master. In 1933, the 11-year-old Bhimsen left his home on his own to learn singing through Guru-Shishya (or the Master-disciple) tradition. He spent three years in Gwalior, Lucknow and Rampur in North India trying to find a good guru. His father succeeded in tracking him and bringing young Bhimsen back home.#ed_op#BR#ed_cl##ed_op#BR#ed_cl#In 1936, Rambhau Kundgolkar, popularly known as Sawai Gandharva, agreed to teach Bhimsen in Hindustani classical music. Bhimsen Joshi stayed with Sawai Gandharva between 1936 and 1940. He then left his guru and set out on his own with a strict regimen of up to sixteen hours of daily riyaz (practice).#ed_op#BR#ed_cl##ed_op#BR#ed_cl#Bhimsen Joshi first performed live at the age 19. His debut album, a few devotionals songs in Kannada and Hindi, was released when he was 20.#ed_op#BR#ed_cl##ed_op#BR#ed_cl#Later he was to start an annual classical musical festival called the Sawai Gandharva Music Festival' in the memory of his guru. This festival is held in Pune every December.#ed_op#BR#ed_cl##ed_op#BR#ed_cl#When S M Krishna was CM of Karnataka Bhimsen Joshi offered him to bring rain by his singing prowess to drought hit north Karnataka. Also his famous Bhagyada Lakshmi Baaramma sung for Kannada movie (playback for Anant Nag) with so much of devotion that it is heard in every household of the state.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P class=subtitle#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Awards and recognitions#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#UL#ed_cl##ed_op#LI#ed_cl##ed_op#P class=justification#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Padma Shree in 1972 #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#LI#ed_cl##ed_op#P class=justification#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#The Sangeet Natak Akademi Award in 1976 #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#LI#ed_cl##ed_op#P class=justification#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Padma Bhushan in 1985 #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#LI#ed_cl##ed_op#P class=justification#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#First platinum disc in 1986 #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#LI#ed_cl##ed_op#P class=justification#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Padma Vibhushan in 1999 #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#/LI#ed_cl##ed_op#/UL#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#/TBODY#ed_cl##ed_op#/TABLE#ed_cl##ed_op#/DIV#ed_cl#


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sur
Wed 02 May, 2007 00:11

Re: CLASSICAL TRANQUILITY & MUSIC REVIEW
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#ed_op#DIV#ed_cl##ed_op#P#ed_cl##ed_op#FONT class=storyhead face="Arial Narrow" color=blue size=4#ed_cl##ed_op#B#ed_cl#Facets of music #ed_op#/B#ed_cl##ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#HARISH BAL #ed_op#/FONT#ed_cl##ed_op#P#ed_cl##ed_op#TABLE width="100%" bgColor=#ddffdd border=0#ed_cl##ed_op#TBODY#ed_cl##ed_op#TR#ed_cl##ed_op#TD#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#A packed house attended the anniversary celebrations of Poornathrayeesa Sangeeta Sabha. #ed_op#/FONT#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#/TBODY#ed_cl##ed_op#/TABLE#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#CENTER#ed_cl##ed_op#BR#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#IMG height=227 src="http://www.hindu.com/thehindu/fr/2007/03/02/images/2007030200990301.jpg" width=351 align=center border=1#ed_cl# #ed_op#BR#ed_cl##ed_op#B#ed_cl#MUSICAL FESTIVITIES: R.N. Thyagarajan and R.N. Tharanathan, #ed_op#/B#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/CENTER#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Kalikotta Palace, Thripunithura, was the venue for Maruti Sangeetolsavam, the 32nd anniversary celebrations of Poornathrayeesa Sangeeta sabha. The first day drew huge crowds who flocked to listen to a violin duet featuring Balabhaskar and his guru and uncle, B. Sasikumar. #ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT class=subsectionhead color=red#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Vocal concert #ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#The second day featured a Carnatic vocal concert by Rudrapatanam brothers R.N. Thyagarajan and R.N. Tharanathan. `Chalamela,' a varnam in Nattakurinji, and `Jaya jaya Ramakanta' in Nattai were the commencing pieces. Thyagarajan's expansion of Yadukula kamboji was marked with modulations and vigour. #ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#`Divakarathanujam,' one of the navagraha kritis of Dikshithar, was delectable owning to the purity of the patanthara. Thyagarajan's Kharaharapriya rendition had a structured progression and compactness. Muttara Raveendran's violin gave it that added touch of finesse. #ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#`Chakkaniraja' shone with its remarkable niraval, which retained the sahitya bhava despite travelling through myriad phrases. A detailed complex mukthaippu gave that additional rhythmic fervour. #ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#CENTER#ed_cl##ed_op#BR#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#IMG height=226 src="http://www.hindu.com/thehindu/fr/2007/03/02/images/2007030200990302.jpg" width=351 align=center border=1#ed_cl# #ed_op#BR#ed_cl##ed_op#B#ed_cl#Thiruvizha Jayasankar. #ed_op#/B#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/CENTER#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Thiruvizha Jayasankar's nadaswaram concert on the final day began with `Jalandhara' in the melodious Valaji raga. #ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#In a short sketch of Kedaragowla, Jayasankar was able to bring out the character of the raga. Jayasankar's raga essays never follow a step-by-step approach and are rather wholesome. This was evident in Sudhasaveri and Kamboji ragas that followed. `Manavyalakim' in Nalinakanti was attractive with its connecting swara phrases in between the lines of the pallavi. #ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#`Samodam chintayami,' composed by Swati Tirunal, displayed Jayasankar's dexterity in the mathematics of swaras as he wove compact phrases and korvais precisely into the rhythmic framework. Prior to the concert, actor Balachandra Menon felicitated Thiruvizha Jayasankar and Sankara Namboothiri with the `Sangeeta Sampoorna' and `Yuva Sangeeta Prathibha' titles respectively. #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#/DIV#ed_cl#


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sur
Thu 03 May, 2007 02:25

Re: CLASSICAL TRANQUILITY & MUSIC REVIEW
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#ed_op#DIV#ed_cl##ed_op#STRONG#ed_cl##ed_op#FONT face="Arial Narrow" color=#800000 size=4#ed_cl#Papa Iyer's lingering music #ed_op#/FONT#ed_cl##ed_op#/STRONG#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#SANGITA KALANIDHI `Papa' K. S. Venkataramaiah was one of the most gifted and influential exponents of Carnatic music of the last millennium. T. N. Krishnan, who as a young boy moved closely with him, writes: #ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#``I had the unique privilege of moving closely with him, enjoying his beautiful music and in wonderment of his genius. #ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#``My earliest memory of Papa saar is from 1941 when he had come to Thiruvananthapuram for the annual Navarathri festival hosted by the Maharaja of Travancore. I recall meeting Papa Iyer there as he was relaxing, talking of his guru, Malakottai Govindaswami Pillai. Though I was young, I could feel the love and respect with which Papa saar talked of his teacher. He was a simple and disciplined man of high morals and I admired his unwillingness to compromise to anything of lower quality or dignity in his music or personal life. #ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#``Papa saar's music was of a very high calibre in classicism and tradition bearing the unmistakable ``Papa'' stamp. I still recall his performance of a Sahana ragam in a concert at the Music Academy way back in 1944, where he was accompanying Ariyakkudi Ramanuja Iyengar. There were many such performances in which Papa Iyer has enthralled the audience as an accompanist to Musiri Subramania Iyer, Maharajapuram Viswanatha Iyer, T. R. Mali and Semmangudi Srinivasa Iyer. An electric atmosphere was created whenever Palghat Mani Iyer joined him on stage. #ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#``Papa Iyer's musical baani was an extraordinary one, technically superior and emotionally rich. He had a smooth and continuous bowing style, and a masterful fingering technique that would make the violin sound vocal, especially when played in the lower octave. #ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#``His uncompromising approach extended beyond his music. Even his choice of strings for his violin reflected his mindset _ he would exclusively use high quality gut strings that produced the best tone, even when they were hard to come by. He used to say in a lighter vein, `Even after all these years, I am still learning to play Bhairavi varnam.' That was the extent of humility and reverence he had for the work of the master composers of our Carnatic tradition. #ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl# #ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#``This year marks the birth centenary of Papa Venkataramaiah, and I feel honoured to have had the opportunity to write this brief remembrance of a true icon of Carnatic music and one of my personal heroes.On this occasion, I urge every aspiring young vidwan to rediscover the magic of Papa saar's artistry, and to keep the memory of his music aloft for many more years." #ed_op#/FONT#ed_cl##ed_op#P#ed_cl##ed_op#P align=justify#ed_cl##ed_op#P align=justify#ed_cl##ed_op#I#ed_cl##ed_op#/I#ed_cl##ed_op#!-- Bottom Template Starts --#ed_cl##ed_op#P#ed_cl##ed_op#!-- story ends --#ed_cl##ed_op#P#ed_cl##ed_op#FONT class=leftnavi face=verdana color=red size=2#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#/DIV#ed_cl#


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sur
Tue 08 May, 2007 00:24

Re: CLASSICAL TRANQUILITY & MUSIC REVIEW
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#ed_op#DIV#ed_cl##ed_op#TABLE cellSpacing=0 cellPadding=0 width=614 border=0#ed_cl##ed_op#TBODY#ed_cl##ed_op#TR#ed_cl##ed_op#TD class=emptycell colSpan=2#ed_cl##ed_op#TABLE cellSpacing=0 cellPadding=10 width=614 border=0#ed_cl##ed_op#TBODY#ed_cl##ed_op#TR#ed_cl##ed_op#TD class=text width=424#ed_cl##ed_op#P#ed_cl##ed_op#SPAN class=nameLarge#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#An Evening with Ustad Asad Amanat Ali Khan: A Tribute #ed_op#/FONT#ed_cl##ed_op#/SPAN#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#SPAN class=nameLarge#ed_cl##ed_op#/SPAN#ed_cl##ed_op#BR#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#SPAN class=nameBold#ed_cl#Asif Naqshbandi#ed_op#/SPAN#ed_cl##ed_op#BR#ed_cl#April 17, 2007 #ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#/TD#ed_cl##ed_op#TD class=text align=right width=190#ed_cl##ed_op#TABLE cellSpacing=0 cellPadding=0 border=0#ed_cl##ed_op#TBODY#ed_cl##ed_op#TR#ed_cl##ed_op#TD class=text#ed_cl##ed_op#A onmouseover="window.status='InterAct!'; return true;" onmouseout="window.status=''; return true" href="http://www.chowk.com/show_article.cgi?aid=00007848&channel=leafyglade%20inn#interact"#ed_cl##ed_op#/A#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl# #ed_op#/FONT#ed_cl##ed_op#/TD#ed_cl##ed_op#TD class=text#ed_cl##ed_op#A onmouseover="window.status='email a friend'; return true" onclick="window.open('paint_email_page.cgi?channel=leafyglade inn&article_id=00007848&article_title=An Evening with Ustad Asad Amanat Ali Khan: A Tribute ','','width=500,height=330');" onmouseout="window.status=''; return true" href="javascript:"#ed_cl##ed_op#/A#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl# #ed_op#/FONT#ed_cl##ed_op#/TD#ed_cl##ed_op#TD class=text#ed_cl##ed_op#A onmouseover="window.status='printer friendly page'; return true" onclick="window.open('paint_article_print_wizard_page.cgi?aid=00007848','','width=500,height=175');" onmouseout="window.status=''; return true" href="http://www.chowk.com/show_article.cgi?aid=00007848&channel=leafyglade%20inn#"#ed_cl##ed_op#/A#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl# #ed_op#/FONT#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#/TBODY#ed_cl##ed_op#/TABLE#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#/TBODY#ed_cl##ed_op#/TABLE#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#TR#ed_cl##ed_op#TD class=text colSpan=2#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl# #ed_op#/FONT#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#TR#ed_cl##ed_op#TD class=para colSpan=2#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#I was quite shocked to learn, relatively late, last night that the Pakistani musician Ustad Asad Amanat Ali Khan had died a few days ago in London of a heart attack. #ed_op#BR#ed_cl##ed_op#BR#ed_cl#Apart from the sadness at the demise of an artist from such a great musical tradition (his great-grandfather, Ustad Ali Bux Khan, founded the legendary Patiala Gharana ("School") of Hindustani music; his father and uncle were famous classical singers, especially his illustrious father, Ustad Amanat Ali Khan, who also sang ghazals in a classical style and is for ever immortalised for his rendition of Ibn Insha`s, "Insha Ji utho, ab kooch karo") I was particularly saddened that he died at such a young age. In fact he has turned out to be older than I imagined, being in his mid-fifties but I met him when he came to Oxford about six or seven years ago or so and he looked very young. Obviously he must have aged dramatically in the last few years. #ed_op#BR#ed_cl##ed_op#BR#ed_cl#I remember going to the event at the Asian Cultural Centre, a small little space, and sitting quite near the front of the stage. It was only a small hall, with a maximum capacity of probably a hundred or so but this made the atmosphere more intimate. Still, it was jam packed and many people were standing up who couldn`t get seats. #ed_op#BR#ed_cl##ed_op#BR#ed_cl#I remember he was wearing a silky shalwar kurta with a scarf (chadar) thrown over his shoulder, looking very smart and traditional. The fairness of his skin was also a bit of a surprise as he didn`t appear so fair on TV! #ed_op#BR#ed_cl##ed_op#BR#ed_cl#Because there weren`t so many people the atmosphere was very relaxed and he interacted a lot with the audience, singing a few of his own songs and then mostly requests. I cannot remember all the songs he sang except for the last one which was his father`s famous ghazal, Insha ji ab utho, ab kooch karo. He said that he would sing that ghazal last as `after singing that ghazal I cannot sing anything else`. I remember even when he did sing it he began to cry and how to stop a couple of times to compose himself. #ed_op#BR#ed_cl##ed_op#BR#ed_cl#He started the evening, if I recall correctly, singing some naat as it was requested which I found surprising from a ghazal singer but he gave the impression of being quite religious saying the Arabic blessing after the Prophet`s name every time it was mentioned by anyone. I remember some of the older members of the audience spoke with him at length about his father. #ed_op#BR#ed_cl##ed_op#BR#ed_cl#He also sang some Punjabi ghazals --one was superb but although I really liked it then I have forgotten the title of it now. He was also requested to sing a ghazal of Ghalib`s and I also believe he sang Dam a Dam Must Qalandar before finishing the evening with Insha Ji where everyone got emotional; He began to cry and, if I recall correctly, an old man in the audience in the front row--one of the organisers I believe too--went up to him and consoled him. #ed_op#BR#ed_cl##ed_op#BR#ed_cl#It was the only time I met him but the memory never left me. When I heard his younger brother had started a band called Fuzon I made sure I heard it only for the sake of Asad. He had a very soothing voice and though I am not an expert in classical music he seemed to have good command of its nuances. #ed_op#/FONT#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#/TBODY#ed_cl##ed_op#/TABLE#ed_cl##ed_op#/DIV#ed_cl#


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sur
Thu 10 May, 2007 09:31

Re: CLASSICAL TRANQUILITY & MUSIC REVIEW
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#ed_op#A name=dilmaange#ed_cl##ed_op#/A#ed_cl##ed_op#STRONG#ed_cl##ed_op#FONT face="Arial Narrow" color=#7f3f00 size=5#ed_cl#CLASSICS REVISITED #ed_op#/FONT#ed_cl##ed_op#/STRONG#ed_cl##ed_op#P#ed_cl##ed_op#EM#ed_cl##ed_op#STRONG#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#It was yeh dill maange more at the Gaata Rahe Mera Dil charity show #ed_op#/FONT#ed_cl##ed_op#/STRONG#ed_cl##ed_op#/EM#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#STRONG#ed_cl##ed_op#EM#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#/EM#ed_cl##ed_op#/STRONG#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#STRONG#ed_cl# #ed_op#/STRONG#ed_cl#In a recent interview to a TV channel. Legendary compostate of the music industry today, with particular refrence to remixes.#ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl# #ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#He could not understand why some of the most beautiful golden oldies had to be ‘pepped up with rock and pop rhythms and sleazy videos'. He would perhaps have been a happy man if he had been present at the fourth edition of “Gaata Rahe Mera Dil”, held at the Music Academy . #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#The music show ,put up to raise funds for the various projects supported by the Divine Mother Society was a recall of the timeless classics of that golden period of Hindi film music, the 1950 and 1960s .It was when most of the all-time great singers –Mohammad Rafi ,Kishore Kumar ,Mukesh, Manna Dey ,Talat Mehmood ,Hemant Kumar ,the Mangeshkar sisters and Geeta Dutt –were in top form. Not to forget the talent of the Burmans, C Rmachandra ,Naushad ,Shankar –Kaikishan, O.P.Nayya, Madan Mohan ,Sahir Ludhianvi ,Anand Bakshi ,Majrooh Sultanpuri, Shailendra or Rajinder.K. #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#That evening film music buffs were present in good numbers to tap their feet and sing along with “Pukarta chala hoon main.” – Likhe jo khat tujhe,” “Tu Gnaga ki mauj ,” “ Mastibhara hai sama ,” “O raat ke musair.” “ Piya piya piya,” “Haal kaisa hai jaanab ka “ and “ to name but a few for the record. #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#The regulars of the “Gaata…” show were there in full steength. Presenter Manek Premchand peppered his emceeing with anecdotes (like the one about Sachin Dev Burman, who had just undergone contaract operation,shedding tears when he heard “pooch na kaise ab” did not win a Filmfare award). Rafi –clone Anil Bajpai was the scene-stealer. #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#And Chandru's Friends' Orchestra provided the track support.The other singers who pitched in were Vinod Seshadri (who's modeled his voice on his idol Kishore Kumar ,his yodeling was pretty good),Anand ,Poornima ,Pirya ,Shruthi ,Surojit and Usha. #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#It would have ben a more enjoyable evening if only a little more time had been spent on the acoustics and co-ordination of voice and track . #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#STRONG#ed_cl#Savitha Gautam#ed_op#/STRONG#ed_cl# #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#DIV#ed_cl##ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#/DIV#ed_cl#


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sur
Fri 11 May, 2007 00:42

Re: CLASSICAL TRANQUILITY & MUSIC REVIEW
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 #ed_op#TABLE cellSpacing=0 cellPadding=0 width=636 align=center border=0#ed_cl##ed_op#TBODY#ed_cl##ed_op#TR#ed_cl##ed_op#TD class=t_t_11_b JJzRY="4" I4O6z="0"#ed_cl##ed_op#P#ed_cl##ed_op#FONT class=t_v_16_b_b color=#7f3f00 size=6 JJzRY="0" I4O6z="0"#ed_cl#Jugalbandi#ed_op#/FONT#ed_cl##ed_op#BR#ed_cl#By MIO Team#ed_op#BR#ed_cl#Apr 11, 2007#ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#BR#ed_cl# #ed_op#/P#ed_cl##ed_op#/TD#ed_cl##ed_op#TD class=t_t_11_b vAlign=top align=right#ed_cl##ed_op#BR#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#/TBODY#ed_cl##ed_op#/TABLE#ed_cl##ed_op#TABLE cellSpacing=0 cellPadding=0 width=636 align=center border=0#ed_cl##ed_op#TBODY#ed_cl##ed_op#TR#ed_cl##ed_op#TD style="FONT-SIZE: 10pt; FONT-FAMILY: Trebuchet MS, Verdana, helvetica, sans-serif; BACKGROUND-COLOR: white"#ed_cl##ed_op#P JJzRY="1" I4O6z="0"#ed_cl##ed_op#TABLE cellSpacing=2 cellPadding=0 align=left border=0#ed_cl##ed_op#TBODY#ed_cl##ed_op#TR#ed_cl##ed_op#TD#ed_cl##ed_op#IMG src="http://www.musicindiaonline.com/z/nimgs/interviews___hindi/124/1.jpg" border=1#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#/TBODY#ed_cl##ed_op#/TABLE#ed_cl##ed_op#/P#ed_cl##ed_op#P JJzRY="1" I4O6z="0"#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#The idea of Jugalbandi perhaps was born out of the curiousity of both the artiste and listeners to see how a certain star or style fares in relation to another. Jugal-gaan or two vocalists performing together is an old, albeit isolated tradition in Indian Classical Music. The pair of singers however were always either brothers or students of the same teacher and thus developed a concert style where each would take turns at improvisation and one would complement or echo the other in turns. The concept of a musical 'duel' was also strongly entrenched in the tradition in a different context. This was purely competitive medium, often quite negative in spirit and intent. #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P JJzRY="1" I4O6z="0"#ed_cl# #ed_op#/P#ed_cl##ed_op#P JJzRY="1" I4O6z="0"#ed_cl##ed_op#TABLE cellSpacing=2 cellPadding=0 align=right border=0#ed_cl##ed_op#TBODY#ed_cl##ed_op#TR#ed_cl##ed_op#TD#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#IMG src="http://www.musicindiaonline.com/z/nimgs/interviews___hindi/124/2.jpg" border=1#ed_cl##ed_op#/FONT#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#/TBODY#ed_cl##ed_op#/TABLE#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#The modern day jugalbandi is a 'duel with a difference' in that it is a highly positive and creative exercise, born of the great degree of mutual respect between the players. The object is primarily to create synergy of ideation and sound in a celebration of the solidity of structure in Indian classical music which enables two perfect strangers to come together before an audience and make music together on the spot. For the listener however, it cannot be denied that the spirits of competition between titans is of great attraction. Perhaps, it is this which makes jugalbandi the most popular concert format in comtemporary times.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#/TBODY#ed_cl##ed_op#/TABLE#ed_cl##ed_op#DIV#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/DIV#ed_cl#


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sur
Wed 16 May, 2007 23:35

Re: CLASSICAL TRANQUILITY & MUSIC REVIEW
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#ed_op#DIV#ed_cl##ed_op#TABLE cellSpacing=0 cellPadding=2 width="90%" align=center border=0#ed_cl##ed_op#TBODY#ed_cl##ed_op#TR#ed_cl##ed_op#TD#ed_cl##ed_op#TABLE cellSpacing=0 cellPadding=2 width="100%" border=0#ed_cl##ed_op#TBODY#ed_cl##ed_op#TR style="FONT-WEIGHT: bold"#ed_cl##ed_op#TD JJzRY="0" I4O6z="0" ="content"#ed_cl##ed_op#FONT face="Arial Narrow" color=#441415 size=5#ed_cl#Rare Moments with Yesudas on Shemaroo#ed_op#/FONT#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#TR#ed_cl##ed_op#TD JJzRY="0" I4O6z="0" ="black"#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#IndiaGlitz, May 15, 2007 #ed_op#/FONT#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#/T#ed_cl##ed_op#/TBODY#ed_cl##ed_op#/TABLE#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#TR#ed_cl##ed_op#TD#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl# #ed_op#BR#ed_cl##ed_op#/FONT#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#TR#ed_cl##ed_op#TD#ed_cl##ed_op#TABLE cellSpacing=0 cellPadding=2 width="100%" border=0#ed_cl##ed_op#T#ed_cl##ed_op#TBODY#ed_cl##ed_op#TR#ed_cl##ed_op#TD ="black"#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#IMG src="http://image1.indiaglitz.com/hindi/news/Yesudas1505_1.jpg" align=right border=1#ed_cl# #ed_op#/FONT#ed_cl##ed_op#P align=justify JJzRY="0" I4O6z="0"#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Shemaroo is catering to different target segments and reaching out to one and all with the launch of their following song compilation titles namely ‘Beedi Jalaile Garma Garam Hits’, ‘Shubh Vivah Wedding Songs’ and ‘Rare Moments with Yesudas’!#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P align=justify JJzRY="0" I4O6z="0"#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P align=justify JJzRY="0" I4O6z="0"#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#With summers on, Shemaroo has songs setting in various moods for the season. Like the hot blazing heat, we have sizzling Item Songs from recent Hindi filims called ‘Beedi Jalaile. Garma Garam Hits’. #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P align=justify JJzRY="0" I4O6z="0"#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#IMG src="http://image1.indiaglitz.com/hindi/news/beedi1505_1.jpg" align=left border=1#ed_cl# #ed_op#/FONT#ed_cl##ed_op#P align=justify JJzRY="0" I4O6z="0"#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Most of the songs in this VCD are seductive and titillating. This title has hip shaking movements by your favorite actresses right from Preity Zinta to Sameera Reddy. There is also a lot of pulsating dance sequences by Dia Mirza and Amrita Rao among others. The highlight is the song ‘We are hot very hot’ from ‘No Entry’, since it was deleted from the film. It has been exclusively featured in this VCD album, where you can see Bipasha Basu, Lara Datta, Celina Jaitley and Esha Deol indulging in a lot of sensual nach on a beach. #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P align=justify JJzRY="0" I4O6z="0"#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P align=justify JJzRY="0" I4O6z="0"#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#All the songs in this compilation are well picturised item hits. So all you item track lovers, ought to grab this VCD and watch these hot actresses, gracefully gyrate to the these popular pumping songs.  #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P align=justify JJzRY="0" I4O6z="0"#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P align=justify JJzRY="0" I4O6z="0"#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#After generating sufficient heat and fumes, it is time to go around them and take the ‘pheras’ for marriage. This concept of marriage is the essence of the song compilation title ‘Shubh Vivah Wedding Songs’ which is very beautifully bought out in this VCD. ‘Shubh Vivah’ is a compilation of famous wedding songs from Hindi films, where the songs are presented in a story format . . . one song actually leading to the other . . . carrying the story further. It begins with a song from ‘Krodhi’ wherein the boy and girl meet each other for the first time in a friends wedding. The rest of the songs that flow naturally in a sequence, present a gamut of emotions ranging - from the wedding preparations to the feelings of the brides father, the mehendi rituals, bidaai and the naughty neighbours & friends mischievously teasing the couple about their honeymoon.  #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P align=justify JJzRY="0" I4O6z="0"#ed_cl# #ed_op#/P#ed_cl##ed_op#P align=justify JJzRY="0" I4O6z="0"#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Further, we have some ‘Rare Moments with Yesudas’ coming up. This song compilation VCD features a mix of solo and duet songs of Yesudas right from the film ‘Chhoti Si Baat’ in 1975 to ‘Daud’ in 1997. This exclusive VCD is surely an audio visual treat for music lovers. #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#/TBODY#ed_cl##ed_op#/TABLE#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#/TBODY#ed_cl##ed_op#/TABLE#ed_cl##ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#/DIV#ed_cl#


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sur
Mon 28 May, 2007 23:52

Re: CLASSICAL TRANQUILITY & MUSIC REVIEW
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#ed_op#DIV#ed_cl##ed_op#DIV class=reportHeadLine style="FONT-WEIGHT: normal"#ed_cl##ed_op#FONT color=#7f003f size=6#ed_cl##ed_op#STRONG#ed_cl#Morocco weaves in #ed_op#I#ed_cl#desi#ed_op#/I#ed_cl# tunes#ed_op#/STRONG#ed_cl##ed_op#/FONT#ed_cl##ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#SPAN class=writerName style="FONT-WEIGHT: normal; FONT-SIZE: 11px; COLOR: #60655f"#ed_cl#Shridevi Keshavan#ed_op#/SPAN#ed_cl# #ed_op#SPAN class=serviceName style="FONT-WEIGHT: normal; FONT-SIZE: 11px; COLOR: #60655f"#ed_cl##ed_op#/SPAN#ed_cl##ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#SPAN class=displayDate style="FONT-WEIGHT: normal"#ed_cl#Monday, May 28, 2007  21:24 IST#ed_op#/SPAN#ed_cl##ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#SPAN class=displayDate style="FONT-WEIGHT: normal"#ed_cl##ed_op#/SPAN#ed_cl# #ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#SPAN class=displayDate style="FONT-WEIGHT: normal"#ed_cl##ed_op#/SPAN#ed_cl# #ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#SPAN class=displayDate style="FONT-WEIGHT: normal"#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#While India is finally getting its fair share of international performances, Indian classical music is making its presence felt for the first time at international festivals. After sarod player Avijit Ghosh, who’ll be the first Indian to perform at the ‘International Folklore Festival’ in Croatia in July, carnatic musician Vasumathi Badrinathan is now set to take the desi flavour to Morocco. #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#/SPAN#ed_cl##ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#SPAN class=displayDate style="FONT-WEIGHT: normal"#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#/SPAN#ed_cl# #ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#SPAN class=displayDate style="FONT-WEIGHT: normal"#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#“It’s a prestigious festival known as the Fez Festival of World Sacred Music and will feature some world famous musicians,” says Mumbai-based Vasumathi.  Her knowledge of classical music and lecture demonstrations on subjects such as ‘Music of mystics’ will give a different dimension to the performance. “I will be sharing the stage with artistes like Barbara Hendricks and Johnny Clegg,” she informs.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#The singer has been performing for the past two decades and has toured across the globe for various performances. “An artiste needs to be slightly flexible sand adapt to certain things while performing at an international level,” she says. According to her the immense exposure of fashion and an over kill of the page three fad has definitely taken a toll on our music and culture. As of now it’s only the festival that’s occupying her mind though. “I’m hoping to catch other performances as well,” she ends.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#A href="mailto:k_shridevi@dnaindia.net"#ed_cl##ed_op#EM#ed_cl##ed_op#FONT color=#455995#ed_cl#k_shridevi@dnaindia.net#ed_op#/FONT#ed_cl##ed_op#/EM#ed_cl##ed_op#/A#ed_cl##ed_op#/P#ed_cl##ed_op#!-- pagination links start --#ed_cl##ed_op#!-- pagination links end --#ed_cl##ed_op#/SPAN#ed_cl##ed_op#SPAN class=displayDate style="FONT-WEIGHT: normal"#ed_cl##ed_op#/DIV#ed_cl##ed_op#/SPAN#ed_cl##ed_op#/DIV#ed_cl#


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sur
Mon 04 Jun, 2007 00:01

Re: CLASSICAL TRANQUILITY & MUSIC REVIEW
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#ed_op#DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#TABLE cellSpacing=0 cellPadding=0 width=628 align=center border=0#ed_cl##ed_op#TBODY#ed_cl##ed_op#TR#ed_cl##ed_op#TD#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#IMG height=96 src="http://www.musicindiaonline.com/z/default/i/mp/f/vs.gif" width=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#/TD#ed_cl##ed_op#TD class=t_t_12_b vAlign=top#ed_cl##ed_op#A href="http://www.musicindiaonline.com/l/6/s/artist.2229/"#ed_cl##ed_op#B#ed_cl##ed_op#FONT face="Arial Narrow" color=#444444 size=4 v8P6c="0" K_bB9="0"#ed_cl#Vilayat Khan & Bismillah Khan#ed_op#/FONT#ed_cl##ed_op#/B#ed_cl##ed_op#/A#ed_cl##ed_op#BR#ed_cl##ed_op#FONT face="Arial Narrow" size=4 v8P6c="0" K_bB9="0"#ed_cl#Tentatively titled 'A Rare Jugalbandi' the album brings together musical maestros Vilayat Khan with Sitar and Ustad Bismillah Khan with Shehnai. Recorded live in 1999, both the legends came together relaxing with Yaman Aalap.#ed_op#/FONT#ed_cl##ed_op#/TD#ed_cl##ed_op#TD vAlign=top align=middle#ed_cl##ed_op#A href="http://www.musicindiaonline.com/l/6/s/artist.2229/"#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#IMG style="BORDER-RIGHT: #000000 1px solid; BORDER-TOP: #000000 1px solid; MARGIN: 1px; BORDER-LEFT: #000000 1px solid; BORDER-BOTTOM: #000000 1px solid" height=100 src="http://www.musicindiaonline.com/z/e/jugalbandhi/bismillah.jpg" width=100 border=0#ed_cl##ed_op#/FONT#ed_cl##ed_op#/A#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#/TBODY#ed_cl##ed_op#/TABLE#ed_cl##ed_op#/DIV#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#BR#ed_cl##ed_op#FORM name=sls onsubmit="subo('/cg/','sls','scx');return false;"#ed_cl##ed_op#TABLE cellSpacing=0 cellPadding=0 width=467 align=center border=0#ed_cl##ed_op#TBODY#ed_cl##ed_op#TR#ed_cl##ed_op#TD#ed_cl##ed_op#TABLE cellSpacing=0 cellPadding=0 width=467 border=0#ed_cl##ed_op#TBODY#ed_cl##ed_op#TR#ed_cl##ed_op#TD width=155#ed_cl##ed_op#TABLE cellSpacing=0 cellPadding=0 width=155 border=0#ed_cl##ed_op#TBODY#ed_cl##ed_op#TR#ed_cl##ed_op#TD width=1 bgColor=#000000#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#IMG height=1 src="http://www.musicindiaonline.com/z/default/i/c.gif" width=1#ed_cl##ed_op#/FONT#ed_cl##ed_op#/TD#ed_cl##ed_op#TD bgColor=#000000 colSpan=2#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#/TD#ed_cl##ed_op#TD width=4 background=/z/default/i/l/b/pbr.gif#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#TR#ed_cl##ed_op#TD width=1 bgColor=#000000#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#IMG height=1 src="http://www.musicindiaonline.com/z/default/i/c.gif" width=1#ed_cl##ed_op#/FONT#ed_cl##ed_op#/TD#ed_cl# #ed_op#TD background="'+(capitis_rimage_exists?capitis_rimage_t150:'/z/default/i/l/b/ni.gif')+'" colSpan=2 rowSpan=2 v8P6c="2" K_bB9="0"#ed_cl##ed_op#/TD#ed_cl##ed_op#/#ed_cl# #ed_op#TD background=/z/ri/album/4482/t150/1.jpg colSpan=2 rowSpan=2#ed_cl##ed_op#A href="http://www.musicindiaonline.com/l/6/s/artist.2229/"#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#IMG style="BORDER-RIGHT: #000000 1px solid; BORDER-TOP: #000000 1px solid; MARGIN: 1px; BORDER-LEFT: #000000 1px solid; BORDER-BOTTOM: #000000 1px solid" height=100 src="http://www.musicindiaonline.com/z/e/jugalbandhi/bismillah.jpg" width=100 border=0#ed_cl##ed_op#/FONT#ed_cl##ed_op#/A#ed_cl##ed_op#/TD#ed_cl##ed_op#TD width=4 background=/z/default/i/l/b/pbrw.gif#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#IMG height=3 src="http://www.musicindiaonline.com/z/default/i/c.gif" width=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#TR#ed_cl##ed_op#TD width=1 bgColor=#000000#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#/TD#ed_cl##ed_op#TD width=4 background=/z/default/i/l/b/pbr.gif#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#IMG height=147 src="http://www.musicindiaonline.com/z/default/i/c.gif" width=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#TR#ed_cl##ed_op#TD width=1 background=/z/default/i/l/b/pbdw.gif#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#IMG height=1 src="http://www.musicindiaonline.com/z/default/i/c.gif" width=1#ed_cl##ed_op#/FONT#ed_cl##ed_op#/TD#ed_cl##ed_op#TD background=/z/default/i/l/b/pbdw.gif#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#/TD#ed_cl##ed_op#TD background=/z/default/i/l/b/pbd.gif#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#IMG height=4 src="http://www.musicindiaonline.com/z/default/i/c.gif" width=147#ed_cl##ed_op#/FONT#ed_cl##ed_op#/TD#ed_cl##ed_op#TD width=4 background=/z/default/i/l/b/pbde.gif#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#IMG height=1 src="http://www.musicindiaonline.com/z/default/i/c.gif" width=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#/TBODY#ed_cl##ed_op#/TABLE#ed_cl##ed_op#/TD#ed_cl##ed_op#TD width=6#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#IMG height=1 src="http://www.musicindiaonline.com/z/default/i/c.gif" width=7#ed_cl##ed_op#/FONT#ed_cl##ed_op#/TD#ed_cl##ed_op#TD width=305#ed_cl##ed_op#TABLE cellSpacing=0 cellPadding=0 width=305 border=0#ed_cl##ed_op#TBODY#ed_cl##ed_op#TR#ed_cl##ed_op#TD colSpan=2#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#IMG height=1 src="http://www.musicindiaonline.com/z/default/i/c.gif" width=302#ed_cl##ed_op#/FONT#ed_cl##ed_op#/TD#ed_cl##ed_op#TD#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#IMG height=1 src="http://www.musicindiaonline.com/z/default/i/c.gif" width=3#ed_cl##ed_op#/FONT#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#TR#ed_cl##ed_op#TD bgColor=#000000 colSpan=2 rowSpan=2#ed_cl##ed_op#TABLE cellSpacing=1 cellPadding=0 width=302 border=0#ed_cl##ed_op#TBODY#ed_cl##ed_op#TR bgColor=#ffffff#ed_cl##ed_op#TD#ed_cl##ed_op#TABLE cellSpacing=0 cellPadding=0 width=300 border=0#ed_cl##ed_op#TBODY#ed_cl##ed_op#TR#ed_cl##ed_op#TD#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#IMG height=1 src="http://www.musicindiaonline.com/z/default/i/c.gif" width=1#ed_cl##ed_op#/FONT#ed_cl##ed_op#/TD#ed_cl##ed_op#TD colSpan=3#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#IMG height=1 src="http://www.musicindiaonline.com/z/default/i/c.gif" width=299#ed_cl##ed_op#/FONT#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#TR#ed_cl##ed_op#TD#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#IMG height=130 src="http://www.musicindiaonline.com/z/default/i/c.gif" width=1#ed_cl##ed_op#/FONT#ed_cl##ed_op#/TD#ed_cl##ed_op#TD vAlign=top colSpan=3#ed_cl##ed_op#SPAN class=t_t_14_gb_b#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl# #ed_op#/FONT#ed_cl##ed_op#A href="http://www.musicindiaonline.com/music/jugalbandhi/s/artist.2229/"#ed_cl##ed_op#FONT face="Arial Narrow" color=#444444 size=4 v8P6c="0" K_bB9="0"#ed_cl#Vilayat Khan & Bismillah Khan (Sitar & Shenai)#ed_op#/FONT#ed_cl##ed_op#/A#ed_cl##ed_op#/SPAN#ed_cl##ed_op#FONT face="Arial Narrow" size=4 v8P6c="0" K_bB9="0"#ed_cl# - #ed_op#/FONT#ed_cl##ed_op#A href="http://www.musicindiaonline.com/cr/r?t=c&x=artist&i=2229" v8P6c="2" K_bB9="0" ="open_window(this.href,'carate','320','140','no');return false"#ed_cl##ed_op#FONT color=#444444#ed_cl#<>document.write('#ed_op#IMG src="http://www.suraurtaal.com/z/default/i/ri/'+(capitis_rateimg?capitis_rateimg:'u.gif')+'" border=0#ed_cl#');#ed_op#/#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#IMG src="http://www.musicindiaonline.com/z/default/i/ri/8.2.gif" border=0#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/A#ed_cl##ed_op#BR#ed_cl##ed_op#DIV align=center#ed_cl##ed_op#FONT face="Arial Narrow" color=#444444 size=4#ed_cl##ed_op#IMG height=1 src="http://www.musicindiaonline.com/z/default/i/r.gif" width=289#ed_cl##ed_op#BR#ed_cl##ed_op#/FONT#ed_cl##ed_op#TABLE cellSpacing=1 cellPadding=0 width=289 align=center border=0#ed_cl##ed_op#TBODY#ed_cl##ed_op#TR#ed_cl##ed_op#TD colSpan=2#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#SPAN class=t_t_12_b_b v8P6c="0" K_bB9="0"#ed_cl##ed_op#A class=kLink oncontextmenu="return false;" id=KonaLink2 onmouseover=adlinkMouseOver(event,this,2); style="POSITION: static; TEXT-DECORATION: underline! important" onclick=adlinkMouseClick(event,this,2); onmouseout=adlinkMouseOut(event,this,2); href="http://www.suraurtaal.com/forums/viewtopic.php?p=5967#" target=_top#ed_cl##ed_op#FONT style="FONT-WEIGHT: 400; COLOR: blue! important; FONT-FAMILY: Arial Narrow; POSITION: static" color=blue size=4#ed_cl##ed_op#SPAN class=kLink style="FONT-WEIGHT: 400; COLOR: blue! important; FONT-FAMILY: Arial Narrow; POSITION: relative"#ed_cl#Album#ed_op#/SPAN#ed_cl##ed_op#/FONT#ed_cl##ed_op#/A#ed_cl# #ed_op#/SPAN#ed_cl##ed_op#SPAN class=t_t_12_b v8P6c="0" K_bB9="0"#ed_cl#: #ed_op#A href="http://www.musicindiaonline.com/music/jugalbandhi/m/album.4482/" v8P6c="0" K_bB9="0"#ed_cl##ed_op#FONT color=#444444#ed_cl#A Rare Jugalbandi#ed_op#/FONT#ed_cl##ed_op#/A#ed_cl##ed_op#/SPAN#ed_cl##ed_op#BR#ed_cl##ed_op#SPAN class=t_t_12_b_b v8P6c="0" K_bB9="0"#ed_cl#Instrument #ed_op#/SPAN#ed_cl##ed_op#SPAN class=t_t_12_b v8P6c="2" K_bB9="0"#ed_cl#: #ed_op#A href="http://www.musicindiaonline.com/music/jugalbandhi/m/instrument.36/" v8P6c="0" K_bB9="0"#ed_cl##ed_op#FONT color=#444444#ed_cl#Shenai#ed_op#/FONT#ed_cl##ed_op#/A#ed_cl#, #ed_op#A href="http://www.musicindiaonline.com/music/jugalbandhi/m/instrument.24/" v8P6c="0" K_bB9="0"#ed_cl##ed_op#FONT color=#444444#ed_cl#Sitar#ed_op#/FONT#ed_cl##ed_op#/A#ed_cl##ed_op#/SPAN#ed_cl##ed_op#BR#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#/TBODY#ed_cl##ed_op#/TABLE#ed_cl##ed_op#/DIV#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#TR#ed_cl##ed_op#TD#ed_cl##ed_op#FONT face="Arial Narrow" color=#444444 size=4#ed_cl##ed_op#IMG height=18 src="http://www.musicindiaonline.com/z/default/i/c.gif" width=1#ed_cl##ed_op#/FONT#ed_cl##ed_op#/TD#ed_cl##ed_op#TD background=/z/default/i/l/b/dbib.gif#ed_cl##ed_op#A href="http://www.musicindiaonline.com/cr/cv?x=artist&i=2229" ="open_window(this.href,'cacomment','493','265','yes');return false"#ed_cl##ed_op#FONT face="Arial Narrow" color=#444444 size=4#ed_cl##ed_op#IMG height=20 src="http://www.musicindiaonline.com/z/default/i/l/b/dbir.gif" width=95 border=0#ed_cl##ed_op#/FONT#ed_cl##ed_op#/A#ed_cl##ed_op#/TD#ed_cl##ed_op#TD align=middle background=/z/default/i/l/b/dbib.gif#ed_cl##ed_op#A href="http://www.musicindiaonline.com/cr/r?t=c&x=artist&i=2229" ="open_window(this.href,'cacomment','320','140','no');return false"#ed_cl##ed_op#FONT face="Arial Narrow" color=#444444 size=4#ed_cl##ed_op#IMG height=20 src="http://www.musicindiaonline.com/z/default/i/l/b/dbira.gif" width=40 border=0#ed_cl##ed_op#/FONT#ed_cl##ed_op#/A#ed_cl##ed_op#/TD#ed_cl##ed_op#TD align=right background=/z/default/i/l/b/dbib.gif#ed_cl##ed_op#A href="http://www.musicindiaonline.com/cr/c?x=artist&i=2229" ="open_window(this.href,'cacomment','475','265','no');return false"#ed_cl##ed_op#FONT face="Arial Narrow" color=#444444 size=4#ed_cl##ed_op#IMG height=20 src="http://www.musicindiaonline.com/z/default/i/l/b/dbiw.gif" width=96 border=0#ed_cl##ed_op#/FONT#ed_cl##ed_op#/A#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#/TBODY#ed_cl##ed_op#/TABLE#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#/TBODY#ed_cl##ed_op#/TABLE#ed_cl##ed_op#/TD#ed_cl##ed_op#TD#ed_cl##ed_op#FONT face="Arial Narrow" color=#444444 size=4#ed_cl##ed_op#IMG height=3 src="http://www.musicindiaonline.com/z/default/i/c.gif" width=3#ed_cl##ed_op#/FONT#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#TR#ed_cl##ed_op#TD bgColor=#eeeeee#ed_cl##ed_op#FONT face="Arial Narrow" color=#444444 size=4#ed_cl##ed_op#IMG height=149 src="http://www.musicindiaonline.com/z/default/i/c.gif" width=3#ed_cl##ed_op#/FONT#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#TR#ed_cl##ed_op#TD#ed_cl##ed_op#FONT face="Arial Narrow" color=#444444 size=4#ed_cl##ed_op#IMG height=3 src="http://www.musicindiaonline.com/z/default/i/w.gif" width=3#ed_cl##ed_op#/FONT#ed_cl##ed_op#/TD#ed_cl##ed_op#TD bgColor=#eeeeee#ed_cl##ed_op#FONT face="Arial Narrow" color=#444444 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face="Arial Narrow" size=4#ed_cl##ed_op#FONT color=#444444#ed_cl##ed_op#INPUT type=checkbox value=64b8lnweV9.As1NMvHdW name=scx#ed_cl##ed_op#/FONT#ed_cl##ed_op#SPAN class=t_t_12_b#ed_cl# #ed_op#A href="http://www.musicindiaonline.com/p/x/64b8lnweV9.As1NMvHdW/" v8P6c="0" K_bB9="0" ="open_window(this.href,'catridentp','470','295','no');return false"#ed_cl##ed_op#FONT color=#444444#ed_cl#Mishra Dhun#ed_op#/FONT#ed_cl##ed_op#/A#ed_cl#  #ed_op#A onfocus=this.blur() href="http://www.musicindiaonline.com/a/a?s=6.77" ="open_window(this.href,'caaddsng','200','150','no');return false"#ed_cl##ed_op#IMG height=11 src="http://www.musicindiaonline.com/z/default/i/l/ata.gif" width=81 border=0#ed_cl##ed_op#/A#ed_cl#  #ed_op#A onfocus=this.blur() href="http://www.musicindiaonline.com/ms/a?s=6.77" ="open_window(this.href,'cmailsng','320','270','yes');return false"#ed_cl##ed_op#IMG height=12 src="http://www.musicindiaonline.com/z/default/i/l/m.gif" width=15 border=0#ed_cl##ed_op#/A#ed_cl##ed_op#/SPAN#ed_cl##ed_op#BR#ed_cl##ed_op#/FONT#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#TR#ed_cl##ed_op#TD class=t_t_12_b#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#INPUT type=checkbox value=6Jb8.GiaVS.As1NMvHdW name=scx#ed_cl##ed_op#SPAN class=t_t_12_b#ed_cl# #ed_op#A href="http://www.musicindiaonline.com/p/x/6Jb8.GiaVS.As1NMvHdW/" v8P6c="0" K_bB9="0" ="open_window(this.href,'catridentp','470','295','no');return false"#ed_cl##ed_op#FONT color=#444444#ed_cl#Raga Nandkalyan Alap And Gat#ed_op#/FONT#ed_cl##ed_op#/A#ed_cl#  #ed_op#A onfocus=this.blur() href="http://www.musicindiaonline.com/a/a?s=6.79" ="open_window(this.href,'caaddsng','200','150','no');return false"#ed_cl##ed_op#IMG height=11 src="http://www.musicindiaonline.com/z/default/i/l/ata.gif" width=81 border=0#ed_cl##ed_op#/A#ed_cl#  #ed_op#A onfocus=this.blur() href="http://www.musicindiaonline.com/ms/a?s=6.79" ="open_window(this.href,'cmailsng','320','270','yes');return false"#ed_cl##ed_op#IMG height=12 src="http://www.musicindiaonline.com/z/default/i/l/m.gif" width=15 border=0#ed_cl##ed_op#/A#ed_cl##ed_op#/SPAN#ed_cl##ed_op#BR#ed_cl##ed_op#/FONT#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#TR#ed_cl##ed_op#TD class=t_t_12_b#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#INPUT type=checkbox value=6Ub88yEYVd.As1NMvHdW name=scx#ed_cl##ed_op#SPAN class=t_t_12_b#ed_cl# #ed_op#A href="http://www.musicindiaonline.com/p/x/6Ub88yEYVd.As1NMvHdW/" v8P6c="0" K_bB9="0" ="open_window(this.href,'catridentp','470','295','no');return false"#ed_cl##ed_op#FONT color=#444444#ed_cl#Raga Yeman#ed_op#/FONT#ed_cl##ed_op#/A#ed_cl#  #ed_op#A onfocus=this.blur() href="http://www.musicindiaonline.com/a/a?s=6.78" ="open_window(this.href,'caaddsng','200','150','no');return false"#ed_cl##ed_op#IMG height=11 src="http://www.musicindiaonline.com/z/default/i/l/ata.gif" width=81 border=0#ed_cl##ed_op#/A#ed_cl#  #ed_op#A onfocus=this.blur() href="http://www.musicindiaonline.com/ms/a?s=6.78" ="open_window(this.href,'cmailsng','320','270','yes');return false"#ed_cl##ed_op#IMG height=12 src="http://www.musicindiaonline.com/z/default/i/l/m.gif" width=15 border=0#ed_cl##ed_op#/A#ed_cl##ed_op#/SPAN#ed_cl##ed_op#BR#ed_cl##ed_op#/FONT#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#TR#ed_cl##ed_op#TD class=t_t_12_b#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#INPUT type=checkbox value="Check All" name=abx ="cka('sls','scx','abx');"#ed_cl##ed_op#SPAN class=t_t_12_b v8P6c="0" K_bB9="0"#ed_cl#Select All the Above #ed_op#A class=kLink oncontextmenu="return false;" id=KonaLink3 onmouseover=adlinkMouseOver(event,this,3); style="POSITION: static; TEXT-DECORATION: underline! important" onclick=adlinkMouseClick(event,this,3); onmouseout=adlinkMouseOut(event,this,3); href="http://www.suraurtaal.com/forums/viewtopic.php?p=5967#" target=_top#ed_cl##ed_op#FONT style="FONT-WEIGHT: 400; COLOR: blue! important; FONT-FAMILY: Arial Narrow; POSITION: static" color=blue size=4#ed_cl##ed_op#SPAN class=kLink style="FONT-WEIGHT: 400; COLOR: blue! important; BORDER-BOTTOM: blue 1px solid; FONT-FAMILY: Arial Narrow; POSITION: relative; BACKGROUND-COLOR: transparent"#ed_cl#Songs#ed_op#/SPAN#ed_cl##ed_op#/FONT#ed_cl##ed_op#/A#ed_cl##ed_op#/SPAN#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#/TBODY#ed_cl##ed_op#/TABLE#ed_cl##ed_op#/FORM#ed_cl##ed_op#/P#ed_cl##ed_op#/DIV#ed_cl#


-----------------------------------
sur
Wed 06 Jun, 2007 23:08

Re: CLASSICAL TRANQUILITY & MUSIC REVIEW
-----------------------------------
#ed_op#DIV#ed_cl##ed_op#IMG height=220 src="http://www.ethnomusic.ucla.edu/Images/khan.gif" width=138#ed_cl##ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl# #ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#H2#ed_cl#Shujaat Khan#ed_op#/H2#ed_cl##ed_op#H5#ed_cl#Visiting Professor#ed_op#/H5#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#STRONG#ed_cl#Shujaat Khan#ed_op#/STRONG#ed_cl# is considered to be among the greatest North Indian musicians of his generation. Son and disciple of the legendary #ed_op#EM#ed_cl#sitar#ed_op#/EM#ed_cl# master Vilayat Khan, he is the seventh in an unbroken line of the prominent Imdad Khan Gharana of India, a family which has made significant contributions to the history of classical Indian music. Khan is known both for his mastery of the #ed_op#EM#ed_cl#sitar#ed_op#/EM#ed_cl# and for his exceptional voice, applied mainly to folk songs and classical compositions. For more than 20 years, he has toured the world, giving concerts, lecture demonstrations, and master classes, including appearances at the Royal Albert Hall in London, Carnegie Hall in New York and Congress Hall in Berlin. He has also released 25 recordings under various international music labels.#ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#/DIV#ed_cl#


-----------------------------------
sur
Thu 07 Jun, 2007 13:50

Re: CLASSICAL TRANQUILITY & MUSIC REVIEW
-----------------------------------
#ed_op#DIV#ed_cl##ed_op#TABLE cellSpacing=0 cellPadding=5 width="99%" border=0#ed_cl##ed_op#TBODY#ed_cl##ed_op#TR#ed_cl##ed_op#TD colSpan=2#ed_cl##ed_op#FONT class=headline14 size=4#ed_cl##ed_op#B#ed_cl#Navras: Instrumental Duets - Jugalbandhi Series#ed_op#/B#ed_cl##ed_op#/FONT#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#TR#ed_cl##ed_op#TD colSpan=2#ed_cl#Navras are the pioneers of bringing to the World some of the best live recordings of almost every great Indian musician alive today. Sona Rupa distributes their products in the UK.#ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#TR#ed_cl##ed_op#TD vAlign=top width=100#ed_cl##ed_op#A href="http://www.sonarupa.co.uk/itm01190.htm"#ed_cl##ed_op#IMG alt="L. Subramaniam & Rais Khan" src="http://www.sonarupa.co.uk/cat15402.jpg" width=100 border=0#ed_cl##ed_op#/A#ed_cl##ed_op#/TD#ed_cl##ed_op#TD vAlign=top#ed_cl##ed_op#FONT class=headline16 size=5#ed_cl##ed_op#B#ed_cl##ed_op#BR#ed_cl##ed_op#/B#ed_cl##ed_op#/FONT#ed_cl##ed_op#FONT class=headline14 size=4#ed_cl##ed_op#B#ed_cl#L. Subramaniam & Rais Khan #ed_op#/FONT#ed_cl##ed_op#/B#ed_cl##ed_op#BR#ed_cl#L. Subramaniam and Rais Khan (Violin & Sitar) in Sangeet Sangam recorded Live at Chowdiah Memorial Hall, ...#ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#TR#ed_cl##ed_op#TD colSpan=2#ed_cl##ed_op#HR align=center width="100%" color=#000000 noShade SIZE=1#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#TR#ed_cl##ed_op#TD vAlign=top width=100#ed_cl##ed_op#A href="http://www.sonarupa.co.uk/itm00139.htm"#ed_cl##ed_op#IMG alt="Parur M. S. Gopalakrishnaan & Ustad Sultan Khan" src="http://www.sonarupa.co.uk/cat15403.jpg" width=100 border=0#ed_cl##ed_op#/A#ed_cl##ed_op#/TD#ed_cl##ed_op#TD vAlign=top#ed_cl##ed_op#FONT class=headline16 size=5#ed_cl##ed_op#B#ed_cl##ed_op#BR#ed_cl##ed_op#/B#ed_cl##ed_op#/FONT#ed_cl##ed_op#FONT class=headline14 size=4#ed_cl##ed_op#B#ed_cl#Parur M. S. Gopalakrishnaan & Ustad Sultan Khan #ed_op#/FONT#ed_cl##ed_op#/B#ed_cl##ed_op#BR#ed_cl#"Parur M. S. Gopalakrishnaan & Ustad Sultan Khan" Indian classical music Violin & Sarangi. Fazal Qureshi ...#ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#TR#ed_cl##ed_op#TD colSpan=2#ed_cl##ed_op#HR align=center width="100%" color=#000000 noShade SIZE=1#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#TR#ed_cl##ed_op#TD vAlign=top width=100#ed_cl##ed_op#A href="http://www.sonarupa.co.uk/itm00137.htm"#ed_cl##ed_op#IMG alt="Rais Khan & Sultan Khan" src="http://www.sonarupa.co.uk/cat15405.jpg" width=100 border=0#ed_cl##ed_op#/A#ed_cl##ed_op#/TD#ed_cl##ed_op#TD vAlign=top#ed_cl##ed_op#FONT class=headline16 size=5#ed_cl##ed_op#B#ed_cl##ed_op#BR#ed_cl##ed_op#/B#ed_cl##ed_op#/FONT#ed_cl##ed_op#FONT class=headline14 size=4#ed_cl##ed_op#B#ed_cl#Rais Khan & Sultan Khan#ed_op#/FONT#ed_cl##ed_op#/B#ed_cl##ed_op#BR#ed_cl#"Ustad Rais Khan & Ustad Sultan Khan" Indian classical music Sitar & Sarangi. VOLUME 1 Live at the Queen ...#ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#TR#ed_cl##ed_op#TD colSpan=2#ed_cl##ed_op#HR align=center width="100%" color=#000000 noShade SIZE=1#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#TR#ed_cl##ed_op#TD vAlign=top width=100#ed_cl##ed_op#A href="http://www.sonarupa.co.uk/itm00136.htm"#ed_cl##ed_op#IMG alt=Rasdhara src="http://www.sonarupa.co.uk/cat15406.jpg" width=100 border=0#ed_cl##ed_op#/A#ed_cl##ed_op#/TD#ed_cl##ed_op#TD vAlign=top#ed_cl##ed_op#FONT class=headline16 size=5#ed_cl##ed_op#B#ed_cl##ed_op#BR#ed_cl##ed_op#/B#ed_cl##ed_op#/FONT#ed_cl##ed_op#FONT class=headline14 size=4#ed_cl##ed_op#B#ed_cl##ed_op#A href="http://www.sonarupa.co.uk/itm00136.htm"#ed_cl#Rasdhara #ed_op#/A#ed_cl##ed_op#/FONT#ed_cl##ed_op#/B#ed_cl##ed_op#BR#ed_cl#"Rasdhara" Indian classical music Santoor & Flute: SHIVKUMAR SHARMA & HARIPRASAD CHAURASIA. Bhavani Shankar ...#ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#TR#ed_cl##ed_op#TD colSpan=2#ed_cl##ed_op#HR align=center width="100%" color=#000000 noShade SIZE=1#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#TR#ed_cl##ed_op#TD vAlign=top width=100#ed_cl##ed_op#A href="http://www.sonarupa.co.uk/itm00133.htm"#ed_cl##ed_op#IMG alt="Shivkumar Sharma & Rahul Sharma" src="http://www.sonarupa.co.uk/cat15408.jpg" width=100 border=0#ed_cl##ed_op#/A#ed_cl##ed_op#/TD#ed_cl##ed_op#TD vAlign=top#ed_cl##ed_op#FONT class=headline16 size=5#ed_cl##ed_op#B#ed_cl#GBP7.99#ed_op#BR#ed_cl##ed_op#/B#ed_cl##ed_op#/FONT#ed_cl##ed_op#FONT class=headline14 size=4#ed_cl##ed_op#B#ed_cl#Shivkumar Sharma & Rahul Sharma#ed_op#/FONT#ed_cl##ed_op#/B#ed_cl##ed_op#BR#ed_cl#"Pandit Shivkumar Sharma & Rahul Sharma" Indian classical music Santoor: THE GOLDEN HERITAGE Live in ...#ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#TR#ed_cl##ed_op#TD colSpan=2#ed_cl##ed_op#HR align=center width="100%" color=#000000 noShade SIZE=1#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#TR#ed_cl##ed_op#TD vAlign=top width=100#ed_cl##ed_op#A href="http://www.sonarupa.co.uk/itm00134.htm"#ed_cl##ed_op#IMG alt="The Valley Recalls - Volume 1" src="http://www.sonarupa.co.uk/cat15409.jpg" width=100 border=0#ed_cl##ed_op#/A#ed_cl##ed_op#/TD#ed_cl##ed_op#TD vAlign=top#ed_cl##ed_op#FONT class=headline16 size=5#ed_cl##ed_op#B#ed_cl##ed_op#BR#ed_cl##ed_op#/B#ed_cl##ed_op#/FONT#ed_cl##ed_op#FONT class=headline14 size=4#ed_cl##ed_op#B#ed_cl#The Valley Recalls #ed_op#/FONT#ed_cl##ed_op#/B#ed_cl##ed_op#BR#ed_cl#"The Valley Recalls" Indian classical music Shivkumar Sharma & Hariprasad Chaurasia Flute & Santoor Vol. ...#ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#TR#ed_cl##ed_op#TD colSpan=2#ed_cl##ed_op#HR align=center width="100%" color=#000000 noShade SIZE=1#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#TR#ed_cl##ed_op#TD vAlign=top width=100#ed_cl##ed_op#A href="http://www.sonarupa.co.uk/itm00135.htm"#ed_cl##ed_op#IMG alt="The Valley Recalls - Volume 2" src="http://www.sonarupa.co.uk/cat15410.jpg" width=100 border=0#ed_cl##ed_op#/A#ed_cl##ed_op#/TD#ed_cl##ed_op#TD vAlign=top#ed_cl##ed_op#FONT class=headline16 size=5#ed_cl##ed_op#B#ed_cl##ed_op#BR#ed_cl##ed_op#/B#ed_cl##ed_op#/FONT#ed_cl##ed_op#FONT class=headline14 size=4#ed_cl##ed_op#B#ed_cl##ed_op#A href="http://www.sonarupa.co.uk/itm00135.htm"#ed_cl#The Valley Recalls #ed_op#/A#ed_cl##ed_op#/FONT#ed_cl##ed_op#/B#ed_cl##ed_op#BR#ed_cl#"The Valley Recalls" Indian classical music Shivkumar Sharma & Hariprasad Chaurasia Flute & Santoor Vol. ...#ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#TR#ed_cl##ed_op#TD colSpan=2#ed_cl##ed_op#HR align=center width="100%" color=#000000 noShade SIZE=1#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#TR#ed_cl##ed_op#TD vAlign=top width=100#ed_cl##ed_op#A href="http://www.sonarupa.co.uk/itm00130.htm"#ed_cl##ed_op#IMG alt="Vilayat Khan & Bismillah Khan" src="http://www.sonarupa.co.uk/cat15411.jpg" width=100 border=0#ed_cl##ed_op#/A#ed_cl##ed_op#/TD#ed_cl##ed_op#TD vAlign=top#ed_cl##ed_op#FONT class=headline16 size=5#ed_cl##ed_op#B#ed_cl##ed_op#BR#ed_cl##ed_op#/B#ed_cl##ed_op#/FONT#ed_cl##ed_op#FONT class=headline14 size=4#ed_cl##ed_op#B#ed_cl##ed_op#A href="http://www.sonarupa.co.uk/itm00130.htm"#ed_cl#Vilayat Khan & Bismillah Khan #ed_op#/A#ed_cl##ed_op#/FONT#ed_cl##ed_op#/B#ed_cl##ed_op#BR#ed_cl#"Ustad Vilayat Khan & Ustad Bismillah Khan" Indian classical music EB'ADAT. Sitar and Shehnai Volume ...#ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#TR#ed_cl##ed_op#TD colSpan=2#ed_cl##ed_op#HR align=center width="100%" color=#000000 noShade SIZE=1#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#TR#ed_cl##ed_op#TD vAlign=top width=100#ed_cl##ed_op#A href="http://www.sonarupa.co.uk/itm00131.htm"#ed_cl##ed_op#IMG alt="Vilayat Khan & Bismillah Khan" src="http://www.sonarupa.co.uk/cat15413.jpg" width=100 border=0#ed_cl##ed_op#/A#ed_cl##ed_op#/TD#ed_cl##ed_op#TD vAlign=top#ed_cl##ed_op#FONT class=headline16 size=5#ed_cl##ed_op#B#ed_cl##ed_op#BR#ed_cl##ed_op#/B#ed_cl##ed_op#/FONT#ed_cl##ed_op#FONT class=headline14 size=4#ed_cl##ed_op#B#ed_cl#Vilayat Khan & Bismillah Khan#ed_op#/FONT#ed_cl##ed_op#/B#ed_cl##ed_op#BR#ed_cl#"Ustad Vilayat Khan & Ustad Bismillah Khan" Indian classical music 'UPHAAR' Sitar and Shehnai Volume ...#ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#TR#ed_cl##ed_op#TD colSpan=2#ed_cl##ed_op#HR align=center width="100%" color=#000000 noShade SIZE=1#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#TR#ed_cl##ed_op#TD vAlign=top width=100#ed_cl##ed_op#A href="http://www.sonarupa.co.uk/itm00132.htm"#ed_cl##ed_op#IMG alt="Vilayat Khan & Shujaat Hussain" src="http://www.sonarupa.co.uk/cat15414.jpg" width=100 border=0#ed_cl##ed_op#/A#ed_cl##ed_op#/TD#ed_cl##ed_op#TD vAlign=top#ed_cl##ed_op#FONT class=headline16 size=5#ed_cl##ed_op#B#ed_cl##ed_op#BR#ed_cl##ed_op#/B#ed_cl##ed_op#/FONT#ed_cl##ed_op#FONT class=headline14 size=4#ed_cl##ed_op#B#ed_cl##ed_op#A href="http://www.sonarupa.co.uk/itm00132.htm"#ed_cl#Vilayat Khan & Shujaat Hussain #ed_op#/A#ed_cl##ed_op#/FONT#ed_cl##ed_op#/B#ed_cl##ed_op#BR#ed_cl#"Ustad Vilayat Khan & Shujaat Hussain" Indian classical music SITAR and SURBAHAR. Ustad Sabir Khan on ...#ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#/TBODY#ed_cl##ed_op#/TABLE#ed_cl##ed_op#/DIV#ed_cl#


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sur
Sun 10 Jun, 2007 14:27

Re: CLASSICAL TRANQUILITY & MUSIC REVIEW
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#ed_op#DIV#ed_cl##ed_op#STRONG#ed_cl##ed_op#FONT face="Arial Narrow" color=#441415 size=5#ed_cl#A classical singer keeping alive Punjab's heritage #ed_op#/FONT#ed_cl##ed_op#/STRONG#ed_cl##ed_op#P align=justify#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#MOGA, MARCH 3. Punjab's heritage of classical and folk music, though repressed by the glamour of pop music, has been kept alive, more strongly in the rural areas. It is these strains that unite musical artistes of India and Pakistan. Aging classical exponent Barkat Sidhu's efforts in this direction are laudable. #ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#In an age when the new generation seems fascinated and enamoured with rock and pop music, there are groups in the villages of Punjab that keep alive the freshness of folk and classical notes. Indeed, there are numerous unsung singers all over Punjab who have refused to let a brilliant tradition of music die out. #ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Barkat Sidhu lives in a village in district Moga in west Punjab. Though little known, Barkat Sidhu is a skilled classical music vocalist, adept at every nuance of the art. He espouses the importance of the classical music form, calling it the basis of all rhythms and tunes. It forms the base, he says, of anyone who can call himself a singer. #ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#``Classical music is the foundation of any kind of music. If the foundation of the building is strong the building becomes automatically strong. If an artiste has no classical base his entire singing becomes wrong. He gets the notes wrong. Whenever I see any musical artiste singing I easily make out he is singing in a proper way or not because I have a classical background,'' says the singer. #ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#That command over the art is obvious in the rhythms and intonations of his tunes. In a career spanning more than three decades, Sidhu has been responsible for nurturing and training an entire generation of singers. #ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Besides having received numerous awards, Barkat Sidhu has had the honour of singing alongside artistes like the legendary Ghulam Ali of Pakistan. #ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#From the start, he has advocated the importance of a strong foundation, a true classical base to music. ``We need riaz to sing a ``Raag'' or musical note and when a singer becomes perfect, he can understand the nuances and intonations of classical singing and that way he can enjoy music in best way,'' says Sidhu #ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#The present day economic situation of singers like Barkat Sidhu, responsible for keeping an entire art form alive, is however an unfortunate tragedy. His earnings are low, forcing him to lead a simple lifestyle. His living is in direct contrast to the world of pop music, steeped in glamour and ostentatious wealth. #ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#``These days it is very disappointing to see that singing has become a fast exercise rather than a melody. In fact to create a real singing atmosphere we need peace and lot of time. It is applicable to every kind of music but now the tradition has been changed very much and nobody is paying attention towards nuances. Pop music has also affected the culture adversely,'' he says. #ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#It is however heartening to know that despite all the difficulties and the poor income generated, Barkat Sidhu's son has also chosen classical music as a career. And, several of his songs have already been released as parts of regional audio albums. Can he get the attention his father could not, and which his art form so deserves? -- ANI #ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#P#ed_cl##ed_op#P align=justify#ed_cl##ed_op#P align=justify#ed_cl##ed_op#I#ed_cl##ed_op#/I#ed_cl##ed_op#/RELLINK#ed_cl##ed_op#!-- Bottom Template Starts --#ed_cl##ed_op#P#ed_cl##ed_op#STRONG#ed_cl#Date:04/03/2004#ed_op#/STRONG#ed_cl# #ed_op#B#ed_cl#URL: http://www.thehindu.com/2004/03/04/#ed_op#/B#ed_cl##ed_op#/P#ed_cl##ed_op#/DIV#ed_cl#


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sur
Sun 10 Jun, 2007 14:51

Re: CLASSICAL TRANQUILITY & MUSIC REVIEW
-----------------------------------
#ed_op#DIV#ed_cl#Ustad Zakir Hussain #ed_op#BR#ed_cl##ed_op#A title="Click to open image in new window" href="http://library.thinkquest.org/C006203/media/images/ustad_zakir_hussain.jpg" target=_blank#ed_cl##ed_op#IMG title=Image alt=Image src="http://library.thinkquest.org/C006203/media/images/ustad_zakir_hussain.jpg" slide=""#ed_cl##ed_op#/A#ed_cl# #ed_op#BR#ed_cl##ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Ustad Zakir Hussain is a distinguished tabla maestro. The son of the legendary Alla Rakha he has continued the fine work started by his father and has consolidated the position of the tabla as a solo instrument. He was born on -. A child prodigy he learnt how to play the instrument very early in life and was already doing tours when he was only twelve years old. He has performed all over India and the world and has also been involved in composing music, especially fusion. His first solo release Making Music (1987) was the result of his efforts to fuse western and indian music. He has composed music for several films as well. A talented musician, he has received several awards at a comparative young age, In 1988 he was awarded the Padmashri and is the youngest musician ever to have won the prestigious award. He has also received the Indo-American Award (for his contribution of spreading his music to the United States), the Sangeet Natak Akademi Award amongst several others. A fusion album between Zakir Hussain and Mickey Hart called Planet Drum won a Grammy award. #ed_op#BR#ed_cl##ed_op#BR#ed_cl#Vishwa Mohan Bhatt #ed_op#BR#ed_cl##ed_op#BR#ed_cl#Vishwa Mohan Bhatt hails from Jaipur, in the province Rajasthan. His initial training in classical music was from his brother, Shashi Mohan Bhatt. In 1983 he became a disciple of the great Pandit Ravi Shankar. Vishwa Mohan Bhatt has made a unique contribution to Indian classical music, by bringing a western instrument into it. Vishwa Mohan Bhatt is an instrumentalist who plays a modified version of the Western acoustic guitar. Vishwa Mohan Bhatt modified the guitar to make it more suitable for Indian classical music. He calls his creation the Mohan Veena. He has also developed a specific technique by which Indian classical music can be reproduced on this instrument. Vishwa Mohan Bhatt has performed across India and the world and has also participated in many fusion projects with several western musicians. Vishwa Mohan Bhatt has been very successful both within the country as well as in other parts of the world. His collaboration with American slide guitarist Ry Cooder won them a Grammy in 1994. Another collaboration, this time with noted banjo player Bela Flek and Erhu Jei Bing resulted in a Grammy nomination in 1997. Pandit Vishwa Mohan Bhatt is also a recipient of the Sangeet Natak Akademi (academy) Award#ed_op#/FONT#ed_cl##ed_op#/DIV#ed_cl#


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sur
Tue 12 Jun, 2007 16:59

Re: CLASSICAL TRANQUILITY & MUSIC REVIEW
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#ed_op#DIV#ed_cl# #ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#P#ed_cl##ed_op#FONT class=storyhead color=blue size=4#ed_cl##ed_op#B#ed_cl#Indian classical music #ed_op#/B#ed_cl##ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#P#ed_cl##ed_op#P align=left#ed_cl##ed_op#CENTER#ed_cl##ed_op#IMG src="http://www.hindu.com/thehindu/br/2002/03/05/images/2002030500020301.jpg" width=235 align=center border=1#ed_cl# #ed_op#/CENTER#ed_cl##ed_op#P#ed_cl##ed_op#P align=justify#ed_cl##ed_op#B#ed_cl#ROMANCE OF THE RAGA: Vijaya Moorthi, Abhinav Publications, E-37, Hauz Khas, New Delhi-110016. Rs. 1,200.#ed_op#/B#ed_cl# #ed_op#P align=justify#ed_cl# #ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#THE AUTHOR, the grand daughter of the late President of India between 1969-74, V. V. Giri, is a civil servant, by profession and an accomplished Hindustani musician by choice. #ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#She is a competent exponent of the Sitar having been trained by the violin maestro, S. N. Gultai, from a young age; she has also benefited immensely under the expert guidance of the Sarod wizard, Ustad Amjad Ali Khan. She has given many public concerts that have merited sincere appreciation. #ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Her book under review provides an insight into the variety of techniques and styles used for raga delineations, and highlights the significant contribution made by stalwarts who have shaped and enriched India's twin musical systems, Hindustani and Karnatak. #ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#The author traces the source of Indian music to the early Vedic hymns that had seven different notes till ultimately the complete saptaka of seven notes was systematised. #ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#The various treatises that dealt with raga such as #ed_op#I#ed_cl#Brihaddeshji #ed_op#/I#ed_cl#by Matanga (5th century A.D), Sarangadeva's #ed_op#I#ed_cl#Sangita Ratanakara #ed_op#/I#ed_cl#(13th century A.D.), #ed_op#I#ed_cl#Ragatarangini #ed_op#/I#ed_cl#by Lochana Kavi, #ed_op#I#ed_cl#Sangita Parijatha #ed_op#/I#ed_cl#by Ahobila etc., are mentioned. #ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#The devotional poetry of the Vaishnavite Alwars, the immortal Sanskrit poem, "Gita Govinda'' by Jayadeva and the songs of the great minstrels, Sankar Dev, Krishna Chaitanya, Meera Bai, Kabir, Sur Das and Tukaram have been responsible for the wave of Bhakti in the entire subcontinent with their Bhajans and Abhangs that permeated ardent, intense devotion through the medium of music. The development of music gained much momentum also through the Sufi movement. Sufi mysticism, a philosophy of Islam that originated in the 10th century, was most popular in Persia, and through its beliefs viewed music as a medium of devotion and God realisation akin to the concept of Bhakti. #ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Music flourished as never before during the reigns of Akbar, Jahangir and Shah Jehan because of the royal patronage extended to it. #ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#The anecdote about Akbar accompanying his court musician, Tansen, to listen to the divine music of Swami Haridas, Tansen's guru, makes interesting reading. #ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#After listening with rapt attention to the heavenly music of Haridas, Akbar remarked to Tansen that with all his virtuosity Tansen's music was so insipid when compared to that of Haridas. #ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Tansen's tongue-in-cheek reply was that it was no surprise as he merely sang for the Emperor of India, while his preceptor sang for the Emperor of Creation. #ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#The variety and range of the instruments, that adorn the Indian musical discipline such as the Mukha Veena, Shehnai, Nagaswaram (all wind instruments), the Veena, sitar, surbahar, the drone keeping tampura, the sarod, the violin, sarangi (all stringed instruments) and the percussion family of mridanga, udukku, dholak, tabla, nagara, kanjira etc., are all described in detail with beautiful illustrations. #ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#The earthen pot, ghatam, and the porcelain bowls filled with carefully measured water in each called the jaltharang are placed in the category of Ghana vadya. #ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Tributes to some outstanding composers in Karnatak music such as Purandaradasa, Ramadas and the three musical geniuses — Shyama Sastri, Tyagaraja and Muthuswami Dikshitar — known as the Trinity of South India, have been paid in the chapter dealing with composers. #ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#The several musical forms in Hindustani classical music, namely Dhrupad, Khyal, Tumr, Tappa, Tarana, Ghazals and the genres pertaining to South Indian classical music like Ragam, Tanam, Pallavi and the Varnam are explained cogently in the chapter "Wealth of styles''. #ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#The confluence of miniature paintings has been illustrated to underline the all-important aspect of the thematic content of the raga. #ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#The plates on Indian miniatures and musical instruments reproduced with the permission of the National Museum, New Delhi, are visual delights. #ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl#The excellent get-up, quality paper and the worthy contents perhaps justify the cost of the publication#ed_op#/FONT#ed_cl#. #ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl# #ed_op#P align=justify#ed_cl##ed_op#P align=justify#ed_cl#SULOCHANA PATTABHI RAMAN#ed_op#/P#ed_cl##ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#A href="http://www.hindu.com/thehindu/br/2002/03/05/stories/2002030500020300.htm"#ed_cl#http://www.hindu.com/thehindu/br/2002/03/05/stories/2002030500020300.htm#ed_op#/A#ed_cl##ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#/DIV#ed_cl#


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sur
Sat 16 Jun, 2007 13:01

Re: CLASSICAL TRANQUILITY & MUSIC REVIEW
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#ed_op#TABLE cellSpacing=0 cellPadding=0 width="100%" border=0#ed_cl##ed_op#TBODY#ed_cl##ed_op#TR#ed_cl##ed_op#TD class=vilotbiggest#ed_cl##ed_op#FONT size=4#ed_cl#Nityashree Sings Into The Hearts of Raiska#ed_op#!--/Fullheadline--#ed_cl##ed_op#/FONT#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#TR#ed_cl##ed_op#TD colSpan=2 height=8#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#TR#ed_cl##ed_op#TD class=blackbold colSpan=2#ed_cl##ed_op#FONT size=4#ed_cl#By Sudha Jagannathan#ed_op#/FONT#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#TR#ed_cl##ed_op#TD class=blacktextgen colSpan=2#ed_cl##ed_op#FONT size=4#ed_cl#Tuesday, 02 January , 2007, 17:22#ed_op#/FONT#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#TR#ed_cl##ed_op#TD colSpan=2 height=8#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#TR#ed_cl##ed_op#TD class=blacktext colSpan=2#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#IMG height=140 alt="" src="http://im.sify.com/sifycmsimg/jan2007/14361247_pi85.jpg" width=120 align=left#ed_cl##ed_op#IMG height=140 src="http://im.sify.com/images/spacer.gif" width=2 align=left border=0#ed_cl# #ed_op#!-- google_ad_section_start=sify_article --#ed_cl##ed_op#/FONT#ed_cl##ed_op#P#ed_cl##ed_op#FONT size=4#ed_cl#It was a traditional presentation. The class was there. The pedigree showed up. And, she won the hearts of myriad fans with quality music on the first day of the New Year. Nityashree Mahadevan was at her captivating best when she gave a concert for Sri Parthasarathy Sabha on January 1, 2007. She looked simple. Her sangeetham was marvelous, however. As she brought out the intricate structure of Ranjani raga with her energetic voice, she showed her brilliance. #ed_op#/FONT#ed_cl##ed_op#P#ed_cl##ed_op#FONT size=4#ed_cl#Her raga alapana underscored time and again her ability to traverse the tarai sthayi with consummate skill. It also demonstrated her complete control over her voice. Her presentation of Yoga Narasimham’s “Sada Saranga Nayane…” was marked for perfect intonation. She followed this one with an Uthukadu Kavi composition “Swagatham Krishna” in Mohanam. It was quite pleasing to listen to this one, laden with absorbing lyrics and Jathis. Nityashree did a splendid alapana in raga Brindavana Saranga with her rich voice. Her raga delineation at the tara sthayi was glorious and her expertise over the music was in full display. She defied her age with her conventional presentation. Yet, it was quite appealing to listeners. #ed_op#/FONT#ed_cl##ed_op#P#ed_cl##ed_op#FONT size=4#ed_cl#Her musical rendering revealed the quality of education she received from her grandmother and veteran vocalist D.K. Pattammal. Dikshitar’s “Rangapura Vihara…” is sprinkled with attractive lyrics. Late M.S. Subbulakshmi popularized this song. It came as an exciting surprise for the audience when Nithyashree chose this song and brought out the enchanting beauty of the kriti with her charming voice. Thyagaraja’s “Bantureetikolu” in Hamsanaadam was sung with poise. She then took up raga Charukesi for a very fine treatment. It was an absolutely superb alapana-singing as she glided the octaves with her markedly unique rendering. #ed_op#/FONT#ed_cl##ed_op#P#ed_cl##ed_op#FONT size=4#ed_cl#This was the piece-de- resistance of the concert. She chose to render a Swathi Tirunal kriti “Kripaya Palya Sowre”. She did a niraval at the charanam line with “Narada Mukha Muni Nigara Keya Charitham” with appropriate rhythm. She interspersed it with swaras that were simple but revealed the trademark of her own. The tani played by Mridangist I. Sivakumar (her father), Ghatam by A.S.Krishnan and Morsing by H.Sivaramakrishnan was quite interesting and was played admirably well by the senior artistes. Violinist Cheratalai Sivakumar followed Nityashree neatly. #ed_op#/FONT#ed_cl##ed_op#P#ed_cl##ed_op#FONT size=4#ed_cl#Nityashree presented some nice little compositions after this. “Ramanai Bhajithal” in Maand was sung with felicity. Fag end pieces - a couple of pasurams (``Alamarathin…’’ in Yamuna Kalyani and “Kondal Vannanai” in Sindhu Bhairavi”) and the lullaby “Kanne Kanmaniye” in Kurinji – went down very well with the audience. They were very soothing to the mind. “Kanda Ni” in Ahir Bhairav was sung with quite a melody. She ended the concert with a Tillana in Karnaranjani.#ed_op#!-- google_ad_section_end=sify_article --#ed_cl# #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#/TBODY#ed_cl##ed_op#/TABLE#ed_cl##ed_op#DIV#ed_cl##ed_op#/DIV#ed_cl#


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sur
Sat 16 Jun, 2007 13:03

Re: CLASSICAL TRANQUILITY & MUSIC REVIEW
-----------------------------------
#ed_op#DIV#ed_cl##ed_op#TABLE cellSpacing=0 cellPadding=0 width="100%" border=0#ed_cl##ed_op#TBODY#ed_cl##ed_op#TR#ed_cl##ed_op#TD class=vilotbiggest#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=6#ed_cl##ed_op#FONT color=#441415#ed_cl##ed_op#STRONG#ed_cl#Great Composers#ed_op#!--/Fullheadline--#ed_cl##ed_op#/STRONG#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#TR#ed_cl##ed_op#TD colSpan=2 height=8#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#TR#ed_cl##ed_op#TD class=blackbold colSpan=2#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#TR#ed_cl##ed_op#TD colSpan=2 height=8#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#TR#ed_cl##ed_op#TD class=blacktext colSpan=2#ed_cl##ed_op#P#ed_cl##ed_op#!-- google_ad_section_start=sify_article --#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#B#ed_cl#Jayadeva (12th Century AD)#ed_op#/B#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#STRONG#ed_cl##ed_op#/STRONG#ed_cl##ed_op#BR#ed_cl# #ed_op#/P#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#IMG src="http://im.sify.com/cmsimages/13169846_jaya.jpg" align=left#ed_cl# Jayadeva was a great composer, poet and musician. He was one of the royal poets during the reign of Maharaja Laksmanasena, the last Hindu king of Bengal. Jayadeva lived in the middle or the end of the 12th century A.D. #ed_op#/FONT#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#The celebrated song-book "Gitagovinda" is an highly acclaimed masterpiece created by Jayadeva. The Gitagovinda inspired the Carnatic composers in South India and also a host of poets all over India who produced numerous imitations of Gitagovinda. The Gita Govinda uses the metaphor of "lover and the beloved" to explain the soul's relationship with God. #ed_op#/FONT#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#B#ed_cl#Kshetrajna (17th Century AD)#ed_op#/B#ed_cl##ed_op#BR#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#IMG src="http://im.sify.com/cmsimages/13169849_kshe.jpg" align=left#ed_cl# is undoubtedly the most outstanding composer of padams in the Telugu language. He is referred to as the father of padams. Very little authentic material is available to construct the life of Kshetrajna. All that one can say with an amount of certainty is that he lived in the first half of the 17th century A.D. #ed_op#/FONT#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Kshetrajna was prolific composer. In one of his padams, he himself mentions the number as 4500. But today, in spite of arduous effort on the part of music-lovers and scholars, about 350 only are available to us. #ed_op#/FONT#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#B#ed_cl#Purandaradasar (1484 AD - 1564 AD)#ed_op#/B#ed_cl##ed_op#BR#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#IMG src="http://im.sify.com/cmsimages/13169852_puran.jpg" align=left#ed_cl#Purandaradasar is said to have been born in the year 1484 A.D. in a place called Pandharpur in Karnataka state. He was a money-lender by profession and was known for his miserliness. #ed_op#/FONT#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Renouncing his riches and worldly pleasures, Purandaradasar proceeded to Hampi and there became the chief disciple of the great Vyasa Raya who is said to have conferred on him the name "Purandara Vittala" which became his Mudra or signature. He is stated to have composed 4,75,000 songs. His songs are both in Kannada and Sanskrit. Only a few of his songs are available now. We find in his songs an excellent combination of music, rhythm and alliteration and he is considered the greatest of the lyric poet of Karnataka. Thyagaraja praises Purandaradasar in his musical play "Prahalada Bhakti Vijayam".#ed_op#!-- google_ad_section_end=sify_article --#ed_cl# #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#/TBODY#ed_cl##ed_op#/TABLE#ed_cl##ed_op#/DIV#ed_cl#


-----------------------------------
sur
Sun 17 Jun, 2007 00:57

Re: CLASSICAL TRANQUILITY & MUSIC REVIEW
-----------------------------------
#ed_op#P#ed_cl##ed_op#IMG height=100 alt="album cover" src="http://www.aquariusrecords.org/images/shanalifcd.jpg" align=left vspace=3#ed_cl# #ed_op#IMG height=100 src="http://www.aquariusrecords.org/images/dot.gif" width=10 align=left vspace=3#ed_cl# #ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#B#ed_cl#SHANKAR, ANANDA#ed_op#/B#ed_cl##ed_op#IMG src="http://www.aquariusrecords.org/images/dot.gif" width=12 border=0#ed_cl# #ed_op#B#ed_cl##ed_op#EM#ed_cl#A Life In Music#ed_op#/EM#ed_cl##ed_op#/B#ed_cl##ed_op#IMG src="http://www.aquariusrecords.org/images/dot.gif" width=12 border=0#ed_cl# #ed_op#B#ed_cl#(Times Square) #ed_op#IMG src="http://www.aquariusrecords.org/images/dot.gif" width=12 border=0#ed_cl#2cd #ed_op#IMG src="http://www.aquariusrecords.org/images/dot.gif" width=12 border=0#ed_cl#16.98#ed_op#/B#ed_cl##ed_op#IMG src="http://www.aquariusrecords.org/images/dot.gif" width=12 border=0#ed_cl# #ed_op#INPUT type=image alt="add to cart" src="http://www.aquariusrecords.org/images/addtocart.gif" name=shanalifcd#ed_cl# #ed_op#BR#ed_cl#At last, a readily available cd collection of ultra kitschy, exotic grooviness from the late great Ananda Shankar, nephew of '60s counter-cultural phenom, sitar master Ravi Shankar. Ananda Shankar, a sitar player himself (he gave lessons to Jimi Hendrix, in fact) had his own, rather more cult recording career, beginning with a self-titled album released in the USA in 1970 that featured sitar and Moog laden instrumental versions of such contemporary rock n' roll tunes as "Jumpin' Jack Flash" and "Light My Fire". He went on to record many more albums in India, all of 'em featuring the funky, futuristic East-meets-West fusion of which he was a pioneer. Such tracks as "Dancing Drums" and "Streets Of Calcutta" (both included here) eventually became DJ staples with the rise of the "Asian Underground" club scene in the '90s (Talvin Singh, et. al.). #ed_op#BR#ed_cl##ed_op#IMG height=1 src="http://www.aquariusrecords.org/images/dot.gif" width=25#ed_cl#Subtitled "the best of the EMI years", this 22-track, double cd anthology draws from seven different albums by Shankar, recorded for the EMI-owned Gramaphone Company Of India between 1975 and 1999, when Shankar unfortunately died of a heart attack at the age of 53. There's many gems here to tickle the fancy of anyone into Bollywood-style music. (And if you want to hear that 1970 debut album, it's at last been reissued domestically on cd by Collector's Choice, and is also in stock here at AQ.) #ed_op#BR#ed_cl##ed_op#IMG height=1 src="http://www.aquariusrecords.org/images/dot.gif" width=25#ed_cl##ed_op#B#ed_cl#MPEG Stream: #ed_op#A href="http://www.aquariusrecords.org/audio/anandashankardancing.m3u"#ed_cl#"Dancing Drums"#ed_op#/A#ed_cl##ed_op#/B#ed_cl# #ed_op#BR#ed_cl##ed_op#IMG height=1 src="http://www.aquariusrecords.org/images/dot.gif" width=25#ed_cl##ed_op#B#ed_cl#MPEG Stream: #ed_op#A href="http://www.aquariusrecords.org/audio/anandashankarthealien.m3u"#ed_cl#"The Alien"#ed_op#/A#ed_cl##ed_op#/B#ed_cl# #ed_op#BR clear=left#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#IMG height=100 alt="album cover" src="http://www.aquariusrecords.org/images/shanamuscd.jpg" align=left vspace=3#ed_cl# #ed_op#IMG height=100 src="http://www.aquariusrecords.org/images/dot.gif" width=10 align=left vspace=3#ed_cl# #ed_op#B#ed_cl#SHANKAR, ANANDA#ed_op#/B#ed_cl##ed_op#IMG src="http://www.aquariusrecords.org/images/dot.gif" width=12 border=0#ed_cl# #ed_op#B#ed_cl##ed_op#EM#ed_cl#A Musical Discovery Of India#ed_op#/EM#ed_cl##ed_op#/B#ed_cl##ed_op#IMG src="http://www.aquariusrecords.org/images/dot.gif" width=12 border=0#ed_cl# #ed_op#B#ed_cl#(Cloud Forest Recordings) #ed_op#IMG src="http://www.aquariusrecords.org/images/dot.gif" width=12 border=0#ed_cl#cd #ed_op#IMG src="http://www.aquariusrecords.org/images/dot.gif" width=12 border=0#ed_cl#17.98#ed_op#/B#ed_cl##ed_op#IMG src="http://www.aquariusrecords.org/images/dot.gif" width=12 border=0#ed_cl# #ed_op#INPUT type=image alt="add to cart" src="http://www.aquariusrecords.org/images/addtocart.gif" name=shanamuscd#ed_cl# #ed_op#BR#ed_cl#A few lists ago you might remember us gushing over the work of India's Dilip Roy. His record Namaskar was the perfect musical open armed welcome to the India we always see in our dreams. We mentioned in our review of that record how Roy had done production and arrangements for Ananda Shankar. And then just a few weeks after basking in the glory of Roy's great early 80's masterpiece we were met with the reissue of two great Dilip Roy arranged Ananda Shankar albums on this cd. A Musical Discovery of India was originally a 12" made for the India Tourism Development Corporation in 1978. It makes obvious sense why this would be used to sell travel to India because after listening to these lush arrangements, who in their right mind would not want to jump on the first plane to India?! The second record collected here is the fiery and frisky Sarrega Machan. On this album Shankar was once again joined by Dilip Roy and his majestic arrangements for a record with bizarre themes, of twilight and playful animals, a record that ignites a full sensory experience, like some soundtrack to a wildly colorful nature adventure filled with suspense and intrigue. Ananda always possessed a lighter, groovier and more playful touch then his much revered brother Ravi, but these two records prove once again that in his own approach he added so much richness to Indian music and culture. Highly recommended! #ed_op#BR#ed_cl##ed_op#IMG height=1 src="http://www.aquariusrecords.org/images/dot.gif" width=25#ed_cl##ed_op#B#ed_cl#MPEG Stream: #ed_op#A href="http://www.aquariusrecords.org/audio/shankarkaziranga.m3u"#ed_cl#"Kaziranga Beat"#ed_op#/A#ed_cl##ed_op#/B#ed_cl# #ed_op#BR#ed_cl##ed_op#IMG height=1 src="http://www.aquariusrecords.org/images/dot.gif" width=25#ed_cl##ed_op#B#ed_cl#MPEG Stream: #ed_op#A href="http://www.aquariusrecords.org/audio/shankartiger.m3u"#ed_cl#"Charging Tiger"#ed_op#/A#ed_cl##ed_op#/B#ed_cl# #ed_op#BR#ed_cl##ed_op#IMG height=1 src="http://www.aquariusrecords.org/images/dot.gif" width=25#ed_cl##ed_op#B#ed_cl#MPEG Stream: #ed_op#A href="http://www.aquariusrecords.org/audio/shankarjungle.m3u"#ed_cl#"Jungle Symphony"#ed_op#/A#ed_cl##ed_op#/B#ed_cl# #ed_op#BR clear=left#ed_cl##ed_op#/FONT#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#B#ed_cl#SHANKAR, ANANDA#ed_op#/B#ed_cl##ed_op#IMG src="http://www.aquariusrecords.org/images/dot.gif" width=12 border=0#ed_cl# #ed_op#B#ed_cl##ed_op#EM#ed_cl#Thoth to Eros#ed_op#/EM#ed_cl##ed_op#/B#ed_cl##ed_op#IMG src="http://www.aquariusrecords.org/images/dot.gif" width=12 border=0#ed_cl# #ed_op#B#ed_cl#(Bombay Beat) #ed_op#IMG src="http://www.aquariusrecords.org/images/dot.gif" width=12 border=0#ed_cl#cd #ed_op#IMG src="http://www.aquariusrecords.org/images/dot.gif" width=12 border=0#ed_cl#16.98#ed_op#/B#ed_cl##ed_op#IMG src="http://www.aquariusrecords.org/images/dot.gif" width=12 border=0#ed_cl# #ed_op#BR#ed_cl##ed_op#FONT color=red#ed_cl##ed_op#B#ed_cl#THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.#ed_op#/B#ed_cl##ed_op#/FONT#ed_cl##ed_op#BR#ed_cl##ed_op#IMG height=1 src="http://www.aquariusrecords.org/images/dot.gif" width=25#ed_cl#Subtitled "The Best of Ananda Shankar", this is long overdue (the original LPs command hundreds of dollars) material from Ravi's brother. Completely whacked out psychedelic sitar music, albeit a little cheesier (he covers "Jumpin Jack Flash") but sometimes a lot weirder and more experimental than brother Ravi. Supposedly comes with CD-ROM visuals. #ed_op#BR clear=left#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#B#ed_cl#SHANKAR, ANANDA, EXPERIENCE, THE & STATE OF BENGAL#ed_op#/B#ed_cl##ed_op#IMG src="http://www.aquariusrecords.org/images/dot.gif" width=12 border=0#ed_cl# #ed_op#B#ed_cl##ed_op#EM#ed_cl#Walking On#ed_op#/EM#ed_cl##ed_op#/B#ed_cl##ed_op#IMG src="http://www.aquariusrecords.org/images/dot.gif" width=12 border=0#ed_cl# #ed_op#B#ed_cl#(Real World) #ed_op#IMG src="http://www.aquariusrecords.org/images/dot.gif" width=12 border=0#ed_cl#cd #ed_op#IMG src="http://www.aquariusrecords.org/images/dot.gif" width=12 border=0#ed_cl#16.98#ed_op#/B#ed_cl##ed_op#IMG src="http://www.aquariusrecords.org/images/dot.gif" width=12 border=0#ed_cl# #ed_op#INPUT type=image alt="add to cart" src="http://www.aquariusrecords.org/images/addtocart.gif" name=shanwalkcd#ed_cl# #ed_op#BR#ed_cl#Ananda Shankar (RIP) met up in '99 with British "Asian Underground" DJ State of Bengal for this sitar-funk-electronica session. Indeed an "illustrious cult figure in the secret history of pop culture", Shankar was famed for his East-meets-West psychedelic pop experiments decades ago, and this is a fun and fitting finale to his career. If you were into the "Untouchable Outcaste Beats" comp (which featured an old Shankar track alongside folks from the new Asian/UK DJ scene) and/or are a fan of the likes of Talvin Singh, you should check this out. #ed_op#BR clear=left#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#IMG height=100 alt="album cover" src="http://www.aquariusrecords.org/images/shanktrancd.jpg" align=left vspace=3#ed_cl# #ed_op#IMG height=100 src="http://www.aquariusrecords.org/images/dot.gif" width=10 align=left vspace=3#ed_cl# #ed_op#B#ed_cl#SHANKAR, RAVI#ed_op#/B#ed_cl##ed_op#IMG src="http://www.aquariusrecords.org/images/dot.gif" width=12 border=0#ed_cl# #ed_op#B#ed_cl##ed_op#EM#ed_cl#Transmigration Macabre#ed_op#/EM#ed_cl##ed_op#/B#ed_cl##ed_op#IMG src="http://www.aquariusrecords.org/images/dot.gif" width=12 border=0#ed_cl# #ed_op#B#ed_cl#(Cherry Red) #ed_op#IMG src="http://www.aquariusrecords.org/images/dot.gif" width=12 border=0#ed_cl#cd #ed_op#IMG src="http://www.aquariusrecords.org/images/dot.gif" width=12 border=0#ed_cl#16.98#ed_op#/B#ed_cl##ed_op#IMG src="http://www.aquariusrecords.org/images/dot.gif" width=12 border=0#ed_cl# #ed_op#INPUT type=image alt="add to cart" src="http://www.aquariusrecords.org/images/addtocart.gif" name=shanktrancd#ed_cl# #ed_op#BR#ed_cl#Without a doubt one of the most psychedelic and experimental sounding records in the amazing recorded legacy of Ravi Shankar. Composed as a score for the British art film Viola, this finds Shankar experimenting and traveling with sounds that one might not always associate with him. Of course it's still his playing and several tracks have his unmistakable and totally influential sitar sounds, exactly the way you're familiar hearing them, but what's so nice about -this- record is that there are also moments where if you were listening without knowing it was Shankar you might guess it was any of a handful of psychedelic experimental bands from the last quarter century. Apparently the film is about a possessed man's belief that his dead wife has returned to life in the form of a cat that pursues him. Wow trippy stuff...and Ravi knew just the sounds to convey those otherworldly feelings. Really nice! #ed_op#BR#ed_cl##ed_op#IMG height=1 src="http://www.aquariusrecords.org/images/dot.gif" width=25#ed_cl##ed_op#B#ed_cl#MPEG Stream: #ed_op#A href="http://www.aquariusrecords.org/audio/shankaranxiety.m3u"#ed_cl#"Anxiety"#ed_op#/A#ed_cl##ed_op#/B#ed_cl# #ed_op#BR#ed_cl##ed_op#IMG height=1 src="http://www.aquariusrecords.org/images/dot.gif" width=25#ed_cl##ed_op#B#ed_cl#MPEG Stream: #ed_op#A href="http://www.aquariusrecords.org/audio/shankardeath.m3u"#ed_cl#"Death"#ed_op#/A#ed_cl##ed_op#/B#ed_cl# #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#DIV#ed_cl##ed_op#/DIV#ed_cl#


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surtaal
Mon 18 Jun, 2007 18:16

Re: CLASSICAL TRANQUILITY & MUSIC REVIEW
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#ed_op#DIV#ed_cl#Nice Post Dada...Not sure many people know but Ananda Shankar is the one who started the bridge between Hindustani Classical music and West. #ed_op#/DIV#ed_cl#


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sur
Sun 24 Jun, 2007 15:02

Re: CLASSICAL TRANQUILITY & MUSIC REVIEW
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#ed_op#P#ed_cl##ed_op#FONT class=storyhead color=blue size=6#ed_cl##ed_op#B#ed_cl#A musical feast #ed_op#/B#ed_cl##ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl#P. SURYA RAO #ed_op#P#ed_cl##ed_op#TABLE width="100%" bgColor=#ddffdd border=0#ed_cl##ed_op#TBODY#ed_cl##ed_op#TR#ed_cl##ed_op#TD#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Musicians played to a packed audience during the five-day fest. #ed_op#/FONT#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#/TBODY#ed_cl##ed_op#/TABLE#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#CENTER#ed_cl##ed_op#BR#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#IMG style="WIDTH: 360px; HEIGHT: 210px" height=150 src="http://www.hindu.com/thehindu/fr/2006/12/15/images/2006121500050201.jpg" width=300 align=center border=1#ed_cl# #ed_op#BR#ed_cl##ed_op#B#ed_cl#VERITABLE FEAST Veena by D. Srinivas. #ed_op#/B#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/CENTER#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#In connection with the 124th Jayanthi of the legendary vocal vidwan, Late Parupalli Ramakrishnaiah Pantulu, Gayakasarvabhowma Sangeeta Parishat presented a five-day musical feast at Sri Sivaramakrishna Kshetram, Vijayawada. T. Swathi Srikrishna of Chennai gave the first concert on the inaugural day. Swathi, a disciple of late Krishnamacharyulu and a competent singer, started her concert with #ed_op#I#ed_cl#Sahana varnam#ed_op#/I#ed_cl# and followed it with #ed_op#I#ed_cl#Raghunayaka#ed_op#/I#ed_cl# in #ed_op#I#ed_cl#Hamsadhvani,#ed_op#/I#ed_cl# at the end of which she impressed with fine #ed_op#I#ed_cl#kalpana swaras#ed_op#/I#ed_cl#. #ed_op#I#ed_cl#Mayamalavagowla #ed_op#/I#ed_cl#was explicitly elaborated and the #ed_op#I#ed_cl#kriti#ed_op#/I#ed_cl# #ed_op#I#ed_cl#Merusamana#ed_op#/I#ed_cl# also carried good #ed_op#I#ed_cl#swaras#ed_op#/I#ed_cl#. Though #ed_op#I#ed_cl#Nanupalimpa#ed_op#/I#ed_cl# in #ed_op#I#ed_cl#Mohana#ed_op#/I#ed_cl# was the major item of the concert, Swathi excelled in the delineation of #ed_op#I#ed_cl#Varali#ed_op#/I#ed_cl# in which she rendered #ed_op#I#ed_cl#Bangaru Kamakshi#ed_op#/I#ed_cl#. The #ed_op#I#ed_cl#Mohana#ed_op#/I#ed_cl# elaboration came out as a fine essay of the #ed_op#I#ed_cl#raga bhava#ed_op#/I#ed_cl#. Swathi had fine support from B. V. Durgabhavani (violin) and K. Sadguracharan (mridangam). #ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#From the second day onwards the programme started with junior concerts. Smt. Rama Bhagawan sang a rare composition of Dikshitar #ed_op#I#ed_cl#Sri Ganesatparam#ed_op#/I#ed_cl# in #ed_op#I#ed_cl#Veenavadini#ed_op#/I#ed_cl# and presented a splendid #ed_op#I#ed_cl#Kambhoji#ed_op#/I#ed_cl# preceeding the #ed_op#I#ed_cl#kriti#ed_op#/I#ed_cl# #ed_op#I#ed_cl#Marakatavalli#ed_op#/I#ed_cl#. Rama was accompanied by G. Seetaramalakshmi on the violin and K. Sai Giridhar on the mridangam. #ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#The main concert of the evening was a vocal duet by Malladi brothers, Sriramprasad and Ravikumar. The highly gifted brothers kept the packed audience in raptures throughout with their well-blended voices, traditional style and sharp #ed_op#I#ed_cl#manodharmam#ed_op#/I#ed_cl#. The starting item was the efficiently rendered #ed_op#I#ed_cl#Viriboni#ed_op#/I#ed_cl# and Kalayami Raghuramam, a rare kriti of Swathi Thirunal, in Begada followed it. The #ed_op#I#ed_cl#raga#ed_op#/I#ed_cl# delineation and #ed_op#I#ed_cl#swaras#ed_op#/I#ed_cl# stood as ample proof of the #ed_op#I#ed_cl#manodharmam#ed_op#/I#ed_cl# ability of the Malladis. #ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#The main item #ed_op#I#ed_cl#Chakkani Raja Margamu#ed_op#/I#ed_cl#, the majestic composition of Thyagaraja in #ed_op#I#ed_cl#Kharaharapriya#ed_op#/I#ed_cl#, was memorably rendered by Prasad and Ravi with soul-stirring #ed_op#I#ed_cl#raga#ed_op#/I#ed_cl# delineation and well-coordinated #ed_op#I#ed_cl#kalpana swaras#ed_op#/I#ed_cl#. Seasoned accompanists Ampolu Muralikrishna (violin) and M. Lakshminarayana Raju (mridangam) proved their mettle in their solos. The closing items of the concert were #ed_op#I#ed_cl#Tarangam#ed_op#/I#ed_cl# in #ed_op#I#ed_cl#Bilahari#ed_op#/I#ed_cl#, a Ramadas #ed_op#I#ed_cl#kirtana#ed_op#/I#ed_cl# tuned by their guru Nedunuri and a bhajan. #ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#The first programme on the third day was a vocal concert by Vemuri Viswanath, an aspiring and talented singer. His renditions of #ed_op#I#ed_cl#Navaragamalika varnam#ed_op#/I#ed_cl#, #ed_op#I#ed_cl#Mahaganapathim#ed_op#/I#ed_cl# (#ed_op#I#ed_cl#Nata#ed_op#/I#ed_cl#), #ed_op#I#ed_cl#Kamakshi,#ed_op#/I#ed_cl# #ed_op#I#ed_cl#swarajathi#ed_op#/I#ed_cl# of Syamasastri, and as the main item, Dr. Balamurali's composition #ed_op#I#ed_cl#Sada tavapada Sannidhim#ed_op#/I#ed_cl# in #ed_op#I#ed_cl#Shanmukhapriya#ed_op#/I#ed_cl#, and the Ramadas #ed_op#I#ed_cl#kirtana#ed_op#/I#ed_cl# #ed_op#I#ed_cl#Entapanijesitivi Rama#ed_op#/I#ed_cl# were appealing. Viswanath was accompanied by G. Satish Babu on the violin and Sai Giridhar on the mridangam. The main programme was an instrumental ensemble comprising of D. Srinivas (veena), Surya Deepti (violin), M. L. N. Raju (mridangam) and M. Haribabu (ghatam). The group played with excellent coordination#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#DIV#ed_cl##ed_op#/DIV#ed_cl#


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sur
Sat 30 Jun, 2007 01:10

Re: CLASSICAL TRANQUILITY & MUSIC REVIEW
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#ed_op#TABLE cellSpacing=0 cellPadding=5 border=0#ed_cl##ed_op#TBODY#ed_cl##ed_op#TR#ed_cl##ed_op#TD class=black#ed_cl##ed_op#H3#ed_cl##ed_op#FONT color=#451528 size=5#ed_cl#Samandar - Rahul Shamra #ed_op#/FONT#ed_cl##ed_op#/H3#ed_cl##ed_op#SCRIPT#ed_cl#document.write('#ed_op#i#ed_cl#Aelina#ed_op#/i#ed_cl#,')#ed_op#/SCRIPT#ed_cl##ed_op#I#ed_cl#Aelina#ed_op#/I#ed_cl#, IndiaGlitz   [Tuesday, April 10, 2007] #ed_op#BR#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#TR#ed_cl##ed_op#TD class=black#ed_cl##ed_op#IMG src="http//img.indiaglitz.com/hindi/musicreviews/Rahul-Sharma-1004_1.jpg" align=right border=1#ed_cl# #ed_op#P align=justify #ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Santoor maestro Rahul Sharma is back. And this time around he takes you to #ed_op#STRONG#ed_cl#'A World Beneath The Ocean' -#ed_op#/STRONG#ed_cl# #ed_op#STRONG#ed_cl#'Samandar'.#ed_op#/STRONG#ed_cl# He tells a musical story of these very fascinating species and people of the ocean. He talks about underwater which is like another world, with its own life, myths and mysteries.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#When a track's title reads #ed_op#STRONG#ed_cl#'Mistress Of The Sea'#ed_op#/STRONG#ed_cl#, one is sure that it is going to be one haunting musical piece. That's exactly the way the track begins as the musical piece opens in a gripping manner but slow, subtle yet engaging coming musical binding happening through the amalgamation of various instruments including 'santoor'.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#After exactly a couple of minutes, the mood is changed completely as Rahul gets his 'santoor' storming the track and making #ed_op#STRONG#ed_cl#'Mistress Of The Sea'#ed_op#/STRONG#ed_cl# one enriching experience. More you listen to it, more you end up falling in love, especially if you are fond of Yash Chopra school of music!#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#STRONG#ed_cl#'Curse Of The Mermaid'#ed_op#/STRONG#ed_cl# - now could it have been more disturbing a title than this? One starts giving the track a close hearing right away to know what's in store since there is bound to be something different about it. A 15 minutes musical piece, it may well have been a record setting composition since the track just doesn't narrate a story, it is a story in itself.#ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Starting off in a haunting way with western instruments creating the right 'feel', one waits with bated breath for #ed_op#STRONG#ed_cl#'santoor'#ed_op#/STRONG#ed_cl# to arrive. Well, it arrives in an unexpected manner after #ed_op#STRONG#ed_cl#'Curse Of The Mermaid' #ed_op#/STRONG#ed_cl#is 3 minutes through. And just when one would have though that 'santoor' would be the mainstay of the track, it disappears once again!#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#STRONG#ed_cl#'Coral Reefs'#ed_op#/STRONG#ed_cl# takes you all the way down to the depth of the ocean as faint sounds kick start the proceedings. This time around, it's not a long wait for 'santoor' to arrive since it is present from the very beginning. Creating a melodious setting that could be a tune for a romantic number, it goes on well for some time before it becomes stagnant once again after a good stage had been set for it. This frequent change in mood does diverts the attention of a listener but thankfully that is not for long as 'santoor' arrives back on the scene in a while.#ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#There are no complains though in case of #ed_op#STRONG#ed_cl#'Sea Horses & Treasures'#ed_op#/STRONG#ed_cl# as #ed_op#STRONG#ed_cl#'santoor'#ed_op#/STRONG#ed_cl# forms the basis of some soothing melody that comes your way. The track moves on slowly without any ups and downs while 'santoor' too remains present in the entire duration of the track without making an unexpected vanishing act, as has been the case in number of tracks preceding it.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#There is a faint sound from down under in case of #ed_op#STRONG#ed_cl#'Deep Sea Divers'#ed_op#/STRONG#ed_cl# that turns out to be a better listening experience than 'Sea Horses & Treasures', partly because it has that conventional Hindi film music appeal to it which makes it quite identifiable for one and all. There are different moods brought in the track through the way 'santoor' is paced with just the right pauses in the interim that makes 'Deep Sea Divers' an enjoyable experience.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Lastly comes #ed_op#STRONG#ed_cl#'Legends Of The Sea Goddess'#ed_op#/STRONG#ed_cl#, which as per the track's title, begins on an haunting note. There is a certain mystery in the manner this track is developed with a slow yet gradual movement in the track. What is noticeable though is the sound of 'santoor' where the notes used are completely different from what one has been used to hearing from Rahul Sharma. Two minutes into the track and the tune starts becoming increasingly enjoyable with the tempo building up as a result of number of musical instruments coming together. Truly one of the best tracks in the album that brings 'Samandar' to an apt ending.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Rahul Sharma has been known for picking up various themes for each of his offerings. This time around he brings an ocean to tune and mesmerizes once again with his brilliancy and hold behind his art.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#/TBODY#ed_cl##ed_op#/TABLE#ed_cl##ed_op#DIV#ed_cl##ed_op#/DIV#ed_cl#


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Raja
Sat 07 Jul, 2007 10:53

Re: CLASSICAL TRANQUILITY & MUSIC REVIEW
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#ed_op#P#ed_cl##ed_op#A title="Permanent Link: Fusion takes classical music to world stage: Shivkumar Sharma" href="http://www.freshnews.in/fusion-takes-classical-music-to-world-stage-shivkumar-sharma-11971" rel=bookmark unQBp="0" jDSjZ="0"#ed_cl##ed_op#FONT size=5#ed_cl#Fusion takes classical music to world stage: Shivkumar Sharma#ed_op#/FONT#ed_cl##ed_op#/A#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl# #ed_op#/P#ed_cl##ed_op#P align=justify unQBp="2" jDSjZ="0"#ed_cl##ed_op#FONT color=#111111#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#New Delhi, June 30 (IANS) Fusing modern elements with India’s traditional music #ed_op#/FONT#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl# is good experimentation, says Pandit Shivkumar Sharma, one of India’s most well-known classical instrumentalists who not only popularised the santoor but also enjoyed a successful stint as a #ed_op#/FONT#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Bollywood#ed_op#/FONT#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#  film composer.#ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P align=justify unQBp="2" jDSjZ="0"#ed_cl##ed_op#FONT face="Arial Narrow" color=#111111 size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#A id=more-11971#ed_cl##ed_op#FONT face="Arial Narrow" color=#111111 size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#/A#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" color=#111111 size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#FONT face=verdana color=#000000 size=2#ed_cl##ed_op#/P#ed_cl##ed_op#P align=justify unQBp="0" jDSjZ="0"#ed_cl##ed_op#FONT color=#111111#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#“Many different things are happening in the classical music#ed_op#/FONT#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl# field today and one such thing is fusion,” said Sharma, who is held as being the single most important factor behind the popularity of the santoor.#ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P align=justify unQBp="0" jDSjZ="0"#ed_cl##ed_op#FONT face="Arial Narrow" color=#111111 size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P unQBp="0" jDSjZ="0"#ed_cl##ed_op#FONT face="Arial Narrow" color=#111111 size=4#ed_cl#“I feel fusion is good because it is definitely taking classical music to the world stage. It is being appreciated globally,” Sharma told IANS, adding that the experimentation was also being appreciated globally.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P unQBp="0" jDSjZ="0"#ed_cl##ed_op#FONT face="Arial Narrow" color=#111111 size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P unQBp="0" jDSjZ="0"#ed_cl##ed_op#FONT face="Arial Narrow" color=#111111 size=4#ed_cl#Many of India’s classical musicians are now experimenting with digital mixing and incorporating Western instruments to tap into new audiences.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P unQBp="0" jDSjZ="0"#ed_cl##ed_op#FONT face="Arial Narrow" color=#111111 size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P unQBp="0" jDSjZ="0"#ed_cl##ed_op#FONT face="Arial Narrow" color=#111111 size=4#ed_cl#“Fusion is not tampering with classical music, it is just an experiment,” Sharma clarified.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P unQBp="0" jDSjZ="0"#ed_cl##ed_op#FONT face="Arial Narrow" color=#111111 size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P unQBp="0" jDSjZ="0"#ed_cl##ed_op#FONT color=#111111#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#“We all remember what Nusrat Fateh Ali Khan#ed_op#/FONT#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl# did with electronic music. He became such a craze,” said the globally popular musician #ed_op#/FONT#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#whose mastery over the instrument has made his name synonymous with the santoor.#ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P unQBp="0" jDSjZ="0"#ed_cl##ed_op#FONT face="Arial Narrow" color=#111111 size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P unQBp="0" jDSjZ="0"#ed_cl##ed_op#FONT color=#111111#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Sharma, who teamed up with flautist Hari Prasad Chaurasia to form the enormously successful composer duo Shiv-Hari to give music in films#ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#FONT color=#111111#ed_cl# like #ed_op#/FONT#ed_cl#“Silsila” and “Lamhe”, has passed on the baton to his son Rahul who is also a well-known santoor player.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P unQBp="0" jDSjZ="0"#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P unQBp="0" jDSjZ="0"#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#“Classical music needs a lot of dedication to master it; it is something which no one can learn in quick time,” Sharma said.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P unQBp="0" jDSjZ="0"#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P unQBp="0" jDSjZ="0"#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#“Its appeal is to the people who know it because it is difficult to understand the ragas. It is surely not meant for everyone to practise. But its melody can surely be appreciated by one and all.”#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P unQBp="0" jDSjZ="0"#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P unQBp="0" jDSjZ="0"#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#India’s classical music, which dates back to the oldest Hindu scriptures, have been practised for thousands of years by “gharanas” or music schools that specialise in a particular style.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P unQBp="0" jDSjZ="0"#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P unQBp="0" jDSjZ="0"#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#But classical traditions have always had limited appeal due to their complexity and need for rigorous practice.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P unQBp="0" jDSjZ="0"#ed_cl# #ed_op#/P#ed_cl##ed_op#P unQBp="0" jDSjZ="0"#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#People like Shivkumar Sharma are changing all that.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#DIV#ed_cl##ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#/DIV#ed_cl#


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king12
Sat 07 Jul, 2007 17:05

Re: CLASSICAL TRANQUILITY & MUSIC REVIEW
-----------------------------------
#ed_op#TABLE cellSpacing=0 cellPadding=0 width="100%" border=0#ed_cl##ed_op#TBODY#ed_cl##ed_op#TR#ed_cl##ed_op#TD#ed_cl##ed_op#FONT face="Arial Narrow" color=#451528 size=5#ed_cl##ed_op#STRONG#ed_cl#HINDI FILM SONGS - based on Ragas#ed_op#/STRONG#ed_cl##ed_op#/FONT#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#/TBODY#ed_cl##ed_op#/TABLE#ed_cl##ed_op#TABLE cellSpacing=0 cellPadding=0 width="100%" border=0#ed_cl##ed_op#TBODY#ed_cl##ed_op#TR#ed_cl##ed_op#TD vAlign=top#ed_cl##ed_op#P align=center#ed_cl# #ed_op#/P#ed_cl##ed_op#P align=center#ed_cl# #ed_op#/P#ed_cl##ed_op#TABLE cellSpacing=0 cellPadding=0 width="100%" border=0#ed_cl##ed_op#TBODY#ed_cl##ed_op#TR#ed_cl##ed_op#TD vAlign=top align=left width="50%" height=11#ed_cl##ed_op#P#ed_cl##ed_op#B#ed_cl##ed_op#A name=a#ed_cl##ed_op#/A#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Raga: Abhogi#ed_op#/FONT#ed_cl##ed_op#/B#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl# 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Adana#ed_op#/B#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Jhanak jhanak payal baje#ed_op#BR#ed_cl#Radhike toone bansari #ed_op#BR#ed_cl#Manmohan man mein ho tumhi#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#/TD#ed_cl##ed_op#TD vAlign=top align=left width="50%" height=2#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Jhanak Jhanak Payal Baje#ed_op#BR#ed_cl#Bhai Bhai#ed_op#BR#ed_cl#Kaise Kahoon#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#/TBODY#ed_cl##ed_op#/TABLE#ed_cl##ed_op#BR#ed_cl##ed_op#TABLE cellSpacing=0 cellPadding=0 width="100%" border=0#ed_cl##ed_op#TBODY#ed_cl##ed_op#TR#ed_cl##ed_op#TD vAlign=top align=left width="50%" height=204#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#B#ed_cl#Raga: Ahir Bhairav#ed_op#/B#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Puchho na kaise maine rain bitai#ed_op#BR#ed_cl#Ramka gun gaan kariye#ed_op#BR#ed_cl#Meri bina tum bin roye#ed_op#BR#ed_cl#Main to kabse teri sharan men#ed_op#BR#ed_cl#Zindagi ko sanvarana hoga#ed_op#BR#ed_cl#Sola barasaki bali umarko salam#ed_op#BR#ed_cl#Apne jeevan ki uljhan ko#ed_op#BR#ed_cl#Man Anand Anand Chhayo#ed_op#BR#ed_cl#Waqt karta jo wafa aap hamare#ed_op#BR#ed_cl#Ram teri ganga maili ho gayi#ed_op#BR#ed_cl#Meri galiyonse logonki yari badh#ed_op#BR#ed_cl#Chalo man jayen ghar apne#ed_op#BR#ed_cl#Albela sajan aayo re#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#/TD#ed_cl##ed_op#TD vAlign=top align=left width="50%" height=204#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Meri Surat Teri Aankhen#ed_op#BR#ed_cl#Ram Shyam Gun Gaan 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width="50%" height=60#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#National Anthem#ed_op#BR#ed_cl#Bawarchi#ed_op#BR#ed_cl#Parichay#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#/TBODY#ed_cl##ed_op#/TABLE#ed_cl##ed_op#BR#ed_cl##ed_op#TABLE cellSpacing=0 cellPadding=0 width="100%" border=0#ed_cl##ed_op#TBODY#ed_cl##ed_op#TR#ed_cl##ed_op#TD vAlign=top align=left width="50%" height=52#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#B#ed_cl#Raga: Asavari#ed_op#/B#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Mujhe galese lagalo bahut udas#ed_op#BR#ed_cl#Chale jana nahin naina milake#ed_op#BR#ed_cl#Piya te kaha#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#/TD#ed_cl##ed_op#TD vAlign=top align=left width="50%" height=52#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Aaj aur Kaal#ed_op#BR#ed_cl#Badi Bahen#ed_op#BR#ed_cl#Toofan aur Diya#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#/TBODY#ed_cl##ed_op#/TABLE#ed_cl##ed_op#P align=left#ed_cl##ed_op#BR#ed_cl# #ed_op#/P#ed_cl##ed_op#TABLE cellSpacing=0 cellPadding=0 width="100%" border=0#ed_cl##ed_op#TBODY#ed_cl##ed_op#TR#ed_cl##ed_op#TD vAlign=top align=left width="50%" height=135#ed_cl##ed_op#P#ed_cl##ed_op#B#ed_cl##ed_op#A name=b#ed_cl##ed_op#/A#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Raga: Bageshri#ed_op#/FONT#ed_cl##ed_op#/B#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Jag dard-e-ishq jaag#ed_op#BR#ed_cl#Radha na bole na bole#ed_op#BR#ed_cl#Bedardi dagabaz ja tu nahin#ed_op#BR#ed_cl#Chah barbad karegi#ed_op#BR#ed_cl#Jao jao nand ke lala#ed_op#BR#ed_cl#Aaja re, paradesi#ed_op#BR#ed_cl#Ghadi Ghadi mera dil dhadke#ed_op#BR#ed_cl#Hamse aya na gaya#ed_op#BR#ed_cl#Poochhta jaa mere marghatse#ed_op#BR#ed_cl#Chaman men rang-e-bahar#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#/TD#ed_cl##ed_op#TD vAlign=top align=left width="50%" height=135#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Anarkali#ed_op#BR#ed_cl#Azad#ed_op#BR#ed_cl#Bluff Master#ed_op#BR#ed_cl#Shah Jahan#ed_op#BR#ed_cl#Rangoli#ed_op#BR#ed_cl#Madhumati#ed_op#BR#ed_cl#Madhumati#ed_op#BR#ed_cl#Dekh Kabir Roya#ed_op#BR#ed_cl#A Ghazal by Gulam Ali#ed_op#BR#ed_cl#Ghazal by Gulam Ali#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#/TBODY#ed_cl##ed_op#/TABLE#ed_cl##ed_op#BR#ed_cl##ed_op#TABLE cellSpacing=0 cellPadding=0 width="100%" border=0#ed_cl##ed_op#TBODY#ed_cl##ed_op#TR#ed_cl##ed_op#TD vAlign=top align=left width="50%" height=49#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" 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re#ed_op#BR#ed_cl#Jyoti kalash chhalke#ed_op#BR#ed_cl#Jab nil gagan ki chhaon mein#ed_op#BR#ed_cl#Achyutam keshavam ram#ed_op#BR#ed_cl#Jaun tore charan kamal par vari#ed_op#BR#ed_cl#Om namah shivay#ed_op#BR#ed_cl#Panchhi banu udti firun mast#ed_op#BR#ed_cl#Dekha ek khwab to yeh silsile#ed_op#BR#ed_cl#In ankhon ki masti ke, mastane#ed_op#BR#ed_cl#Dil hun hun kare#ed_op#BR#ed_cl#He Govind, He Gopal, He Dayaal#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#/TD#ed_cl##ed_op#TD vAlign=top align=left width="50%" height=220#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Aradhana#ed_op#BR#ed_cl#Love in Tokyo#ed_op#BR#ed_cl#Sehraa#ed_op#BR#ed_cl#Bhabhi Ki Chudiyan#ed_op#BR#ed_cl#Amrapali#ed_op#BR#ed_cl#<shloka>#ed_op#BR#ed_cl#Sur Sangam#ed_op#BR#ed_cl#Bhairavi#ed_op#BR#ed_cl#Chori Chori#ed_op#BR#ed_cl#Silsila#ed_op#BR#ed_cl#Umrao Jaan#ed_op#BR#ed_cl#Rudaali#ed_op#BR#ed_cl#Bhajan by Jagjeet Singh#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#/TBODY#ed_cl##ed_op#/TABLE#ed_cl##ed_op#BR#ed_cl##ed_op#TABLE cellSpacing=0 cellPadding=0 width="100%" border=0#ed_cl##ed_op#TBODY#ed_cl##ed_op#TR#ed_cl##ed_op#TD vAlign=top align=left width="50%" height=44#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#B#ed_cl#Raga: Bhupali Todi#ed_op#/B#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#O zindagi ke denevale#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#/TD#ed_cl##ed_op#TD vAlign=top align=left width="50%" height=44#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Nagin#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#/TBODY#ed_cl##ed_op#/TABLE#ed_cl##ed_op#BR#ed_cl##ed_op#TABLE cellSpacing=0 cellPadding=0 width="100%" border=0#ed_cl##ed_op#TBODY#ed_cl##ed_op#TR#ed_cl##ed_op#TD vAlign=top align=left width="50%" height=150#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#B#ed_cl#Raga: Bihag#ed_op#/B#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Tere sur aur mere geet#ed_op#BR#ed_cl#Koi gata, main so jata#ed_op#BR#ed_cl#Tere pyar men dildar#ed_op#BR#ed_cl#Ae dil beqarar jhum#ed_op#BR#ed_cl#Hamare dilse na jaanaa#ed_op#BR#ed_cl#Chalenge tir jab dil par#ed_op#BR#ed_cl#Zindagi ke safar men gujar jate#ed_op#BR#ed_cl#Yeh kya jagah hai doston#ed_op#BR#ed_cl#Meri ladli re, meri ladli#ed_op#BR#ed_cl#Tujhe jeevan ki dor se baandh#ed_op#BR#ed_cl#Hamare dilse na jaanaa#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#/TD#ed_cl##ed_op#TD vAlign=top align=left width="50%" height=150#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Goonj Uthi Shehnai#ed_op#BR#ed_cl#Alaap#ed_op#BR#ed_cl#Mere Mehboob#ed_op#BR#ed_cl#Shah Jahan#ed_op#BR#ed_cl#Udan Khatola#ed_op#BR#ed_cl#Kohinoor#ed_op#BR#ed_cl#Aap Ki Kasam#ed_op#BR#ed_cl#Umrao Jaan#ed_op#BR#ed_cl#Andaaz (old)#ed_op#BR#ed_cl#Asli Naqli#ed_op#BR#ed_cl#Udan Khatola#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#/TBODY#ed_cl##ed_op#/TABLE#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#B#ed_cl#Raga: Bilaskhani Todi#ed_op#BR#ed_cl##ed_op#/B#ed_cl#Jhoothay naina bolay - Lekin #ed_op#BR#ed_cl#Diya na bujhegi, aaj hamara #ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#B#ed_cl#Raga: Basant Mukhari#ed_op#/B#ed_cl##ed_op#BR#ed_cl#O basanti pavan pagal - Jis Desh Me Ganga Behti Hai #ed_op#BR#ed_cl#Vada kar le sajna - Haath ki Safai#ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#B#ed_cl##ed_op#A name=c#ed_cl##ed_op#/A#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Raga: Chandrakauns#ed_op#BR#ed_cl##ed_op#/FONT#ed_cl##ed_op#/B#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Tu hi tu main seva karu #ed_op#BR#ed_cl#San sanna sanna sanna, jao re o pavan #ed_op#BR#ed_cl#Majhi re himmat na har #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#B#ed_cl#Raga: Charukeshi#ed_op#/B#ed_cl##ed_op#BR#ed_cl#Bainya na dharo, o balama - Dastak (old)#ed_op#BR#ed_cl#Aaj dilpe koi jor chalta nahin - Milan #ed_op#BR#ed_cl#Kabhi raat din hum dur the - Aamne Saamne #ed_op#BR#ed_cl#Ek tu na mila - Himalay ki Godmen #ed_op#BR#ed_cl#Akele hain chale aao - Raaz #ed_op#BR#ed_cl#Bekhudimen sanam kisi rahamen kisi modpar - Mere Humsafar #ed_op#BR#ed_cl#Megha re Megha re... - Pyaasa#ed_op#BR#ed_cl#Bedardi balama tujh ko, mera man yaad karta hai - Aarzoo#ed_op#BR#ed_cl#Shyam teri bansi pukare radha naam - Geet Gata Chal#ed_op#BR#ed_cl#Jaan-e-jaana...Jab jab teri surat dekhun - Janbaaz#ed_op#BR#ed_cl#Chhod de sari duniya kisike liye - Saraswati Chandra #ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#B#ed_cl#Raga: Chhayanat#ed_op#BR#ed_cl##ed_op#/B#ed_cl#Chanda re, ja re ja re - Ziddi (old)#ed_op#BR#ed_cl#Baad muddat ki yeh ghadi aayi - Jahan Aara#ed_op#BR#ed_cl#Hum bekhudi mein tumko pukaare chale gaye - Kaala Paani#ed_op#BR#ed_cl#Tere naina talaash karen jise - Talaash#ed_op#BR#ed_cl#Chaina nahin aye, kahan dil jaye - Samundar #ed_op#BR#ed_cl#Zan Zan Zan Zan payal baje#ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#BR#ed_cl# #ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#B#ed_cl##ed_op#A name=d#ed_cl##ed_op#/A#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Raga: Darbari#ed_op#/FONT#ed_cl##ed_op#/B#ed_cl##ed_op#BR#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Ye Hawa Ye Raat Ye Chaandni - Sangdil#ed_op#BR#ed_cl#Bahon Ke Darmiyan - Khamoshi (new)#ed_op#BR#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#B#ed_cl#Raga: Darbari Kanada#ed_op#/B#ed_cl##ed_op#BR#ed_cl#Dil jalta hai to jalne de - Pehli Nazar#ed_op#BR#ed_cl#O duniyake rakhawale - Baiju Bawra #ed_op#BR#ed_cl#Tute hue khvabonne - Madhumati #ed_op#BR#ed_cl#Mohabbat ki jhuthi kahani pe roye - Mugal-e-azam #ed_op#BR#ed_cl#Tora man darpan kehlaye - Kaajal #ed_op#BR#ed_cl#Daiya re daiya laj mohe lage - Leader #ed_op#BR#ed_cl#Guzre hai aaj ishqmen - Dil Diya Dard Liya #ed_op#BR#ed_cl#Raha gardishonmen haradam - Do Badan #ed_op#BR#ed_cl#Jhanak jhanak tori baje payeliya - Mere Huzoor #ed_op#BR#ed_cl#Hum tujh se muhabbat kar ke - Awara #ed_op#BR#ed_cl#Teri duniya mein dil lagta nahin - Baware Nain #ed_op#BR#ed_cl#Mere mehboob shayad aaj kuchh - Kitne Paas Kitne Door#ed_op#BR#ed_cl#Ghoonghat ke pat khol re - Jogan #ed_op#BR#ed_cl#Dekha hai pehli baar - Saajan #ed_op#BR#ed_cl#Tumhe zindagi ke ujale mubarak - Poornima #ed_op#BR#ed_cl#Ishwar satya hai - Satyam Shivam Sundaram#ed_op#BR#ed_cl#Kitna hasin hai mausam - Azad #ed_op#BR#ed_cl#Hum tum se juda ho ke - Ek Sapera Ek Lutera #ed_op#BR#ed_cl#Aap ki nazaron ne samajha - Anpadh #ed_op#BR#ed_cl#Ud ja bhanwar maya kamal ka - Rani Roopmati #ed_op#BR#ed_cl#Koi matwala ayaa more dware - Love In Tokyo#ed_op#BR#ed_cl#Pag ghoongroo bandh meera naachi thi - Namak Halal #ed_op#BR#ed_cl#Yaad mein teri jaag jaag ke hum - Mere Mehboob#ed_op#BR#ed_cl#Tu pyarka sagar hai - Seema#ed_op#BR#ed_cl#Hangama hai kyon barpa - A Ghazal by Ghulam Ali#ed_op#BR#ed_cl#Pag ghoongroo bandh meera naachi thi - Namak Halal#ed_op#BR#ed_cl#Ab kahan jayen ham - Ujala#ed_op#BR#ed_cl#Nainheenko raah dikha prabhu - Bhakta Surdaas #ed_op#BR#ed_cl#Shayerana se hai zindagi ke adaa - Phir Teri Kahani Yaad Aye #ed_op#BR#ed_cl#Jay Radha madhav Jai kunjbihari - Bhajan by Jagjit Singh #ed_op#BR#ed_cl##ed_op#BR#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#B#ed_cl#Raga: Desh#ed_op#/B#ed_cl##ed_op#BR#ed_cl#Phir kahin koi phul khila - Anubhav#ed_op#BR#ed_cl#Bekasi hadse jab guzar jaye - Kalpana#ed_op#BR#ed_cl#Door Koi Gaaye, dhun yeh sunaye - Baiju Bawra #ed_op#BR#ed_cl#Pyaar Hua Chupke se - 1942, A Love Story#ed_op#BR#ed_cl#Om jai jagadish hare - Poorab Aur Pashchim#ed_op#BR#ed_cl#Phir kahin koi phool khila, chaahat na kaho usko - Anubhav#ed_op#BR#ed_cl#Vande mataram#ed_op#BR#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#B#ed_cl#Raga: Desi#ed_op#/B#ed_cl# #ed_op#BR#ed_cl#Aaj gaavat man mero jhumke - Baiju Bawra #ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#B#ed_cl#Raga: Durga#ed_op#/B#ed_cl##ed_op#BR#ed_cl#Geet gaya pattharon ne - Geet Gaya Pattharon ne #ed_op#BR#ed_cl#Chanda re mori patiya le ja - Miss Mary #ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#B#ed_cl#Raga: Dhani#ed_op#/B#ed_cl##ed_op#BR#ed_cl#Prabhu tero nam jo gae phal - Hum Dono#ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#B#ed_cl##ed_op#A name=g#ed_cl##ed_op#/A#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Raga: Gara#ed_op#/FONT#ed_cl##ed_op#/B#ed_cl##ed_op#BR#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Tere mere sapne ab ek rang hain - Guide #ed_op#BR#ed_cl#Jivanmen piya tera sath rahe - Gunj Uthi Shehnai #ed_op#BR#ed_cl#Raghupati raghav raja ram - Bhajan #ed_op#BR#ed_cl#Thumak chalat ram chandra - Bhajan #ed_op#BR#ed_cl#Aise to na dekho - Teen Deviyan #ed_op#BR#ed_cl#Kabhi khud pe kabhi haalat pe ronaa aaya - Hum Dono#ed_op#BR#ed_cl#Mohe panghat pe nandlal chher gayo re - Mughal-e-Aazam#ed_op#BR#ed_cl#Unke khayaal aaye to aate chale gaye - Lal Patthar#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#B#ed_cl#Raga: Gaud Malhar#ed_op#/B#ed_cl# #ed_op#BR#ed_cl#Garajat barsat savan ayo re - Barsaat Ki Raat (old) #ed_op#BR#ed_cl#Jhir jhir barase savani ratiyan - Ashirvad #ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#B#ed_cl#Raga: Gaud Sarang#ed_op#/B#ed_cl##ed_op#BR#ed_cl#Allah tero naam - Hum Dono#ed_op#BR#ed_cl#Naadir deem, ta na dere na - Pardesi#ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#B#ed_cl#Raga: Gurjari Todi#ed_op#/B#ed_cl# #ed_op#BR#ed_cl#Ek tha bachapan - Ashirvad#ed_op#BR#ed_cl#Jaa-jaa re ai pathikwa - Lekin#ed_op#BR#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#B#ed_cl##ed_op#A name=h#ed_cl##ed_op#/A#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Raga: Hamir#ed_op#BR#ed_cl##ed_op#/FONT#ed_cl##ed_op#/B#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Madhuban men radhika nache re - Kohinoor#ed_op#BR#ed_cl#Jao re jogi tum - Amrapali#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#B#ed_cl#Raga: Hansdhwani#ed_op#BR#ed_cl##ed_op#/B#ed_cl#Jaa tose nahin boloon kanhaiya - Parivaar#ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#B#ed_cl#Raga: Hemant#ed_op#BR#ed_cl##ed_op#/B#ed_cl#Yad piyaki aye - A Thumri by Ustaad Bade Ghulam Ali Khan#ed_op#BR#ed_cl#Udajare ja re kaga - Meera bhajan by Lata Mangeshkar#ed_op#BR#ed_cl#Tumbin jeevan kaise - by Manna Dey #ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#B#ed_cl##ed_op#A name=j#ed_cl##ed_op#/A#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Raga: Jaijaiwanti#ed_op#BR#ed_cl##ed_op#/FONT#ed_cl##ed_op#/B#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Manmohana bade jhoothe, haar ke haar na maanein - Seema#ed_op#BR#ed_cl#Bairan ho gai raina - Dekh Kabir Roya #ed_op#BR#ed_cl#Zindagi aaj mere namse sharamati hai #ed_op#BR#ed_cl#Yeh dilki lagi kam kya hogi - Mugal e Azam #ed_op#BR#ed_cl#Dost bankar bhi nahin saath nibhanevala - A Ghazal by Ghulam Ali #ed_op#BR#ed_cl#Suni suni saans kay sitaar par - Lal Patthar #ed_op#BR#ed_cl#Thumak chalat Ramchandra, baajat paijaniya - Bhajan #ed_op#BR#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#B#ed_cl#Raga: Jaunpuri#ed_op#/B#ed_cl##ed_op#BR#ed_cl#Dil chher koi aisa naghma - Inspector#ed_op#BR#ed_cl#Ghunghat ke pat khol re tohe piya milenge - Jogan#ed_op#BR#ed_cl#Jaayen to jaayen kahaan, samjhega kaun yahaan - Taxi Driver#ed_op#BR#ed_cl#Meri yaad mein tum na aansu bahaana - Madhosh#ed_op#BR#ed_cl#Muhabbat ki jhoothi kahani pe roye - Mughal-E-Azam#ed_op#BR#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#B#ed_cl#Raga: Jhinjhoti#ed_op#/B#ed_cl##ed_op#BR#ed_cl#Mere mehboob tujhe meri muhabbat ki kasam - Mere Mehboob #ed_op#BR#ed_cl#Jaun kahan bataaye dil - Chhoti Bahen #ed_op#BR#ed_cl#Tum mujhe yun bhula na pao ge - Pagla Kahin Ka #ed_op#BR#ed_cl#Teri ankhoke siva duniyamen - Chirag #ed_op#BR#ed_cl#Mose chal kiye jaye hai re hai hai dekho saiyan beiman - Guide #ed_op#BR#ed_cl#Ja ja re ja, balmava - Basant Bahar #ed_op#BR#ed_cl#Koi hamdam na raha, koi sahara na raha - Jhumroo#ed_op#BR#ed_cl#Ghungharoo ki tarah, bajata hi raha hoon main - Chor Machaaye Shor#ed_op#BR#ed_cl#Chhup gaya koi re durase pukarake - Champakali #ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#B#ed_cl#Raga: Jogiya#ed_op#BR#ed_cl##ed_op#/B#ed_cl#Dil ek mandir - Dil ek mandir hai#ed_op#BR#ed_cl#Kah do koi na kare yahaan pyaar - Goonj Uthi Shehnai#ed_op#BR#ed_cl#Raat bhar ka hai mehmaan andhera - Sone Ki Chidiya#ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#B#ed_cl##ed_op#A name=k#ed_cl##ed_op#/A#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Raga: Kafi#ed_op#/FONT#ed_cl##ed_op#/B#ed_cl##ed_op#BR#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Kali ghodi dwar khadi - Chashme-baddoor#ed_op#BR#ed_cl#Biraj me holi khelat nand lal - Godaan#ed_op#BR#ed_cl#Gairon pe karam apnon pe sitam - Aankhen (old) #ed_op#BR#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#B#ed_cl#Raga: Kalavati#ed_op#/B#ed_cl##ed_op#BR#ed_cl#Hay re vo din kyun na aye - Anuradha#ed_op#BR#ed_cl#Kahe tarasae jiyara - Chitralekha#ed_op#BR#ed_cl#Koi sagar dilko bahalata nahin - Dil Diya Dard Liya #ed_op#BR#ed_cl#Hai agar dushman dushman, zamaana ghum nahin - Hum Kisi Se Kam Nahin#ed_op#BR#ed_cl#Subah aur sham kamhi kam - Uljhan#ed_op#BR#ed_cl#Bhajan bina chain naa aye ram - Rafoochakkar#ed_op#BR#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#B#ed_cl#Raga: Kalingda#ed_op#BR#ed_cl##ed_op#/B#ed_cl#Mohe bhool gaye saanwariya - Baiju Bawra#ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#B#ed_cl#Raga: Kalyan#ed_op#/B#ed_cl##ed_op#BR#ed_cl#Do naina matavale tihare - Choti Bahen #ed_op#BR#ed_cl#Janevale se mulakat na hone payi - Amar #ed_op#BR#ed_cl#Ansu bhari hai ye jivanki rahe - Parvarish #ed_op#BR#ed_cl#Jiya le gayo ji mora savariya - Anpadh #ed_op#BR#ed_cl#Mausam hai ashikana - Pakeezah #ed_op#BR#ed_cl#Inhi logone le lina dupatta mera - Pakeezah #ed_op#BR#ed_cl#Jab dip jale ana - Chit Chor #ed_op#BR#ed_cl#Woh sham kuchh ajib thi - Khamoshi (old) #ed_op#BR#ed_cl#Chandansa badan chanchal chitavan - Saraswati Chandra #ed_op#BR#ed_cl#Apke anurodhpe main ye geet - Anurodh #ed_op#BR#ed_cl#Bada dukh dina tere lakhanne - Ram Lakhan Yaad #ed_op#BR#ed_cl#"Breathless" - Breathless (Shankar Mahadevan)#ed_op#BR#ed_cl#Lagta nahin hai dil mera - Laal Quila #ed_op#BR#ed_cl#Man re tu kahe na dhir dhare - Chitralekha#ed_op#BR#ed_cl#Saranga teri yaadmen - Saaranga#ed_op#BR#ed_cl#Abhi na jao chhodkar - Hum Dono #ed_op#BR#ed_cl#Mere humsafar mere paas - Refugee#ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#B#ed_cl#Raga: Kamod#ed_op#BR#ed_cl##ed_op#/B#ed_cl#Eri jane na dungi - Chitralekha #ed_op#BR#ed_cl#Jao re jogi tum jao re - Amrapali #ed_op#BR#ed_cl#Tumko dekha to ye khayal aya - Saath Saath#ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#B#ed_cl#Raga: Kedar#ed_op#/B#ed_cl##ed_op#BR#ed_cl#Bekaspe karam kijie - Mugal-e-Azam#ed_op#BR#ed_cl#Humko manki shakti dena - Guddi #ed_op#BR#ed_cl#Pal do pal ka saath humara - The Burning Train #ed_op#BR#ed_cl#Aapki ankhonmen kucch - Ghar#ed_op#BR#ed_cl#Bole to basuri kahi - Saawan Ko Aane Do#ed_op#BR#ed_cl#Uthaye ja unke sitam - Andaaz (old)#ed_op#BR#ed_cl#Main paagal mera manwa paagal - Aashiana#ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#B#ed_cl#Raga: Khamaj #ed_op#/B#ed_cl##ed_op#BR#ed_cl#Ayo kahan se ghanashyam - Buddha Mil Gaya #ed_op#BR#ed_cl#Bada natkhat hai...ka kare yashoda maiya - Amar Prem #ed_op#BR#ed_cl#Vaishnav jan to - Narsinh Mehta Bhajan #ed_op#BR#ed_cl#Nazar lagi raja tore bungle par - Kaala Pani #ed_op#BR#ed_cl#Kuch to log kahenge - Amar Prem#ed_op#BR#ed_cl#Vaishnav jan to taine re kahiye (Bhajan)#ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#B#ed_cl#Raga: Kirwani#ed_op#/B#ed_cl##ed_op#BR#ed_cl#Mera dil ye pukare a ja - Nagin #ed_op#BR#ed_cl#Yaad na jaye bite dinonki - Dil Ek Mandir #ed_op#BR#ed_cl#Meri bhigi-bhigisi palakonpe - Anamika #ed_op#BR#ed_cl#Ye raten ye mausam nadika kinara - Dilli Ka Thug #ed_op#BR#ed_cl#Nind na mujhako ae - Post box No. 999#ed_op#BR#ed_cl#Pukarta chala hun main - Mere Sanam #ed_op#BR#ed_cl#Geet gata hun mai - Laal Pathhar #ed_op#BR#ed_cl#Anevala pal janevala hai - Golmaal#ed_op#BR#ed_cl#Bekaraar dil too gaaye ja - Door Ka Rahi#ed_op#BR#ed_cl#Mera dil ye pukaare aaja - Nagin#ed_op#BR#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#B#ed_cl##ed_op#A name=l#ed_cl##ed_op#/A#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Raga: Lalit#ed_op#BR#ed_cl##ed_op#/FONT#ed_cl##ed_op#/B#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Tu hai mera prem devta - Kalpana#ed_op#BR#ed_cl#Ik shahenshahne banvake hansi - Leader#ed_op#BR#ed_cl#Pritam daras dikhao - Chacha Zindabad#ed_op#BR#ed_cl#Koi paas aya savere savere - A Ghazal by Jagjit Singh#ed_op#BR#ed_cl#Tu nahin to mere liye - Tum Yaad Aaye#ed_op#BR#ed_cl#Raina biti jaye - Amar Prem#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#B#ed_cl##ed_op#A name=m#ed_cl##ed_op#/A#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Raga: Madhuvanti#ed_op#BR#ed_cl##ed_op#/FONT#ed_cl##ed_op#/B#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Rasm-e-ulfat ko nibhaayen, to nibhaayen kaise - Dil Ki Rahen#ed_op#BR#ed_cl#Ko birahini ko dukh jane - Chala Vahi Desh#ed_op#BR#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#B#ed_cl#Raga: Madhyamad Sarang#ed_op#BR#ed_cl##ed_op#/B#ed_cl#Aa laut ke aaja mere meet - Rani Roopmati#ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#B#ed_cl#Raga: Manjh Khammaj#ed_op#BR#ed_cl##ed_op#/B#ed_cl#Kaanha kanha aan padi re tere dwar - Aman #ed_op#BR#ed_cl#Jane kaise sapano me kho gai ankhiyan - Anuradha #ed_op#BR#ed_cl#Kaise dina bite kaise biti ratiyan piya jane na - Anuradha #ed_op#BR#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#B#ed_cl#Raga: Malgunji#ed_op#BR#ed_cl##ed_op#/B#ed_cl#Nain so nain nahi milo - Jhanak Jhanak Payal Baaje #ed_op#BR#ed_cl#Ghar a ja ghir aye badra - Chhote Nawab #ed_op#BR#ed_cl#Unko yeh shikayat hai - Adaalat (old) #ed_op#BR#ed_cl#Na jiya lage na - Anand #ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#B#ed_cl#Raga: Malkauns#ed_op#/B#ed_cl##ed_op#BR#ed_cl#Man tarapat hari darshanko - Baiju Bawra #ed_op#BR#ed_cl#Aadha hai chandrama rat adhi - Navrang #ed_op#BR#ed_cl#Tu chhupi hai kahan - Navrang#ed_op#BR#ed_cl#Aaye sur ke panchhi aaye - Sur Sangam#ed_op#BR#ed_cl#Ye kahani hai diyeki aur tufanaki - Tufan aur Diya#ed_op#BR#ed_cl#O pavanvegase udanevale ghode - Jai Chaittaur#ed_op#BR#ed_cl#Ankhiyana sang ankhiya lagi aaj - Bada Aadmi#ed_op#BR#ed_cl#Deep jalaye jo - Kalakaar#ed_op#BR#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#B#ed_cl#Raga: Mand#ed_op#/B#ed_cl##ed_op#BR#ed_cl#Tu chanda main chandani - Reshma aur Shera #ed_op#BR#ed_cl#Kesariya Balam - Lekin #ed_op#BR#ed_cl#Ab to hai tumse har khushi apni - Abhimaan #ed_op#BR#ed_cl#Piya piya bole mora kangana - Swarg Nark#ed_op#BR#ed_cl#Bachpan ki mohabbat ko - Baiju Baawara#ed_op#BR#ed_cl#Dheemo re chale re vaayariyo - Album (Piya Basanti)#ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#B#ed_cl#Raga: Maru Bihag#ed_op#BR#ed_cl##ed_op#/B#ed_cl#Matwaali naar thumak thumak#ed_op#BR#ed_cl#Tum to pyar ho sajna - Sehra#ed_op#BR#ed_cl#Jamunaa kinare aaja chaliya pukare aaja - Mehbooba#ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#B#ed_cl#Raga: Marwa#ed_op#/B#ed_cl##ed_op#BR#ed_cl#Payeliya bavari - Saaz aur Aawaz#ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#B#ed_cl#Raga: Megh#ed_op#/B#ed_cl##ed_op#BR#ed_cl#Mahefil men baar baar kisi par nazar gai - A Ghazal by Gulam Ali#ed_op#BR#ed_cl#Konpalen phir fut ayi - A Ghazal by Mehdi Hassan #ed_op#BR#ed_cl#Kahan se aye badra - Chashm-e-Badoor #ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#B#ed_cl#Raga: Megh Malhar#ed_op#/B#ed_cl##ed_op#BR#ed_cl#Dukh bhare din bite re bhaiya - Mother India #ed_op#BR#ed_cl#Tan rangalo ji aaj man ranga lo baraso re - Tansen#ed_op#BR#ed_cl#Kare kare badra - by Lata Mangeshkar#ed_op#BR#ed_cl#Ghata ghana ghora ghora - Tansen#ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#B#ed_cl#Raga: Miyan Ki Malhar#ed_op#/B#ed_cl##ed_op#BR#ed_cl#Bole re papihara - Guddi#ed_op#BR#ed_cl#Bhay bhanjana vandana sun humari - Basant Bahar #ed_op#BR#ed_cl#Baadal umad bhar aaye - Saaz#ed_op#BR#ed_cl#Ghir ghir aayi badariya kaari - Sardari Begum#ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#B#ed_cl#Raga: Miya ki Todi#ed_op#/B#ed_cl##ed_op#BR#ed_cl#Bhini bhini bhor aayi - Asha Bhosle's Album 'Dil Padosi Hai' #ed_op#BR#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#B#ed_cl#Raga: Mohanam (Carnatic)#ed_op#/B#ed_cl##ed_op#BR#ed_cl#Jyoti Kalas Jalke - Bhabhi Ki Chudiyaan#ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#B#ed_cl#Raga : Multani#ed_op#BR#ed_cl##ed_op#/B#ed_cl#Daya karo e girdhar-gopala#ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#B#ed_cl##ed_op#A name=n#ed_cl##ed_op#/A#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Raga: Nand#ed_op#/FONT#ed_cl##ed_op#/B#ed_cl##ed_op#BR#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Tu jahan jahan chalega - Mera Saaya #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#B#ed_cl##ed_op#A name=p#ed_cl##ed_op#/A#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Raga: Pahadi#ed_op#/FONT#ed_cl##ed_op#/B#ed_cl##ed_op#BR#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Sunri sakhi mohe sajna bulae - Nagin #ed_op#BR#ed_cl#O durke musaphir hamko bhi sath le le - Udan Khatola #ed_op#BR#ed_cl#Are ja re hato natakhat - Navrang #ed_op#BR#ed_cl#Chal ud jaa re panchi - Bhabhi #ed_op#BR#ed_cl#Koi pyaar ki dekhe jadugari - Kohinoor #ed_op#BR#ed_cl#Sakhi ri mera man umade tana dole - Nagin #ed_op#BR#ed_cl#Chaudavika chand ho - Chaudavi Ka Chand #ed_op#BR#ed_cl#Ye vadiyan phijae bula rahi - Aaj aur Kal #ed_op#BR#ed_cl#Tujhko pukare mera pyar - Neel Kamal #ed_op#BR#ed_cl#Aja re tujhko mera pyar pukare - Waqt#ed_op#BR#ed_cl#Do sitaaron ka zameen par hai milan aaj ki raat - Waqt#ed_op#BR#ed_cl#Din hai bahar ke tere mere - Waqt#ed_op#BR#ed_cl#Kaun aya hai nigahonmen chamak jag uthi - Waqt #ed_op#BR#ed_cl#Hum jab simatake aapki bahonmen - Waqt #ed_op#BR#ed_cl#Janevalo jara mudke dekho mujhe - Dosti#ed_op#BR#ed_cl#Chaahoonga main tujhe saanjh savere - Dosti#ed_op#BR#ed_cl#Gudiya hamse ruthi rahogi - Dosti #ed_op#BR#ed_cl#Lag ja gale ke phir ye hansi raat - Woh kaun thi?#ed_op#BR#ed_cl#Vahan kaun hai tera musaphir - Guide #ed_op#BR#ed_cl#Dil pukare aa re aa re - Jewel Thief #ed_op#BR#ed_cl#Rulake gaya sapna mera - Jewel Thief #ed_op#BR#ed_cl#Chalo dildaar chalo - Pakeezah#ed_op#BR#ed_cl#Aaja re, aaja re o mere dilbar aaja - Noorie #ed_op#BR#ed_cl#Kabhi kabhi mere dilmein - Kabhi Kabhi #ed_op#BR#ed_cl#Isharon isharon mein dil lenewale - Kashmir Ki Kali#ed_op#BR#ed_cl#Aaj ki raat mere dil ki salaami le le - Ram Aur Shyam#ed_op#BR#ed_cl#Neela aasman so gayaa - Silsila#ed_op#BR#ed_cl#Javaan hai mohabbat, hasin hai zamaana - Anmol Ghadi#ed_op#BR#ed_cl#Jo waada kiya wo nibhaana parega - Taj Mahal#ed_op#BR#ed_cl#Kora kaagaz tha ye man mera - Aaradhana#ed_op#BR#ed_cl#Meri aankhon mein bas gaya koi re - Barsat#ed_op#BR#ed_cl#O door ke musaafir, ham ko bhi saath le le - Udan Khatola#ed_op#BR#ed_cl#O mora naadaan baalama na jaane dil ki baat - Ujala#ed_op#BR#ed_cl#Saawan ka mahina, pawan kare sor - Milan#ed_op#BR#ed_cl#Shaam dhale khidki tale tum seeti bajaana chhor do - Albela#ed_op#BR#ed_cl#Suhaani raat dhal chuki, na jaane tum kab aayoge - Dulari#ed_op#BR#ed_cl#Tere mere honthon pe, meethe meethe geet mitava - Chaandani#ed_op#BR#ed_cl#Paayo ji maine ram ratan dhan paayo (Bhajan)#ed_op#BR#ed_cl#Aapko dekhke baadal ko pasinaa - Hum Aapke Dilmen Rahte Hai#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#B#ed_cl#Raga: Palasi#ed_op#BR#ed_cl##ed_op#/B#ed_cl#Gori tera gaanv bada pyara - Chit Chor#ed_op#B#ed_cl# #ed_op#/B#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#B#ed_cl#Raga: Patdeep#ed_op#BR#ed_cl##ed_op#/B#ed_cl#Saaz ho tum awaz hun main - Saaz aur Aawaz#ed_op#BR#ed_cl#Megha chhaye adhi raat - Sharmilee#ed_op#BR#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#B#ed_cl#Raga: Pilu#ed_op#/B#ed_cl# #ed_op#BR#ed_cl#Ajahun na aye balma - Sanjh Aur Savera #ed_op#BR#ed_cl#Jhoole mein pavanki ayi bahar - Baiju Bawra #ed_op#BR#ed_cl#More sainya ji utarenge paar nadiya dhire baho - Uran Khatola#ed_op#BR#ed_cl#Dheere se aaja ri akhiyan mein nindiya - Albela#ed_op#BR#ed_cl#Banwari Re Jeene Ka Sahara - Ek Phool Char Kante #ed_op#BR#ed_cl#Jaiye aap kahan jayenge - Mere Sanam #ed_op#BR#ed_cl#Dhoondho dhoondho re saajna - Ganga Jamuna #ed_op#BR#ed_cl#Allah megh de pani de - Guide #ed_op#BR#ed_cl#Kali ghata chhaye mora jiya ghabraye - Sujata#ed_op#BR#ed_cl#Tere bin soone nayan hamare - Meri Soorat Teri Aankhein#ed_op#BR#ed_cl#Pi ke ghar aaj pyari dulhaniya chali babul - Mother India #ed_op#BR#ed_cl#Nadiya kinare harayee aayee kangna - Abhiman #ed_op#BR#ed_cl#Ab ke baras bhejo bhaiya ko babul - Bandini #ed_op#BR#ed_cl#Baharon ne mera chaman loot kar - Devar #ed_op#BR#ed_cl#Kaun gali gaye shyam - Pakeezah #ed_op#BR#ed_cl#Tu jo mere sur men - Chitchor #ed_op#BR#ed_cl#Na jao saiyan chhuda ke baiyan - Sahib Biwi Aur Ghulam#ed_op#BR#ed_cl#Din sara guzara tore angana - Junglee #ed_op#BR#ed_cl#Mainu ishq lag gaya rog - Dil Hai Ke Maanta Nahin #ed_op#BR#ed_cl#Surmayi akhiyonmen nanha munna ek sapna de jaa re - Sadma#ed_op#BR#ed_cl#Apni kaho kuch meri suno - Parchhain#ed_op#BR#ed_cl#Ai meri johara zabeen, tujhe maaloom nahin - Waqt#ed_op#BR#ed_cl#Chandan ka palana resham ki dori - Shabab#ed_op#BR#ed_cl#More kaanha jo aaye palat ke - Sardari Begum#ed_op#BR#ed_cl#Raghuvar tumako meri laaj (Bhajan)#ed_op#BR#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#BR#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#B#ed_cl#Raga: Puriya Dhanashri#ed_op#/B#ed_cl##ed_op#BR#ed_cl#Tori Jai Jai Kartaar - Baiju Bawra#ed_op#BR#ed_cl#Ruk jao banavasi ram - Sampurna Ramayan#ed_op#BR#ed_cl#Rut aa gayi re, rut chha gayi re - 1947:Earth #ed_op#BR#ed_cl#Hai rama yeh kya hua - Rangeela#ed_op#BR#ed_cl#Meri sanson ko jo mehaka rahi hai - Badalte Rishtey#ed_op#BR#ed_cl#Tumne kya kya kiya hai hamare liye - Prem Geet#ed_op#BR#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#BR#ed_cl##ed_op#BR#ed_cl##ed_op#B#ed_cl##ed_op#A name=r#ed_cl##ed_op#/A#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Raga: Rageshri#ed_op#/FONT#ed_cl##ed_op#/B#ed_cl##ed_op#BR#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Mohabbat aisi dhadkan hai - Anarkali #ed_op#BR#ed_cl#Mere sang ga gunguna - Janwar #ed_op#BR#ed_cl#Kaun aaya mere manke dwaare - Dekh Kabira Roya #ed_op#BR#ed_cl#Mitva bole mithe bain - Parichay#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#B#ed_cl##ed_op#A name=s#ed_cl##ed_op#/A#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Raga: Sarang#ed_op#BR#ed_cl##ed_op#/FONT#ed_cl##ed_op#/B#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Aa laut ke aaja mere meet - Rani Roopmati#ed_op#BR#ed_cl#Savan aye ya na aye - Dil Diya Dard Liya#ed_op#BR#ed_cl#Dair-o-harammen basne waalon - Ghazal by Jagjit Singh#ed_op#BR#ed_cl#Saawan rut aaye dekho balam - Album (Piya Basanti)#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#B#ed_cl##ed_op#BR#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Raga: Shudh Kalyan#ed_op#/FONT#ed_cl##ed_op#/B#ed_cl##ed_op#BR#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Chand phir nikala - Paying Guest#ed_op#BR#ed_cl#Meri muhabbat javan rahegi - Janwar#ed_op#BR#ed_cl#Jahaan daal daal par sone ki cheediyaan - Sikandar-e-Azam#ed_op#BR#ed_cl#Chaand phir nikala, magar tum na aaye - Paying Guest#ed_op#BR#ed_cl#Rasik balama - Chori Chori#ed_op#BR#ed_cl##ed_op#BR#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#B#ed_cl#Raga: Shankara#ed_op#/B#ed_cl##ed_op#BR#ed_cl#Rumajhuma rumajhuma chala tihari - Tansen #ed_op#BR#ed_cl#Bolo bolo kanha bolo chhaliya - Chhaliya #ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#B#ed_cl#Raga: Shivranjani#ed_op#/B#ed_cl##ed_op#BR#ed_cl#Aawaz deke hamem tum bulao - Professor #ed_op#BR#ed_cl#Jaane kahaan gaye wo din - Mera Naam Joker #ed_op#BR#ed_cl#Sansar hai ek nadiya - Raftaar#ed_op#BR#ed_cl#Khabar meri naa lini re bahut din bite - Sant Gyaneshwar #ed_op#BR#ed_cl#Mere naina savan bhado - Mehbooba #ed_op#BR#ed_cl#Banake kyun bigada re - Zanjeer #ed_op#BR#ed_cl#Ai mere sanam ai mere sanam, do jism magar ek jaan - Sangam #ed_op#BR#ed_cl#Dil ke jharokhe mein tujhko bithakar - Bramhachari #ed_op#BR#ed_cl#Tere mere beech mein - Ek Duje ke liye #ed_op#BR#ed_cl#Kahin deep jale kahin dil - Bees Saal Baad #ed_op#BR#ed_cl#Tumhe dekhti hun to lagta hai aise - Tumhare Liye#ed_op#BR#ed_cl#Bahaaro phool barasaao, mera mehboob aaya hai - Suraj#ed_op#BR#ed_cl#Yaad teri aayegi, mujhko bara sataayegi - Ek Jaan Hain Ham#ed_op#BR#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#BR#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#B#ed_cl#Raga: Sindh Bhairavi#ed_op#BR#ed_cl##ed_op#/B#ed_cl#Ajahun na aye balma - Sanjh Aur Savera#ed_op#BR#ed_cl#Chhod gaye balam - Barsaat (old)#ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#B#ed_cl#Raga: Sohni#ed_op#BR#ed_cl##ed_op#/B#ed_cl#Jhumati gayi hawa, yaad aa gaya koi - Sangeet Samrat Tansen#ed_op#BR#ed_cl#Kuhu kuhu bole koyaliya - Swarn Sundari#ed_op#BR#ed_cl#Prem jogan ban ke - Mughal-e-Azam#ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#B#ed_cl#Raga: Sur Malhar#ed_op#BR#ed_cl##ed_op#/B#ed_cl#Dar lage garaje badariya - Ram Rajya#ed_op#B#ed_cl# #ed_op#/B#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#B#ed_cl##ed_op#A name=t#ed_cl##ed_op#/A#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Raga: Tilang#ed_op#BR#ed_cl##ed_op#/FONT#ed_cl##ed_op#/B#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Chhup gaye saare nazaare hoye kya baat ho gayi - Do Raaste#ed_op#BR#ed_cl#Chota sa baalama akhiyaan neend udaaye le gayo - Ragini#ed_op#BR#ed_cl#Rehte the kabhi jinake dil mein ham jaan se bhi - Mamta#ed_op#BR#ed_cl#Yahi armaan lekar aaj apne - Shabab#ed_op#BR#ed_cl#Itna to yaad hai mujhe - Mehboob ki Mehndi#ed_op#BR#ed_cl#Meri kahani bhulnevale - Deedar#ed_op#BR#ed_cl#Sajna sang kahe neha lagae - Main Nashe Me Hun#ed_op#BR#ed_cl#Lagan tose lagi balma - Dekh Kabir Roya#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#B#ed_cl#Raga: Tilak Kamod#ed_op#BR#ed_cl##ed_op#/B#ed_cl#Tumhare bin ji na lage gharmen - Bhumika#ed_op#BR#ed_cl#Jalta rahata din raina#ed_op#BR#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#B#ed_cl#Raga: Todi#ed_op#/B#ed_cl##ed_op#BR#ed_cl#Insan bano - Baiju Bawra #ed_op#BR#ed_cl#Mai to ek khvab hun - Himalaya Ki God Mein#ed_op#BR#ed_cl#Duniya na bhaye mohe, ab to bulale - Basant Bahar#ed_op#BR#ed_cl#Sun rasiya sun rasiya, kaahe ko jalaaye jiya aaja - Nagin#ed_op#BR#ed_cl#Too hai mera prem devta - Kalpana#ed_op#BR#ed_cl#Khuda e baratara teri jaminpar - Taj Mahal#ed_op#BR#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#B#ed_cl##ed_op#A name=v#ed_cl##ed_op#/A#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Raga: Vrindavani Sarang#ed_op#BR#ed_cl##ed_op#/FONT#ed_cl##ed_op#/B#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Jhutimuti batiya avan kahe - Rudali#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#B#ed_cl##ed_op#A name=v#ed_cl##ed_op#/A#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Raga: Yaman#ed_op#BR#ed_cl##ed_op#/FONT#ed_cl##ed_op#/B#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Aansu bhari hain ye jeevan ki raahein - Parvarish#ed_op#BR#ed_cl#Aap ke anurodh pe, main ye geet sunaata hoon - Anurodh#ed_op#BR#ed_cl#Bhooli huyi yaadon, mujhe itna na sataao - Sanjog#ed_op#BR#ed_cl#Chandan sa badan, chanchal chitavan - Saraswati Chandra#ed_op#BR#ed_cl#Chupa lo dil mein yoon pyaar mera - Mamta#ed_op#BR#ed_cl#Do naina matawaare tihaare, ham par zulm karen - Chhoti Bahan#ed_op#BR#ed_cl#Inhi logon ne le leena dupatta mera - Pakeezah#ed_op#BR#ed_cl#Jaane vaale se mulaaqaat na hone paayi - Amar#ed_op#BR#ed_cl#Jab deep jale aana, jab shaam dhale aana - Chitchor#ed_op#BR#ed_cl#Jiya le gayo re mora saanwariya - Anpadh#ed_op#BR#ed_cl#Mausam hai aashikaana, ai dil kahin se unko - Pakeezah#ed_op#BR#ed_cl#Nigahen milane ko jee chahata hai - Dil Hi To Hai#ed_op#BR#ed_cl#O ram ji, bada dukh deena - Ram Lakhan#ed_op#BR#ed_cl#Woh shaam kuchh ajeeb thi, ye shaam bhi ajeeb hai - Khamoshi#ed_op#BR#ed_cl#Ranjish hi sahi, dil hi dukhane ke liye aa (Ghazal)#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#B#ed_cl##ed_op#A name=v#ed_cl##ed_op#/A#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Raga: Yaman Kalyan#ed_op#BR#ed_cl##ed_op#/FONT#ed_cl##ed_op#/B#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Abhi na jayo chhor kar, ke dil abhi bhara nahi - Hum Dono#ed_op#BR#ed_cl#Ahsaan tera hoga mujh par - Junglee#ed_op#BR#ed_cl#Beeti na bitaayi raina - Parichay#ed_op#BR#ed_cl#Is mor se jaate hain - Aandhi#ed_op#BR#ed_cl#Lagta nahin hai dil mera - Laal Quila#ed_op#BR#ed_cl#Preetam aan milo#ed_op#BR#ed_cl#Saaranga teri yaad mein, nain huye bechain - Saaranga#ed_op#BR#ed_cl#Tere husn ki kya taarif karoon - Leader#ed_op#BR#ed_cl#Wo jab yaad aaye, bahut yaad aaye - Parasmani#ed_op#BR#ed_cl#Zindagi bhar naheen bhoolegi wo barsaat ki raat - Barsaat Ki Raat#ed_op#BR#ed_cl#Aaj jaane ki zid na karo (Geet)#ed_op#BR#ed_cl#Shri ram chandra kripaalu bhaj man (Bhajan)#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#/TBODY#ed_cl##ed_op#/TABLE#ed_cl##ed_op#DIV#ed_cl##ed_op#/DIV#ed_cl#


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Music
Sun 08 Jul, 2007 18:10

Re: CLASSICAL TRANQUILITY & MUSIC REVIEW
-----------------------------------
#ed_op#DIV#ed_cl##ed_op#STRONG#ed_cl##ed_op#FONT face="Arial Narrow" color=#996600 size=4#ed_cl#Raga to Rock, May15 – June 15 1999 #ed_op#BR#ed_cl##ed_op#BR#ed_cl##ed_op#/FONT#ed_cl##ed_op#/STRONG#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Up There with the other great Flautist, Pandit Ranendranath ‘Ronu’ Majumdar, talks about his esoteric craft. #ed_op#BR#ed_cl##ed_op#BR#ed_cl#PANDIT RANENDRANATH Majumdar, popularly known as Ronu Majumdar, is considered one of our leading Flautists. He belongs to the Maihar Gharana which has to its credit musicians of the eminence of Pandit Ravi Shankar and Ustad All Akbar Khan. Ronu’s mature and enriched Flute recitals truly reflect the features of the Maihar Gharana, with his tremendous breath control, presence of mind and dignifled handling of the ancient instrument. He displays an unlimited range of improvisations, and generates sound waves that gently encircle the listener and ultimately overwhelm him. When he plays his jhod portions, he creates an atmosphere of celebration and gaiety. The sober expansion of the ragas reveal his traditional grooming. Above all, the simplicity and modesty with which this profoundly religious man has digested his success, speaks a lot about his character. #ed_op#BR#ed_cl##ed_op#BR#ed_cl#Ronu has always been a star attraction at all major music festivals in India. A globe- trotter, he has performed all over Europe and America, and his programmes have had immense impact, motivating some leading practitioners of Western music to launch a series of musical encounters with him. He has played innumerable Jugalbandis with leading instrumentalists. He is an innovative composer and has scored music for projects like ‘Carrying Hope’, Travellers Tale’, Song of Nature’, ‘Koi Akela Kahan’, etc. He also appears regularly on television concerts hosted by channels like Star Plus and Music Asia. #ed_op#BR#ed_cl##ed_op#BR#ed_cl#Ronu’s training in music began very early in life. He was born in Benaras. His father detected his love for music and saw that he was a gifted child. At the age of four he took up the Flute. "Flute for me was a favourite sound since childhood", says Ronu. He began playing the Flute under the guidance of his father Dr.Bhanu Majumdar. He came to Bombay in 1973 with his father who was a senior disciple of Pandit Pannalal Ghosh, a pioneer of the Flute. Later he switched to Vocal music under the tutelage of the late Pandit Laxman Prasad Jaipurwala. His elder sister is a very good singer too. Says Ronu, "I learnt Vocal just for a better and deeper understanding of Hindustani Classical music. Flute always remained my first love." After a while he reverted back to the Flute, this time under the guidance of Pandit Vijay Raghav Rao. He is a devoted disciple with tremendous respect and reverence for his guru. The renowned Flautist moulded Ronu and turned his humble pupil into an accomplished instrumentalist. #ed_op#BR#ed_cl##ed_op#BR#ed_cl#"The road to success has been natural and steady for me," says Ronu. "I had never consciously planned to become a professional musician. It just happened naturally. In the initial years I used to stay at Ulhasnagar; I used to play in temples and gurudwaras. Invitations started flowing in for private programmes. My family was going through a financial crunch, so these small assignments were helpful. By this time I had realised that music was my life. This was the only thing that I enjoyed. If you desire to be deeply rooted in music you have to take it up professionally." In 1981 he received an offer from RD Burman. From that point onwards he played Flute for all of Burman’s songs, right up till ‘1942 – A Love Story’. #ed_op#BR#ed_cl##ed_op#BR#ed_cl#His career took an upturn in 1991 when he got an invitation from Malhar Rao Kulkarni for a Flute festival which he had planned in honour of four of the senior-most Flautists: Hariprasad Chaurasia, Vijay Raghav Rao, Davendra Mudleshwar and Pandit Raghunath Seth. Ronu was asked to play the last item.Says he: #ed_op#BR#ed_cl##ed_op#BR#ed_cl#"I was very nervous for I was asked to play in front of established and major artistes of a high calibre." #ed_op#BR#ed_cl##ed_op#BR#ed_cl#He played ‘Miyan Malhar’ and from that time onwards, he says, "I never looked back". Offers started flowing in from organisers of large concerts, music companies, etc." The first major offer was from Magnasound for ‘Song of Nature I’; ‘Travellers Tale’ and ‘Song of Nature Part II’ followed soon with Taufique and Raju Singh, the composer. Ronu composed for Kavita Krishnamurthy first private album, ‘Koi Akela Kahan’. lt would seem as if the almighty above has recognised this man’s worth and bestowed on him an unique opportunity in the form of an album, ‘Raag Parmeshwari’. Shyam Nayampalli, the A&R manager at Magasound, says, "Ronu was desirous of doing something different, unique in identity and solo. I had a vinyl record of ‘Raag Parmeshwari’. This raga was conceived and created by Pt. Ravi Shankar. He has played this raga not more than eight to ten times. After him, in all these years, no one has ever played this raga. Since Pt. Ronu Majumdar comes from the same gharana, and two generations down, he is the disciple of Pt. Ravi Shankar, why should he not try to play this raga? I suggested, and Ronu accepted the challenge to achieve this uphill task." Says Ronu: "Shymaji told me that Pt. Ravi Shankar’s original composition, of which he has a record, is so touching that it brings tears to his eyes. He asked me whether I could get that effect on my Flute. Shyamji said ‘If you can do it, the music fraternity would remain indebted to you’." #ed_op#BR#ed_cl##ed_op#BR#ed_cl#Ronu asked for time, which Magnasound gave him in abundance. Says he, "Though I had learned this raga from my guruji, Pt. Vijay Raghav Rao, it was not enough. To do full justice to this composition it had to be learned from its original creator. To feel the raga with all its intricacies, its actual structure and emotion, it was essential. Fortunately I got that opportunity. Panditji was performing at that time in London, and was recording ‘Chants of India’ with George Harrison. I was called there. I played on most of his project. In 1996 November I told Guruji that I want to play this raga for Magnasound. He was very pleased. He taught me the raga in all its totality. Panditji imparts, besides theoretical knowledge, the divinity and spirituality of Classical music to his students. I learnt ‘Raag Parmeshwari’ from him. After coming back I practiced for six months. Everyday, early in the morning, I practiced the raga for four hours to feel it very closely within me. I did not practice any other raga." #ed_op#BR#ed_cl##ed_op#BR#ed_cl#Ronu says that this raga is like an spiritual offering. It has got spiritual loneliness. Each andoIan of the note is full of depth and gambhir ras (seriousness). There is not a single chanchal bhav in it, which is why it should be played early in the morning. Ronu says the time conception behind the formation of Indian ragas is an unique feature. Nowhere else in the world will you find this. Ronu has learnt Western music from Stanley Gomes. "Pt. Ravi Shankar always says you must learn all types of music to appreciate your music," says Ronu. #ed_op#BR#ed_cl##ed_op#BR#ed_cl#‘Raag Parmeshwari’ is a combination of three raga ‘Rageshwari’, ‘Bageshwari’and ‘Ahir Bhairav’. Pt. Ronu Majumdar has rendered this raga with a Gayaki Angh for the first time on Bansuri. Abhijit Banerjee accompanies on the tabla. The album is considered a landmark. On one side we have ‘AIap Jod Jala’ in the Gayaki Angh, which is an unique approach in itself. On the other side, he has tried to maintain the authenticity of Dhamar, taking Bada Mukh ka Tabla which sounds like Pakhawaj. The raga comprises of the following notes in the Arohana (ascending) ‘Sa Re Ga Ma Dha Ni Sa’, and the Avorohana (descending) ‘Sa Ni Dha Ma Ga Re Sa’. There is a similarity between a Carnatic raga known as ‘Saraswati’. The notes are the same, but the Komal Ni (flattened seventh note) is not used in the Arohana in ‘Raag Saraswati’. #ed_op#BR#ed_cl##ed_op#BR#ed_cl#Ronu says, "Panditji’s personality and image have left a lasting impression on my mind and soul. Panditji has shown to the world that your character and personality reflect in your music. Commercially, we have to gimmick a raga. Panditji emphasizes the fact that while copying a raga, we must not change its structure. Purity is the second name of Classical music." #ed_op#BR#ed_cl##ed_op#BR#ed_cl#Ronu feels Panditji has changed the conception of Indian traditional music. He does not believe in the old competitive style, where one ustad would try to rise over the other. Earlier, a Jugalbandi was more like a battle. Today, thanks to Pt. Ravi Shankar and Ustad Allah Rakha, it is team-work and companionship. Ronu also says that if a performing artiste himself does not enjoy and feel elated while playing, how can he extract the same emotions from the general public, from his listeners? He believes that music to touch the heart must come from the heart. Thus, ‘Raag Parmeshwari’ has been rendered by Ronu with his entire heart, soul and being. He adds, "Shyamji has loved and felt ‘Parmeshwari’ more than me. For the fiirst time in my life, ii has happened in my music career that someone from a music company has suggested that I should sing this raga. I’am happy that I have done it." #ed_op#BR#ed_cl##ed_op#BR#ed_cl#What according to him is more difficult, Vocal or Instrumental music? He says in Vocal music there is complete freedom. "An instrument has its own limitations. So it is more difficult to arouse the desired effect. In Vocal, from ‘Sa’ to ‘Sa’, no meen is interrupted. Sarangi is the closest to Vocal as for as meen is concerned. As far as sound is concerned, the Flute is the closest for Vocal, because its sound comes from the lungs, whereas the Sarangi and Violin are played with the hands. #ed_op#BR#ed_cl##ed_op#BR#ed_cl#What future does he see for Classical instrumental music in India? "Oh! It’s very bright," he says. "More and more people are taking to instruments. People are learning the Sitar, Flute, Santoor. Flute is becoming very popular. Pt. Hariprasad Chaurasia picked up where Pannalal Ghosh had left. His contribution is great in the popularity of Flute. We, too, are trying in our own way. Bansuri is the most natural instrument. It originated in the jungles. The idea occurred while listening to the sweet notes generated by the blowing of wind through the holes carved on the bamboo sticks by pests and insects. For centuries it was the principal pastoral instrument. It was the genius of the late Pt. Pannalal Ghosh that elevated it to the status of a concert instrument. It shall always remain popular." How can we develop the taste for Classical music? Says Ronu: "I would love to answer this. I have always told people that on the spur of the moment do not comment that, oh, Classical music is very heavy. I can’t understand it. Don’t try to understand music, try to feel it. I have toured America and Europe. There I have seen four-year-old boys playing Mozart and Beethovan tunes. See! They are conscious. We need to develop consciousness amongst growing children. Western Classical music is a common subject in schools and colleges. In India we need to do the same thing. Indian Classical music should be made a common subject in schools and colleges. #ed_op#BR#ed_cl##ed_op#BR#ed_cl#"Classical music is not loud; it is not meant for stadiums. It is meant for a small audience and in that respect it is always going to live on," says Ronu. "Nowadays we have Fusion music. Some people say, ‘Why go into Fusion, it creates confusion’. My answer is ‘Fusion becomes confusion if the purity of the ragas is not maintained’. Fusion done in the purest form will help to create love and consciousness towards Indian Classical music at home and abroad. We can reach a wider audience." #ed_op#BR#ed_cl##ed_op#BR#ed_cl#Ronu says three great personalities have had an immense impact on him: Vivekananda, Osho Rajneesh and Pt. Ravi Shankar. Meditation and spiritualism are one step higher than music, he says. "An artiste should put emphasis on the emotional and devotional part of music. He should be himself and most genuine. His own satisfaction and, fulfillment of his spirituality, will reflect in his work." #ed_op#BR#ed_cl##ed_op#BR#ed_cl#As a composer, the project which is closest to his heart is ‘Carrying Hope’. It was conceived by Asha Rani Mathur. "I have not used a single depressing note on this album. How a mother feels after she conceives a child, till she delivers the child. This is what the cassette is about. As a music director this is my most precious creation," he says. People who never played under anyone have given their music on this cassette; Ashwini Bhide Deshpande sang Tarana in ‘Raga Bahar’ for the celebrations on childbirth. She has sung a lori. ‘Carrying Hope’ is a wonderful creation. Bhauddin Dagar has played on it. N Rajam, who is a Padmashri winner, has played for it. #ed_op#BR#ed_cl##ed_op#BR#ed_cl#"I would accept good compositional offers. I will give my original music if people are ready to accept. Originality and purity are two aspects on which I shall never compromise," says Pt. Ronu Majumdar. #ed_op#BR#ed_cl##ed_op#BR#ed_cl#Shyamji, of Magnasound, adds, "We are doing a unique project, a Jugalbandi between Remo Fernandes and Pt. Ronu Majumdar. Remo with his thorough knowledge of Western music on one side and Pt. Ronu Majumdar, with his intricacies in Classical, on the other. Their Jugalbandi is immensely captivating." #ed_op#/FONT#ed_cl##ed_op#BR#ed_cl##ed_op#/DIV#ed_cl#


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Raja
Sun 22 Jul, 2007 01:00

Re: CLASSICAL TRANQUILITY & MUSIC REVIEW
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#ed_op#DIV#ed_cl##ed_op#DIV id=imageArticleDiv style="BORDER-RIGHT: 10px; BORDER-TOP: 10px; LEFT: 0px; POSITION: relative"#ed_cl##ed_op#IMG id=artImage style="WIDTH: 743px; HEIGHT: 492px" height=492 src="http://epaper.hindustantimes.com/Web/HTMumbai/Photographs/2007/07/22/540/22_07_2007_540_002_009.jpg" width=870#ed_cl##ed_op#/DIV#ed_cl##ed_op#DIV style="BORDER-RIGHT: 10px; BORDER-TOP: 10px; LEFT: 0px; POSITION: relative"#ed_cl# #ed_op#/DIV#ed_cl##ed_op#DIV style="BORDER-RIGHT: 10px; BORDER-TOP: 10px; LEFT: 0px; POSITION: relative"#ed_cl##ed_op#DIV style="DISPLAY: none"#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#DIV style="DISPLAY: none"#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#He is another voice from our neigh- bourhood. After James and Glenn John of Bangladesh and Atif Aslam and Rahat Fateh Ali Khan of Pakistan, here's Ustad Rafaqat Ali Khan who makes his Indi- an debut with the album Nishaan. He's already hit the movie marquee with Krrish, Awarapan and more recently Dhokha. Less seen than heard, right now, I catch him at his friend's house in Andheri: Aren't Ustads usually supposed to be in their 50s? (Chuckles) No, no. I'm not in my 50s for sure.. but I'm old enough. I've been into classical singing for years. You know why I'm called Ustad? My father Ustad Nazakat Ali and uncle Ustad Salamat Ali Khan were classical and ghazal exponents. I belong to the Shaam Chaurasi gharana which has been serving classical music for 400 years now. It's a kind of khayal gayaki. I'm taking the tradition forward... so I'm an Ustad. How's Bombay treating you Ustadji? This is a dream city not only for me, but for zillions of young Pakistani boys and girls who wish to pursue a career in films or singing. What is the difference between the music and film industries of India and Pakistan? Here, the market is huge, the companies are big, they market you better. Work opportuni- ties are finer tuned than in Pakistan. But, Pakistan is slowly catching up. Also, Indian films and Indian music have a large market outside Asia. Pakistani music is more into classical, kalams and nazams. Here, playback is a more popular form of singing. Can music bridge the gap between the two nations? Why not? Terrestrial boundaries have never been able to change the jazba of music in either nation. Some musicians attained adulthood here and spent the rest of their lives there. Which Indian singers/composers are famous in Pakistan? Kailash Kher, Sunidhi Chauhan, Sonu Nigam, Shankar Mahadevan and Alka Yag- nik... actually most of them. Their concerts are packed. Do you consider Atif and Rahat Fateh Ali Khan competition? The market is huge here to accommodate all of us. Rahat Fateh Ali Khan filled up the vac- uum after Nusrat Fateh Ali Khan. How did you get into playback singing? I was at a party when Rakesh Roshan heard me singing. He introduced me to Rajesh Roshan. They gave me my first big break in India. I've done little work in the last year or so but my core area of work is private albums. Tell us about your album Nishaan? I've sung in different styles for different lis- teners. There's a Sufi touch to it. I've written a song as well. This is my first private album with an Indian company. 10 TOP GLOBAL 1 Enrique Iglesias: Do you know (Ping pong song) 2 Pussycat Dolls: Wait a minute 3 Avril Lavigne: Girlfriend girlfriend 4 Nelly Furtado: Say it right Shakira and Beyonce: 5 Beautiful liar 6 Wisin and Yendel: Rakata Timbaland with Nelly Furtado and 7 Justin Timberlake: Give it to me Justin Timberlake: What goes 8 around comes around 9 Eric Prydz Vs Floyd: Proper education 10 AKON: Don't matter 10 TOP INDIAN 1 Partner: You are my love 2 Naqab: Ek din 3 Cash: Cash 4 Abhijit Sawant: Junoon 5 Awarapan: Tera mera rishta remix 6 The Train: Mausam 7 Dj Aqueel: Vaada karo remix 8 Agnee: Shaam tanha 9 Jhoom Barabar Jhoom: Jhoom 10 Shootout at Lokhandwala: Aye Ganpat Tune into Fever 104 to listen to Hot 20, Monday to Friday from 8 to 10 pm #ed_op#/FONT#ed_cl##ed_op#/DIV#ed_cl##ed_op#DIV style="DISPLAY: none"#ed_cl# #ed_op#/DIV#ed_cl##ed_op#DIV style="DISPLAY: none"#ed_cl# #ed_op#/DIV#ed_cl##ed_op#/FONT#ed_cl##ed_op#/DIV#ed_cl##ed_op#/DIV#ed_cl##ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#/DIV#ed_cl#


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sur
Sun 22 Jul, 2007 01:52

Re: CLASSICAL TRANQUILITY & MUSIC REVIEW
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#ed_op#DIV#ed_cl##ed_op#A href="http://www.youtube.com/" name=&lid=Logo&lpos=GlobalNav#ed_cl##ed_op#IMG onmouseover="showDiv('logoHomeTip');" onmouseout="hideDiv('logoHomeTip');" height=63 alt=Home src="http://www.youtube.com/img/pic_youtubelogo_123x63.gif" width=123 border=0#ed_cl##ed_op#/A#ed_cl##ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl# #ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl# #ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Kahe Yeh Akhiyan Rafaqat Ali Khan#ed_op#/FONT#ed_cl##ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#A href="http://www.youtube.com/watch?v=Hgum2STOFQw"#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#http://www.youtube.com/watch?v=Hgum2STOFQw#ed_op#/FONT#ed_cl##ed_op#/A#ed_cl##ed_op#/DIV#ed_cl#


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sur
Tue 21 Aug, 2007 23:47

Re: CLASSICAL TRANQUILITY & MUSIC REVIEW
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#ed_op#P#ed_cl##ed_op#FONT class=storyhead color=#441415 size=5#ed_cl##ed_op#B#ed_cl#Romancing the rain with Malhar #ed_op#/B#ed_cl##ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl#ANJANA RAJAN #ed_op#P#ed_cl##ed_op#TABLE width="100%" bgColor=#ddffdd border=0#ed_cl##ed_op#TBODY#ed_cl##ed_op#TR#ed_cl##ed_op#TD#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Ustad Nishat Khan's choice of Miyan Malhar augured a rasa-filled experience and the audience was not disappointed. #ed_op#/FONT#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#/TBODY#ed_cl##ed_op#/TABLE#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#CENTER#ed_cl##ed_op#BR#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#IMG height=261 src="http://www.hindu.com/thehindu/fr/2005/11/25/images/2005112502730401.jpg" width=351 align=center border=1#ed_cl# #ed_op#BR#ed_cl##ed_op#B#ed_cl#VIRTUOSO: Ustad Nishat Khan performing at The Hindu Friday Review November Fest. Photo: K. V. Srinivasan. #ed_op#/B#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/CENTER#ed_cl##ed_op#DIV#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Ustad Nishat Khan's sitar recital at #ed_op#I#ed_cl#The Hindu#ed_op#/I#ed_cl# Friday Review November Fest provided some dramatic moments, for which the ustad can claim only part of the credit. #ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#The weather gods that have been drenching the city over the week became even more enthusiastic, and with streets turning into rivers at peak traffic time, it was no wonder there were few people at Kamaraj auditorium at show time. However, delaying the start of the programme by some 20 minutes allowed a good number of music lovers to fill the hall. #ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Logistical hassles aside, what Indian artiste will admit to not being spellbound by the rain? Naturally enough, the renowned sitar exponent chose to begin his concert with a raga from the Malhar family, melodies associated with the romance of the rains. The keyed-up audience applauded at the very announcement that he would render the raga Miyan Malhar, auguring well for a rasa-filled experience, which requires as much receptivity on the part of the listeners as skill on the part of the performer. #ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Indeed, after a prolonged tuning process, the way Nishat took the very first meend quite swept the listeners off their feet, and they were applauding again. Nishat left no one in doubt that he belongs to the gharana that revels in the #ed_op#I#ed_cl#gayaki ang#ed_op#/I#ed_cl#, which introduces vocal fluidity into instrumental practice. His redoubtable skills were on display throughout the performance. Not only are his meends - producing oscillating arrays of notes by pulling on the main playing string at a single point - incredible, his speed and virtuosity are thrilling. #ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT class=subsectionhead color=red#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#STRONG#ed_cl#Blending of ragas#ed_op#/STRONG#ed_cl# #ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#After playing an extended alap, followed by jod and jhala and a gat in Teen tala, Nishat took up another raga of the family, the sweet Gaud Malhar, which is considered older than Miyan Malhar and created by blending the ragas Gaud and Shuddha Malhar with shades of Bilawal. He also sang part of the bandish, an old composition, "Maan na kariye... " #ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Ustad Sabir Khan on the tabla provided matching tonal and rhythmic support. Besides his mathematical unassailability, the Kolkata-based veteran delighted with his reproductions of the sitar's gamaks on his tuneful drum. #ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Extended playing on the right drum (tabla) and then joining with the baayan (left) added piquant tonal variations. #ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Later the duo was joined by Trichur R. Mohan on the mridangam, who kept scintillating pace with a rendition of Hamsadhwani, a Carnatic raga that has become popular in the Hindustani genre, in which the chosen composition was a tarana. #ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#A ragamalika that started and ended with the (Hindustani) raga Bhairavi, with nuggets of Jog Kauns, Jog, Bahar, Darbari Kanhra and others, brought the concert to a close. #ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#There were some avoidable drawbacks to the recital, like the ustad's theatrical mannerisms and showmanship that detract from the serenity of classical music. #ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#His insistence on raising his mike volume marred listening pleasure as the sound system began to howl in protest. #ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#His constant shifting of the mike stands did nothing to ameliorate the situation. #ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#A tanpura inaudible to the public was surprising in a musician from such an illustrious family, the Imdadkhani gharana that has practically created the sitar and its technique. #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT size=2#ed_cl##ed_op#STRONG#ed_cl#The Hindu#ed_op#/STRONG#ed_cl# #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#/DIV#ed_cl#


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taal
Fri 24 Aug, 2007 07:56

Re: CLASSICAL TRANQUILITY & MUSIC REVIEW
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#ed_op#DIV#ed_cl##ed_op#TABLE cellSpacing=0 cellPadding=10 width="100%" border=0#ed_cl##ed_op#TBODY#ed_cl##ed_op#TR#ed_cl##ed_op#TD#ed_cl##ed_op#FONT face="verdana, arial, helvetica" size=-2#ed_cl##ed_op#FONT color=#cc0000 size=+1#ed_cl##ed_op#IMG height=80 alt=Nadaswaramcouple src="http://www.kutcheribuzz.com/features/interviews/images/nadaswaramcouple.jpg" width=375 border=0#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/TD#ed_cl##ed_op#TD align=right#ed_cl##ed_op#A href="javascript:popup('/sendmail.asp','SendEmail','width=500,height=400,left=20,top=20,scrollbars=yes')"#ed_cl##ed_op#/A#ed_cl# #ed_op#A href="javascript:window.print();"#ed_cl##ed_op#/A#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#TR#ed_cl##ed_op#TD vAlign=top colSpan=2#ed_cl##ed_op#FONT color=#0000ff#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#B#ed_cl#Sheik Mahaboob Subhani#ed_op#/B#ed_cl# and his wife #ed_op#B#ed_cl#Kaleeshabi Mahaboob#ed_op#/B#ed_cl#, the nadaswaram couple, are disciples of the celebrated vidwan, late Sheik Chinna Moulana Sahib. They are also the asthana vidwans of Sringeri Sri Sharada Peetham. #ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#In a conversation with #ed_op#B#ed_cl#Revathi R#ed_op#/B#ed_cl#, the couple spoke about their experience of more than 25 years as performing artistes, the nadaswaram heritage of Andhra Pradesh, their concerts at Hindu temples and their journey from Andhra Pradesh to Srirangam ... #ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#FONT color=#cc0000#ed_cl##ed_op#B#ed_cl##ed_op#/B#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#FONT color=#cc0000#ed_cl##ed_op#B#ed_cl#You play nadaswaram together. Who started first?#ed_op#/B#ed_cl##ed_op#/FONT#ed_cl# #ed_op#BR#ed_cl##ed_op#B#ed_cl##ed_op#/B#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#B#ed_cl#Sheik:#ed_op#/B#ed_cl# We both belong to Prakasam District in Andhra Pradesh, where many people of our community have been playing nadaswaram for generations. We both started to play nadaswaram at the age of seven. But I went on with my academics and took up a job in a private company. She took music as a full time career and was accompanying her uncle Sheik John Sahib. #ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#B#ed_cl##ed_op#/B#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl# #ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#B#ed_cl#Kaleeshabi:#ed_op#/B#ed_cl# We were playing individually with our fathers and uncle, before marriage. He had to take up a job due to family circumstances. Occasionally he would accompany his father, Sheik Meera Sahib. #ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#FONT color=#cc0000#ed_cl##ed_op#B#ed_cl##ed_op#/B#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#FONT color=#cc0000#ed_cl##ed_op#B#ed_cl#Did you start playing together only after marriage?#ed_op#/B#ed_cl##ed_op#/FONT#ed_cl# #ed_op#BR#ed_cl##ed_op#B#ed_cl##ed_op#/B#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#B#ed_cl#Sheik:#ed_op#/B#ed_cl# It is an interesting story. Kaleeshabi was very good at this instrument even as a child. Her parents and elders in the family wanted to get her married to a man who would encourage her in this art. She is my paternal auntÕs daughter. I was passionate about the instrument but could not take it up seriously because I had to go for a job. I thought, by supporting her, I would do something good to this art. Both families agreed and we got married in December1977. #ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#B#ed_cl#Kaleeshabi:#ed_op#/B#ed_cl# But I insisted that we played nadaswaram as a couple after our marriage, and would not accompany my uncle ... He agreed to give it a try. Before our marriage, during Vinayaka Chaturthi, the well-known nadaswaram duo, M. P. N. Sethuraman and Ponnuswamy, had arranged for our concert in Dindigul. We both practised for two months and played at Vella Pillaiyar Koil in Dindigul. That was our first concert in Tamilnadu as well as our first concert as a duo. #ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#B#ed_cl#Sheik:#ed_op#/B#ed_cl# That was an important day in our professional life. She had been playing with senior Tavil vidwans like Emani Raghavayya and I had just started to play as a main artiste on stage. I used to pause whenever she took a breath while playing, in the early days of playing together! I did not like my own playing. #ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#P align=center#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#IMG height=263 alt=Nadaswaramcouple src="http://www.kutcheribuzz.com/features/interviews/images/nadaswaramcouple1.jpg" width=350 border=0#ed_cl# #ed_op#/FONT#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#FONT color=#cc0000#ed_cl##ed_op#B#ed_cl##ed_op#/B#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#FONT color=#cc0000#ed_cl##ed_op#B#ed_cl#Kaleeshabi, you started your career after marriage?#ed_op#/B#ed_cl##ed_op#/FONT#ed_cl# #ed_op#BR#ed_cl##ed_op#B#ed_cl##ed_op#/B#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#B#ed_cl#Kaleeshabi:#ed_op#/B#ed_cl# Not immediately after marriage. We were continuing our training at Sarada Sangeetha Kalasala, Kurnool, under K.Chandramouli, who encouraged us to sit for lower and higher exams in music, so that we could find a job as music teachers and make our living ... But, the turning point was after we attended the Thyagaraja Aradhana at Tiruvaiyaru in 1981. #ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#FONT color=#cc0000#ed_cl##ed_op#B#ed_cl##ed_op#/B#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#FONT color=#cc0000#ed_cl##ed_op#B#ed_cl#Tell us about the day which changed your lives?#ed_op#/B#ed_cl##ed_op#/FONT#ed_cl# #ed_op#BR#ed_cl##ed_op#B#ed_cl##ed_op#/B#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#B#ed_cl#Sheik:#ed_op#/B#ed_cl# Our guru, K. Chandramouli, wanted us to accompany him to Tiruvaiyaru. I hesitated, because, we did not have money for the travel. #ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#B#ed_cl##ed_op#/B#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl# #ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#B#ed_cl#Kaleeshabi:#ed_op#/B#ed_cl# I did not want to go because, our first son was very young and was with my mother as we were training at Kurnool and wanted to be with him. #ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#B#ed_cl##ed_op#/B#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl# #ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#B#ed_cl#Sheik:#ed_op#/B#ed_cl# It was only our guru, who persuaded and took us with him at his own expense. We were listening to all senior musicians and veteran nadaswaram vidwans for four days. We were wondering if we could ever get a chance to pay homage to the saint, in our life time. On the last day, just before Anjaneya Utsavam (which is usually conducted to bring the curtains down), Clarinet A. K. C. Natarajan, the then secretary of the Aradhana Committee, asked us if we could play for ten minutes. #ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#B#ed_cl##ed_op#/B#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl# #ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#B#ed_cl#Kaleeshabi:#ed_op#/B#ed_cl# We were thrilled, but we had not taken our instruments along with us to Thanjavur. But to our surprise, Sheik Chinnamoulana offered his instruments to us, saying that if AKC gave the slot for youngsters, he would lend his instruments. #ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#B#ed_cl##ed_op#/B#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl# #ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#B#ed_cl#Sheik:#ed_op#/B#ed_cl# Sheik Chinnamoulana was kind enough to do that, because, normally, no musician would lend his or her instrument. #ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#B#ed_cl##ed_op#/B#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl# #ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#B#ed_cl#Kaleeshabi:#ed_op#/B#ed_cl# We do not exchange our instruments among ourselves! #ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#B#ed_cl##ed_op#/B#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl# #ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#B#ed_cl#Both:#ed_op#/B#ed_cl# Here, we have to mention Haridwaramangalam A. K .Palanivel and Tirivalaputtur T. S. Kaliamoorthy, senior Tavil vidwans, for supporting us on that day. #ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#P align=center#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#IMG height=231 alt=Nadaswaramcouple src="http://www.kutcheribuzz.com/features/interviews/images/nadaswaramcouple2.jpg" width=333 border=0#ed_cl# #ed_op#/FONT#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#FONT color=#cc0000#ed_cl##ed_op#B#ed_cl##ed_op#/B#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#FONT color=#cc0000#ed_cl##ed_op#B#ed_cl#So it was the beginning of your career together?#ed_op#/B#ed_cl##ed_op#/FONT#ed_cl# #ed_op#BR#ed_cl##ed_op#B#ed_cl##ed_op#/B#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#B#ed_cl#Sheik:#ed_op#/B#ed_cl# The next day, our guru Chandramouli handed us over to Sheik Chinnamoulana for advanced training and he shaped our lives into whatever we are today. The next day, we were given an opportunity to play at a temple in Thanjavur, off the slot, where the veteran Thirumeignanam Nataraja Sundaram Pillai, gave time for us to play and started his concert late. #ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#FONT color=#cc0000#ed_cl##ed_op#B#ed_cl##ed_op#/B#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#FONT color=#cc0000#ed_cl##ed_op#B#ed_cl#Was Sheik Chinnamoulana related to you?#ed_op#/B#ed_cl##ed_op#/FONT#ed_cl# #ed_op#BR#ed_cl##ed_op#B#ed_cl##ed_op#/B#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#B#ed_cl#Kaleeshabi:#ed_op#/B#ed_cl# He was distantly related to me. But we were more closely related as guru-shishyas. #ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#FONT color=#cc0000#ed_cl##ed_op#B#ed_cl##ed_op#/B#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#FONT color=#cc0000#ed_cl##ed_op#B#ed_cl#Did women play nadaswaram in those days?#ed_op#/B#ed_cl##ed_op#/FONT#ed_cl# #ed_op#BR#ed_cl##ed_op#B#ed_cl##ed_op#/B#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#B#ed_cl#Kaleeshabi:#ed_op#/B#ed_cl# In my early days, Madurai Ponnuthayi was the only woman who was playing this instrument. But there was no difficulty for me to play in public because I was accompanying either my father or my uncle. People in Andhra Pradesh felt good that a young girl had taken up a difficult instrument. Even male nadaswaram and tavil vidwans accepted my playing the instrument. #ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#FONT color=#cc0000#ed_cl##ed_op#B#ed_cl##ed_op#/B#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#FONT color=#cc0000#ed_cl##ed_op#B#ed_cl#How did the Muslim community react to it?#ed_op#/B#ed_cl##ed_op#/FONT#ed_cl# #ed_op#BR#ed_cl##ed_op#B#ed_cl##ed_op#/B#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#B#ed_cl#Sheik:#ed_op#/B#ed_cl# You will be surprised to know that Prakasam, Guntur and Godavari districts in Andhra Pradesh have had many nadaswaram vidwans for generations. In my family, it is said that seven generations of nadaswaram vidwans are blessed by the local deity Munimandamma, who gave a Bhijaksharam to one of our forefathers. Even our guru Sheik Chinnamoulana hailed from Prakasam district. #ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#B#ed_cl#Kaleeshabi:#ed_op#/B#ed_cl# There were objections not to wear bindis and the like. But the solution came from within the family quoting Begum Parveen Sultana of Hindustani music. I was going to concerts without bindi. But at a concert in Salem, a Brahmin woman gave me kumkum and asked me to wear it in kutcheris. I continue the practice. Now, my family knows that if I step out in traditional Hindu attire, it is for a kutcheri. I play nadaswaram at Muslim weddings also but dressed traditionally as a Muslim woman. #ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#FONT color=#cc0000#ed_cl##ed_op#B#ed_cl##ed_op#/B#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#FONT color=#cc0000#ed_cl##ed_op#B#ed_cl#When did you come to Tamilnadu and what made you settle down here?#ed_op#/B#ed_cl##ed_op#/FONT#ed_cl# #ed_op#BR#ed_cl##ed_op#B#ed_cl##ed_op#/B#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#B#ed_cl#Sheik:#ed_op#/B#ed_cl# Sheik Chinnamoulana wanted us to learn the Thanjavur bani. He was inspired by T. N. Rajaratnam Pillai's playing and learnt the bani from Nachiarkoil Rajaduraikkannu Pillai. We stayed on with Chinnamoulana from 1983 till he died in 2000. #ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#B#ed_cl##ed_op#/B#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl# #ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#B#ed_cl#Kaleeshabi:#ed_op#/B#ed_cl# By then we had toured all over Tamilnadu and learnt Tamil also. We chose to settle down because of the patronage and opportunities for this instrument in the state - in temples and sabhas. #ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#FONT color=#cc0000#ed_cl##ed_op#B#ed_cl##ed_op#/B#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#FONT color=#cc0000#ed_cl##ed_op#B#ed_cl#How do people accept your playing in Hindu temples? #ed_op#/B#ed_cl##ed_op#/FONT#ed_cl##ed_op#BR#ed_cl##ed_op#B#ed_cl##ed_op#/B#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#B#ed_cl#Sheik:#ed_op#/B#ed_cl# There was no problem at all. Sheik Chinnamoulana was already accepted at temples. We were invited to play in temples in India as well as abroad. We are regulars at Adi Krithigai in the temples in Sri Lanka. We were accompanied by 'periya' tavils like Valayapatti Shanmugasundaram Pillai, Ceylon Ganesa Pillai, Ceylon Chinnaraja Pillai in temples. #ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=5#ed_cl#We were taught that the paths may be different, but the goal is one, as far as religion and God are concerned. Now we realize it through our music. #ed_op#/FONT#ed_cl##ed_op#P#ed_cl##ed_op#IMG src="http://www.suraurtaal.com/forums/richedit/smileys/Word_Positive/1.gif" border=0#ed_cl# #ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#FONT color=#cc0000#ed_cl##ed_op#B#ed_cl##ed_op#/B#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#FONT color=#cc0000#ed_cl##ed_op#B#ed_cl##ed_op#/B#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#FONT color=#cc0000#ed_cl##ed_op#B#ed_cl#Do you think nadaswaram enjoys the same status as it used to in the 50s and 60s?#ed_op#/B#ed_cl##ed_op#/FONT#ed_cl# #ed_op#BR#ed_cl##ed_op#B#ed_cl#Sheik:#ed_op#/B#ed_cl# Not really. There used to be full-night concerts during festivals in temples. And every day, there used to be a nadaswaram concert lasting for not less than four hours. Nowadays, nadaswaram is played on the inauguration day as a ritual and rarely as a three hour concert, for reasons unknown. Maybe listeners are few. #ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#FONT color=#cc0000#ed_cl##ed_op#B#ed_cl##ed_op#/B#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#FONT color=#cc0000#ed_cl##ed_op#B#ed_cl#Have you specialized in any particular aspect in playing the instrument?#ed_op#/B#ed_cl##ed_op#/FONT#ed_cl# #ed_op#BR#ed_cl##ed_op#B#ed_cl#Kaleeshabi:#ed_op#/B#ed_cl# We play in the Thanjavur Bani, which is played the way songs are vocally sung. We play mallari in temples. #ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#FONT color=#cc0000#ed_cl##ed_op#B#ed_cl##ed_op#/B#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#FONT color=#cc0000#ed_cl##ed_op#B#ed_cl#Tell us about your family?#ed_op#/B#ed_cl##ed_op#/FONT#ed_cl# #ed_op#BR#ed_cl##ed_op#B#ed_cl#Kaleeshabi:#ed_op#/B#ed_cl# We have two daughters and a son. All are educated. Our daughters sing and son has learnt to play nadaswaram. We have not introduced our daughters to this instrument because we are not sure whether they would be encouraged like me, after they get married. I am lucky to have the support from my husband. No difference of opinion between us! #ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#B#ed_cl#Sheik:#ed_op#/B#ed_cl# This is the basis for our kutcheris that are liked by the audience. When you have difference, it reflects in the performance. The other nadaswaram sounds different. (laughs). If I was not taking up the instrument seriously, she was ready to give up and we both, planned to take up tailoring for earning the means, as we both knew the art. Kaleesha stitches our daughtersÕ dresses even today. #ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Before we close, I would like to share a recent event. We were invited to give a concert at the Rashtrapathi Bhavan, in front of President Abdul Kalam. After the concert, he asked us to take this music to the mentally retarded children, wherever we go for concerts. We have made a vow to give a free concert at such institutions .. #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#/TBODY#ed_cl##ed_op#/TABLE#ed_cl##ed_op#/DIV#ed_cl#


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sur
Sat 25 Aug, 2007 02:06

Re: CLASSICAL TRANQUILITY & MUSIC REVIEW
-----------------------------------
INTERVIEW #ed_op#/FONT#ed_cl##ed_op#P#ed_cl##ed_op#FONT class=storyhead color=#441415 size=5#ed_cl##ed_op#B#ed_cl#Commitment to tradition #ed_op#/B#ed_cl##ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl#GOWRI RAMNARAYAN #ed_op#P#ed_cl##ed_op#TABLE width="100%" bgColor=#ffeedd border=0#ed_cl##ed_op#TBODY#ed_cl##ed_op#TR#ed_cl##ed_op#TD#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#An exclusive, freewheeling interview with sarod maestro Amjad Ali Khan. #ed_op#/FONT#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#/TBODY#ed_cl##ed_op#/TABLE#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#CENTER#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#STRONG#ed_cl##ed_op#FONT size=1#ed_cl#PHOTO: SHAJU JOHN#ed_op#/FONT#ed_cl##ed_op#/STRONG#ed_cl# #ed_op#BR#ed_cl##ed_op#IMG height=234 src="http://www.hindu.com/mag/2006/01/08/images/2006010800010101.jpg" width=350 align=center border=1#ed_cl# #ed_op#BR#ed_cl##ed_op#B#ed_cl#Great responsibilities: Amjad Ali Khan is the representative of a grand tradition. #ed_op#/B#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/CENTER#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#HE was in Chennai to ring in the New Year at the Madras Music Academy, accompanied by sons Amaan and Ayaan. The recital triggered flashbacks. For sarod maestro Amjad Ali Khan's first visit to the city was in 1958, to perform with father and guru Hafiz Ali Khan. The Music Academy was then a thatched #ed_op#I#ed_cl#pandal#ed_op#/I#ed_cl#. Shambhu Maharaj, the Dagar Brothers and Balasaraswati were among the other participants. Madras was also where he found his wife Subhalakshmi (then Borooah) a student of Kalakshetra. #ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#South India always fascinated Amjad Ali Khan. In Carnatic music he saw the union of discipline and mathematics. The respect for #ed_op#I#ed_cl#rachita #ed_op#/I#ed_cl#(composed) music in the Carnatic system made him reflect. "Compositions were created to preserve the #ed_op#I#ed_cl#raga#ed_op#/I#ed_cl#. But Hindustani musicians ignored them and focussed only on their own improvisations," he explains. #ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Amjad Ali Khan was the first Hindustani musician to pay tribute to Tyagaraja in Tiruvaiyaru, playing the saint's #ed_op#I#ed_cl#kriti #ed_op#/I#ed_cl#in #ed_op#I#ed_cl#Sriranjani#ed_op#/I#ed_cl#. "It was Tyagaraja's fate to be born on the banks of the Cauvery. Neither Tansen nor Swami Haridas get the kind of homage he does," he smiles. The import of "#ed_op#I#ed_cl#Sogasuga#ed_op#/I#ed_cl#" moved him. "See Tyagaraja's humility and truthfulness in asking, `is it possible to understand the seven notes in a single lifetime?' You can lie through language, but there can be no untruth in music making. You feel God, and feel connected." #ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#He found this happening on the previous day at Aruna Sairam's concert. "More than the singing, I was overwhelmed by the involvement of the people in that packed hall. As an artiste this is what makes me proud and happy. To see photographs of musicians everyday in the major daily and serious writing on music... In Delhi all culture is for Page Three," he shrugs. The media plays a frightening role today, he admits. But he knows that hype alone cannot make for lasting fame. #ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#"I'm not supposed to think, though our country is a democracy," he continues. Nobody talks about music, even to musicians. But everyone expects sound bytes from musicians on politics, modelling, lifestyle. "I feel suffocated in this society," says Khansaheb. "I pretend, I act, I'm trying to adjust, but not beyond a certain point." #ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT class=subsectionhead color=red#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#STRONG#ed_cl#Freedom to innovate#ed_op#/STRONG#ed_cl# #ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#After the rain of awards, honours and international fame, what does purity of tradition mean to him? "Music is my passion. I feel embarrassed to say it's my profession. I don't play everywhere and in any situation; only when my terms and conditions are met. That's the biggest difference between an entertainer and a classical musician committed to his tradition." He has turned his family home in Gwalior into a musical centre. He dwells on the difference between tradition and convention. He respects tradition because it offers freedom to innovate. Blind convention breeds sterility. #ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#How does he view his children's stepping out beyond the classical idiom into fusion and television shows? "If today's children play classical music, it is the wish of God. So many distractions, bigger challenges. I was happy that every piece in the fusion album `Reincarnation' by Amaan and Ayaan is based on #ed_op#I#ed_cl#ragas#ed_op#/I#ed_cl#. Anyway, even fusion is based on the seven notes.'' #ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#As a child, when he tried out a melodic combination of Bhatiyar, Anandbhairav, Bhairav and Gunkali, his traditionalist father encouraged him. This became #ed_op#I#ed_cl#Raag Sohagbhairav#ed_op#/I#ed_cl#. "There are always #ed_op#I#ed_cl#bhoot-pret #ed_op#/I#ed_cl#(ghosts and ghouls) around. We have to face them without fear." Tradition can be extended, recharged, reinvented if there is enough commitment to win through. #ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#The Ustad is convinced that the ancient #ed_op#I#ed_cl#guru-sishya parampara #ed_op#/I#ed_cl#is dead. "Not that gurus are perfect," he explains. "But often #ed_op#I#ed_cl#sishyas #ed_op#/I#ed_cl#come with plans and agendas. When their purpose is over, they claim they are better than their gurus." #ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Nor has academic education made people kinder or taught the world that the power, which ordains birth and death, is the same for all. That is why he did not ask his wife to convert to his religion. Education will have little value unless it promotes oral exchanges on culture and tradition beyond textbooks. Khansaheb himself is not sorry that he has never been able to read books. But he has written his own "Biography of Music" in sound. #ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#He is not without hope. Some countries do not understand that despite all the violence and disruptions, "Amjad Ali Khan and Bismillah Khan were created by India". He adds forcefully, "Amjad Ali Khan plays the sarod, but Hemendrachandra Sen makes it." #ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#How did he develop this liberal secularism with so conservative a background? "My father was religious but not a fundamentalist." In 1960, after conferring the Padma Bhushan on Hafiz Ali Khan, when Dr. Rajendra Prasad, President of India, asked him what more he could do for the maestro, Hafiz Ali Khan replied, "Please take care of #ed_op#I#ed_cl#Raag Durbari#ed_op#/I#ed_cl#. Mian Tansen created it. Now people are taking liberties with it." #ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Young Amjad was an embarrassed witness to this exchange. "At that time we had nothing. But my father thought we had everything. I was fortunate to have known this." #ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#He has often paid tributes to his wife. He has even composed a raag to express his love and gratitude. His voice gleams when he talks about his sons. #ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#"My father used to say, be multi-dimensional, but don't spill everything you know in a single concert," Amjad Ali Khan concludes. Presentation is the most challenging skill of an artiste. Books cannot teach it. Only reflection and experience can teach him that a showroom cannot display everything from the storehouse. An entertainer has no commitment, but the representative of a grand tradition bears great responsibilities. #ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#As you left with best wishes for the New Year, you wondered if centuries ago, when an Afghan horse trader Mohammed Hashmi Khan Bangash brought a musical instrument to India, could he have dreamt that it would become part of Indian classical music? Or that his descendents would establish the Senia #ed_op#I#ed_cl#gharana#ed_op#/I#ed_cl#? And six generations later, the #ed_op#I#ed_cl#sarod #ed_op#/I#ed_cl#was going to become renowned throughout the world?#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#DIV#ed_cl##ed_op#/DIV#ed_cl#


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sur
Sun 16 Sep, 2007 02:25

Re: CLASSICAL TRANQUILITY & MUSIC REVIEW
-----------------------------------
#ed_op#DIV#ed_cl##ed_op#P#ed_cl##ed_op#FONT class=storyhead face="Arial Narrow" color=#451528 size=5#ed_cl##ed_op#B#ed_cl#Memories in melody #ed_op#/B#ed_cl##ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#TABLE width="100%" bgColor=#ddffdd border=0#ed_cl##ed_op#TBODY#ed_cl##ed_op#TR#ed_cl##ed_op#TD#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Recitals dedicated to the late Pandit Amarnath exemplified the maestro’s contribution to the field. Jitendra Pratap #ed_op#/FONT#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#/TBODY#ed_cl##ed_op#/TABLE#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#CENTER#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl#Photo: Shiv Kumar Pushpakar #ed_op#BR#ed_cl##ed_op#IMG height=271 src="http://www.hinduonnet.com/thehindu/fr/2007/05/25/images/2007052550720201.jpg" width=219 align=center border=1#ed_cl# #ed_op#BR#ed_cl##ed_op#B#ed_cl#In tune Vocalist Shanti Sharma #ed_op#/B#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/CENTER#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#It was indeed a noble gesture on the part of Shri Ram Bharatiya Kala Kendra to pay homage to a former member of its staff, the late Pandit Amarnath, on his birth anniversary. The late Pandit Amarnath was a very close disciple of the founder of the Indore gharana, the late Ustad Amir Khan. As such it was most appropriate on the part of the organisers to present one of the late Pandit’s colleagues, Ajit Singh Paintel and one of his well-groomed disciples, Shanti Sharma . #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Paintel was Professor of Music at Delhi University’s Faculty of Music and Fine Arts. He earned his Master’s Degree in music from the Bhatkande Sangeet Vidyapeeth under the guidance of the renowned teacher-singer, Dr. S.N. Ratanjhankar of the Agra gharana and subsequently from the illustrious Ustad Amir Khan of the Indore gharana. As such he received a thorough insight into the scholastic aspect of Hindustani classical music from the former and the intricacies of the Indore gayaki from the latter. #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#FONT class=subsectionhead face="Arial Narrow" color=red size=4#ed_cl#Well handled #ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#He commenced his recital with khayals in the good old raga Yaman Kalyan. The slow tempo 14-beat Jhumra tala composition, “Kajara kaise daarun”, was indeed a highly reposeful presentation. The raga’s basic format with the pivotal Shuddha Madhyam note was befittingly handled, the composition rendered with noble effect. The #ed_op#I#ed_cl#bol-alap-behelawa-badhat #ed_op#/I#ed_cl#pleased for being handled in desired proportions. The mid-tempo Teen tala composition “Aeiso sundar sujanwa bal amwa” was rendered with lively variations. #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#The concluding piece in raga Bhupali “Maan le maan joban”, an old and rarely heard composition, was a befitting finale to Paintel’s scholastic performance of the evening, for which he had commendable support on the harmonium by Jairam Potdar and on the tabla by Prasun Chatterjee. #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#FONT class=subsectionhead face="Arial Narrow" color=red size=4#ed_cl#Region no bar #ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Shanti Sharma, one is given to understand, belongs to the southern parts of India. If this information is true the young lady deserves to be lavishly complimented for being able not only to understand and converse in chaste Hindi, but also to utter the textual contents of the songs without even the slightest tinge or intonation of her mother tongue, significantly also while rendering the swaravali passages. #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Beginning her performance on the occasion just at dusk time, Shanti chose to commence her recital in the twilight melody of raga Marwa. #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#The choice was indeed most ideal, not only for being performed at the right hour but also for its lyrical contents as well. #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#The slow tempo composition “Piya morey ant” was rendered with appropriate attention to the raga’s complex form as also to its lyrics. #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Her elaborate #ed_op#I#ed_cl#alap-bol-taans #ed_op#/I#ed_cl#would have certainly made her learned teacher proud. #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#The late Ustad Amir Khan’s mid-tempo Teen tala composition “Guru bina gyan” was also rendered with feeling and regard for the noble sentiments contained within the song, before rendering two compositions in raga Madhukauns. #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Jairam Potdar on the harmonium and Madan Sisodia on the tabla provided adequate accompaniment to Shanti. #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#/DIV#ed_cl#


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sur
Mon 17 Sep, 2007 02:21

Re: CLASSICAL TRANQUILITY & MUSIC REVIEW
-----------------------------------
#ed_op#DIV#ed_cl##ed_op#BLOCKQUOTE#ed_cl##ed_op#P#ed_cl##ed_op#FONT face=Verdana color=black#ed_cl##ed_op#BIG#ed_cl##ed_op#B#ed_cl#A path less travelled#ed_op#/B#ed_cl##ed_op#/BIG#ed_cl##ed_op#/FONT#ed_cl##ed_op#FONT size=4#ed_cl# #ed_op#BR#ed_cl##ed_op#FONT face=Verdana color=#808080#ed_cl#Thursday September 13 2007 #ed_op#/FONT#ed_cl##ed_op#BR#ed_cl##ed_op#BR#ed_cl##ed_op#FONT face=Verdana color=red#ed_cl##ed_op#B#ed_cl#Sumati Mehrishi#ed_op#/B#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#BR#ed_cl##ed_op#BR#ed_cl##ed_op#P align=center#ed_cl##ed_op#IMG alt="" src="http://www.newindpress.com/sunday/Images/sep07/16arts2.jpg" border=1#ed_cl##ed_op#BR#ed_cl##ed_op#BR#ed_cl##ed_op#FONT face=Verdana color=#800040#ed_cl##ed_op#SMALL#ed_cl#Atre: All for the sargam#ed_op#/SMALL#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P align=center#ed_cl##ed_op#FONT face=Verdana color=#800040#ed_cl##ed_op#SMALL#ed_cl##ed_op#/SMALL#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#SMALL#ed_cl#Any famous Hindustani musician performing at an overnight concert will be more than happy to travel from raag Kedar to raag Bhatiyaar. But request the same maestro to face a detailed question-answer session on music — and you will see the hesitation setting in. His reaction, as Prabha Atre, the renowned Kirana gharana (tradition) vocalist puts it in her book Along the Path of Music will be, “We can’t answer all that… See what you can get from the music that we present.” It’s the truth. Our musicians do not like talking about their music. #ed_op#/SMALL#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#SMALL#ed_cl##ed_op#P#ed_cl##ed_op#BR#ed_cl##ed_op#BR#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#But there are a few exceptions, like Atre, herself — a performer and academician rolled into one. Over the years, discussing music has come as naturally to Atre as singing the khayal (a form of Hindustani music) and sargam (arrangement of swaras) — an aspect of music she has always strongly supported. #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#BR#ed_cl##ed_op#BR#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Her contemporaries believe that Indian classical music isn’t really meant for the “masses”, yet, Atre has always wanted to communicate with the “lay listener”. In the year 2000, she had published her first book, Enlightening the Listener, which deals with the technical aspects of contemporary Hindustani music. In this book, the maestro had taken up the task of explaining the basics of Hindustani music (saptak, taan, talas, sargam etc) and the Hindustani concert format. She had also delved into the factors that make Hindustani and Carnatic music differ from each other in form and presentation. #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#BR#ed_cl##ed_op#BR#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#In 2005, Atre had published her second book, Along the Path Of Music — an autobiographical account, certainly closer to her heart than her previous work. It’s like a piece of nostalgia out of Atre’s long relationship with music and stalwarts; a rare account, where the musician talks about the material cherished, performed, studied under the watchful eyes of gurus (she had three, well almost) and the audience. #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#BR#ed_cl##ed_op#BR#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Atre’s second work involves serious personal views and experiences which come from her interactions with her guru Shri Sureshbabu Mane, Mane’s sister and Atre’s second guru — the legendry Hirabai Badodekar; her inspiration for Punjabi thumri and khayal singing, Ustad Bade Ghulam Ali Khan. Also, Pandit Bhim Sen Joshi whom she has (interestingly) described as the artiste “blessed by both” Saraswati and Laxmi — the goddesses for wisdom and prosperity in Hindu mythology. Then, there are strains of appreciation for Ustad Amir Khan, the nodal artiste of Kirana tradition, who did the unthinkable by giving the gharana a three dimensional canvas by involving the lower octave notes. Khan with his “introspective” and “aristocratic” gayaki (style and method of singing), reveals Atre, was “like a guru” who had indirectly guided her in making her music bold. #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#BR#ed_cl##ed_op#BR#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#In Along the Path Of Music, she tries to find out what makes “Indian musicians” so reticent about their own art. She provides the answers. Stating candidly — that musicians of yesteryears lacked formal education — one of the many reasons why we don’t have enough writing on music from the geniuses. #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#BR#ed_cl##ed_op#BR#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Atre, who turned 75 last week, has always made a very sincere effort to express her views in a simple yet methodical manner. Along the Path of Music is no exception. In her writing, as in her concerts, there are streaks of independence, which shouldn’t be mistaken as something rebellious. The septuagenarian artiste is carefully defensive about the experiments and epithets Kirana gharana has been criticised for — including Ustad Amir Khan’s daring treatment of tala and his “sargam singing in between alaaps and taans”. Her sweet bias for using sargams, which you come across often in her second book (she took this up as a subject for her doctorate), sounds quite like the love pangs the Benaras gharana maestros feel for their vocal ostentations. It’s thought provoking and artistically rich. #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#BR#ed_cl##ed_op#BR#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Stalwarts like her have a treasure to share when they remember their own gurus. In this book, she narrates how much she (like many students of music) had felt satiated with raag Yaman — the first melody she had learned from Sureshbabu Mane, and wanted to move over to other ragas. Her description of how her guru had strategically dealt with her idea reads as innocent and beautiful as this melody. #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#BR#ed_cl##ed_op#BR#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Apart from such autobiographical elements Atre has also taken up certain issues that concern our artistes. Like the fate of folk and tribal music in our country; the need to educate the audience worldwide about our ascending and descending scales, talas, ragas etc. Also, the role of education in music. She attributes this concern to her academic background. It makes her look at music “with open eyes”, she says. Atre suggests “formulation of a national policy for Indian classical music.” #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#BR#ed_cl##ed_op#BR#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Some of the anecdotes in her book help the connoisseurs get to know a few lesser known traits of our musicians. For instance, Atre had sung Ustad Bade Ghulam Ali Khan’s famous daadra when Sureshbabu Mane had wanted to listen to her to decide whether she could be her student. And that, there was no certainty whether Ustad Amir Khan would finish his concert with a Bhairavi! #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#BR#ed_cl##ed_op#BR#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Only if more stalwarts would be as generous as Atre, our music could get an extended audience.#ed_op#/FONT#ed_cl##ed_op#/SMALL#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl# #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#/P#ed_cl##ed_op#/BLOCKQUOTE#ed_cl##ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#/DIV#ed_cl#


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sur
Sat 22 Sep, 2007 02:03

Re: CLASSICAL TRANQUILITY & MUSIC REVIEW
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#ed_op#P align=center#ed_cl##ed_op#B#ed_cl##ed_op#FONT face=Verdana size=4#ed_cl##ed_op#A name=3#ed_cl##ed_op#FONT color=#441415 size=5#ed_cl#When#ed_op#/FONT#ed_cl##ed_op#/A#ed_cl##ed_op#FONT color=#441415 size=5#ed_cl# pop meets classical music#ed_op#/FONT#ed_cl##ed_op#BR#ed_cl##ed_op#/FONT#ed_cl##ed_op#FONT face=Verdana size=2#ed_cl#ASC #ed_op#/FONT#ed_cl##ed_op#/B#ed_cl##ed_op#/P#ed_cl##ed_op#P align=center#ed_cl##ed_op#STRONG#ed_cl##ed_op#FONT face=Verdana size=2#ed_cl##ed_op#/FONT#ed_cl##ed_op#/STRONG#ed_cl##ed_op#FONT face=Verdana size=2#ed_cl##ed_op#/FONT#ed_cl##ed_op#B#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#NACHOON SARI SARI RAAT (Virgin):#ed_op#/FONT#ed_cl##ed_op#/B#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl# Shubha Mudgal is creating more waves as a pop diva than she did as a classical singer. Puritans are horrified, but her fans are not. After all, what is wrong if a highly trained and accomplished singer like her indulges in some mainstream crooning? #ed_op#/FONT#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#The important thing to note in this album is that her mastery shines through even in dance numbers like the title song, which has also been made into a video. #ed_op#/FONT#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Nor is the entire cassette crammed with fast, peppy beats. There are soulful numbers like #ed_op#I#ed_cl#Tanhaiyee ka safar…#ed_op#/I#ed_cl# which go well past the beaten track. Similarly #ed_op#I#ed_cl#Soona soona … #ed_op#/I#ed_cl#impresses with its haunting melody.#ed_op#/FONT#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl# #ed_op#/FONT#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#These eight songs have been composed by Satish Sharma and penned by Dahlia Sen Oberoi and Satish Sharma. #ed_op#/FONT#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#The interesting part is that the "note of thanks" here does not come from Mudgal, but from composer Satish Sharma. #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#DIV#ed_cl##ed_op#/DIV#ed_cl#


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taal
Mon 24 Sep, 2007 12:39

Re: CLASSICAL TRANQUILITY & MUSIC REVIEW
-----------------------------------
#ed_op#DIV#ed_cl##ed_op#H3#ed_cl##ed_op#FONT color=blue#ed_cl#Symphony of sounds #ed_op#/FONT#ed_cl##ed_op#/H3#ed_cl##ed_op#P#ed_cl##ed_op#IMG height=149 alt=" " src="http://www.hindu.com/thehindu/2001/07/19/images/09190704.jpg" width=250 align=right border=1#ed_cl##ed_op#BR#ed_cl##ed_op#FONT size=3#ed_cl##ed_op#P#ed_cl##ed_op#!-- Date: 19-07-2001 :: Pg: 35 :: Col: c --#ed_cl##ed_op#P#ed_cl# #ed_op#P#ed_cl#WAY BACK in 1966, Pandit Ravi Shankar collaborated with Yehudi Menuhin for an album titled "West Meets East". Then, in 1974, jazz guitarist John McLaughlin teamed up with young Indian musicians, violinist L Shankar, tabla player Zakir Hussain and ghatam artiste 'Vikku' Vinayakram to form an acoustic group, Shakti. There was energy and intensity in their music. And it became a rage. #ed_op#P#ed_cl# #ed_op#P#ed_cl# #ed_op#P#ed_cl#These efforts saw the beginning of a new genre of music, namely fusion. Ever since, there have been several attempts at global fusion, some successful, while others not so well received. #ed_op#P#ed_cl# #ed_op#P#ed_cl# #ed_op#P#ed_cl#The latest to join that bandwagon is the violin duo, M. Lalitha and M. Nandini. #ed_op#P#ed_cl# #ed_op#P#ed_cl# #ed_op#P#ed_cl#Born to Muthuswami and Subhalakshmi, the sisters proudly trace their lineage "to all the three members of the Trinity - Tyagaraja, Muthuswami Dikshitar and Syama Sastri - as well as Muthiah Bhagavathar. An unusual occurrence." #ed_op#P#ed_cl# #ed_op#P#ed_cl# #ed_op#P#ed_cl#Their grandfather was the famed violinist V. Lakshminarayana, under whose tutelage the sisters began their musical journey. They have also studied vocal music under the doyen, Semmangudi Srinivasa Iyer and their mother. Of course, "our uncles L. Shankar, L. Subramaniam and L. Vaidyanathan have been a great influence. We admire and respect them a lot." #ed_op#P#ed_cl# #ed_op#P#ed_cl# #ed_op#P#ed_cl#The girls who have studied in Church Park and Queen Mary's, have also a strong base in Western Classical ("We have passed exams conducted by the Trinity College of Music, London") and world music. #ed_op#P#ed_cl# #ed_op#P#ed_cl# #ed_op#P#ed_cl#So what are these Carnatic violinists doing with fusion? Explains Nandini, the younger of the sisters, "In 1996, we were invited to perform at the International Music festival in Norway, the only Indians to play there. The organiser, who was very happy with our performance, wanted us to jam with other musicians and create something new for the finale. We got together with artistes from Senegal, Cuba and Norway. When the artiste from Senegal played a tune on the kora (a stringed instrument), it sounded like Kalyani raga. So we composed something and asked them to play it in their own styles. That is how it all began, and we realised the potential in this genre." #ed_op#P#ed_cl# #ed_op#P#ed_cl# #ed_op#P#ed_cl#Lalitha, who was recently awarded a doctorate for her thesis on "A Comparative Study of Violin Techniques in Western and South Indian Classical Styles", adds, "Also our parents wanted us to experiment with different styles. They felt this could take Carnatic music to other parts of the world, and bring world music here." #ed_op#P#ed_cl##ed_op#P#ed_cl# #ed_op#P#ed_cl# #ed_op#P#ed_cl#The girls enjoy listening to all kinds of music... from Beethoven to Bach, to Bade Ghulam Ali Khan and Ali Akbar Khan, to Yehudi Menuhin and Itzhak Perlman. Recipients of several awards including the State's Kalaimamani Award, the girls do not rule out a career in tinseldom. "If we get the right opportunity, why not?" #ed_op#P#ed_cl# #ed_op#P#ed_cl# #ed_op#P#ed_cl#Their fusion album, "Revelations" features guest violinist Here Rimestad from Norway and Australian Carl Rathus playing the Shakuhachi (a bamboo flute with five holes, this traditional Japanese instrument is often associated with Zen meditative music), along with a host of Indian artistes. #ed_op#P#ed_cl# #ed_op#P#ed_cl#The opening track sounds like a variation of Bach's toccata and fugue, with elements of jazz and Carnatic styles thrown in. #ed_op#P#ed_cl# #ed_op#P#ed_cl#The tani avartanam in the pacy "Vital Force" in raga Hemavathi, enlivens the proceedings, while "Remembering Norway", a short piece, is a lovely, energetic tribute to the folk tradition from the Scandinavian country. #ed_op#P#ed_cl# #ed_op#P#ed_cl#The album is very much on the lines of the fusion experiments that the girls' uncles have tried before. #ed_op#P#ed_cl# #ed_op#P#ed_cl#Meanwhile, Lalitha and Nandini have a couple of Carnatic releases in the offing and hope to continue their experiments with fusion. #ed_op#P#ed_cl#SAVITHA GAUTAM #ed_op#/P#ed_cl##ed_op#/FONT#ed_cl##ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#/DIV#ed_cl#


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mymoon
Mon 24 Sep, 2007 23:42

Re: CLASSICAL TRANQUILITY & MUSIC REVIEW
-----------------------------------
#ed_op#DIV#ed_cl##ed_op#FONT color=#441415#ed_cl##ed_op#STRONG#ed_cl#Thanks for sharing great article very good post on Symphony of sounds#ed_op#/STRONG#ed_cl# #ed_op#/FONT#ed_cl##ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#DIV#ed_cl# #ed_op#/DIV#ed_cl##ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#FONT color=#0000ff#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl# #ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#/DIV#ed_cl#


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sur
Wed 26 Sep, 2007 00:36

Re: CLASSICAL TRANQUILITY & MUSIC REVIEW
-----------------------------------
#ed_op#DIV#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#FONT size=5#ed_cl##ed_op#FONT color=#800040#ed_cl##ed_op#STRONG#ed_cl#“I would want to be buried with classical music, not popular music”#ed_op#/STRONG#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#FONT size=5#ed_cl##ed_op#/FONT#ed_cl##ed_op#STARTARTICLETITLE#ed_cl##ed_op#BR#ed_cl##ed_op#FONT class=link#ed_cl#   By: #ed_op#STARTAUTHOR#ed_cl##ed_op#A class=link href="mailto:timira.gupta@mid-day.com"#ed_cl#Timira Gupta#ed_op#/A#ed_cl##ed_op#STARTAUTHOR#ed_cl# #ed_op#/FONT#ed_cl##ed_op#STARTPHOTOGRAPHER#ed_cl##ed_op#!-- PHOTOGRAPHER --#ed_cl##ed_op#STARTPHOTOGRAPHER#ed_cl##ed_op#BR#ed_cl#   #ed_op#FONT class=textgry#ed_cl##ed_op#DATE#ed_cl#August 26, 2007#ed_op#DATE#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#HR width=445 color=#e8e8e8 noShade SIZE=1#ed_cl##ed_op#/DIV#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#DIV#ed_cl##ed_op#TABLE cellSpacing=6 cellPadding=0 width=458 border=0#ed_cl##ed_op#TBODY#ed_cl##ed_op#TR#ed_cl##ed_op#TD#ed_cl##ed_op#STORYTAG#ed_cl##ed_op#TABLE cellSpacing=2 cellPadding=5 width="100%" border=0#ed_cl##ed_op#TBODY#ed_cl##ed_op#TR#ed_cl##ed_op#TD#ed_cl##ed_op#P#ed_cl##ed_op#BR#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#STRONG#ed_cl#International violinist Vanessa-Mae will play at a concert with sitar maestro Ustad Nishat Khan tonight#ed_op#/STRONG#ed_cl##ed_op#BR#ed_cl##ed_op#BR#ed_cl##ed_op#/P#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#P#ed_cl##ed_op#TABLE cellSpacing=2 cellPadding=2 width=1 align=left bgColor=#efefef border=0#ed_cl##ed_op#TBODY#ed_cl##ed_op#TR#ed_cl##ed_op#TD#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#IMG hspace=0 src="http://www.mid-day.com/ArticleImages/images97/class2608.jpg" align=left border=1#ed_cl##ed_op#/FONT#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#TR#ed_cl##ed_op#TD align=middle#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Vanessa-Mae at the Grand Hyatt where she will be performing with Ustad Nishat Khan tonight#ed_op#/FONT#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#/TBODY#ed_cl##ed_op#/TABLE#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#She moved to popular music rather early in her career, but her strong classical music background is where, she says, she would want to finally return. Vanessa-Mae picked up the violin at the age of five. #ed_op#BR#ed_cl##ed_op#BR#ed_cl#She was dedicated to classical music but moved to popular music as she grew up. Her music style is self-described as “violin techno-acoustic fusion”, which she says is because she prominently features the techno style in her music.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Vanessa-Mae steps on to the Indian soil for the very first time for a three tour with the versatile sitar maestro Ustad Nishat Khan#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#STRONG#ed_cl#Is this your first visit to India?#ed_op#BR#ed_cl##ed_op#/STRONG#ed_cl##ed_op#BR#ed_cl#Yes, but this isn’t my first interaction with India. My album Choreography was all about dances from all over the world and one couldn’t ignore India. #ed_op#BR#ed_cl##ed_op#BR#ed_cl#Bollywood of course is a key element here but we did explore new grounds here. AR Rahman, who composed a track for the album, really opened my mind to a free-flowing style of music.#ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#STRONG#ed_cl#What is the element of Indian classical music that strikes you the most?#ed_op#BR#ed_cl##ed_op#/STRONG#ed_cl##ed_op#BR#ed_cl#I haven’t heard much of Indian classical music to comment on that but I love experimenting. Even with Rahman, although we used a whole lot of Western strings, the song finally had an ‘Indian’ feel to it. This is the first time I will be performing live with an Indian instrumentalist.#ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#STRONG#ed_cl#So what must we expect from your performance here with Ustad Nishat Khan? Will it be Western classical meets Indian classical or the more popular style of music you have been playing?#ed_op#BR#ed_cl##ed_op#/STRONG#ed_cl##ed_op#BR#ed_cl#I’m not too sure what genre Nishat Khan would come in. Well, we play only two songs together at the end. The show will have both of us giving solo performances first. It will be 60 minutes of songs from my previous album, which would primarily be popular/fusion music. #ed_op#BR#ed_cl##ed_op#BR#ed_cl#This will include Rahman’s song too. We don’t have an orchestra here so playing classical is quite restricted.#ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#STRONG#ed_cl#Why did you shift focus to popular and fusion music? Are you planning to get back to classical sometime in the future?#ed_op#/STRONG#ed_cl# #ed_op#BR#ed_cl##ed_op#BR#ed_cl#I would want to be buried with classical music and not popular music. The main reason for my shift to popular music was that it allowed me to ‘create’. I enjoy making music; it is a process of creation. #ed_op#BR#ed_cl##ed_op#BR#ed_cl#With classical music, things are quite rigid. You have to learn the notes and if you play them perfectly, you’ll be loved. I get more satisfaction making my own music. #ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#STRONG#ed_cl#But don’t you think you could be an inspiration for the youth if you stuck on with classical music?#ed_op#BR#ed_cl##ed_op#/STRONG#ed_cl##ed_op#BR#ed_cl#To create original music or fuse two kinds of music, you need to know your basics very well. I would encourage youngsters to learn classical music and strengthen their roots. But the rules they lay down can be followed only up to a certain point. After that I firmly believe that rules are meant to be broken. #ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#By invitation only. This concert is organised by Seagram’s 100 Pipers Pure Music. #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#/TBODY#ed_cl##ed_op#/TABLE#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#/TBODY#ed_cl##ed_op#/TABLE#ed_cl##ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#/DIV#ed_cl#


-----------------------------------
taal
Thu 27 Sep, 2007 10:14

Re: CLASSICAL TRANQUILITY & MUSIC REVIEW
-----------------------------------
#ed_op#DIV#ed_cl##ed_op#FONT face=Arial#ed_cl##ed_op#STRONG#ed_cl##ed_op#FONT size=5#ed_cl#'Classical music survives because of the likes of us'#ed_op#/ARTTITLE#ed_cl##ed_op#BR#ed_cl##ed_op#/FONT#ed_cl##ed_op#/STRONG#ed_cl##ed_op#SPAN class=headingnext style="PADDING-TOP: 5px"#ed_cl#10 Jan 2006, 0244 hrs IST#ed_op#IMG src="http://timesofindia.indiatimes.com/images/spacer.gif" width=1 border=0#ed_cl#,#ed_op#IMG src="http://timesofindia.indiatimes.com/images/spacer.gif" width=3 border=0#ed_cl#Reagan Gavin Rasquinha#ed_op#IMG src="http://timesofindia.indiatimes.com/images/spacer.gif" width=1 border=0#ed_cl#,#ed_op#IMG src="http://timesofindia.indiatimes.com/images/spacer.gif" width=3 border=0#ed_cl#TNN#ed_op#/SPAN#ed_cl##ed_op#/FONT#ed_cl##ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#FONT face=Arial#ed_cl##ed_op#SPAN class=headingnext style="PADDING-TOP: 5px"#ed_cl##ed_op#/SPAN#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#FONT face=Arial#ed_cl##ed_op#SPAN class=headingnext style="PADDING-TOP: 5px"#ed_cl##ed_op#/SPAN#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#FONT face=Arial#ed_cl##ed_op#SPAN class=headingnext style="PADDING-TOP: 5px"#ed_cl##ed_op#DIV class=section1#ed_cl##ed_op#DIV class=Normal#ed_cl##ed_op#SPAN style="FONT-SIZE: 10pt; FONT-STYLE: italic"#ed_cl#Tabla maestro Zakir Hussain and his younger brother, Taufiq Qureshi get together for a musical soiree. #ed_op#/SPAN#ed_cl##ed_op#BR#ed_cl##ed_op#BR#ed_cl##ed_op#SPAN style="FONT-SIZE: 10pt"#ed_cl##ed_op#/SPAN#ed_cl##ed_op#/DIV#ed_cl##ed_op#DIV class=Normal#ed_cl##ed_op#SPAN style="FONT-SIZE: 10pt"#ed_cl#What do you get when you have the likes of tabla maestro Zakir Hussain and his younger brother, percussion master Taufiq Qureshi, together either sharing a stage or even talking about rhythm, the subject closest to their hearts? A musical treat. #ed_op#/SPAN#ed_cl##ed_op#BR#ed_cl##ed_op#BR#ed_cl##ed_op#/DIV#ed_cl##ed_op#SPAN style="FONT-SIZE: 10pt"#ed_cl##ed_op#/SPAN#ed_cl##ed_op#DIV class=Normal#ed_cl##ed_op#SPAN style="FONT-SIZE: 10pt"#ed_cl#But there's a reason why these two brothers, both masters of their respective fields, have come together. They're to perform the world music album Rhydhun (released in 2000 and now in its fifth year, has gone on to become India's largest-selling world music album) dedicated to their father, the Tabla Master Ustad Allarakha. #ed_op#/SPAN#ed_cl##ed_op#BR#ed_cl##ed_op#BR#ed_cl##ed_op#SPAN style="FONT-SIZE: 10pt"#ed_cl##ed_op#/SPAN#ed_cl##ed_op#/DIV#ed_cl##ed_op#DIV class=Normal#ed_cl##ed_op#SPAN style="FONT-SIZE: 10pt"#ed_cl#They will also perform the song Ashawali Dhoop, featuring vocals by Zakir. The sales of this song will go towards the tsunami victims. The brothers will be performing this album live in mid-February with friends L Shankar and Shankar Mahadevan. #ed_op#/SPAN#ed_cl##ed_op#BR#ed_cl##ed_op#SPAN style="FONT-SIZE: 10pt"#ed_cl#... #ed_op#/SPAN#ed_cl##ed_op#BR#ed_cl##ed_op#/DIV#ed_cl##ed_op#/DIV#ed_cl##ed_op#DIV class=section2#ed_cl##ed_op#DIV class=Normal#ed_cl##ed_op#SPAN style="FONT-SIZE: 10pt"#ed_cl#... #ed_op#/SPAN#ed_cl##ed_op#BR#ed_cl##ed_op#SPAN style="FONT-SIZE: 10pt"#ed_cl##ed_op#/SPAN#ed_cl##ed_op#/DIV#ed_cl##ed_op#DIV class=Normal#ed_cl##ed_op#SPAN style="FONT-SIZE: 10pt"#ed_cl#What's their take on contemporary music? "There's nothing wrong with electronic music. Trends come and go, but the core, which is folk and rural music, will always remain. And what remixes do is draw from a common root and steer attention towards that original source, which is rural and folk music," says Zakir. #ed_op#/SPAN#ed_cl##ed_op#BR#ed_cl##ed_op#BR#ed_cl##ed_op#/DIV#ed_cl##ed_op#SPAN style="FONT-SIZE: 10pt"#ed_cl##ed_op#/SPAN#ed_cl##ed_op#DIV class=Normal#ed_cl##ed_op#SPAN style="FONT-SIZE: 10pt"#ed_cl#Adds Taufiq, "Mass audiences love remixed music, after all, they have to sell and make their money! But classical music survives because of the likes of us." And what kind of music might one find in the CD trays of these two maestros? #ed_op#/SPAN#ed_cl##ed_op#BR#ed_cl##ed_op#BR#ed_cl##ed_op#/DIV#ed_cl##ed_op#SPAN style="FONT-SIZE: 10pt"#ed_cl##ed_op#/SPAN#ed_cl##ed_op#DIV class=Normal#ed_cl##ed_op#SPAN style="FONT-SIZE: 10pt"#ed_cl#"I'm listening to some traditional Indian music from the 1930s like Badi Moti Bai and Kesar Bai Kelkar," says Zakir, who's composed music for movies like In Custody by Ismail Merchant, Bernardo Bertolucci's Little Buddha, and Heat and Dust, while Taufiq has a passion for the music of "Youssou N'Dour, Pandit Vidhwan, Giovanni Hidalgo, Pandit Viku Vinayakram, Pt Jasraj and Trilok Gurtu. #ed_op#/SPAN#ed_cl##ed_op#BR#ed_cl##ed_op#SPAN style="FONT-SIZE: 10pt"#ed_cl#... #ed_op#/SPAN#ed_cl##ed_op#BR#ed_cl##ed_op#/DIV#ed_cl##ed_op#/DIV#ed_cl##ed_op#DIV class=section3#ed_cl##ed_op#DIV class=Normal#ed_cl##ed_op#SPAN style="FONT-SIZE: 10pt"#ed_cl#... #ed_op#/SPAN#ed_cl##ed_op#BR#ed_cl##ed_op#SPAN style="FONT-SIZE: 10pt"#ed_cl##ed_op#/SPAN#ed_cl##ed_op#/DIV#ed_cl##ed_op#DIV class=Normal#ed_cl##ed_op#SPAN style="FONT-SIZE: 10pt"#ed_cl#I listen to Bollywood songs only to keep myself up-to-date with what is going on." Both draw from the energy of #ed_op#/SPAN#ed_cl##ed_op#BR#ed_cl##ed_op#SPAN style="FONT-SIZE: 10pt"#ed_cl#their audience whilst performing. And it's that passion of doing what you love to do which gives Zakir a buzz. "When you are doing something that you like doing, it keeps you in good spirits. #ed_op#/SPAN#ed_cl##ed_op#BR#ed_cl##ed_op#BR#ed_cl##ed_op#/DIV#ed_cl##ed_op#SPAN style="FONT-SIZE: 10pt"#ed_cl##ed_op#/SPAN#ed_cl##ed_op#DIV class=Normal#ed_cl##ed_op#SPAN style="FONT-SIZE: 10pt"#ed_cl#There is no better reality," adds Zakir, whose other passions besides music are "cricket, basketball and reading. #ed_op#/SPAN#ed_cl##ed_op#BR#ed_cl##ed_op#BR#ed_cl##ed_op#/DIV#ed_cl##ed_op#SPAN style="FONT-SIZE: 10pt"#ed_cl##ed_op#/SPAN#ed_cl##ed_op#DIV class=Normal#ed_cl##ed_op#SPAN style="FONT-SIZE: 10pt"#ed_cl#I'm reading a book right now which is all about the magic of numbers," he says. Taufiq adds that success never came his way easily, although being Ustad Allarakha's son and Zakir Hussain's brother, he started out at ground zero. #ed_op#/SPAN#ed_cl##ed_op#BR#ed_cl##ed_op#SPAN style="FONT-SIZE: 10pt"#ed_cl#... #ed_op#/SPAN#ed_cl##ed_op#BR#ed_cl##ed_op#/DIV#ed_cl##ed_op#/DIV#ed_cl##ed_op#DIV class=section4#ed_cl##ed_op#DIV class=Normal#ed_cl##ed_op#SPAN style="FONT-SIZE: 10pt"#ed_cl#... #ed_op#/SPAN#ed_cl##ed_op#BR#ed_cl##ed_op#SPAN style="FONT-SIZE: 10pt"#ed_cl##ed_op#/SPAN#ed_cl##ed_op#/DIV#ed_cl##ed_op#DIV class=Normal#ed_cl##ed_op#SPAN style="FONT-SIZE: 10pt"#ed_cl#"I'd play with orchestra bands in '84-85 and then got a call one day from Anand Milind. The first film I played in was Deewana Mujhsa Nahin. He liked what I played and booked an entire month for me to play. After that I played with Anu Malik, Nadeem Shravan etc." #ed_op#/SPAN#ed_cl##ed_op#BR#ed_cl##ed_op#BR#ed_cl##ed_op#/DIV#ed_cl##ed_op#SPAN style="FONT-SIZE: 10pt"#ed_cl##ed_op#/SPAN#ed_cl##ed_op#DIV class=Normal#ed_cl##ed_op#SPAN style="FONT-SIZE: 10pt"#ed_cl#Apart from the Rhydhun performance, both are looking forward to playing in memory of their appaji in a daylong concert in February whose line up includes "musicians as diverse as world renown drummer Terry Bozzio, Giovanni Hidalgo, Ali Akbar Khan and even an Uzbeki drummer!" says Zakir. #ed_op#/SPAN#ed_cl##ed_op#BR#ed_cl##ed_op#BR#ed_cl##ed_op#/DIV#ed_cl##ed_op#/DIV#ed_cl##ed_op#/SPAN#ed_cl##ed_op#/FONT#ed_cl##ed_op#/DIV#ed_cl#


-----------------------------------
taal
Thu 27 Sep, 2007 10:20

Re: CLASSICAL TRANQUILITY & MUSIC REVIEW
-----------------------------------
#ed_op#DIV#ed_cl##ed_op#TABLE cellSpacing=0 cellPadding=0 width=636 align=center border=0#ed_cl##ed_op#TBODY#ed_cl##ed_op#TR#ed_cl##ed_op#TD class=t_t_11_b#ed_cl##ed_op#STRONG#ed_cl##ed_op#FONT size=5#ed_cl##ed_op#FONT class=t_v_16_b_b#ed_cl#Raising a toast to Indian maestros#ed_op#/FONT#ed_cl##ed_op#BR#ed_cl##ed_op#/FONT#ed_cl##ed_op#/STRONG#ed_cl#By NDTV News#ed_op#BR#ed_cl#Jun 21, 2007, 08:16#ed_op#BR#ed_cl##ed_op#BR#ed_cl##ed_op#/TD#ed_cl##ed_op#TD class=t_t_11_b vAlign=top align=right#ed_cl##ed_op#BR#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#/TBODY#ed_cl##ed_op#/TABLE#ed_cl##ed_op#TABLE cellSpacing=0 cellPadding=0 width=636 align=center border=0#ed_cl##ed_op#TBODY#ed_cl##ed_op#TR#ed_cl##ed_op#TD style="FONT-SIZE: 10pt; FONT-FAMILY: Trebuchet MS, Verdana, helvetica, sans-serif; BACKGROUND-COLOR: white"#ed_cl##ed_op#P#ed_cl##ed_op#TABLE cellSpacing=2 cellPadding=0 align=left border=0#ed_cl##ed_op#TBODY#ed_cl##ed_op#TR#ed_cl##ed_op#TD#ed_cl##ed_op#IMG src="http://www.musicindiaonline.com/z/nimgs/hindustani/95/1.jpg" border=1#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#/TBODY#ed_cl##ed_op#/TABLE#ed_cl#On World Music Day we hit some high notes and acknowledge some of India's Grammy winning artists.#ed_op#/P#ed_cl##ed_op#P#ed_cl#It was in the 1960's when Pandit Ravi Shankar entered into a historic collaboration with George Harrison, the man who dubbed him the Godfather of world music.#ed_op#/P#ed_cl##ed_op#P#ed_cl#Two years later Shankar won his first #ed_op#FONT style="FONT-WEIGHT: 400; FONT-SIZE: 11px; COLOR: blue! important; FONT-FAMILY: Trebuchet MS, Verdana, Arial, sans-serif; POSITION: static"#ed_cl##ed_op#FONT color=#000000#ed_cl##ed_op#SPAN class=kLink style="FONT-WEIGHT: 400; FONT-SIZE: 11px; COLOR: blue! important; FONT-FAMILY: Trebuchet MS, Verdana, Arial, sans-serif; POSITION: relative"#ed_cl#Grammy #ed_op#/SPAN#ed_cl##ed_op#SPAN class=kLink style="FONT-WEIGHT: 400; FONT-SIZE: 11px; COLOR: blue! important; FONT-FAMILY: Trebuchet MS, Verdana, Arial, sans-serif; POSITION: relative"#ed_cl#Award#ed_op#/SPAN#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl#.#ed_op#/P#ed_cl##ed_op#P#ed_cl#Wah Ustaad!#ed_op#/P#ed_cl##ed_op#P#ed_cl#Throughout the 1960s and 1970s Shankar worked extensively with Tabla maestro #ed_op#FONT style="FONT-WEIGHT: 400; FONT-SIZE: 11px; COLOR: blue! important; FONT-FAMILY: Trebuchet MS, Verdana, Arial, sans-serif; POSITION: static" color=blue#ed_cl##ed_op#SPAN class=kLink style="FONT-WEIGHT: 400; FONT-SIZE: 11px; COLOR: blue! important; FONT-FAMILY: Trebuchet MS, Verdana, Arial, sans-serif; POSITION: relative"#ed_cl#Zakir #ed_op#/SPAN#ed_cl##ed_op#SPAN class=kLink style="FONT-WEIGHT: 400; FONT-SIZE: 11px; COLOR: blue! important; FONT-FAMILY: Trebuchet MS, Verdana, Arial, sans-serif; POSITION: relative"#ed_cl#Hussain#ed_op#/SPAN#ed_cl##ed_op#/FONT#ed_cl#, considered amongst the world's most legendary percussionists.#ed_op#/P#ed_cl##ed_op#P#ed_cl#The son and protege of Ustad Alla Rakha, Hussain has made a unique contribution to world music.#ed_op#/P#ed_cl##ed_op#P#ed_cl#He boasts of collaborations with artists as diverse as Mickey Hart, George Harrison, Joe Henderson, #ed_op#FONT style="FONT-WEIGHT: 400; FONT-SIZE: 11px; COLOR: blue! important; FONT-FAMILY: Trebuchet MS, Verdana, Arial, sans-serif; POSITION: static" color=blue#ed_cl##ed_op#SPAN class=kLink style="FONT-WEIGHT: 400; FONT-SIZE: 11px; COLOR: blue! important; FONT-FAMILY: Trebuchet MS, Verdana, Arial, sans-serif; POSITION: relative"#ed_cl#Van #ed_op#/SPAN#ed_cl##ed_op#SPAN class=kLink style="FONT-WEIGHT: 400; FONT-SIZE: 11px; COLOR: blue! important; FONT-FAMILY: Trebuchet MS, Verdana, Arial, sans-serif; POSITION: relative"#ed_cl#Morrison#ed_op#/SPAN#ed_cl##ed_op#/FONT#ed_cl#, the Hong Kong Symphony and the New Orleans Symphony.#ed_op#/P#ed_cl##ed_op#P#ed_cl#He also founded the group Shakti with John McLaughlin and L Shankar.#ed_op#/P#ed_cl##ed_op#P#ed_cl#Global appeal#ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#TABLE cellSpacing=2 cellPadding=0 align=right border=0#ed_cl##ed_op#TBODY#ed_cl##ed_op#TR#ed_cl##ed_op#TD#ed_cl##ed_op#IMG src="http://www.musicindiaonline.com/z/nimgs/hindustani/95/2.jpg" border=1#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#/TBODY#ed_cl##ed_op#/TABLE#ed_cl#In 1998 Fatboy Slim remade a cornerstone song Brimful of Asha.#ed_op#/P#ed_cl##ed_op#P#ed_cl#The chartbuster, a tribute to India's very own Asha Bhonsle, was one of the first of many such tributes.#ed_op#/P#ed_cl##ed_op#P#ed_cl#Nelly Furtado sang Kabhi Kabhi at a concert in India, while Code Red and cricketer Brett Lee got to sing with the legendary singer.#ed_op#/P#ed_cl##ed_op#P#ed_cl#It was a Grammy nomination in 2006 that truly indicated her global appeal.#ed_op#/P#ed_cl##ed_op#P#ed_cl#"I have already received my Grammy because the day the nominations were announced, all my fans, friends and well wishers presented me with bouquets and sent me beautiful messages," she said.#ed_op#/P#ed_cl##ed_op#P#ed_cl#"I felt the award was not for me, but for my fans and for India".#ed_op#/P#ed_cl##ed_op#P#ed_cl#Rising stars#ed_op#/P#ed_cl##ed_op#P#ed_cl#The youngest Indian entry on the world music scene is Anoushka Shankar, the daughter and disciple of Pandit Ravi Shankar.#ed_op#/P#ed_cl##ed_op#P#ed_cl#For the young sitar player music came easily if not effortlessly.#ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#TABLE cellSpacing=2 cellPadding=0 align=left border=0#ed_cl##ed_op#TBODY#ed_cl##ed_op#TR#ed_cl##ed_op#TD#ed_cl##ed_op#IMG src="http://www.musicindiaonline.com/z/nimgs/hindustani/95/3.jpg" border=1#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#/TBODY#ed_cl##ed_op#/TABLE#ed_cl#Schooled by her father, Anoushka had already dazzled thousands with her music skills by the time she had reached her teens.#ed_op#/P#ed_cl##ed_op#P#ed_cl#Then came the album Rise, which got her a Grammy nomination in the Best Contemporary World Music category.#ed_op#/P#ed_cl##ed_op#P#ed_cl#VishwaMohan Bhatt, another disciple of Pandit Ravi Shankar, adapted the western acoustic guitar to Indian classical music, and presented the world with the Mohan Veena.#ed_op#/P#ed_cl##ed_op#P#ed_cl#On World Music Day, NDTV raises a toast to these maestros, who have truly made the world sing along.#ed_op#/P#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#/TBODY#ed_cl##ed_op#/TABLE#ed_cl##ed_op#/DIV#ed_cl#


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sur
Thu 27 Sep, 2007 23:35

Re: CLASSICAL TRANQUILITY & MUSIC REVIEW
-----------------------------------
#ed_op#DIV#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#STRONG#ed_cl##ed_op#FONT size=5#ed_cl# #ed_op#STARTARTICLETITLE#ed_cl#The Regent hosts two musical greats#ed_op#STARTARTICLETITLE#ed_cl# #ed_op#/FONT#ed_cl##ed_op#BR#ed_cl##ed_op#/STRONG#ed_cl##ed_op#FONT class=link#ed_cl#   By:#ed_op#/FONT#ed_cl# #ed_op#STARTAUTHOR#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#A class=link href="mailto:ranjit@mid-day.com"#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Ranjit Rodricks#ed_op#/FONT#ed_cl##ed_op#/A#ed_cl##ed_op#STARTAUTHOR#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl# #ed_op#/FONT#ed_cl##ed_op#FONT class=textgry#ed_cl##ed_op#BR#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#   #ed_op#DATE#ed_cl#August 9, 2002#ed_op#DATE#ed_cl# #ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#HR width=445 color=#e8e8e8 noShade SIZE=1#ed_cl##ed_op#/FONT#ed_cl##ed_op#TABLE cellSpacing=6 cellPadding=0 width=450 border=0#ed_cl##ed_op#TBODY#ed_cl##ed_op#TR#ed_cl##ed_op#TD#ed_cl##ed_op#STORYTAG#ed_cl##ed_op#TABLE cellSpacing=2 cellPadding=5 width="100%" border=0#ed_cl##ed_op#TBODY#ed_cl##ed_op#TR#ed_cl##ed_op#TD#ed_cl##ed_op#P#ed_cl##ed_op#COLUMNISTIMAGE#ed_cl##ed_op#!--Columinist Image--#ed_cl##ed_op#COLUMNISTIMAGE#ed_cl##ed_op#TABLE cellSpacing=1 cellPadding=1 width=100 align=left bgColor=#dfdfdf border=0#ed_cl##ed_op#TBODY#ed_cl##ed_op#TR#ed_cl##ed_op#TD#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#IMG hspace=5 src="http://www.mid-day.com/articleimages/images13/kumarsanu.jpg" align=left vspace=5 border=1#ed_cl##ed_op#/FONT#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#TR#ed_cl##ed_op#TD#ed_cl##ed_op#P align=center#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#STRONG#ed_cl#Kumar Sanu pays tribute to Kishore da#ed_op#/STRONG#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#/TBODY#ed_cl##ed_op#/TABLE#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Violinists, Shankar (a Grammy award winner), and Gingger, who are currently touring the country were in Mumbai to perform for a select audience in the ballroom at The Regent.#ed_op#BR#ed_cl##ed_op#BR#ed_cl#The artistes performed exclusive numbers from their new album, One In A Million, which has some unique classical music and has been number 5 on the Billboard charts. #ed_op#BR#ed_cl##ed_op#BR#ed_cl#They were accompanied by Shafaat Ahmed on the tabla and renowned percussionist Sivamani. Spotted at the exclusive event were music director Pyarelal, santoor maestro Pandit Shivkumar Sharma with son Rahul, Louis Banks, Gary Lawyer, Ranjit Barot and Roy Venkatraman. #ed_op#BR#ed_cl##ed_op#BR#ed_cl#The Phenomenon, A Tribute To Kishore Kumar was held last Saturday night on the eve of his birth anniversary. The evening saw the unveiling of the Kishore Kumar Award for excellence in male playback singing. #ed_op#BR#ed_cl##ed_op#BR#ed_cl#The show, anchored by Shekhar Suman, took people down memory lane with Kishore da’s mesmerising songs. Among the singers were Kumar Sanu, Babul Supriyo, DJ Aqeel, Shaan and Abhijit. Kishore Kumar's younger son, Sumeet Kumar, made his debut by singing Chala Jata Hoon. #ed_op#BR#ed_cl#Ranjit Rodricks#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#/TBODY#ed_cl##ed_op#/TABLE#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#/TBODY#ed_cl##ed_op#/TABLE#ed_cl##ed_op#/DIV#ed_cl#


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sur
Thu 27 Sep, 2007 23:39

Re: CLASSICAL TRANQUILITY & MUSIC REVIEW
-----------------------------------
#ed_op#STRONG#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#FONT color=#451528 size=5#ed_cl# #ed_op#STARTARTICLETITLE#ed_cl#Abhijit Pohankar releases his 2nd album#ed_op#STARTARTICLETITLE#ed_cl# #ed_op#/FONT#ed_cl##ed_op#BR#ed_cl##ed_op#/FONT#ed_cl##ed_op#/STRONG#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#FONT class=link#ed_cl#  #ed_op#BR#ed_cl#   By: #ed_op#STARTAUTHOR#ed_cl#Vibha Iyer#ed_op#STARTAUTHOR#ed_cl##ed_op#/FONT#ed_cl# #ed_op#STARTPHOTOGRAPHER#ed_cl##ed_op#!-- PHOTOGRAPHER --#ed_cl##ed_op#STARTPHOTOGRAPHER#ed_cl##ed_op#BR#ed_cl#   #ed_op#FONT class=textgry#ed_cl##ed_op#DATE#ed_cl#April 8, 2004#ed_op#DATE#ed_cl# #ed_op#/FONT#ed_cl##ed_op#HR width=428 color=#e8e8e8 noShade SIZE=1#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#TABLE cellSpacing=6 cellPadding=0 width=428 border=0#ed_cl##ed_op#TBODY#ed_cl##ed_op#TR#ed_cl##ed_op#TD#ed_cl##ed_op#STORYTAG#ed_cl##ed_op#TABLE cellSpacing=2 cellPadding=5 width="100%" border=0#ed_cl##ed_op#TBODY#ed_cl##ed_op#TR#ed_cl##ed_op#TD height=27#ed_cl##ed_op#P#ed_cl##ed_op#TABLE cellSpacing=0 cellPadding=0 width=100 align=left bgColor=#ffffff border=0#ed_cl##ed_op#TBODY#ed_cl##ed_op#TR#ed_cl##ed_op#TD#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#IMG hspace=0 src="http://www.mid-day.com/ArticleImages/Images30/pohankar1231a.jpg" align=left border=1#ed_cl##ed_op#/FONT#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#/TBODY#ed_cl##ed_op#/TABLE#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#His first album, Piya Bavari, released in 2002, took the country by storm. It also created waves in the international music scene and Abhijit Pohankar became the second artist after AR Rehman to be featured at Buddha Bar, Paris. #ed_op#BR#ed_cl##ed_op#BR#ed_cl#Son of renowned classical vocalist Pandit Ajay Pohankar, Abhijit is now mesmerising his fans with his latest album Sajanava, which is already on air and has retained the No 1 spot on the Rhythm House charts for the last 2 weeks.#ed_op#BR#ed_cl##ed_op#BR#ed_cl#Abhijit has made classical music fashionable amongst the younger generation by experimenting with classical tunes and giving them a contemporary sound.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#“I use a lot of lounge music and mix it with Indian classical music. I call it New Age Music,” says this Gilbert Hill resident. His variation to classical music proved to be a huge hit with Piya Bavari and music companies started approaching him. #ed_op#BR#ed_cl##ed_op#BR#ed_cl#“People are fed up with the Indipop scene and I wanted to give them something different. At the same time, I did not want to let go of my roots,” he explains adding “Classical music can never go out of fashion.” #ed_op#BR#ed_cl##ed_op#BR#ed_cl#He also acknowledges his success to music greats like violinist L Subramaniam, vocalist Pandit Jasraj and tabla maestro Taufiq Qureshi who have always supported his experimentation with music. #ed_op#BR#ed_cl##ed_op#BR#ed_cl#Trained by his grandmother Dr Sushila Pohankar, a musicologist and his father from an early age, Abhijit admits that there was no other profession he could think of taking up. #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Talking about his deviation into this new genre of music, he says, “I did not want to sing, because I knew I would always be compared to my father. I wanted to do something different.” #ed_op#BR#ed_cl##ed_op#BR#ed_cl#This prompted him to take up the keyboard under the tutelage of Pandit Shivkumar Sharma. Today Abhijit is the only Indian to play Indian classical music on the keyboard. #ed_op#BR#ed_cl##ed_op#BR#ed_cl#Abhijit has also been performing at the Philharmonic Hall in London for the last three years and also worked with Talvin Singh. Not one to rest on his past laurels, Abhijit is already readying himself for his next release, Piya Bavari 2 which is a fusion album with Anup Jalota.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#“The album will feature popular thumris of Usatad Bade Ghulam Ali Khan,” reveals Abhijit. #ed_op#BR#ed_cl##ed_op#BR#ed_cl#About his future plans, Abhijit says he would love to compose music for Bollywood. “I heard that Ram Gopal Varma and Sanjay Leela Bhansali loved Piya Bavari. I would love to work with them,” he says. #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#/TBODY#ed_cl##ed_op#/TABLE#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#/TBODY#ed_cl##ed_op#/TABLE#ed_cl##ed_op#DIV#ed_cl##ed_op#/DIV#ed_cl#


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sur
Thu 27 Sep, 2007 23:45

Re: CLASSICAL TRANQUILITY & MUSIC REVIEW
-----------------------------------
#ed_op#DIV#ed_cl##ed_op#P#ed_cl##ed_op#FONT class=storyhead color=#441415 size=5#ed_cl##ed_op#B#ed_cl#Ragas in real time #ed_op#/B#ed_cl##ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#P#ed_cl##ed_op#TABLE width="100%" bgColor=#ffeeff border=0#ed_cl##ed_op#TBODY#ed_cl##ed_op#TR#ed_cl##ed_op#TD#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Meet Abhijit and Ajay Pohankar, a son and father duo that brooks no generation gap #ed_op#/FONT#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#/TBODY#ed_cl##ed_op#/TABLE#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#CENTER#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl#PHOTO: V. SUDERSHAN #ed_op#BR#ed_cl##ed_op#IMG height=204 src="http://www.hinduonnet.com/thehindu/mp/2007/05/05/images/2007050501550201.jpg" width=350 align=center border=1#ed_cl# #ed_op#BR#ed_cl##ed_op#B#ed_cl#GENERATION `WE' Pandit Ajay Pohankar with his son Abhijit #ed_op#/B#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/CENTER#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#We had heard of morning ragas and evening ragas, happy ragas and sad ragas. Not an urban raga, though. But Urban Raga is what interests multifaceted musician Abhijit Pohankar currently. #ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#That is what he has named his latest album, released the other day in New Delhi by Sa Re Ga Ma. With his father Pandit Ajay Pohankar this young man presents a picture, as it were, of India today. Modern in apparel, forward looking, willing to experiment, yet steeped in an old world culture. That the old and the new blend harmoniously is made amply evident by the father willingly lending his voice to the son's compositions. #ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#This is not the first time. The same father-son duo made waves with the album Piya Bavari. "Piya Bavari went off well not only with youngsters but also with old people and foreigners. That's what started the era of lounge music," avers Abhijit. #ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT class=subsectionhead color=red#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#For urban listeners #ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#As for urban raga, he explains, "It is raga made for urban listeners. This album is all about the beauty of contemporary sound, what I'm known for." This is one step beyond his earlier recordings, says the keyboard player who plays Hindustani classical music on an instrument better known for Western sounds. #ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#A disciple of santoor maestro Pandit Shiv Kumar Sharma, Abhijit says, "I feel raga has got a lot of trance qualities in it. It has to have a variety of sounds without tampering with the basic raga. Why not treat the raga with chords and harmony as well? I think it always makes it more beautiful." #ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#His father, a renowned musician steeped in the classical Khayal mould, belongs to a generation that was not schooled in public relations and concentrated on riyaaz (practicing) without looking to the fruits of hard labour, like name, fame and wealth. However, he feels in the present environment artistes are better off if they compromise and balance their work with some publicity. And has this accommodating attitude made it easier to compromise with Abhijit's music? "I wouldn't call this a compromise," clarifies the elder Pohankar, "because I found the music very beautiful." #ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Not a stickler for labels, he speaks of his childhood when musicians of all schools came to meet his mother and guru, Susheela Pohankar. "What is gharana," he asks. "It is only sur and laya. Gharana means #ed_op#I#ed_cl#ghar theek se aana#ed_op#/I#ed_cl#. I am like a gardener, taking flowers from all over. The reason I am happy is I am unbiased." #ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#P align=justify#ed_cl##ed_op#P align=justify#ed_cl##ed_op#P align=justify#ed_cl##ed_op#P align=justify#ed_cl##ed_op#URL#ed_cl##ed_op#/URL#ed_cl##ed_op#WEB#ed_cl##ed_op#/WEB#ed_cl##ed_op#P align=justify#ed_cl#ANJANA RAJAN #ed_op#/P#ed_cl##ed_op#/DIV#ed_cl#


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sur
Sun 30 Sep, 2007 10:20

Re: CLASSICAL TRANQUILITY & MUSIC REVIEW
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#ed_op#DIV#ed_cl##ed_op#H2#ed_cl#Vibrations#ed_op#/H2#ed_cl##ed_op#BR#ed_cl##ed_op#H3#ed_cl##ed_op#/H3#ed_cl##ed_op#H3#ed_cl#ROBIN SUKHADIA, Jun 01, 2007#ed_op#/H3#ed_cl##ed_op#P#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT face=arial,helvetica,sans-serif size=2#ed_cl##ed_op#IMG height=135 hspace=8 src="http://www.indiacurrents.com/directory/getdata.asp?about_id=96720f0fc745223f8de264ff0ceb430c-3" width=200 align=right vspace=8 border=0#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Starting in the 16th century, classical North Indian music was protected and nurtured by the royal courts under the great Mughal emperors of North India. Their court system of patronage supported artists who developed their music to tremendous levels. This system began to collapse during the British occupation of India and great musicians were forced to seek other ways to sustain themselves. They found patronage in smaller courts, with the newly wealthy landlords that were created by the British system, and in the new colonial cities of Calcutta and Bombay.#ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#It was only after Indian independence in 1946 that the music slowly became accessible to the Indian public, through public concerts, recordings and radio broadcasts, and, eventually, to the wider global audience at large.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Master musicians like Ali Akbar Khan and Ravi Shankar, who trained intensely for years in near isolation, brought the music to Western audiences starting in the 1950s. The arrival of these and other master artists on the world stage changed the course of classical music forever. New amplification technologies and altered formats for presenting classical music combined to make classical North Indian music more appealing to Western musical sensibilities. The willingness of pioneering artists to bring the music to new audiences around the world was seen by traditionalists as an affront to the previously closed nature of the music, which had been guarded for centuries by a strict code of lineage and patriarchy. For most of the history of North Indian classical music, only certain male blood relatives were permitted to learn the intricacies of playing instruments like tabla, sitar, and sarod.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#In the late 1990s, Talvin Singh and other British Asian Underground pioneers—including Asian Dub Foundation, Nitin Sawhney and State of Bengal—initiated a global movement of electronic and dance music influenced by the classical music of North and South India, often referred to as the Asian Massive movement. These pioneers created music straddling two musical worlds: a contemporary technological musical world where there are few restrictions, and a traditional acoustic one where respect for sacred paradigms and discipline are of utmost importance to creative expression. The result of their sonic experiments was a new musical identity representing the South Asian diaspora worldwide.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P align=left#ed_cl# #ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Today, South Asian Americans are both carrying on the classical traditions of their parents and continuing to forge new ground in the electronic music scene. Artists such as Anoushka Shankar and Alam Khan are carrying on the groundbreaking tradition of their fathers by continuing the tradition of classical music, while innovators such as Karsh Kale are producing electronic tracks with world musicians from all over the planet. But can these musical forms converge and coexist in the modern world without sacrificing the purity of the classical form?#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#STRONG#ed_cl#Part 1#ed_op#/STRONG#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#/DIV#ed_cl#


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sur
Sun 30 Sep, 2007 10:24

Re: CLASSICAL TRANQUILITY & MUSIC REVIEW
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#ed_op#DIV#ed_cl##ed_op#FONT face=Arial color=#ff6600 size=2#ed_cl# #ed_op#/FONT#ed_cl##ed_op#P align=left#ed_cl##ed_op#STRONG#ed_cl#"CLASSICAL MUSIC IS NOT FOR ENTERTAINMENT"#ed_op#/STRONG#ed_cl##ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#STRONG#ed_cl##ed_op#/STRONG#ed_cl# #ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT face=arial,helvetica,sans-serif size=2#ed_cl##ed_op#IMG height=300 hspace=8 src="http//www.indiacurrents.com/directory/getdata.asp?about_id=96720f0fc745223f8de264ff0ceb430c-5" width=199 align=left vspace=8 border=0#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Sitting and talking with Alam Khan, 24, at the world famous Ali Akbar College of Music in San Rafael, Calif., is like sharing a sacred meal with a rising acolyte at an ancient temple. One of the youngest sons of maestro Ali Akbar Khan, Alam Khan radiates seriousness and an intense self-awareness about his role as one of the youngest torchbearers of his father’s and grandfather’s legacy. The young Khan began studying sarod—a 25-string instrument that traces its roots to Afghanistan—with his father when he was 7, and has performed with him around the world, including at the prestigious Dover Lane Music Conference in Kolkata, India, and at Carnegie Hall. In 2004, Alam Khan made his debut solo performance accompanied by the great tabla wizard Zakir Hussain.#ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#"I don’t consider myself a good musician or a learned musician," Alam Khan says. "I think I am just learning, that I am a student, and that I will always be a student. Right now, I am practicing rigorously and taking all my father’s classes. I instruct review classes, and give private instruction to students at the college. What I need now, and what I am doing now, is the practice that comes only through performance."#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Throughout the interview, Alam Khan deftly evades any opportunity to talk about his own musical achievements. To the point of being self-deprecating, he defers to the elders in his family and the lineage he represents. It is easy to understand why. His father carries forth the teachings of his father, the mystical genius Allaudin Khan. Allaudin Khan, who was also the guru of sitar player Ravi Shankar, is said to have mastered hundreds of musical instruments—both Indian and Western. A visionary innovator, he is credited with modernizing sitar, sarod, and a number of other instruments; he was also able to create and improvise ragas.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#"On a conscious and subconscious level, it plays a big part of my mental state that I come from a line of great musicians," Alam Khan says. "If I didn’t do this, it would haunt me that I didn’t do it." Spirituality and reverence for the sacred are central to Khan’s way of thinking about the music and his place in the family profession. "I want to make people happy like my father did. The lineage is important, yes, but devotion to the music is the most important thing. You can be an American student and this music can touch your heart, and it feels like an old friend, it feels right, and you understand the connection and you devote yourself to that."#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#IMG height=129 hspace=9 src="http//www.indiacurrents.com/directory/getdata.asp?about_id=96720f0fc745223f8de264ff0ceb430c-6" width=164 align=left vspace=9 border=0#ed_cl#Like many developing masters before him, Alam Khan’s course to becoming an established classical North Indian musician has been deliberate and slow. You won’t find any fancy marketing schemes here. He is still establishing himself in the old way, by performing selectively at prestigious conferences in India and throughout the world. His only album release to date, #ed_op#EM#ed_cl#Father to Son#ed_op#/EM#ed_cl# (2002), features him playing alongside his father. When we begin to talk about the Asian Massive movement and about contemporary applications of classical North Indian music, Alam Khan expresses strong reservations. "My father always says, ‘There is fusion, and there is confusion.’ My grandfather spent his whole life learning this music to make it as pure as possible, and he learned it directly from blood-related descendants of Mian Tansen [a 16th-century musical genius in the court of the Mughal emperor Akbar]. It is important to me that this music remains pure. We have the technology and, yes, we can [sample classical music], but we must have a foundation or the building will collapse."#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#In 2002, Alam Khan released a self-produced hip-hop album, #ed_op#EM#ed_cl#Raps, Rupees and Rickshaws#ed_op#/EM#ed_cl#, featuring himself and Oliver Black as MCs. Alam Khan produced all the beats and the album featured rising tabla virtuoso Debopriya Sarkar on the signature track, "Hangin’ with Bubai."#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#"I like electronic music. I listen to it and I make it, so I would be a hypocrite if I said I didn’t enjoy it. But it can only take you to a certain place, it taps into different kinds of emotions and vibrations. But it doesn’t get to the core essence," he says. "Spiritually, classical music is not for entertainment, it is not fashionable and it is not image-saturated—it transcends all of that. It is for your body, mind, and soul; and one of the things that is great about my father—and all the masters living (there are not many living these days)—is that they are able to be open channels for love and compassion to come through them. My grandfather used to say that you can play and devote yourself to the ragas so much that you forget the time of day, your surroundings, the place you are in, your name, everything. In order to achieve that, it has to be very pure, and the emphasis has to be on real pitch, rhythm, and tuning. It is a whole different level."#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Khan says he notices a lot of carelessness in pitch in electronic music that utilizes classical Indian samples. The focus on rhythm and beat over tuning seems disrespectful to him. "A lot of people are trying to fuse this music. I think that is just the medium through which people listen to music these days. Music is made electronically. It is a reflection of our generation today. We want a quick fix. We have no time to meditate, no time to get in touch with old traditions. In modern society, we pick up our #ed_op#EM#ed_cl#Yoga Journal#ed_op#/EM#ed_cl# magazine, we wear our shirts with deities on them, and that makes us spiritual," he says. "It is a whole state of mind that the music misses nowadays."#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT face=Arial size=2#ed_cl##ed_op#STRONG#ed_cl#Part 2#ed_op#/STRONG#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#/DIV#ed_cl#


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sur
Sun 30 Sep, 2007 10:26

Re: CLASSICAL TRANQUILITY & MUSIC REVIEW
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#ed_op#DIV#ed_cl##ed_op#FONT face=Arial color=#ff6600 size=2#ed_cl# #ed_op#/FONT#ed_cl##ed_op#P align=left#ed_cl##ed_op#STRONG#ed_cl##ed_op#FONT color=#441415 size=5#ed_cl#"THAT OLD WORLD HARDLY EXISTS ANYMORE"#ed_op#/FONT#ed_cl##ed_op#/STRONG#ed_cl##ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#STRONG#ed_cl##ed_op#/STRONG#ed_cl# #ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#IMG height=240 hspace=9 src="http//www.indiacurrents.com/directory/getdata.asp?about_id=96720f0fc745223f8de264ff0ceb430c-2" width=178 align=left vspace=9 border=0#ed_cl#Anoushka Shankar, daughter of sitar maestro Ravi Shankar, was barely 12 when she decided to dedicate her life to sitar. "This music, it requires so much because of its immensity," she says. "There is just so much dedication that it requires and I still go through tussles with that, because I love it as passionately as I do. When you are tied to something so immense, so big, with so many rules and regulations, sometimes it can be overwhelming. Definitely as a 12-year-old, you are thinking, ‘Do I really want to set myself up to this?’"#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Anoushka Shankar, now 24, grew up in London, India, and San Diego. She says living in the United States, where lineage isn’t the ultimate parameter for success, gave her more permission to define her own path.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Her father was a pioneer on many fronts. He was among the first classically trained sitarists to be embraced by Western audiences, thanks primarily to his connection with George Harrison of The Beatles. Performing milestone concerts at Woodstock and the Monterey Pop Festival, Ravi Shankar presented classical North Indian music in the landscape of a rapidly changing American pop culture. His extensive knowledge, virtuosity, and ability to eloquently educate Western audiences combined with an openness to experimentation were critical to bringing new audiences to classical North Indian music.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#"I don’t know if it is having a history of royalty in Indian culture, but people really love lineage. They want to see the child of someone who they love being the continuation of that [art]," Anoushka Shankar says. "I saw very early on that there were going to be major expectations. I had to decide, basically, to the best of my ability, to ignore it. I decided at a young age that if I was going to take this on, that this was going to be my journey."#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Beyond her father’s role in turning on the flower power generation to Indian classical music, his real legacy has to do with his intense training under Allaudin Khan. Ravi Shankar spent seven intensive years in Maihar, a small village in India, studying sitar. Intensive, in some ways, is too weak a term to describe the austere and rigorous manner in which Allaudin Khan taught his disciples. While improvisation is a major element of the music, studying hundreds of ancient compositions and memorizing them is first required to be able to intelligently improvise. The ragas are more like spells, requiring a great deal of time to learn properly and master. For Ravi Shankar and Ali Akbar Khan, a typical day of practice could include up to 18 hours of playing.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#"[My training] is not the same situation of having to leave everything and go to a village and practice 16 to 18 hours everyday for seven years," Anoushka Shankar says. "That old world hardly exists anymore. It is there in some senses, but as much as possible, my father tried to retain the essence of that in a much more present-day world."#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#While Anoushka Shankar’s training may have been different from her father’s, learning from her father has been its own amazing experience. "It is intense. You are very dependent upon your teacher. It is a very abstract relationship, as it is, because you are connecting through an art form. At least in my life, it is a very unique relationship that I have with my father, and it is the reason that we are as close as we are. It does demand a lot, a lot of memorization, a lot of time and energy. The payoff though is so instantaneous. The relationship that it created between us, it is so magical."#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#But beyond her father’s legacy, Anoushka Shankar is clearly establishing her own musical identity and is doing it with her own modern style. Her latest album, #ed_op#EM#ed_cl#Rise#ed_op#/EM#ed_cl# (2005), is a departure from the past three albums, which were primarily focused on her playing classical sitar. #ed_op#EM#ed_cl#Rise#ed_op#/EM#ed_cl# features lush atmospherics and shorter, electronic-based compositions she wrote, featuring sitar. Her forthcoming album will feature collaborative work with electronic artist, Karsh Kale. In the spirit of her visionary and progressive father, #ed_op#EM#ed_cl#Rise#ed_op#/EM#ed_cl# reflects her versatility, not just as a sitarist but as an arranger and composer, incorporating elements such as multilayered voicings, harmonization, world instruments, and classical Indian instruments. The use of electronic effects is subtle and not so subtle at points, indicators of Anoushka Shankar’s openness to experimentation with technology.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Proving that she can bridge the divide, Anoushka Shankar continues to perform regularly in India, alongside her father and in a solo context. "It is funny, you really have to prove yourself every time you go back there," she explains. "For me, the way I dress, the way I am and being female, I get a lot prominence for that in India, being very different from the bulk of the classical Indian music world. So, when it comes down to stripping it down and playing the music, you kind of really have to show that the shell for me may be very different, but the substance is still there, regardless."#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT face=Arial size=2#ed_cl##ed_op#STRONG#ed_cl#Part 3#ed_op#/STRONG#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#/DIV#ed_cl#


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sur
Sun 30 Sep, 2007 10:31

Re: CLASSICAL TRANQUILITY & MUSIC REVIEW
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#ed_op#DIV#ed_cl##ed_op#FONT face=Arial color=#ff6600 size=2#ed_cl# #ed_op#/FONT#ed_cl##ed_op#P align=left#ed_cl##ed_op#STRONG#ed_cl#"THE MUSIC IS DIVERSIFYING"#ed_op#/STRONG#ed_cl##ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#STRONG#ed_cl##ed_op#/STRONG#ed_cl# #ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#IMG height=199 hspace=9 src="http://www.indiacurrents.com/directory/getdata.asp?about_id=96720f0fc745223f8de264ff0ceb430c-4" width=300 align=right vspace=9 border=0#ed_cl#Karsh Kale’s groundbreaking electronic music has been at the center of the Asian Underground movement in America for years. He plays tabla, but audiences rarely see him present these drums in a purely classical format. In live performance, Kale, 32, often performs tabla using pedals and effects processors. Reviewers have said of Kale that he is "well on his way to mastering his own musical language," and that he’s a "musical ambassador for Indian sounds."#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Kale’s playful energy and excitement are contagious. He projects a vibrant, frenetic energy. He moved to the West Coast from New York City last year but says he has only been in town a total of three of the last 24 months. His demanding travel schedule takes him around the globe DJing, performing, and producing new tracks with musicians all over the world.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Lineage and rules are far away when he is talking about music.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#"I don’t really believe in lineage. I think the examples of lineage that we see, people like Zakir Hussain, Anoushka Shankar, or Ali Akbar Khan, very much deserve to have the spotlight because they have truly mastered and taken their art form to another level. But in general, I don’t think there should be a rule for other artists to be excluded because they are not part of the lineage in any art form. An artist needs to be able to create their own aesthetic as opposed to trying to fit into all the institutions that exist," he says.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#From Kale’s first solo album, #ed_op#EM#ed_cl#Realize#ed_op#/EM#ed_cl# (2001), to his latest, #ed_op#EM#ed_cl#Broken English#ed_op#/EM#ed_cl# (2006), his music uses classical Indian musical paradigms and instruments, but he pushes them far outside of their existing stuffy environs and onto the dance floor.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#IMG height=199 hspace=8 src="http://www.indiacurrents.com/directory/getdata.asp?about_id=96720f0fc745223f8de264ff0ceb430c-7" width=300 align=right vspace=8 border=0#ed_cl#"I studied with three different teachers over a total of six years and the rest of the time I spent learning by myself. I spent a lot of time accompanying people because of my father’s involvement with performing arts in the Indian community. So I spent most of my time learning tabla by learning from and watching tabla players, retaining as much information as I could," Kale says of his training.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Kale is currently busy touring, doing live concerts with his band Realize, and producing DJ events with Kollective—a national DJ collective party that he started last year with resident DJs across the country. #ed_op#EM#ed_cl#Broken English#ed_op#/EM#ed_cl# reflects a departure from the electronic music for which Kale is best known. "I have been writing a lot more music and focusing more on songwriting. I have been doing a lot more composition off the computer: sitting with the guitar, sitting on a piano, sitting on a Fender Rhodes, writing full compositions, even within ragas, and singing all different styles of Karnatik songs," Kale says. "I’ve spent the last 12 years collaborating with so many different incredible artists. I haven’t really sat down until recently and just looked at what I have received from all those experiences."#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Kale has spent much time traveling in India and performing there in the growing dance and electronic music scene. "The most exciting thing for me is to see people redefine the stereotype of the modern South Asian," Kale says. "More South Asians are coming up from different parts of the world and are incorporating different aspects of world culture into their South Asianness and then projecting that on the world. The music is diversifying: There are singer songwriters, hard-core scratch DJs, tabla players, and Indian classical musicians all changing the way we hear South Asian music."#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#EM#ed_cl##ed_op#STRONG#ed_cl#This article was first published in Hyphen magazine, Fall 2006. Robin Sukhadia#ed_op#/STRONG#ed_cl##ed_op#/EM#ed_cl# is pursuing a master of fine arts in world music at the California Institute of the Arts, after studying tabla at the Ali Akbar College of Music for five years. He is the International Grants Program Director for Project Ahimsa (www.projectahimsa.org), a nonprofit dedicated to empowering youth through music.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P align=left#ed_cl# #ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#STRONG#ed_cl#Part 4#ed_op#/STRONG#ed_cl##ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#STRONG#ed_cl##ed_op#EM#ed_cl#This article was first published in Hyphen magazine, Fall 2006. Robin Sukhadia.!!!#ed_op#/EM#ed_cl##ed_op#/STRONG#ed_cl# #ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#/DIV#ed_cl#


-----------------------------------
sur
Mon 01 Oct, 2007 01:50

Re: CLASSICAL TRANQUILITY & MUSIC REVIEW
-----------------------------------
#ed_op#H2#ed_cl#A Family Business of Sarods#ed_op#/H2#ed_cl##ed_op#BR#ed_cl##ed_op#H3#ed_cl#Amjad Ali Khan and his sons carry on a family legacy#ed_op#/H3#ed_cl##ed_op#H3#ed_cl#Sandip Roy-Chowdhury, Sep 10, 2002#ed_op#/H3#ed_cl##ed_op#P#ed_cl##ed_op#TABLE id=AutoNumber1 style="BORDER-COLLAPSE: collapse" borderColor=#111111 cellSpacing=10 align=right border=0#ed_cl##ed_op#TBODY#ed_cl##ed_op#TR#ed_cl##ed_op#/TR#ed_cl##ed_op#/TBODY#ed_cl##ed_op#/TABLE#ed_cl##ed_op#IMG height=337 alt="" src="http://www.indiacurrents.com/directory/getdata.asp?about_id=1cc4c11431e1440ee70609df6e1fd233-2" width=215 align=right#ed_cl# #ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#When Amjad Ali Khan and his sons Amaan and Ayaan Ali Bangash take the stage, they have seven generations of music flowing through their fingers into the sarods. Their concert in the San Francisco Bay Area in August helps raise money for the India Literacy Project. Coupling musical mastery with a social cause is something that has always been dear to Amjad Ali Khan. Now, with his two sons joining him on stage, the charismatic performer is taking his art and his sensibilities to a new generation. #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#I#ed_cl#Your family developed the sarod from a Persian instrument, the rabab. How do you feel you have helped the music to evolve?#ed_op#/I#ed_cl# #ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#I always wanted to bring out song on the sarod, to sing through the instrument. My father said it's not possible?it's a fretless staccato instrument, not a bow instrument like sarangi. But most of the time he would sing and I would follow him. That helped me?by the grace of God, the sarod is more expressive today. That is why I could do something like an album of Rabindra Sangeet with Suchitra Mitra. #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#I#ed_cl#On your website #ed_op#/I#ed_cl#www.sarod.com#ed_op#I#ed_cl#, you list the different raagas you have created like Priyadarshani. What is a new raaga?#ed_op#/I#ed_cl# #ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#I#ed_op#B#ed_cl# #ed_op#/B#ed_cl#feel embarrassed to say I have composed a raaga. I would like to say I have discovered raagas. They are always there in the air somewhere. When I am sitting alone I am humming and singing to myself, the raaga asks me, "do you know me?" I say no. The raaga says, "Will you accept me or should I go?" And sometimes I do accept and give them a name. Like any newborn, which has the mother's eyes or the father's lips, every raaga has glimpses of other raagas, but a different soul. #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#I#ed_cl#You spoke out against the recent communal violence in Gujarat. What role can an artiste play in these times?#ed_op#/I#ed_cl# #ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Flowers and music have no religion?but every religion needs them. I feel like I am connected to every religion. My wife Subhalakshmi is Hindu, and I am Muslim. In our house we have freedom of religion. That's the character of India. I feel ashamed as an Indian to see what happened in Gujarat?for two months everyone watched and no one could stop it. All over the world now I see the fear of destruction?whether it is Sept.11 or the train being burned in Godhra or Gujarat. As an artiste I feel there should be peace all over the world. #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#I#ed_cl#Your father Ustad Hafiz Ali Khan was a court musician of Gwalior. After the privy purses of the maharajas were abolished how did it affect musicians?#ed_op#/I#ed_cl# #ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#With all due respect to rajas and maharajas sometimes it's a great strain for musicians to please a person who does not understand music. Thank God that time is over?now the world is my audience. #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#I#ed_cl#What about the Indian government? Has it done a good job preserving classical music?#ed_op#/I#ed_cl# #ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#IMG height=200 alt=music src="http://www.indiacurrents.com/directory/getdata.asp?about_id=1cc4c11431e1440ee70609df6e1fd233-1" width=300 align=right#ed_cl# #ed_op#/FONT#ed_cl##ed_op#TABLE id=AutoNumber1 style="BORDER-COLLAPSE: collapse" borderColor=#111111 cellSpacing=10 align=right border=0#ed_cl##ed_op#TBODY#ed_cl##ed_op#TR#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#/TR#ed_cl##ed_op#/TBODY#ed_cl##ed_op#/TABLE#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Nothing is enough obviously. But if you look at the situation 50 years back, in spite of all the struggles in Indian music, there are many more classical musicians existing today in all fields. But the outlet is limited, opportunities are limited. So there is a lot of frustration?some musicians are full of venom. #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#I#ed_cl#What about NRIs? What role can they play?#ed_op#/I#ed_cl# #ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#I feel proud to see the achievements of my countrymen. I think successful NRIs could establish scholarships for young musicians. I just finished teaching a course in Illinois. I was teaching mostly Americans who are learning Western classical music. So they were all musicians. I did not want to teach people who are learning for a hobby. #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#I#ed_cl#When you hear your sons play can you tell them apart?#ed_op#/I#ed_cl# #ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#I feel no musician, is complete. Sirf Bhagwan complete hai (Only God is complete). Amaan and Ayaan are good human beings, but different ones, and they sound different. Their approach is different and they complement each other. Thank God they are not identical. Some gharanas, they all sound alike. #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#I#ed_cl#As a father, were you nervous when you realized your sons would follow you into this field?#ed_op#/I#ed_cl# #ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#I feel embarrassed to say classical music is my profession. It is my passion. It is 50 years since I started performing. I never had the chance to think what would be my career. I was just serving my guru, my father. I believe nothing good can happen until our parents and guru bless us. #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#In the creative field 2+2 is never 4. You have to surrender?to God, art, and the purity of raagas. Future was always uncertain and always will be. #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Initially my sons were nervous about their future. I would say, I don't know your future but you are in better shape than I was. I had rented a house for Rs. 250 a month and I was not sure if I would be able to pay the rent. But by the grace of God, I did. Thanks to the people. Amjad Ali Khan is made by India, by the love and encouragement of the people of India, no matter what happens in Gujarat or Babri Masjid. #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#DIV#ed_cl# #ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl# #ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl# #ed_op#/DIV#ed_cl#


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sur
Mon 01 Oct, 2007 01:53

Re: CLASSICAL TRANQUILITY & MUSIC REVIEW
-----------------------------------
#ed_op#DIV#ed_cl##ed_op#TABLE cellSpacing=0 width="79%" border=0#ed_cl##ed_op#TBODY#ed_cl##ed_op#TR#ed_cl##ed_op#TD width="16%"#ed_cl##ed_op#IMG height=109 alt="" src="http://www.indiacurrents.com/directory/getdata.asp?about_id=1cc4c11431e1440ee70609df6e1fd233-4" width=89 align=left#ed_cl##ed_op#/TD#ed_cl##ed_op#TD width="84%"#ed_cl##ed_op#I#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Sandip Roy Chowdhury's works have appeared in A Magazine, Pacific Reader, and Jinn (Pacific News Service). He is an occasional commentator on the California Media TV show. He won the first prize in the Katha Indian-American fiction contest of 1998. #ed_op#/FONT#ed_cl##ed_op#/I#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#/TBODY#ed_cl##ed_op#/TABLE#ed_cl##ed_op#/DIV#ed_cl##ed_op#P#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#TABLE id=AutoNumber2 style="WIDTH: 693px; BORDER-COLLAPSE: collapse; HEIGHT: 902px" borderColor=#111111 cellSpacing=10 width=693 border=1#ed_cl##ed_op#TBODY#ed_cl##ed_op#TR#ed_cl##ed_op#TD width=546 bgColor=#808080#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#TR#ed_cl##ed_op#TD width=546 bgColor=#f0f0f0#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#IMG height=250 alt="" src="http://www.indiacurrents.com/directory/getdata.asp?about_id=1cc4c11431e1440ee70609df6e1fd233-3" width=180 align=right#ed_cl# #ed_op#/FONT#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#I#ed_cl#How was it to deal with your father as teacher#ed_op#/I#ed_cl#? #ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#He was very flexible and liberal compared to his father. We were the youngest disciples?he was almost helping us change our diapers. Now we are bringing out a book called #ed_op#I#ed_cl#Abba#ed_op#/I#ed_cl# which is our perception of his life. #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#I#ed_cl#How are young people regarding Indian classical music?#ed_op#/I#ed_cl# #ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#When we see people of our own age group performing?it gives a different message. Our age group can connect to us in a better way. So it's always a great pleasure seeing so many young people at concerts. I have been going to my father's concerts since I was 4 or 5. I would not see many people below 30 then. But now it seems there are so many more young people. Of course I think in the '90s people rediscovered Indian classical music. People even use it for Reiki healing and yoga. #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#IMG height=150 alt=music src="http://www.indiacurrents.com/directory/getdata.asp?about_id=1cc4c11431e1440ee70609df6e1fd233-1" width=200 align=left#ed_cl# #ed_op#/FONT#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#I#ed_cl#What is a lesson like with your father and brother?#ed_op#/I#ed_cl# #ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#The atmosphere is tense at a lesson. Being the older one, people expect me to be quicker as far as pickup is concerned, maturity is concerned. Ayaan and I are more of friends than brothers. When I hear him at the concert I want him to be very good. I don't think, "I hope he isn't as good as me." Jealousy just holds you back #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#I#ed_cl#What has been your mother's role in your musical development?#ed_op#/I#ed_cl# #ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Father has made me a good musician. Mother has made a good performer. There is no point in being one without the other. My mother has taught me the basics of presenting yourself on stage. #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#I#ed_cl#So what have you revealed about your father in your book on him? Ustad Amjad Ali Khan is known as the perfect musician, perfect performer. Is he the perfect father though?#ed_op#/I#ed_cl# #ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#He has his weaknesses?he really loves chocolates though he tries to control that. He is also crazy about Starbucks coffee. Whenever he has some money in his pocket he is getting himself an espresso latte or a cappuccino. But Abba is God's greatest gift to us. To get a father and teacher in one person is a big boon. Now it is up to me and my brother is to take the best and see how much we can do. #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#/TBODY#ed_cl##ed_op#/TABLE#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl# #ed_op#/P#ed_cl#


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Music
Sun 07 Oct, 2007 11:19

Re: CLASSICAL TRANQUILITY & MUSIC REVIEW
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#ed_op#DIV#ed_cl##ed_op#TABLE cellSpacing=0 cellPadding=0 width="100%" border=0#ed_cl##ed_op#TBODY#ed_cl##ed_op#TR#ed_cl##ed_op#TD vAlign=top colSpan=3#ed_cl##ed_op#FONT size=5#ed_cl##ed_op#FONT color=#451528#ed_cl##ed_op#SPAN class=head#ed_cl##ed_op#STRONG#ed_cl#Sham Chaurasi Gharana#ed_op#/STRONG#ed_cl##ed_op#/SPAN#ed_cl# #ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#TR#ed_cl##ed_op#TD class=line colSpan=3 height=1#ed_cl##ed_op#IMG height=2 alt=" " src="http://www.khazana.com/et/images/strut.gif" width=1#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#/TBODY#ed_cl##ed_op#/TABLE#ed_cl##ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl# #ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#IMG src="http://www.khazana.com/et/images/Salamat3.jpg" width=174 align=center border=0 VALIGN="Top"#ed_cl##ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#TABLE cellSpacing=0 cellPadding=0 width="95%" align=left border=0#ed_cl##ed_op#TBODY#ed_cl##ed_op#TR vAlign=center align=left#ed_cl##ed_op#TD#ed_cl##ed_op#P#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face=1 size=4#ed_cl#The Sham Chaurasi gharana is a very old Dhrupad gharana dating back nearly 500 years. This tradition was started by two brothers Mian Suraj Khan who excelled in day ragas , and Mian Chand (moon) Khan who excelled in night ragas, and were contemporaries of Mian Tansen at the court of #ed_op#U#ed_cl#Mughal Emperor Akbar#ed_op#/U#ed_cl#. Prior to the emergence of Us.Nazakat Ali Khan and Us.Salamat Ali Khan as exponents of Khayal, the gharana specialised in the dhrupad singing and was particularly known for duet performances (jugalbandis). Mian Karim Bukhsh Majzoob, Us.Ahmed Ali Khan, Us. Niaz Hussain Shami, and Us. Vilayat Ali Khan were some of the pillars of this gharana. #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face=1 size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face=1 size=4#ed_cl#Salamat (at 5 years) and his brother Nazakat (at the age of 7) were initiated into classical music by their father Us. Vilayat Ali Khan. Initially taught the basics of Dhrupad, they later concentrated on Khayal due to its increasing popularity. The Khayal style they evolved (long alaaps and great layakari) was markedly different from other established Khayal gharanas. In 1941, after just two years of training, the brothers made their debut at the prestigious Harballabh Mela with a performance of Mian ki Todi which was appreciated by an esteemed audience that included Us. Abdul Aziz Khan, Pt. Krishanrao Shankar, Pt. Omkarnath Thakur, Us. Umeed Ali Khan, Us. Tawakkal Hussain Khan, Us. Malang Khan and Us. Bade Ghulam Ali Khan. #ed_op#/FONT#ed_cl##ed_op#P#ed_cl##ed_op#FONT face=1 size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#P#ed_cl##ed_op#FONT face=1 size=4#ed_cl#Nazakat Ali Khan passed away in 1983. Aside from training the next generation of musicians, masterful layakari is Salamat’s greatest contribution to Hindustani classical music. He would commonly sing in difficult beat cycles including #ed_op#U#ed_cl#Talwara, Ikwaai, Punjabi Dhamar and Soolfakhta#ed_op#/U#ed_cl#. #ed_op#/FONT#ed_cl##ed_op#P#ed_cl##ed_op#FONT face=1 size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#P#ed_cl##ed_op#FONT face=1 size=4#ed_cl#A few of his students Sharafat, Sakhawat, Latafat, Shafqat (his sons), and Abida Parveen, Taj Multani, Nazir Afridi, Aqeel Manzoor. #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face=1 size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#/TBODY#ed_cl##ed_op#/TABLE#ed_cl##ed_op#/DIV#ed_cl#


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sur
Wed 10 Oct, 2007 02:00

Re: CLASSICAL TRANQUILITY & MUSIC REVIEW
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#ed_op#DIV#ed_cl##ed_op#H2#ed_cl##ed_op#FONT color=#441415#ed_cl#Between Harmony and Melody#ed_op#/FONT#ed_cl##ed_op#/H2#ed_cl##ed_op#BR#ed_cl##ed_op#H3#ed_cl##ed_op#FONT face="Arial Narrow" size=3#ed_cl#Abhijit Pohankar searches for the Indian keyboard sound#ed_op#/FONT#ed_cl##ed_op#/H3#ed_cl##ed_op#H3#ed_cl##ed_op#FONT face="Arial Narrow" size=3#ed_cl#TEED ROCKWELL, Jan 11, 2005#ed_op#/FONT#ed_cl##ed_op#/H3#ed_cl##ed_op#P#ed_cl##ed_op#IMG height=208 alt="" hspace=8 src="http://indiacurrents.com/directory/getdata.asp?about_id=ff712ece756ba893d03731ae3b7bb7ce-4" width=200 align=left vspace=8 border=0#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#FLOWERING BUDS. Abhijit Pohankar, Keyboard. Available at #ed_op#/FONT#ed_cl##ed_op#A href="http://www.legendarylegacy.com"#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#www.legendarylegacy.com#ed_op#/FONT#ed_cl##ed_op#/A#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#BR#ed_cl##ed_op#BR#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#TRANQUILLITY. Composed and arranged by Abhijit Pohankar. Available at #ed_op#/FONT#ed_cl##ed_op#A href="http://www.sonarupa.co.uk"#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#www.sonarupa.co.uk#ed_op#/FONT#ed_cl##ed_op#/A#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#BR#ed_cl##ed_op#BR#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#The keyboard is arguably the instrument least suited for Indian music because it cannot produce the essential micro-tones and other nuances of color. A keyboard player can choose from many different sound sources, such as a piano string, an organ pipe, or an electronic sample. But once the choice has been made, the isolation from that source requires the keyboard player to produce exactly the same tone color for every note. String players can give a different tone color to each note in numerous ways, such as bending or sliding the strings, or plucking them in different places or from different angles. Wind players can similarly change their tone by reshaping their mouths or partially covering sound holes. And the human voice is free to change pitch and tone in more ways than can possibly be described. But there is nothing like these expressive possibilities on the standard keyboard because there is a key between the musician’s fingers and the sound source. For European music this sacrifice was worth it because it enables one musician to play harmonies that would otherwise require an entire orchestra. But because pure Indian music doesn’t use harmony or orchestral arrangements, the Indian musician who plays keyboard is in effect paying for something he can’t use.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#BR#ed_cl##ed_op#BR#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Despite these limitations, the keyboard has been widely incorporated into Indian music. The harmonium is now used to accompany vocals at least as often as the sarangi or violin, although the reasons for that may not be purely musical. “It’s relatively easy to play the harmonium adequately,” a khayal vocalist once confided to me, “and I’d rather sing with an in-tune harmonium than an out-of-tune sarangi.” And the current generation of Bollywood composers, led by A.R. Rahman, are often keyboard players with training in both synthesizer programming and European classical music. However, Abhijit Pohankar is trying to create a place for the Indian keyboard player that is significantly different from either of these roles.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#BR#ed_cl##ed_op#BR#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#IMG height=300 alt="" hspace=7 src="http://indiacurrents.com/directory/getdata.asp?about_id=ff712ece756ba893d03731ae3b7bb7ce-2" width=300 align=right vspace=7 border=0#ed_cl#Pohankar first learned music from his grandmother, Susheela Pohankar, who was a musicologist and composer at Jabalpur University. This extraordinary woman not only trained her son Ajay (Abhijit’s father) to become a great Hindustani vocalist, but also encouraged her grandson to play Hindustani music on the electronic keyboard.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#BR#ed_cl##ed_op#BR#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#The best electronic keyboards have two main advantages over the harmonium, which greatly increase Pohankar’s ability to incorporate uniquely Indian elements. First of all, they are touch-sensitive, like a piano, which enables him to use dynamic volume changes. And secondly, they often have a “pitch wheel,” which makes it possible to play sruti (micro-tonal ornaments).#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#BR#ed_cl##ed_op#BR#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#At a recent interview after a concert, Pohankar told me that the pitch wheel was an essential part of his sound, and that it would be impossible to play authentic Indian music without it. But Pohankar’s actual playing, both in the concert and on his classical album Flowering Buds, showed a much greater command of dynamics than sruti. Pohankar’s main instrumental guru is Shivkumar Sharma, and Pohankar has consequently focused on duplicating the expressive nuances of the santoor. Pohankar’s dynamics are both subtle and emotionally heartfelt. He also plays dazzlingly fast scales, and rich rolling arpeggios with exciting rhythmic accents. But the santoor is incapable of playing sruti, and perhaps for that reason Pohankar’s use of the pitch wheel seems perfunctory and lacking in nuance. He relies on a few stock phrases, and seems to be using them only because he feels they ought to be there. In my opinion, he should study with a guru who could teach him the uniquely Indian nuances of sruti, such as a sarod player, a violinist, or a vocalist. His father, vocalist Ajay Pohankar, has an admirable command of sruti, and could certainly teach Abhijit what he needs to know. Abhijit frequently says that he did not become a vocalist because he did not want to be compared to his father. But Abhijit clearly does have a good working relationship with his father, which could provide the input that he needs to transform the electronic keyboard into an effective classical Indian instrument.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#BR#ed_cl##ed_op#BR#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#IMG height=238 alt="" hspace=8 src="http://indiacurrents.com/directory/getdata.asp?about_id=ff712ece756ba893d03731ae3b7bb7ce-3" width=247 align=left vspace=8 border=0#ed_cl#So far this father-son relationship has manifested itself in several albums in which Abihijit has provided keyboard and orchestral arrangements for his father’s singing. These albums are a bit slick for my tastes, but they do provide an effective popular showcase for some fine classical singing. They also show that Abhijit’s muse may not lead him in the direction I am suggesting because he is strongly attracted by the harmonic and chordal possibilities of the keyboard. He has already achieved a fair amount of success (both artistic and commercial) with his own version of New Age fusion music. Tranquillity, one of the most popular of these albums, uses large ensembles of Indian and Western instruments to create rich chordal textures. Some of his descriptions of these albums make them sound more commercial than they actually are. In one interview he says, “To make progress in music implies adding appeal to it so it can reach the common man. … I decided to package classical music in a form that is simpler and easier to understand.”#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#BR#ed_cl##ed_op#BR#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#It’s true that Tranquillity keeps everything at a fairly moderate tempo, which narrows its emotional range. But it features first-rate Hindustani musicians, who improvise on traditional ragas in large ensembles, and create surprisingly rich harmonic and contrapuntal textures in a single take. The result is several cuts above most New Age music, and an intriguing new direction for Hindustani music. Will it be possible to bring this harmonic element into Indian classical music, without diluting its melodic complexity? Perhaps the answer will be found as Abhijit Pohankar continues to search for a home in the Indian musical landscape for this most Western of instruments.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#BR#ed_cl##ed_op#BR#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Teed Rockwell has studied Indian classical music with Ali Akbar Khan and other great Indian musicians. He is the first person to play Hindustani music on the Touchstyle Fretboard.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#BR#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#/DIV#ed_cl#


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taal
Tue 16 Oct, 2007 06:42

Re: CLASSICAL TRANQUILITY & MUSIC REVIEW
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Sandeep Bhagwati Indian Music in Western Composition


Transcript of a lecture given by Sandeep Bhagwati, addressed to an Audience of Indian Classical Musicians at the Indian Music Forum Mumbai in Jan 2002, in the context of a Seminar entitled "Indian Music and Globalization".


Generally speaking, Indian Music is better known to the West than Western Music is to India. This dictum, however, only truly applies to art music - as an observation on popular culture it would be blatant nonsense The opposite can be said to be true there!


So, while for the past 200 years Western art musicians have turned to Indian art music traditions for musical models, aesthetic ideas and plain melodic and rhythmic inspiration, in India - from the 1920s onwards - mainly popular musicians have studied popular musics of the West to draw sounds, composition techniques, instrumental skills and aesthetic possibilities from them. There are, of course, many possible explanations for this asymmetric balance of interests - and, obviously, questions of different access to information, the rather one-sided balance of economic power, but also the rapacious, revolutionary Western dynamics of cultural progress vs. more tradition-oriented Indian ideals of artistic evolution loom largely here. Unfortunately, this text will not be able to address them.


My approach is more modest To describe some of the musical influences of Indian music on Western art music composers and to illuminate, if only sketchily, the cultural background that prompted them to tune themselves to musical traditions outside their own for new inspiration.


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taal
Tue 16 Oct, 2007 06:43

Re: CLASSICAL TRANQUILITY & MUSIC REVIEW
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Indian music entered Europe as a phantom: In 1799 William Jones published his treatise "The Music of Hindostan". Around 1800, this book was widely read: the German translation appeared in 1801 and was dedicated to the great composer Joseph Haydn. Vienna, then the musical capital of Europe, seems to have been buzzing with discussions on the yet literally "unheard-of" Indian Music. Ludwig van Beethoven notes: "Have read the Book on the Music of the Indians. Extremely interesting philosophically, but of no practical consequence to my work."

Of all colonial personnel musicians were the least prone to travel. Especially, if they were famous composers who had enough work and fame at home. So - even if Jones' book introduced the musical community of the West to the theories of Indian music - throughout the entire 19th century no European composer of consequence ever had the opportunity to actually listen to this much-talked about Indian music.

This deficit was badly felt: for throughout the 19th century India was all the rage in Central Europe. The countries that had lost the colonial battle for India (France) or had never entered into it (Germany, Austria) opened themselves to non-combatant values of the subcontinent: Every important German writer in the first half of the 19th century let his audience know that he had studied Indian philosophy and the great epics. Kalidasas plays, especially "Shakuntala" were translated, performed and feted as equals of Shakespeare in France and the German world.

India was, among the intellectual circles of the continent, the much-needed and coveted Other, a culture of similar depth and range, but so different from their own they could use it as a mirror to look at themselves. China could perhaps have played the same role for these European romantics, had it only been less "independent" - and less practical. India appealed to the Romantic continental thinkers and artists precisely because of its idealistic philosophy - and because of its reputed non-practicalness in mundane matters: for Europeans seeking artistic escape from an increasingly industrialized, formalized and bureaucratic European society this purported combination of high thinking and disregard of worldly details was just the thing they were looking for.

Whereas writers, painters and photographers could and did travel, whereas Indian books and paintings were translated and sold in Europe, Indian music alone remained shrouded in mystery. But not only non-exposure, deeper reasons, too, prevented Western musicians from looking outwards: from late 18th century to early 20th century, Western music constantly discovered new modes of expression that could be unfolded from the unexpectedly deep recesses of the so-called tonal-functional harmonic system. From Haydn to Schönberg, from Berlioz to Debussy, composers would explore the ramifications of this 18th century musical technique, the same simple rules of harmony that now, via pop music, have spread all over the globe. As one can surmise from Beethoven's remark on Indian music: even had they been exposed to Indian music, Western composers would surely have found it enthralling - but of no practical consequence to their work. For neither rhythm nor melody truly interested them: harmony was their real land of hope - and here, India had nothing to offer to them.

But the philosophical, literary, artistic aura of India still occupied the imaginary of Western art - and India remained a dreamland for every artist. The British composer Gustav Holst, just as many lesser colleagues, could not resist the intellectual prestige of an Indian context in his opera "Savitri" or his "Songs from the Rigveda". French Composers Leo Délibes and Jules Massenet, hugely popular in their time, wrote operas called "Lakmé" and so-called "Hindu Melodies". In all these cases, the text may be Indian or about India, but the music is a Western idiom largely unhampered by real knowledge of anything musically outside of Europe


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taal
Tue 16 Oct, 2007 06:45

Re: CLASSICAL TRANQUILITY & MUSIC REVIEW
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 India's real musical influence on the West finally took shape in the years before World War I. In the first years of the 20th century, two young French composers independently visited India Albert Roussel and Maurice Delage. Both visits seemed accidental Roussel stopped over for a few weeks as a naval officer on duty, Delage accompanied his parents on an inspection trip - they owned a shoe factory in South India. But India's music changed their compositional careers forever During their stays - Delage stayed longer than Roussel, but Roussel later came back for a private trip with his wife - they avidly listened to every Indian classical concert they could attend, wandered through the streets and temples to soak in the popular music of the time. Their diaries hardly ever specify names of performers, much less raags or taals played but the works they wrote after their trip to India deeply reflect the profound impact these concerts made on them.

After his return to France, Albert Roussel wrote Evocations, a thrilling large-scale work inspired by his impressions of the caves at Ellora, of Jaipur, and of Benares. A movement is devoted to each of these places. Evocations is a cantata for singers and large orchestra. It even earned him the Rome Prize, one of the most prestigious music awards of his country, and in his later career Roussel repeatedly returned to Indian subjects, intonations and atmospheric evocations, notably in his ballet-opera Padmavati, premiered in 1923 and described by a contemporary critic as "surely the most beautiful Indian music ever written by a Westerner".

All this characterizes his approach to Indian music far from trying to analyze and to emulate what the Indian musicians actually played he tries to give a subjective impression of what he heard, transforming the atmosphere of the surroundings and the evening into Western music - his evocation even includes a song he had heard on the banks of the river Ganges in Benares. Just how authentic, then, is Roussel's setting of the fakir's song? Decades later musicologist Jann Pasler attempted to answer this question 

"When I played this section of Evocations for various Indian musicians... they found it totally lacking in Indian elements and remarked that the text is not at all what a fakir would have sung. However, in Benares, when I sang the tune myself after playing the recording, an eminent Indian music scholar as well as my two drivers instantly recognized it as the devotional music of fakirs. Roussel's recitative-like setting and the vibrato... on my recording had thrown them off... Roussel's treatment of the tune nevertheless respects the way this tune was performed and would be performed even today."
Roussel came out of the Schola Cantorum in Paris, a school that heavily accented structure, regularity and coherence in music - and thus left little place for a re-thinking of music. Roussel was convinced, as many Western composers are even today, that Western music had satisfying answers to most of the essential questions in music - even if certain turns of phrase could be borrowed from the Other to heighten contrast or to garnish certain superficial details.
Maurice Delage was a composer from a different background and thus reacted differently to Indian music. Mostly self-taught, but also a student with Maurice Ravel, he was of a more intellectual kind, seeking new means of expression, new forms and new sounds. A critic wrote about him "Maurice Delage is a composer in the precise image of the "enfant du siècle" - the 20th that is, who is at his ease instinctively in handling "delectable" dissonance, is curious about rare timbres and wishes to extend the frontiers of sound and skillfully assimilate the borderlands into the beautiful unexplored territory of sound".

It is evident from his music that he even listened to Indian musicians differently, perceiving srutis as essential features and acknowledging the important role of rhythm. His most noted work Quatre Poèmes Hindous (Four Hindu Poems) reflects these preoccupations in their very un-Western sparseness of instrumentation, a dominance of melody and rhythm (as opposed to Roussel's refined harmonies), and even the attempt to use microtones as a mode of expression passages of these songs seem to be written for non-European musicians. Interestingly, the second poem of the series is not Indian at all, but a poem that is the epitome of 19th century infatuation with India, written by the German poet Heinrich Heine "A fir-tree stands alone/ on bare heights in the north/ it sleeps; a blanket white / surrounds it ice and snow.// It dreams of a palm tree/ that, far in the Orient,/ grieves, mute and alone,/ upon a scorching rock."


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taal
Tue 16 Oct, 2007 06:45

Re: CLASSICAL TRANQUILITY & MUSIC REVIEW
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 If I have unduly dwelt on these two composers, it is because they exemplify the two approaches of Western Composers towards Indian art music that would prevail during most of the 20th century EXOTICISM, Roussel's penchant for atmospheres and evocations of India; and INVIGORATION, Delage's incorporation of Indian sounds and techniques not as atmospheric details but as new structural devices and an extension of the expressive repertoire of Western music.

Both attitudes are manifestations of desire, they differ only in their attitude towards their own culture Whereas exoticists look for a means of temporary escape from the pressures of the so-called over-civilized world, the incorporators seem to be quite at ease with their own culture - so much so that they want to extend its boundaries to include all conceivable forms and techniques within itself, including those that were invented in other cultures. Exoticists desire the Other as a child would desire a new toy - because it is tired of the toys it knows. Invigorators desire the Other as a craftsman would desire a specialized tool - because he can do more and richer work with it. Exoticism could be seen as decadent invigoration, however, definitely is a form of avant-gardism - and thus aggressive, always on the lookout for new conquests.

It is one of the characteristics of Western culture throughout the 20th century that one could describe it as decadent and avant-garde at the same time. If this seems surprising it is only superficially so for the profound dis-ease of Westerners with their own civilization is only matched by their increasing technical prowess - and both attitudes, the tired as well as the adventurous, reflect a profound repudiation of the past even the desire for things past was felt by many artists of the 20th century somewhat as an act of treason.

This also explains why, in all the following interactions of Western Composers with India both - a clutching at the last straw, and a yen for bold exploration and exploitation - can often be observed in the works of the same composer they are not aesthetic turncoats, they just a shift their weight from one foot to the other.


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taal
Tue 16 Oct, 2007 06:46

Re: CLASSICAL TRANQUILITY & MUSIC REVIEW
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 I have also highlighted the role of Roussel and Delage because the French avant-garde remained the circle of composers that most consistently continued to look at Indian art music until the late 1940s. The most prominent amongst them was Olivier Messiaen, a seminal composer of Western 20th century music and teacher of some of the most important post-World War II composers.

Messiaen delved into the writings of Sarngadeva and extracted from this treatise a curious concept of Indian rhythms that interested him he called them non-reversible rhythms. A rhythm can be said to be reversed if it is played strictly "backwards" the last stroke becomes the first, the next-to-last becomes the second etc. This is a compositional procedure well-known to Western composers since the middle ages.

Messiaen now found, in Sarngadevas discussion of "taal", several rhythms that were symmetrical they were non-reversible in the sense that reversing them would just yield the original rhythm. These palindromic rhythms became essential building blocks of his musical language, albeit on he same proto-musical level as another of his aural interests birdsong. Messiaen acknowledged his debt to India with titles such as "Turangalîla-Symphony" (a momentous 80 minute orchestra work) and "Cantejodjaya" (a short piano piece).

The above description shows that Messiaen definitely believed in invigoration. And what also is evident is his obvious dis-interest in any "adequate" representation of actual Indian music in his compositions he took what he could use and blithely ignored context. For him, as for many of his pupils, other cultures provided cheap and abundant "aesthetic raw material", new kinds of musical thinking, and musical forms as yet untapped by the growing need for innovation in the West. The twin interests of Messiaen - melodies of birdsong and a few misunderstood Indian "taals" - distinctly show the role Indian music played in his musical universe he saw it as a resource toolbox.

Karlheinz Stockhausen, Messiaens most prominent pupil, continued on this path throughout the 1950s and 1960s In works such as "Mantra" (for two pianos and live electronics) and "Stimmung"(for six singers and electronics) he used different Indian concepts such as the drone, microtones in melody (microtones in harmony are a Western pre-occupation since the 1910s, arrived at and, of course, sounding very differently from Indian "srutis") but also spiritual concepts such as the "mantra" (in his case small musical entities that literally make a piece happen by their layered and staggered repetition). Stockhausen also used non-musical ideas taken from ascetic traditions - in one of his pieces, musicians are told to retire into an empty room, to not look, listen, speak, eat for three days, then come out, meet again - then take up their instruments and play whatever music they feel expressive now.

In all these appropriations, the real context of Indian music seems to be strangely absent meditation, drone, melodic fine-tuning and rhythmic concentration - strongly inter-related phenomena in Indian music - are used here and there, in widely different musical context, unrelatedly. This could be construed as a further post-colonial grievance, but to my mind it clearly shows the processes at work in every cross-cultural fertilization of ideas certain isolated features of one culture seem interesting to artists of another - and in their artistic responses these isolated elements are transformed, adapted and re-fitted for use in the artists' home context.

Westerners are sometimes amused and disgusted by the way other cultures take some aspects of their, say, political system (e.g. elections) and refuse to adapt their own society to the underlying needs for, in their eyes, true democracy (separation of state and religion, freedom of the press, powerful systems of social balance). It is with the same kind of mixed feelings that Indians would look at the use made of Indian music in Western 20th century art music - if, as noted above, they were aware of it. Cultural exchange, as any exchange, does simply not work with wholes, only with parts. And the choice of what part constitutes an exchange is (and can) never made by the giver.


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taal
Tue 16 Oct, 2007 06:46

Re: CLASSICAL TRANQUILITY & MUSIC REVIEW
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Until the mid-sixties, the French and German interest in India remained a matter of highly idealistic circles (even when, as we have seen, their attitudes and methods did not decisively differ from the colonials' approach) - and Indo-European artistic relations could well have inhabited on this level indefinitely.

The Beatles, especially, put an end to this. Their well-known musical involvement with India put the sitar and Ravi Shankar into the vista of the commercial Anglo-Saxon pop circuit. From now on, the audience for Indian music in the West became more numerous - and less appropriative the parallelism to the German and French Romantics 150 years earlier is striking! Here, too, a young generation distrustful of the way their social, political and aesthetic environment was developing used India as the Other, as a counter-world of ancient truth and unworldliness. The difference was now the money and the means to bring that music over were at hand.

Ever since, Indian musicians can count on packed audiences at key venues of the Western world. In turn, because the art music world in Europe views any popular music with suspicion, many western composers have lost their technical interest in India's art music. A quote by German composer Helmut Lachenmann illustrates this very clearly He always sees himself as a mountaineer mastering an unknown peak for the very first time. And looked disdainfully at any attempt to climb this peak once more, to write music the way he writes it. He in essence said "I was a pioneer, the others are just tourists." Implicitly, pioneers seem to be superior to tourists - a point of view perhaps not exactly universally acknowledged...

India's art music has thus, in the eyes of the Western art music establishment, transmuted since the Beatles' sixties from the promising land of adventure and unknown delights it has metamorphed into the predictable commercial hustle and bustle of a Goan Beach. Furthermore, the midas-like touch of AngloSaxon Pop has made the material lives of some Indian classical musicians less anxious - and Indian art music in general (and by now all kinds of Indian Music - just think of the British Bhangra, Asian Dub and Dhol movements) has been revived in ways unthinkable before this unexpected influx of foreign money.

The changing socioeconomics of modern Indian society would most probably have led to the destitution and ultimate destruction of many aspects of Indian art music, had not non-Indian esteem shown towards this tradition and the economic success of Indian music in the West demonstrated to influential modernist circles in India that this old-fashioned art music should nevertheless be preserved - if not for themselves, then at least as an export article.


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taal
Tue 16 Oct, 2007 06:47

Re: CLASSICAL TRANQUILITY & MUSIC REVIEW
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What is the situation now ? The Western avant-garde music movement has virtually come to a stop - in the sense that by now, every combination of sound and noise can aesthetically be called music. In another sense also that there is nothing which could be called an accepted canon of musical thinking - a static, polyvalent and multi-aesthetical musical universe given to violent infighting and volatile economic disruptions.

Indian art music, for all its gharanas and internal squabbles, seems at first singularly monolithic in comparison - or, as I would prefer to call it, singularly experienced in incorporating multi-aesthetical discourses. Sometimes I think that Western music has now arrived at the same point in history that Indian music went through in the centuries after Khusro, so to speak a time where all facets of musical expression were incorporated into a working but undogmatic system of composition that leaves endless scope for individuality without ever leaving the precinct of what every listener clearly understands to be music.

The two approaches to this situation India has developed - the North Indian system of continuous and spontaneous re-appropriation of given musical languages (the raga system) and the Carnatic melakarta system of mathematical classification established by Venkatamathi - both help to frame and understand music that does not yet exist, to give a coherent and reliable place in the ear to the wildest musical explorations.

Again, Western art music would need India at this point and this time not only as a collection of interesting techniques - but rather as an example of an aesthetical and practical system of musical thought and practice that could effectively incorporate the natural curiosity for the other without having to reject it's own time-tested tradition. That, at least, if not entirely true of the realities of Indian art music life today, seems to be - in my humble opinion - the greatest potential Indian music can offer to itself and to the world.

Not an anxious return to roots that in any case never were, but a refreshed look at the vitality that lies in the power of nourishing the desire for the new with the knowledge of the old, the alien with the intimate - and the realization that, in music, it could for once be the West that invigorates and rejuvenates the East.

My Indian colleagues, listen to Western art music, to all kinds of art music, Chinese, Indonesian, Thai, Vietnamese, Arabian, Japanese, Korean there will be much that is beautiful "but of no practical consequence to your work." Yet there are will invariably be some musical ideas that can be useful to you. My dream would be, that YOU use the West as the West has used your music over centuries - and make the integrating power of Indian music an advantage to create an Indian music that can take you beyond because it allows you to better understand your own music as you know it now.


Bombay/Berlin January/July 2002
© by Sandeep Bhagwati 2002


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taal
Tue 16 Oct, 2007 06:53

Re: CLASSICAL TRANQUILITY & MUSIC REVIEW
-----------------------------------
#ed_op#DIV#ed_cl##ed_op#FONT face=Arial color=#800080 size=6#ed_cl##ed_op#STRONG#ed_cl#Indian Classical Music  #ed_op#/STRONG#ed_cl##ed_op#/FONT#ed_cl##ed_op#FONT face=Arial#ed_cl##ed_op#FONT color=#800080 size=4#ed_cl##ed_op#STRONG#ed_cl# #ed_op#BR#ed_cl##ed_op#/STRONG#ed_cl##ed_op#/FONT#ed_cl##ed_op#FONT size=4#ed_cl#The Battle for Survival  #ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#FONT face=Arial#ed_cl##ed_op#IMG height=288 hspace=8 src="http://www.boloji.com/culture/001.jpg" width=192 align=right border=0#ed_cl##ed_op#/FONT#ed_cl##ed_op#FONT style="FONT-SIZE: 11pt" face=Arial#ed_cl#Music is a fact of life that we take for granted. A child starts crooning tunes long before learning to speak. From the beginning to the end of our life, we come across, appreciate and listen attentively to the form of music that appeals to us most. And unless one has an extremely inquisitive disposition, one naturally ignores investigation into something that permeates our daily routine from start to finish. We are attempting here to explore the origin of Indian music, and delve into the complexities that various forms offer. #ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT style="FONT-SIZE: 11pt" face=Arial size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT style="FONT-SIZE: 11pt" face=Arial size=4#ed_cl#From evolution to contemporary times, the one sound that has pervaded our life is that of Music. Hindu Mythological texts declare that the first sound that reverberated in the Universe was that of the #ed_op#I#ed_cl#Naadbrahma#ed_op#/I#ed_cl#, or #ed_op#I#ed_cl#Om#ed_op#/I#ed_cl#.   Not only was this the first sound to be ever heard, but was also the purest form of sound - because of divine association, and hence the most musical. In fact all of the recorded history of Hinduism is saturated with some or the other form of music - Vedic chants were the first form of melodies. These were set in three notes, with variation of tenor, and formed a soothing rhythm. But this is recorded history.   #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT style="FONT-SIZE: 11pt" face=Arial size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT style="FONT-SIZE: 11pt" face=Arial size=4#ed_cl#Investigation into the origins of Hindu scripts, and that of our civilization further corroborates the fact that chants go back prior to recorded history i.e. antecedent to 5000 BC. Notes and scale of #ed_op#I#ed_cl#svaras#ed_op#/I#ed_cl#, which are the basis of Vedic chants, could not have emerged suddenly during Vedic period. Deductive logic suggests that since these chants were most likely handed down to generations aurally, there is ample proof that some form of music existed even before a script was invented.   #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT style="FONT-SIZE: 11pt" face=Arial#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT style="FONT-SIZE: 11pt" face=Arial#ed_cl##ed_op#FONT size=4#ed_cl#Most of our Vedic texts had chants in three notes, but Sam Veda records more complex chants. The variation was in the notes - it had three to seven notes. Vedic scholars had developed a very strict scale of #ed_op#I#ed_cl#svaras#ed_op#/I#ed_cl#, notes and rhythm, and the chants did not deviate from this. Hence Vedic poetry was rather definitive and rigid. Gradually, as Vedic chants gave way to more leisurely notes, #ed_op#I#ed_cl#svaras#ed_op#/I#ed_cl# as we know them today were developed. These are #ed_op#I#ed_cl#Sa, Re, Ga, Ma, Pa, Dha#ed_op#/I#ed_cl#, and #ed_op#I#ed_cl#Ni#ed_op#/I#ed_cl#. The #ed_op#I#ed_cl#svaras#ed_op#/I#ed_cl# that preceded the more bourgeoisie #ed_op#I#ed_cl#Sa-Re-Ga-Ma#ed_op#/I#ed_cl# were "#ed_op#I#ed_cl#Shadj, Rishabh, Gandhar, Madhyam, Pancham, Dhwavait, #ed_op#/I#ed_cl#and#ed_op#I#ed_cl# Nishad". #ed_op#/I#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#SPAN style="mso-spacerun: yes"#ed_cl##ed_op#FONT style="FONT-SIZE: 11pt" face=Arial size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#/SPAN#ed_cl# #ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#SPAN style="mso-spacerun: yes"#ed_cl##ed_op#FONT style="FONT-SIZE: 11pt" face=Arial size=4#ed_cl#One discovers that language, chants and music were gradually adapted to a mold that could be followed by the masses, and the complexities gave way to lucidity.  #ed_op#/FONT#ed_cl##ed_op#/SPAN#ed_cl##ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#SPAN style="mso-spacerun: yes"#ed_cl##ed_op#FONT style="FONT-SIZE: 11pt" face=Arial size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#/SPAN#ed_cl# #ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#SPAN style="mso-spacerun: yes"#ed_cl##ed_op#FONT style="FONT-SIZE: 11pt" face=Arial size=4#ed_cl#The form of music developed by Vedic scholars withstood the passing of many centuries and civilizations, but naturally, there were changes. Many treatises were lost; some could not weather the ravages of time. But people held on to the primeval musical knowledge, enhanced it, and built upon it. It was the inherent purity of that pristine origin of music - the sound of #ed_op#I#ed_cl#Om#ed_op#/I#ed_cl#, the #ed_op#I#ed_cl#Naadbrahma#ed_op#/I#ed_cl# that inspired musicians to continue in their pursuit to perfect this art with their #ed_op#I#ed_cl#sadhana#ed_op#/I#ed_cl# (practice).   #ed_op#/FONT#ed_cl##ed_op#/SPAN#ed_cl##ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT style="FONT-SIZE: 11pt" face=Arial size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT style="FONT-SIZE: 11pt" face=Arial size=4#ed_cl#Besides the devoted practice, musicians continued research into, and evolved a strict grammar of music - a theory that later composers referred to. Early composers established the three #ed_op#I#ed_cl#sapthaks#ed_op#/I#ed_cl# (octaves): #ed_op#I#ed_cl#mandra#ed_op#/I#ed_cl#, the lower octave, #ed_op#I#ed_cl#madhya#ed_op#/I#ed_cl#, the middle octave, and #ed_op#I#ed_cl#taar sapthak#ed_op#/I#ed_cl#, the higher octave as the top and bottom ranges within which musical compositions could be authored. Additionally, the musical treatises established other concepts like #ed_op#I#ed_cl#taal#ed_op#/I#ed_cl# (beat), and #ed_op#I#ed_cl#jati#ed_op#/I#ed_cl# (how to apply notes).  #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT style="FONT-SIZE: 11pt" face=Arial size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT style="FONT-SIZE: 11pt" face=Arial size=4#ed_cl#As our Vedic age drew to a close and India approached her medieval centuries, there was a sudden spurt in interest in music. One of India's learned sage #ed_op#I#ed_cl#Bharata#ed_op#/I#ed_cl# wrote an authoritative treatise on the performing arts called #ed_op#I#ed_cl#Natyashastra#ed_op#/I#ed_cl#.  Just as prior Vedic texts like Rig Veda, #ed_op#I#ed_cl#Yajur Veda, Atharva Veda #ed_op#/I#ed_cl#and#ed_op#I#ed_cl# Sam Veda#ed_op#/I#ed_cl# laid down societal structures and conventions which were to be followed by the people, similarly, #ed_op#I#ed_cl#Natyashastra#ed_op#/I#ed_cl# laid down rules and structures for composers and performers to adhere to, in theater, dance and music.#ed_op#BR#ed_cl##ed_op#BR#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT style="FONT-SIZE: 11pt" face=Arial size=4#ed_cl#Indian society had very rigid structures, especially as the Vedic ages drew to a close. There was rigid segregation between the pure (#ed_op#I#ed_cl#Arya Jan#ed_op#/I#ed_cl#) and the impure (#ed_op#I#ed_cl#Shudra Jan#ed_op#/I#ed_cl#), the rich and the poor, the Godly, and the mortals. Not only was there a restriction on the #ed_op#I#ed_cl#Shudras#ed_op#/I#ed_cl# on singing, but a special embargo existed on their singing #ed_op#I#ed_cl#Gandharva#ed_op#/I#ed_cl# music or ritualistic singing. All sections of society were permitted #ed_op#I#ed_cl#Dhruva Gana#ed_op#/I#ed_cl# or music for theater. #ed_op#I#ed_cl#Bharata#ed_op#/I#ed_cl# mentions in #ed_op#I#ed_cl#Natyashastra#ed_op#/I#ed_cl# that music was being researched into and had reached a very high level in terms of performance and theory as well. Later, scholars like #ed_op#I#ed_cl#Dattila, Matanga, Narad, #ed_op#/I#ed_cl#and#ed_op#I#ed_cl# Sarangadeva#ed_op#/I#ed_cl# developed the field further.   #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT style="FONT-SIZE: 11pt" face=Arial size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT style="FONT-SIZE: 11pt" face=Arial size=4#ed_cl#It is interesting to note that some of the scholars who wrote musical treatises were not musicians themselves. Myths and folklore has it that the music created by religious philosophers came to them through divine revelation. This would explain why a contemporary musician bows down in front of his instruments, before playing them. Most musicians consider music their religion, and the instruments their Gods and Goddesses.  #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT style="FONT-SIZE: 11pt" face=Arial#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#I#ed_cl##ed_op#/I#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT style="FONT-SIZE: 11pt" face=Arial#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#I#ed_cl#Bharata's #ed_op#/I#ed_cl#treatise that gives us insight into the musical instruments used in ancient times. It also bridges the missing links between the undocumented periods in our ancient history like the epic periods (#ed_op#I#ed_cl#Ramayana #ed_op#/I#ed_cl#&#ed_op#I#ed_cl# Mahabharata#ed_op#/I#ed_cl#), the period of grammarian #ed_op#I#ed_cl#Panini#ed_op#/I#ed_cl#, and the period of more prolific cataloguing by #ed_op#I#ed_cl#Matanga#ed_op#/I#ed_cl# (8th century BC). While #ed_op#I#ed_cl#Natyashastra#ed_op#/I#ed_cl# ruled the roost for nearly 800 years, gradually there was a shift in interest, and a preference for the more lucid, simplified and readable musical theorization by #ed_op#I#ed_cl#Matanga#ed_op#/I#ed_cl# began. After #ed_op#I#ed_cl#Matanga#ed_op#/I#ed_cl#, a ruler from the #ed_op#I#ed_cl#Chola#ed_op#/I#ed_cl# kingdom in the South of India, #ed_op#I#ed_cl#Sarangadeva#ed_op#/I#ed_cl# wrote #ed_op#I#ed_cl#Sangeeta Ratnakara#ed_op#/I#ed_cl# which came to be regarded and respected as the most exhaustive study on ancient Indian classical music.#ed_op#BR#ed_cl##ed_op#BR#ed_cl##ed_op#I#ed_cl##ed_op#/I#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT style="FONT-SIZE: 11pt" face=Arial#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#I#ed_cl#Sangeeta Ratnakar#ed_op#/I#ed_cl# has an extensive exploration of the system of notes - three to seven, and experimentation on which of these affects the audience greatly. A legend says that #ed_op#I#ed_cl#Akbar's#ed_op#/I#ed_cl# favorite court poet, #ed_op#I#ed_cl#Tansen#ed_op#/I#ed_cl# requested one of India's leading musical scholars to explain the #ed_op#I#ed_cl#raga#ed_op#/I#ed_cl# system mentioned in #ed_op#I#ed_cl#Sangeeta Ratnakara#ed_op#/I#ed_cl# for him. Even though #ed_op#I#ed_cl#Tansen#ed_op#/I#ed_cl# is credited for inventing a few ragas, an alternative school of observation and thought in the field of music claims that he borrowed from the #ed_op#I#ed_cl#Sangeeta Ratnakara #ed_op#/I#ed_cl#and tweaked with it.   #ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT style="FONT-SIZE: 11pt" face=Arial size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT style="FONT-SIZE: 11pt" face=Arial size=4#ed_cl#There is a general agreement that #ed_op#I#ed_cl#Sangeeta Ratnakar#ed_op#/I#ed_cl# is "the" treatise which set the standards for Indian Classical music as we know it today. Any experimentation or development after #ed_op#I#ed_cl#Sangeeta Ratnakara#ed_op#/I#ed_cl#, can be easily ascertained and analyzed minutely.   #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT style="FONT-SIZE: 11pt" face=Arial size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT style="FONT-SIZE: 11pt" face=Arial size=4#ed_cl#As we approach our Medieval period, its time to recount the evolution of our music vis-à-vis Persian and Muslim invasions. Indian music had already reached its zenith by the time the Muslims established their kingdom in the North of India.  During this periods a musical grammar was already in existence, and at a rather evolved stage. India's medieval history has been much better documented than the ancient history. Hence we are aware that music continued as a core area of interest, and it changed form as it changed hands.#ed_op#BR#ed_cl# #ed_op#BR#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT style="FONT-SIZE: 11pt" face=Arial size=4#ed_cl#Muslim invaders destroyed land, property and culture. Scriptures, original treatises, temples, houses, and people were brutally massacred. To begin with, almost the entire span of India's northern kingdoms was grazed. The South of India remained intact till the Muslim rulers established themselves in the north, and gradually began to expand to the South. This is one primary reason why the culture in the South of India has remained more 'untarnished'.   #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT style="FONT-SIZE: 11pt" face=Arial size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT style="FONT-SIZE: 11pt" face=Arial size=4#ed_cl#By the time the Muslim rulers expanded into the South of India, the invasions from Europe had already begun. The Southern kingdoms were usurped for a little over a century and a half, while the North remained in foreign control for over five centuries. This is the reason why the North of India is more appreciative of #ed_op#I#ed_cl#Ghazals#ed_op#/I#ed_cl# - a predominantly Persian form of music while the Southern states remain more committed to Classical Indian dance and music. Even though the Muslim invasions did enrich some aspects of Hindu culture, but by force of necessity Hindu culture had to assimilate values and the culture of the new rulers.  #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#/DIV#ed_cl#


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taal
Tue 16 Oct, 2007 06:54

Re: CLASSICAL TRANQUILITY & MUSIC REVIEW
-----------------------------------
#ed_op#DIV#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT face=Arial size=4#ed_cl#An Unending Passion #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT style="FONT-SIZE 11pt" face=Arial#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT style="FONT-SIZE 11pt" face=Arial size=4#ed_cl#Indian civilization has faced a lot of invasions. But credit goes to the sustentation of our indigenous culture that it survived all the onslaughts. The Persian and Muslim rulers brought with them their own culture - their music, their art, their theologists and scholars. One would have thought that with a huge entourage of singers and instrumentalists in the "durbar", indigenous Indian music would have suffered a decline, but that was not to be. Indian classical music survived this cultural onslaught and has managed to maintain its own identity fairly intact.#ed_op#BR#ed_cl##ed_op#BR#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT style="FONT-SIZE 11pt" face=Arial size=4#ed_cl#It is a fact that today, classical music is not the most favored form of music for the general populace which tends to listen to the more "easy to follow" folk, and lately the pop form. But yet, there are countless Indian classical musicians and singers who are well respected and heard even in "modern" times. There are many reasons for the survival of classical music despite the fact that it requires rigorous practice and devotion. One major reason was that the cult in India was to give a teacher the highest form of respect - like to a father or mother, and this was known as the guru - #ed_op#I#ed_cl#shishya parampara#ed_op#/I#ed_cl#. This teacher-student tradition established a method of this tradition being passed down generations, with equal devotion from the teacher and the taught. Besides the other qualities that assisted Indian music in a fight for survival were a highly scientific structure within which a musician could operate with total freedom, the aesthetic appeal of the music, the melodies and the unmistakable spiritual aspect of the music.#ed_op#BR#ed_cl##ed_op#BR#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT style="FONT-SIZE 11pt" face=Arial size=4#ed_cl#With the Persian and Muslim invasions, many Hindus converted to Islam because of cultural coercion, but most grew up with Indian music as an inherent tradition and perhaps felt more comfortable with it than with Persian music. These were the most obvious and sociological factors, but Indian Classical music also survived, rather flourished in other parts of India that were not usurped by Muslim rulers like Rajputana, Orissa, Madhya Pradesh and Devagiri in the South. Soon Gwalior established itself as the stronghold of Indian classical music and won the acclaim for giving Indian history one of its most celebrated musicians - Tansen who sang in Akbar's court.#ed_op#BR#ed_cl##ed_op#BR#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT style="FONT-SIZE 11pt" face=Arial size=4#ed_cl#Aside from the regimented Classical music, another form was emerging with the general population could relate to - the Bhakti movement had started and various contributions by saint poets like Alvaras, Jayadeva, Vidyapati and Chandidas further enriched the tradition of Indian music.#ed_op#BR#ed_cl##ed_op#BR#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT style="FONT-SIZE 11pt" face=Arial size=4#ed_cl#The Muslim rulers brought their tradition of the court poetry and singing - the #ed_op#I#ed_cl#mehfil#ed_op#/I#ed_cl# at the homes of noblemen and royalty. Royal patronage was gladly given to artists, musicians, singers and dancers. Many artists survived solely on this royal and noble patronage, hence the form of music practiced while Muslims ruled India ran the risk of ending up only as court music. But despite the fact that it was court patronage that helped musicians survive and thrive, the traditions gradually found their way into the very fabric of the society. And has survived through the centuries. #ed_op#BR#ed_cl##ed_op#BR#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT style="FONT-SIZE 11pt" face=Arial size=4#ed_cl#It is from the Muslim court tradition that the #ed_op#I#ed_cl#Khayal #ed_op#/I#ed_cl#and later, the #ed_op#I#ed_cl#Ghazal#ed_op#/I#ed_cl# emerged. Amir Khusrau was a prolific poet in the court of Sultan Jalal-ud-din-Khalji. It is rumored that Amir Khusrau wrote one new #ed_op#I#ed_cl#ghazal#ed_op#/I#ed_cl# every day, and even to this day, his poetry is appreciated for its timeless lyricism. It is during Khusrau's time that #ed_op#I#ed_cl#Khayal#ed_op#/I#ed_cl# and #ed_op#I#ed_cl#Dhrupad#ed_op#/I#ed_cl# as a distinct style of music emerged. However, the most popular forms of singing in the 13th and 14th centuries, were #ed_op#I#ed_cl#ghazals#ed_op#/I#ed_cl# and #ed_op#I#ed_cl#qawwalis#ed_op#/I#ed_cl#.#ed_op#BR#ed_cl##ed_op#BR#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT style="FONT-SIZE 11pt" face=Arial size=4#ed_cl#By the time Akbar's rule came about in the 16th century, there was a wide chasm between the music of the Muslim ruled North India and the Hindu ruled South. But the strict distinction between the two forms was kept only by Indian Classical music. The Persian style was gradually evolved and began to include a bit of the elements of ragas. It was during Akbar's reign that Abul Fazl's two works, Akbar Nama and Ain-i-Akbari were written. In addition to describing the music of the day, the latter dealt a little with the classification of ragas as well. #ed_op#BR#ed_cl##ed_op#BR#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT style="FONT-SIZE 11pt" face=Arial size=4#ed_cl#Akbar was a ruler who passionately patronized the arts. His time is well known for the investigation into various forms of music, developing a technical lingo, research into instruments and a lot of experimentation in form and content. #ed_op#I#ed_cl#Gharanas#ed_op#/I#ed_cl# were not referred to at all before Akbar's time, but during his rule, the tradition of schools of music began to evolve. While he was alive, Tansen was not classified as belonging to a particular #ed_op#I#ed_cl#Gharana#ed_op#/I#ed_cl#, but after his death, his work was attributed to the #ed_op#I#ed_cl#Senia Gharana#ed_op#/I#ed_cl# from the Gwalior school of music. However, musical analysts feel that during the development of #ed_op#I#ed_cl#Dhrupad#ed_op#/I#ed_cl#, the #ed_op#I#ed_cl#vanis#ed_op#/I#ed_cl#, (styles of singing #ed_op#I#ed_cl#Dhrupad#ed_op#/I#ed_cl#), were akin to #ed_op#I#ed_cl#gharanas#ed_op#/I#ed_cl# as we know them today.#ed_op#BR#ed_cl##ed_op#BR#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT style="FONT-SIZE 11pt" face=Arial size=4#ed_cl#With Akbar's death royal patronage to the arts reduced. It is said that a golden period in Indian classical music passed away. However, the patronage was not discontinued. Musicians from the various states were constantly researching, improving their #ed_op#I#ed_cl#gayaki#ed_op#/I#ed_cl#, styles, and were continuously innovating and studying deeper aspects of music and were involved in royal competitions as well. #ed_op#BR#ed_cl##ed_op#BR#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT style="FONT-SIZE 11pt" face=Arial size=4#ed_cl#Around the 17th and early 18th centuries, a battle was on between #ed_op#I#ed_cl#Dhrupad#ed_op#/I#ed_cl# and #ed_op#I#ed_cl#Khayal#ed_op#/I#ed_cl#. By the 19th century, the #ed_op#I#ed_cl#Khyal#ed_op#/I#ed_cl# had replaced #ed_op#I#ed_cl#Dhrupad#ed_op#/I#ed_cl#. In the meanwhile, #ed_op#I#ed_cl#Thumri#ed_op#/I#ed_cl# too, was coming up, especially in the reign of Nawab Wajid Ali Shah (1847-56). But with the arrival of the Europeans, and the eventual settlement of British in India, the devoted attention to music waned. Bahadur Shah Zafar was the last Mughal emperor to rule North India. After the Revolution of 1857, the British deposed him, took control and did away with the independent princely states.#ed_op#BR#ed_cl##ed_op#BR#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT style="FONT-SIZE 11pt" face=Arial size=4#ed_cl#The rise of the British Empire spelt death for court arts. With their wealth usurped by the Britishers, the nawabs and noblemen could not patronize the arts and the artists. And it seemed like India's rich music tradition would be lost to imperialism. Yet, a few #ed_op#I#ed_cl#gharanas#ed_op#/I#ed_cl# survived this second cultural onslaught and emerged strong after India's Independence. #ed_op#BR#ed_cl##ed_op#BR#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT style="FONT-SIZE 11pt" face=Arial size=4#ed_cl#After India got independence from British rule, there was a re-awakening in terms of a "going back to" Indian culture, roots and of course music. Even though the popular and grass roots appreciation of music was lost to a handful of intellectuals, there was a movement to re-popularize music with the entire population. #ed_op#BR#ed_cl##ed_op#BR#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT style="FONT-SIZE 11pt" face=Arial size=4#ed_cl#Gradually, the modern society began to take over and newer forms of media started to emerge that brought with them sounds from all over the world. Western influences crept into Indian music, and motion picture (cinema) changed it even further. Music was being converted to a form that everybody could understand, and participate in rather than a handful of court musicians and the royalty. #ed_op#BR#ed_cl##ed_op#BR#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT style="FONT-SIZE 11pt" face=Arial size=4#ed_cl#The gradually growing film industry began attracting professional musicians. The lure of fame and money was strong and his was a call not many could resist. Meanwhile, the government made consistent efforts to revive the classical arts that had suffered at the hands of the British. However, the trend set by the movies completely turned the face of Indian music around.#ed_op#BR#ed_cl##ed_op#BR#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT style="FONT-SIZE 11pt" face=Arial size=4#ed_cl#But Indian influences had started traveling across the world. In the 60s, Pandit Ravi Shankar took classical music to foreign realms and appreciative audiences. He was also the first to experiment with mixing western music with the Indian classical form to arrive at what is called fusion. But classical music had lost the race to popularity to film music. Then came the real Westernization of Indian music - Pop music, disco appeared on the canvas in the late 70s and early 80s with singers like Nazia Hasan and Runa Laila. However, the trend didn't quite catch on till early 90s when trendsetters like Alisha Chinai and Sharon Prabhakar came to the forefront. Today there is a new pop album released every month.#ed_op#BR#ed_cl##ed_op#BR#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT style="FONT-SIZE 11pt" face=Arial size=4#ed_cl#Just like Jazz, the popular perception of Indian classical music was that it was 'too cerebral' or 'too heavy'. However, recent years have seen a resurging interest in the field. An increase in the number of artists indulging in fusion and a growing number of organizations dedicated to spreading the richness of the tradition has helped revive interest in classical music. Also, younger, media savvy artists have realized the potential of the 'Channel [V]-MTV' platform and are working more towards "getting them young".#ed_op#BR#ed_cl##ed_op#BR#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT style="FONT-SIZE 11pt" face=Arial size=4#ed_cl#The Indian classical music tradition is still there, having survived so many metamorphoses. There are still teachers and disciples all over the country who dedicate a major part of their lives to the pursuit of this art, the #ed_op#I#ed_cl#sadhana#ed_op#/I#ed_cl# of #ed_op#I#ed_cl#shastriya sangeet#ed_op#/I#ed_cl#.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P align=right#ed_cl##ed_op#FONT face=Arial size=2#ed_cl#– #ed_op#B#ed_cl#Deepika Singh#ed_op#/B#ed_cl##ed_op#BR#ed_cl#May 8, 2000#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#/DIV#ed_cl#


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sur
Sun 21 Oct, 2007 01:40

Re: CLASSICAL TRANQUILITY & MUSIC REVIEW
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#ed_op#DIV#ed_cl##ed_op#H2#ed_cl#Mandolin Duet#ed_op#/H2#ed_cl##ed_op#BR#ed_cl##ed_op#H3#ed_cl##ed_op#/H3#ed_cl##ed_op#H3#ed_cl#DEEPA MAHADEVAN, May 18, 2006#ed_op#/H3#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#IMG height=270 alt="" hspace=8 src="http://www.indiacurrents.com/directory/getdata.asp?about_id=c73682454122b161f0392b971b9547e7-4" width=212 align=right vspace=8 border=0#ed_cl#A pioneer of Karnatik music on the mandolin, U. Shrinivas, plays with his brother U. Rajesh in Hayward this month. “A genius like Shrinivas is a rare gem and his music has universal appeal,” says presenter Subhendu Banerjee of Harmoni Ventures, which promotes world-class performing artists.#ed_op#BR#ed_cl##ed_op#BR#ed_cl#Shrinivas’s keen ear for music was discovered early when his father found the young boy strumming the mandolin at age 6. Music lessons and performances in his village in Andhra Pradesh followed. At age 11 the wiz kid arrived in Madras and bowled over sabha after sabha with his prodigious music. Recognition came early in the form of awards like Sangeetha Choodamani from the Krishna Gana Sabha, and later the Padmashri from the president of India.#ed_op#BR#ed_cl##ed_op#BR#ed_cl#At first people thought that Shrinivas had made the wrong choice of instrument—a veena would be more suited for playing South Indian classical ragas. But the young musician was quite certain that the mandolin was what he wanted to play.#ed_op#BR#ed_cl##ed_op#BR#ed_cl#The Italian acoustic mandolin indeed does not have a sufficient tonal range to fully develop Karnatik ragas. Shrinivas modified the instrument by using thicker strings, and adding a fifth string so that it gives him four octaves of freedom to improvise. Today no one says that the mandolin is not suited for Karnatik music, and Shrinivas’s name has become synonymous with that of his instrument.#ed_op#BR#ed_cl##ed_op#BR#ed_cl##ed_op#IMG height=300 alt="" hspace=9 src="http://www.indiacurrents.com/directory/getdata.asp?about_id=c73682454122b161f0392b971b9547e7-3" width=243 align=left vspace=9 border=0#ed_cl#Despite all the fame and adulation, Shrinivas remains a humble person. “It is the grace of the Almighty,” he says about his genius in a telephonic interview with India Currents.#ed_op#BR#ed_cl##ed_op#BR#ed_cl#He and his troupe will soon embark on their North American concert tour. “I look forward to my trips abroad,” he says. “The audience is eager. The response is warm and sincere; it brings out the best in me.”#ed_op#BR#ed_cl##ed_op#BR#ed_cl#Shrinivas has also trained his brother Rajesh to play the mandolin. Rajesh performs as a solo artist and also with his illustrious brother. “With two independent brains working, my performances with Rajesh give a unique flavor to my concerts,” says Shrinivas. “It is one of the best synergies.”#ed_op#BR#ed_cl##ed_op#BR#ed_cl#This mandolin duet promises to be a rare treat. The brothers will be accompanied by Muruga Boopathy on the mridangam and S. Venkata Ramani on the ghatam. —Deepa Mahadevan#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#/DIV#ed_cl#


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sur
Thu 25 Oct, 2007 00:46

Re: CLASSICAL TRANQUILITY & MUSIC REVIEW
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#ed_op#DIV#ed_cl##ed_op#STRONG#ed_cl##ed_op#FONT class=storyhead face="Arial Narrow" color=#441415 size=5#ed_cl#Making waves #ed_op#/FONT#ed_cl##ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#P align=justify#ed_cl##ed_op#P#ed_cl##ed_op#TABLE width="100%" bgColor=#ffeeff border=0#ed_cl##ed_op#TBODY#ed_cl##ed_op#TR#ed_cl##ed_op#TD#ed_cl##ed_op#FONT face="Arial Narrow" size=5#ed_cl#Javed plans a ghazal album featuring Ghulam Ali #ed_op#/FONT#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#/TBODY#ed_cl##ed_op#/TABLE#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=5#ed_cl##ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=5#ed_cl##ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=5#ed_cl##ed_op#/FONT#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT face="Arial Narrow" size=5#ed_cl##ed_op#/FONT#ed_cl##ed_op#CENTER#ed_cl# #ed_op#/CENTER#ed_cl##ed_op#CENTER#ed_cl##ed_op#BR#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=5#ed_cl##ed_op#IMG height=350 src="http://www.thehindujobs.com/thehindu/mp/2007/01/25/images/2007012500070101.jpg" width=269 align=center border=1#ed_cl# #ed_op#BR#ed_cl##ed_op#B#ed_cl#TAKE TWO Najmuddin Javed is on a composing curve #ed_op#/B#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/CENTER#ed_cl##ed_op#/STRONG#ed_cl##ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#STRONG#ed_cl##ed_op#FONT face="Arial Narrow" size=5#ed_cl##ed_op#/FONT#ed_cl##ed_op#/STRONG#ed_cl# #ed_op#/DIV#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=5#ed_cl##ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#"One black tea without sugar. It is good for the blood," says the young ustad and the conversation that follows endorses the fact that music runs in his veins. Najmuddin Javed, the staff artiste of All India Radio who has played with Mehdi Hassan, Shobha Gurtu, Ghulam Ali, Sivamani, Louis Banks, Pandit Birju Maharaj and Nedunuri Krishnamurthy alike, not forgetting his foray as a music director with his debut cover titled #ed_op#I#ed_cl#Janejaan#ed_op#/I#ed_cl#, happens to be the third generation musician from Hyderabad. #ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#"My father late Mohammed Vazir was a disciple of Bade Ghulam Ali while my mother Kaneez Fatima, known for her organised format of the Deccani folk #ed_op#I#ed_cl#dholak ke geet#ed_op#/I#ed_cl#, is a disciple of Begum Akhtar. Both were staff artistes for Deccan Radio during the Nizam's period. My grandmother was associated with the Hindi film industry. She sang with Geeta Dutt and Suraiyya," he recollects. #ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#As for him, "#ed_op#I#ed_cl#mera 60 per cent inclination rhythm ki taraf tha#ed_op#/I#ed_cl#," says Javed who also features on his debut cover. Javed has also played for the Telugu film industry. #ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#"There were complex pieces for which I was roped in. My penchant for composing music started incidentally when I was in Mumbai. I used to visit Kalyanji bhai's house when I had free time. In Mumbai I worked with Talat Aziz and Hari Haran," he says.#ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl# #ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#His next offering is a ghazal album with Ghulam Ali. "Apart from Indian writers we will also have his favourite poets Mohsin Naqvi and Amjad Islam Amjad from Pakistan," he says about the album that is slated for a year-end release. #ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#From pure classical recitals with legends, fusion dos and awards— latest being the recent Ghantasala Gana Sabha's `Tabla Ratna Award' to albums, Javed has come a long way and looks forward to Bollywood, " to compose film music in sync with the current trend for the masses and youth," he says. #ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#WEB#ed_cl##ed_op#/WEB#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#SYEDA FARIDA #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl#


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mymoon
Wed 31 Oct, 2007 10:45

Re: CLASSICAL TRANQUILITY & MUSIC REVIEW
-----------------------------------
#ed_op#P#ed_cl##ed_op#FONT class=storyhead color=#441415 size=5#ed_cl##ed_op#B#ed_cl#The song of the year #ed_op#/B#ed_cl##ed_op#/FONT#ed_cl##ed_op#P#ed_cl##ed_op#STRONG#ed_cl##ed_op#FONT color=#441415 size=5#ed_cl##ed_op#/FONT#ed_cl##ed_op#/STRONG#ed_cl# #ed_op#P align=justify#ed_cl#M. RAGHURAM #ed_op#P align=justify#ed_cl# #ed_op#P#ed_cl##ed_op#TABLE width="100%" bgColor=#ddffdd border=0#ed_cl##ed_op#TBODY#ed_cl##ed_op#TR#ed_cl##ed_op#TD#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Virasat, the annual cultural festival in Moodbidri, organised by Mohan Alwa, is underway #ed_op#/FONT#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#/TBODY#ed_cl##ed_op#/TABLE#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#CENTER#ed_cl##ed_op#BR#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#IMG height=250 src="http://www.hindu.com/fr/2007/01/05/images/2007010501850101.jpg" width=204 align=center border=1#ed_cl# #ed_op#BR#ed_cl##ed_op#B#ed_cl#ALL STARRY The Virasat festival will have some of the best in the music field #ed_op#/B#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/CENTER#ed_cl##ed_op#CENTER#ed_cl##ed_op#STRONG#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#/STRONG#ed_cl# #ed_op#/CENTER#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Moodbidri, the temple town known as Jain Kashi is the cultural centre of Dakshina Kannada district. Moodbidri hosts Nudi Siri the annual literary meet, it hosts the annual state-level sports event, Ekalavya Kreedotsava, and Virasat, a national cultural meet. #ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#All these landmark events are the brainchild of Mijar Mohan Alva, an educationist and a philanthropist. Ten years ago, when he thought of a national level cultural festival, he decided to call it Virasat, or legacy. In the last ten years, he has added Ekalavya and Nudi Siri to the list of activities that this little town organises. #ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#CENTER#ed_cl##ed_op#BR#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#IMG height=250 src="http://www.hindu.com/fr/2007/01/05/images/2007010501850102.jpg" width=226 align=center border=1#ed_cl# #ed_op#/FONT#ed_cl##ed_op#/CENTER#ed_cl##ed_op#CENTER#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/CENTER#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Nudisiri which was recently held under the presidentship of well known literary figure Chandrashekar Kambar had attracted national and international scholars of language, literature and poetry. This literary festival, which has now attained the magnitude of a full-scale national meet on Kannada, is organised on the scale of Kannada Sahitya Sammelana itself. #ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#For the three days from January 4 to January 7, 2007, Virasat will be held in Moodbidri. The musicians to perform in this festival are tabla maestro Zakir Hussian, violinist Kunnakudi Vaidyanathan and playback singer S.P. Balasubramaniam. #ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#CENTER#ed_cl##ed_op#BR#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#IMG height=250 src="http://www.hindu.com/fr/2007/01/05/images/2007010501850103.jpg" width=215 align=center border=1#ed_cl# #ed_op#/FONT#ed_cl##ed_op#/CENTER#ed_cl##ed_op#CENTER#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/CENTER#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Yesterday, the opening day of the festival, Ustad Zakir Hussain was honoured with the Virasat Award 2006. It constitutes a citation and a memento. It was followed by a jugalbandi of the maestro with the sarangi exponent, Ustad Sultan Khan. #ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Today, Kunnukudi Vaidyanathan will give a violin concert followed by a dance ballet #ed_op#I#ed_cl#Samarpan#ed_op#/I#ed_cl# in Mohiniyattam by Gopika Varma. S.P. Balasubramaniam will play on January 6, followed by Ojas, a dance performance by Nirupama Rajendra and troupe. #ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#CENTER#ed_cl##ed_op#BR#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#IMG height=250 src="http://www.hindu.com/fr/2007/01/05/images/2007010501850104.jpg" width=239 align=center border=1#ed_cl# #ed_op#/FONT#ed_cl##ed_op#/CENTER#ed_cl##ed_op#CENTER#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/CENTER#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#The finale comprises a Hindustani classical ensemble with Praveen Godkhindi on flute, Salil Bhat on satvika veena, Sandeep Chaterjee on santoor, Vijay Ghate on tabla. The final session of Virasat will feature Lenny Fernandes and troupe performing a dance ballet entitled #ed_op#I#ed_cl#Sacred Space#ed_op#/I#ed_cl#. #ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Apart from the cultural extravaganza, the site of Virasat will also have an exhibition of rare collection of artefacts, sculptures, paintings and photographs, which will be open from January 4 to January 7. Additional attractions like the Shobha Vana, an arboretum, and the Alva's Ayurvedic medicine production centre are also near the Virasat site. #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#DIV#ed_cl##ed_op#/DIV#ed_cl#


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sur
Fri 02 Nov, 2007 00:56

Re: CLASSICAL TRANQUILITY & MUSIC REVIEW
-----------------------------------
#ed_op#DIV#ed_cl##ed_op#STRONG#ed_cl##ed_op#FONT color=#441415 size=5#ed_cl#Music director L. Vaidyanathan dead #ed_op#/FONT#ed_cl##ed_op#/STRONG#ed_cl##ed_op#P align=justify#ed_cl#Special Correspondent #ed_op#P align=justify#ed_cl# #ed_op#P#ed_cl##ed_op#TABLE width="100%" bgColor=#d0f0ff border=0#ed_cl##ed_op#TBODY#ed_cl##ed_op#TR#ed_cl##ed_op#TD#ed_cl##ed_op#I#ed_cl##ed_op#STRONG#ed_cl##ed_op#FONT face="Arial Narrow" color=#ff0000 size=4#ed_cl#Elder brother of the violin duo, L. Shankar and L. Subramaniam #ed_op#/FONT#ed_cl##ed_op#/STRONG#ed_cl##ed_op#/I#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#/TBODY#ed_cl##ed_op#/TABLE#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#CENTER#ed_cl##ed_op#BR#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#IMG height=200 src="http://www.hindu.com/2007/05/20/images/2007052005071001.jpg" width=198 align=center border=1#ed_cl# #ed_op#BR#ed_cl##ed_op#B#ed_cl#L. Vaidyanathan #ed_op#/B#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/CENTER#ed_cl##ed_op#CENTER#ed_cl##ed_op#STRONG#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#/STRONG#ed_cl# #ed_op#/CENTER#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#CHENNAI: L. Vaidyanathan, music director of yesteryear and Kalaimamani awardee, died on Saturday morning. He was 65. #ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#The elder brother of the renowned violin duo, L. Shankar and L. Subramaniam, he apprenticed under music director G.K. Venkatesh during his early years. He studied music under the tutelage of his father V. Lakshminarayana Iyer, as did his other two violinist brothers. He composed music for over 150 movies in different languages. #ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#He went on to score the music for movies, including the Kamal Hassan starrer, Pesum Padam, a silent movie in which the background score played an important role. Among his other famous films include director Hariharan's `Ezhavathu Manithan,' which introduced actor Raghuvaran. This award-winning movie's music set the lyrics of Bharatiyar's songs to much appreciated tunes. He also composed music for `Marupakkam,' a film starring Sivakumar that went on to win four national awards. His lesser-known work is probably the popular, haunting title track of R.K. Narayan's `Malgudi Days' directed by Shanker Nag and serialised on Doordarshan. Later, he experimented with fusion, striding Western and traditional Indian genres, even dabbling with far-Eastern melodies to create albums that were popular across the world. He has also performed as a violin trio with his brothers. The Tamil Nadu Government recognised his contributions to the field of films and music by bestowing him its award for artistes — the Kalaimamani Award — in 2003. #ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#In addition to family and friends, personalities from the field of film music, among them Ilayaraja, S.P. Balasubramaniam and Chitra, condoled his death. He is survived by his wife Chenjulakshmi and two sons L.V. Ganesan and L.V. Muthukumarasamy. The cremation was performed on Saturday.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P align=justify#ed_cl# #ed_op#/P#ed_cl##ed_op#/DIV#ed_cl#


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king12
Sat 03 Nov, 2007 16:35

Re: CLASSICAL TRANQUILITY & MUSIC REVIEW
-----------------------------------
#ed_op#DIV#ed_cl##ed_op#P#ed_cl##ed_op#FONT class=storyhead color=#441415 size=5#ed_cl##ed_op#B#ed_cl#Sounds of music #ed_op#/B#ed_cl##ed_op#/FONT#ed_cl##ed_op#P#ed_cl##ed_op#STRONG#ed_cl##ed_op#FONT color=#0000ff size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#/STRONG#ed_cl# #ed_op#P align=justify#ed_cl##ed_op#TABLE bgColor=#ffeedd border=0#ed_cl##ed_op#TBODY#ed_cl##ed_op#TR#ed_cl##ed_op#TD#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#St. Xavier's, Mumbai, continues its tradition of a music festival in January despite a restricting court order. RONITA TORCATO looks at this year's fare. #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#/TBODY#ed_cl##ed_op#/TABLE#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#CENTER#ed_cl##ed_op#BR#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#IMG height=182 src="http://www.hindu.com/mag/2004/03/07/images/2004030700060501.jpg" width=351 align=center border=1#ed_cl# #ed_op#/FONT#ed_cl##ed_op#/CENTER#ed_cl##ed_op#CENTER#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/CENTER#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#IN a little room on the ground floor of a venerable institution of learning, jean-clad undergrads sprawl on #ed_op#I#ed_cl#chattais #ed_op#/I#ed_cl#listening to an afternoon #ed_op#I#ed_cl#raag#ed_op#/I#ed_cl#. Academicians and alumni sneaking a peek, resisting the temptation to venture inside the room themselves, have grown accustomed to the sight. A small grant from the Birla group sparked the music archive; a generous one from biscuit manufacturer Britannia sustains the enviable collection of over 2000 hours of live music - recordings of contemporary musicians as well as the long dead, but immortal maestros of yesteryear. The collegians can now relax, having put in long hours of hard work to organise a three-day classical music extravaganza, a milestone event on Mumbai's cultural map. #ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#But if the Mumbai High Court's interpretation of a noise pollution law had come in good time, Fr. Lancy Pereira S.J., Founder, and Dr. Trilok M. Telang, Honorary Secretary of the Governing Board of the Indian Music Group of St Xavier's College, would have been happy men. For this would have enabled them and their dedicated band of volunteers at Xavier's to hold the recently concluded Britannia-JanFest 2004, the annual concert of Indian classical music, in the college quadrangle. JanFest, sponsored by Britannia, was held for the first time in 30 years at a new venue midtown. #ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#No loudspeakers (including the joyful sound of music) within earshot of educational institutions and hospitals, the anti-pollution law said. Certainly, it spelt #ed_op#I#ed_cl#finis #ed_op#/I#ed_cl#to jazz, rock and classical concerts at Xavier's and the open-air Rang Bhavan, a footfall away. #ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#CENTER#ed_cl##ed_op#BR#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#IMG height=300 src="http://www.hindu.com/mag/2004/03/07/images/2004030700060502.jpg" width=279 align=center border=1#ed_cl# #ed_op#/FONT#ed_cl##ed_op#/CENTER#ed_cl##ed_op#CENTER#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/CENTER#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Aah, groaned some music-lovers, that's not fair. Aha, snapped the khaki-clad, we don't care! The impeccably dressed Pandit Shiv Kumar Sharma expressed regret that journalists didn't mind writing about festivals, but rarely attended concerts to relish the music. Pandit Jasraj was appalled: "Music therapy has proved to be extremely successful in hospitals where it has been introduced. Indian music is most scientific and has different #ed_op#I#ed_cl#raags #ed_op#/I#ed_cl#for the treatment of different diseases. I will not be surprised if a multi-storeyed complex comes up on the Rang Bhavan space. I'm certain this is the real reason why the concerts have been stopped." #ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#"The JanFest is each year eagerly looked forward to," said ex-Xavierite and recently appointed principal of St Xavier's, Fr. Fraser Mascarenhas. Conceptualised in 1973 by Fr. Lancy Pereira, then college principal and two ex-students, the late Chandu Kapadia and Yusuf Gandhi, the IMG initiated music appreciation courses. In January 1979, Brittania stepped in with financial support and the IMG seized the opportunity to hold a three-day festival now known as JanFest. IMG also conducts #ed_op#I#ed_cl#baithaks #ed_op#/I#ed_cl#and lecture-demos by established artists at regular intervals. As Fr. Mascarenhas recalled, "the roster of the last 25 years sparkles with the topmost names in the field." Pandit Bhimsen Joshi, Ustad Alla Rakha Khan, Ustad Zakir Hussain Khan, Pt. Hariprasad Chaurasia, Pt. Shivkumar Sharma, the Dagar Brothers, Shruti Sadolikar, M. Srinivas... #ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#CENTER#ed_cl##ed_op#BR#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#IMG height=300 src="http://www.hindu.com/mag/2004/03/07/images/2004030700060503.jpg" width=280 align=center border=1#ed_cl# #ed_op#/FONT#ed_cl##ed_op#/CENTER#ed_cl##ed_op#CENTER#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/CENTER#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#"I received several e-mails from people abroad asking for the dates of the festival," said Fr. Mascarenhas. "This is the kind of college that is courageous enough to experiment and fail...(or shine) and the Festival has over the years introduced a variety to the staple menu of Hindustani classical music: Carnatic items, fusion, a #ed_op#I#ed_cl#tal vadya kaccheri #ed_op#/I#ed_cl#and even once a dance performance." #ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#The matter went to court in a petition submitted by fans of Rang Bhavan (which included many Xavierites). The court's interpretation means the IMG-Britannia JanFest 2005 will be held at Xavier's, but this year all roads led to the Ravindra Natya Mandir at Prabhadevi. #ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#At the venue, the student volunteers were barely recognisable. Hip and hep clothing had been discarded in favour of glorious silk saris and #ed_op#I#ed_cl#kurta-pyjamas#ed_op#/I#ed_cl#. Was that apparition in red, gold and white Kanjivaram welcoming ticket-holders, the tee shirt clad Subhashini I knew from FYJC? It couldn't have been much fun during the Fest, taking turns trying to catch snatches of those heavenly sounds on a temporarily vacant seat. The line-up, as usual, was impressive: Pandit Bhimsen Joshi (who wowed the Sunday morning crowd with #ed_op#I#ed_cl#Asavari #ed_op#/I#ed_cl#and #ed_op#I#ed_cl#MiyanTodi#ed_op#/I#ed_cl#), Pandit Jasraj (#ed_op#I#ed_cl#Jog#ed_op#/I#ed_cl#), Shiv Kumar Sharma (#ed_op#I#ed_cl#Malkauns#ed_op#/I#ed_cl#), Hari Prasad Chaurasia (#ed_op#I#ed_cl#Bhoop#ed_op#/I#ed_cl#), Ustad Rashid Khan (#ed_op#I#ed_cl#Bageshri#ed_op#/I#ed_cl#), Shujaat Khan (#ed_op#I#ed_cl#Yaman#ed_op#/I#ed_cl#) and Jayteerth Mevundi who barely managed to get leave from his employer, AIR and sang an outstanding #ed_op#I#ed_cl#Adana#ed_op#/I#ed_cl#, arguably, the best piece of the entire concert. Till next year then.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#BULLETBW#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#/DIV#ed_cl#


-----------------------------------
sur
Sun 04 Nov, 2007 11:26

Re: CLASSICAL TRANQUILITY & MUSIC REVIEW
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#ed_op#DIV#ed_cl##ed_op#SPAN class=head30#ed_cl#Unforgettable maestros: Chitragupta & N Dutta#ed_op#/SPAN#ed_cl##ed_op#BR#ed_cl##ed_op#BR#ed_cl##ed_op#A class=byline href="http://www.screenindia.com/about/feedback.html?"#ed_cl#Ravi Patil#ed_op#/A#ed_cl##ed_op#BR#ed_cl##ed_op#FONT face="Verdana, Arial, Helvetica, sans-serif" color=#000000 size=1#ed_cl#Posted online: Friday, March 28, 2003#ed_op#/FONT#ed_cl##ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl# #ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#SPAN class=bodynew#ed_cl#                                                                                                                                                                         #ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#TABLE cellSpacing=0 cellPadding=0 width=160 align=left border=0 vspace="3" hspace="5"#ed_cl##ed_op#TBODY#ed_cl##ed_op#TR#ed_cl##ed_op#TD#ed_cl##ed_op#IMG alt="" src="http://www.screenindia.com/music/grfx/20030328/t1.jpg" border=0#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#TR#ed_cl##ed_op#TD#ed_cl##ed_op#DIV align=center#ed_cl##ed_op#SPAN class=arial10gray#ed_cl##ed_op#/SPAN#ed_cl##ed_op#/DIV#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#/TBODY#ed_cl##ed_op#/TABLE#ed_cl##ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#IMG alt="" src="http://www.screenindia.com/grfx/h.gif" align=left vspace=4 border=0#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#indi cinema has been greatly enriched by the works of music stalwarts like Naushad, C Ramachandra, Shankar-Jaikishan, SD Burman, OP Nayyar, Madan Mohan, Laxmikant-Pyarelal, Kalyanji-Anandji and RD Burman, to name some. Here, we wish to focus on the works of two music directors whose names are not mentioned in the same breath as those of the above-mentioned composers, i.e. Chitragupta & N Dutta. The songs composed by them are as melodious as other composers, the only difference being that they didn’t do much work, and not with many big banners. #ed_op#/FONT#ed_cl##ed_op#/SPAN#ed_cl##ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#SPAN class=bodynew#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#/SPAN#ed_cl# #ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#SPAN class=bodynew#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#/SPAN#ed_cl# #ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#SPAN class=bodynew#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#One of the biggest banners of the South, namely AVM Productions, had opted for Chitragupta for many of their Hindi productions, which proves, in a way, that he could deliver. The songs composed by Chitragupta for some of the AVM classics such as Bhabhi, Barkha and Main Chup Rahungi are unforgettable. We mention some here and you will agree — ‘Chal ud jaa re panchi ki ab ye desh hua begaana...’ sung by Mohd. Rafi, ‘Chali chali re patang meri chali re...’ sung by Mohd. Rafi and Lata Mangeshkar, and ‘Chupakar meri aankhon se...’ again sung by Rafi and Lata. All three songs are from Bhabhi. The first mentioned is a real gem, thanks to the splendid lyrics by Rajendra Krishan and a soulful rendition by Rafi. The songs from Barkha like ‘Ek raat mein do do chaand khile...’ sung by Mukesh and Lata Mangeshkar, ‘Tadpaoge tadpa lo hum tadap tadap kar bhi...’ sung by Lata Mangeshkar, and the song from Main Chup Rahungi, namely ‘Main kaun hoon main kahan hoon...’ sung by Mohd. Rafi and ‘Koi bata de dil hai jahan kyun hota hai dard wahan...’ sung by Lata Mangeshkar and Mohd. Rafi are remembered to date. #ed_op#/FONT#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Other beautiful compositions of Chitragupta are ‘Agar dil kisise lagaya na hota...’ from Bada Aadmi sung with a lot of depth by Mohd. Rafi, ‘Mujhe dard-e-dil ka pata na tha...’ sung by Mohd. Rafi and ‘Dil ka diya jalake gaya, Ye kaun meri tanhai mein...’ sung by Lata Mangeshkar. The last two songs are from the film Akashdeep. Also, one can’t forget ‘Saathi hai albela phir bhi koi akela...’ sung by Mukesh from Hum Matwale Naujawan, ‘Balma maane na bairi chup na rahe...’ sung by Lata Mangeshkar from Opera House, ‘Kaanha jaa re teri murli ki dhun...’ from a strangely titled film Tel Maalish Boot Polish (but the song was very classical and beautifully sung by Manna Dey and Lata Mangeshkar). #ed_op#/FONT#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#A devotional song composed by Chitragupta ‘Jai Jai he Jagdambe Maata...’ sung by Lata Mangeshkar for Ganga Ki Leheren is among the few good ones. The duet from the same film by Kishore Kumar and Lata Mangeshkar, namely ‘Machalti hui hawa mein chum chum hamare sang sang chale Ganga ki lehren...’ written well by Majrooh Sultanpuri, takes us straight to the banks of the holy Ganga. #ed_op#/FONT#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#P#ed_cl##ed_op#TABLE cellSpacing=0 cellPadding=0 width=150 align=right border=0 vspace="3" hspace="5"#ed_cl##ed_op#TBODY#ed_cl##ed_op#TR#ed_cl##ed_op#TD vAlign=bottom#ed_cl##ed_op#DIV align=right#ed_cl##ed_op#SPAN class=arial10gray#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#/SPAN#ed_cl##ed_op#/DIV#ed_cl##ed_op#/TD#ed_cl##ed_op#TD#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#IMG alt="" src="http://www.screenindia.com/music/grfx/20030328/t2.jpg" border=0#ed_cl##ed_op#/FONT#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#/TBODY#ed_cl##ed_op#/TABLE#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Talking of duets, you have some of the best duets coming from Chitragupta like ‘Dekho mausam kya bahar hai, sara alam bekrar hai...’ sung by Mukesh and Lata Mangeshkar from Opera House; ‘Tumne haseen hi haseen mein kyun dil churaya jawab do...’ sung by Mahendra Kapoor and Lata Mangeshkar from Ghar Basake Dekho; ‘Laagi toote na ab to sanam...’ sung by Mohd. Rafi and Lata Mangeshkar from Kali Topi Laal Rumal; ‘Ye parbaton ke daayre ye shaam ka dhuan...’ sung by Mohd Rafi and Lata Mangeshkar from Vaasna; ‘Ajnabi se banke karo na kinara...’ sung by Kishore Kumar and Lata Mangeshkar from Ek Raaz; ‘Teri duniya se door chale hoke majboor humein yaad rakhna...’ sung by Mohd. Rafi and Lata Mangeshkar and ‘Mehlon ne chheen liya bachpan ka pyar mera...’ sung by Mukesh and Lata Mangeshkar, both from Zabak. #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Some of Talat Mehmood’s lingering duets composed by Chitragupta are ‘Do dil dhadak rahe hain aur awaaz ek hai...’ sung with Asha Bhosle from Insaaf; ‘Laagi nahi choote Rama...’ from the film with the same name, ‘Mausam ye pukare masti mein lekar...’ from Burmah Road; and ‘Baagon mein khilte hain phool kasam teri aankhon ki...’ from Suhaag Sindoor, all the three duets sung with Lata Mangeshkar. There is a unique feature about the Chitragupta-Majrooh Sultahpuri team - i.e. two different pairs of singers were used for the melodious number ‘Jabse hum tum baharon mein kho baithe...’ from the film Main Shaadi Karne Chala. The first time it was sung by Mukesh and Kamal Barot, and then by Mohd. Rafi and Suman Kalyanpur. Even in one of Chitragupta’s last films, namely Intezar, we have a lovely Kishore solo ‘Chanda ki kirnon se lipti hawaein aake mil jaa...’ #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#N. Dutta’s class is justified by the fact that filmmaker BR Chopra had taken him as the music director for the early BR productions. The songs composed by Dutta for some of the BR films like Dhool Ka Phool, Dharamputra and Sadhana are masterpieces. The songs from Dhool Ka Phool penned by the great Sahir Ludhianvi still echo in our ears. Sample this: ‘Tere pyar ka aasra chahta hoon...’ sung by Mahendra Kapoor and Lata Mangeshkar, ‘Dhadakne lagi dil ki taaron ki duniya...’ and ‘Jhukti ghata gaati hawa sapne jagaye...’ both sung by Mahendra Kapoor and Asha Bhosle. The other Dhool Ka Phool song, ‘Tu Hindu banega na Musalman banega/ Insaan ki aulad hai insaan banega...’ is a landmark example of a patriotic and human value song, and certainly ranks among Rafi’s best songs. Not to forget Lata’s sweetly rendered song ‘Tu mere pyar ka phool hai...’ from the same film. #ed_op#/FONT#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Other Dutta gems for BR films are: ‘Bhool sakta hai bhala kaun ye pyari aankhein...’ from Dharamputra sung by Mahendra Kapoor; ‘Main jab bhi akeli hoti hoon tum chupke se yaad aate ho...’ from the same film sung by Asha Bhosle; ‘Aurat ne janam diya mardon ko...’ from Sadhana, touchingly rendered by Lata Mangeshkar; ‘Sambhal ae dil tadapne aur tadpaane se kya hoga...’ again from Sadhana sung by Asha Bhosle and Mohd. Rafi, and the Geeta Dutt classic from the same film ‘Tora manva kyun ghabraye re...’. #ed_op#/FONT#ed_cl##ed_op#P#ed_cl# #ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Some more Dutta hits include ‘Mujhe dekho hasrat ki tasveer hoon main...’ from Baaz, and ‘Ashkon ne jo paaya hai woh geeton mein diya hai...’ from Chandi Ki Deewar, both sung by Talat Mehmood, ‘Maine chaand aur sitaron ki tamanna ki thi...’ from Chandrakanta sung by Mohd Rafi, ‘Ye baharon ka sama chand taaron ka sama...’ sung by Hemant Kumar from Milap, ‘Main tumhi se poochti hoon mujhe tumse pyar kyun hai...’ sung by Mohd. Rafi and Lata Mangeshkar from Black Cat, and ‘Ponchkar ashq apni aankhon se muskurao to koi baat bane...’ sung by Mohd. Rafi from Naya Rasta. #ed_op#/FONT#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Even in some unheard films, Dutta’s compositions are catchy, like ‘Aaj ye aanchal muh kyun chupaye...’ sung by Mukesh for Holiday In Bombay, ‘Dhoonde nazar nazar mera chaand hai kidhar...’ sung by Mahendra Kapoor and Asha Bhosle for Dilli Ka Dada, ‘Pyar ka jahan ho chhotasa makaan ho...’ sung by Kishore Kumar and Asha Bhonsle for Jaalsaaz, a qawwali, ‘Meri tasveer lekar kya karoge...’ sung by Mohd. Rafi and Asha Bhosle for Kaala Samunder. #ed_op#/FONT#ed_cl##ed_op#P#ed_cl# #ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#That Asha Bhosle’s voice sounded very different under Dutta is evident from some lively songs like ‘Kitna haseen hai jahan jaadu bhara hai sama...’ from Mr. X, ‘Ye hawa ye fiza ye sama...’ and the Rafi-duet ‘Aana hai to chale aao suhani shaam hai...’, both from the film Taxi Stand and the catchy ‘Jaan gayi main to jaan gayi, koi banaye bahane...’ from Naya Raasta. #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl# #ed_op#/P#ed_cl##ed_op#/SPAN#ed_cl##ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#A href="http://www.screenindia.com/fullstory.php?content_id=2798"#ed_cl#http://www.screenindia.com/fullstory.php?content_id=2798#ed_op#/A#ed_cl##ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#/DIV#ed_cl#


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sur
Mon 05 Nov, 2007 00:15

Re: CLASSICAL TRANQUILITY & MUSIC REVIEW
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#ed_op#DIV#ed_cl##ed_op#P#ed_cl##ed_op#FONT class=storyhead face="Arial Narrow" color=#441415 size=5#ed_cl#Litterateur in touch with the masses #ed_op#/FONT#ed_cl##ed_op#P#ed_cl# #ed_op#P align=justify#ed_cl##ed_op#P#ed_cl##ed_op#P align=justify#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#A LITERARY giant whose voice carried a vibrancy that bespoke his multi-hued erudition; a lofty symbol of Indo-Soviet amity in its prime; head of a family, comprising wife Shaukat Azmi, daughter Shabana and son-in-law Javed Akhtar, that represents the finest in India's Nehruvian secular tradition, Kaifi Azmi is no more. This stalwart's contribution to Urdu literature is well chronicled. #ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#The highlight however is the trendy tuning that Kaifi's poetry had with the masses. Even while epitomising in his vivid verse the essence of the leftist movement in India, Kaifi's facile pen commanded a public equation that saw him blend quality with popularity in an idiom that went right home. #ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#The passing of Jawaharlal Nehru in May 1964 had Kaifi reflecting the agony of a whole nation as he teamed up with Madan Mohan to create `Meree awaaz suno pyaar ka raaz suno' (in ``Naunihal" in the sonorous voice of Mohammed Rafi). #ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#It had willy-nilly to be Rafi with Lata Mangeshkar when the Kaifi Azmi-Madan Mohan combine broke new ground — with an entire theme in mime in the shape of Chetan Anand's ``Heer Raanjha" (1970) — ``Yeh duniya yeh mehfil" (Rafi), on the one hand, ``Do dil toote do dil hare" (Lata), on the other. #ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#And did a father ever write about his own daughter (Shabana vis-a-vis Raj Kiran) with the feel that Kaifi brought to ghazal ace Jagjit Singh's ``Arth" soliloquising of ``Tum itna jo muskuraa rahe ho?" Take the all-time classic: Guru Dutt's "Kaagaz Ke Phool" (1959). When Sahir Ludhianvi walked out of the film following differences with master composer S. D. Burman, in stepped Kaifi, in style, to have Rafi memorably thematising: ``Dekhee zamaane kii yaaree bichchde sab hi baaree baaree." #ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Again, in the same ``Kaagaz Ke Phool," with telling contrast (on Waheeda Rehman) Kaifi captured the range and repertoire of Guru Dutt's singer-wife, Geeta Dutt, via those two numbers on the same N52971 78rpm record: ``Ek do teen chaar aur paanch" and ``Waqt ne kiya kya hansie sitam." #ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Verily was Kaifi Azmi a poem in celluloid, as exemplified by Lata's ``Kuchch dil ne kaha kuchch bhee naheen'' (on Sharmila Tagore playing Hrishikesh Mukherjee's ``Anupama#ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#In the same film (scored by Hemant Kumar), Kafi had that composer-singer resonating, on Dharmendra, as ``Ye dil kii suno duniya waalon." Kaifi's creations in association with Hemant Kumar are legion, prominent among them being Lata's `Jhoom jhoom dhaltee raat (``Kohraa"), then (in the same film) Hemant Kumar himself coming over stunningly on Biswajeet as ``Yeh nayan dare dare" and the more simple ``Raah banee khud manzil" and ``O beqaraar dil." True, Hemant Kumar, Hrishikesh Mukherjee, Guru Dutt and Chetan Anand were all men with a certain literary awareness. How then did Kaifi relate to hoi-polloi of the film industry? Here are some of Kaifi's contributions in this everyday genre that sing for themselves: Rafi's ``Tum poochchte ho ishq bala hai kii naheen hai" (for Babul in ``Naqli Nawab"); Asha Bhosle-Rafi's ``Tu shaukh kali main mast pawan" (for Lachiram in ``Main Suhagan Hoon"); and Suraiya's ``Mast aankhon mein shararat" (for Ghulam Mohammed in ``Shama"). A man of letters, it was remarkable that Kaifi tuned himself to the taste of the common man. Kaifi reserved his best for subjects done in an intellectually conscious milieu. #ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Thus did we get, from his satin-smooth pen, Rafi's ``Jaane kya dhoondhtee rehtee hain yeh aankhen mujh mein" (for Khayyam in Ramesh Saigal's ``Shola Aur Shabnam"); again in the company of Khayyam, Lata's ``Bahaaron meraa jeevan bhee sanwaaron" (on Indrani Mukherjee in Chetan Anand's ``Aakhri Khat"); Rafi's ``Main yeh sochch kar uske dar se utha thha" (for Madan Mohan in Chetan Anand's ``Haqeeqat"), one of Geeta Dutt's last songs, ``Aaj kie kaali ghata mast matwaalee ghata" (for Kanu Roy in Basu Bhattacharya's ``Uski Kahani"). In minimum space he presented the essence. #ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#The function of Kaifi's poetry, at all times, was to enrich the calibre of the tune. This he did without in anyway losing his literary stature. #ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#P align=justify#ed_cl##ed_op#P align=justify#ed_cl##ed_op#P align=justify#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT size=2#ed_cl#GIRIJA RAJENDRAN #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#/DIV#ed_cl#


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sur
Mon 05 Nov, 2007 01:44

Re: CLASSICAL TRANQUILITY & MUSIC REVIEW
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#ed_op#P#ed_cl##ed_op#FONT class=storyhead face="Arial Narrow" color=#441415 size=5#ed_cl##ed_op#B#ed_cl#The sweetest songs #ed_op#/B#ed_cl##ed_op#/FONT#ed_cl##ed_op#P#ed_cl##ed_op#STRONG#ed_cl##ed_op#FONT face="Arial Narrow" color=#441415 size=5#ed_cl##ed_op#/FONT#ed_cl##ed_op#/STRONG#ed_cl# #ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#TABLE width="100%" bgColor=#ffeeff border=0#ed_cl##ed_op#TBODY#ed_cl##ed_op#TR#ed_cl##ed_op#TD#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Nostalgia An old melody can bring romance right back into your life #ed_op#/FONT#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#/TBODY#ed_cl##ed_op#/TABLE#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#CENTER#ed_cl##ed_op#BR#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#IMG height=200 src="http://thehindujobs.com/thehindu/mp/2007/05/28/images/2007052850260101.jpg" width=201 align=center border=1#ed_cl# #ed_op#BR#ed_cl##ed_op#B#ed_cl#GOLDEN OLDIES Singer Mukesh with actor Raj Kapoor #ed_op#/B#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/CENTER#ed_cl##ed_op#CENTER#ed_cl##ed_op#STRONG#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#/STRONG#ed_cl# #ed_op#/CENTER#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#I held my husband’s hand all the way back home. It was that kind of an evening. “Thandi havaa, yeh chandi suhaani…” sang Ganesh and everyone was spellbound and transported to a world of romantic songs. Kisho re Kumar’s song from the film #ed_op#I#ed_cl#Jhumroo#ed_op#/I#ed_cl# turned even the most prosaic amongst us into a quivering heap of mush! An impromptu gathering with mad-about old-Hindi-numbers friends and the presence of a golden-voiced singer triggered off a cache of delightful memories and lots of goosebumps! #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT class=subsectionhead face="Arial Narrow" color=red size=4#ed_cl##ed_op#STRONG#ed_cl#Radio magic#ed_op#/STRONG#ed_cl# #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" color=#ff0000 size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P align=justify#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#“Wednesday evenings and #ed_op#I#ed_cl#Binaca Geetmala #ed_op#/I#ed_cl#are irrevocably tied up with memories of my childhood”, says Srini.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#“We had a big radio, the kind that took some time to warm up before playing. And, it took a lot of twiddling around to hit Radio Ceylon. And then one sat unmoving with fingers frozen on the knob for the entire hour, as the programme would suddenly go off air with the slightest movement.” On her part, Sudha remembers how her dad frowned upon Hindi film songs (the illicit pleasure therefore was even greater). #ed_op#I#ed_cl#Appa #ed_op#/I#ed_cl#came home only at nine, so she would hear what the #ed_op#I#ed_cl#sartaaj geet #ed_op#/I#ed_cl#(top of the chart) was, and then switch off the set, not before she tuned the radio to some other station as dad often checked to see what she had b een listening to! #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#“Do you remember a radio programme called #ed_op#I#ed_cl#Sangeet Sarita#ed_op#/I#ed_cl#”, asks Sutapa. “I was made to listen to it by my folks, ostensibly to improve my mind with classical music, but invariably it was the #ed_op#I#ed_cl#filmi#ed_op#/I#ed_cl# song based on the particular raga being discussed that stuck with me. So, all I recall is that M#ed_op#I#ed_cl#an tadpat hari darshan#ed_op#/I#ed_cl#… from the film #ed_op#I#ed_cl#Baiju Bawra #ed_op#/I#ed_cl#was based on Raga Malkaus. There is little else I can tell you about the raga.”#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#“A get together of friends would often turn into scintillating #ed_op#I#ed_cl#mehfils,” #ed_op#/I#ed_cl#recalls Neelam. #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#“#ed_op#I#ed_cl#Babuji dheere chalna#ed_op#/I#ed_cl# (Geeta Dutt in #ed_op#I#ed_cl#Aar Paar#ed_op#/I#ed_cl#) was usually the catalyst, sung by a friend in her sultriest voice. And suddenly, the atmosphere would be charged. A flute would be whipped out from somewhere, a bucket would be borrowed, and the evening would fill up with old melodies, sung enthusiastically and surprisingly, tunefully.” #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#This was followed with Kishore Kumar songs like #ed_op#I#ed_cl#Mere mehboob qayaamat hogi…( Mr. X in Bombay) , Kehna hai, kehna hai (Padosan), Kuch to log kahenge (Amar Prem), #ed_op#/I#ed_cl#Mohammed Rafi’s #ed_op#I#ed_cl#Chaudhvin ka chaand, Main zin dagi ka saath nibhaata chala gaya (Hum Dono)…#ed_op#/I#ed_cl#Mukesh’s#ed_op#I#ed_cl# Aaja re ab mera dil pukara (Aah) , #ed_op#/I#ed_cl#Hemant Kumar #ed_op#I#ed_cl#(#ed_op#/I#ed_cl#the wondrous #ed_op#I#ed_cl#Yeh nayan dare dare from Kohra), #ed_op#/I#ed_cl#Pankaj Mullick and his #ed_op#I#ed_cl#Piya milan ko jaana (Kapalakundala), #ed_op#/I#ed_cl#Kundan Lal Saigal’s #ed_op#I#ed_cl#Ik bangle bane nyaara (Meri Bahen) #ed_op#/I#ed_cl#and#ed_op#I#ed_cl# Soja rajkumari (Zindagi) …#ed_op#/I#ed_cl#each song better than the other#ed_op#/FONT#ed_cl##ed_op#I#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#. #ed_op#/FONT#ed_cl##ed_op#I#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#There seems to be a n inexhaustible supply of Hindi songs and it is amazing how many of them one remembers.#ed_op#/FONT#ed_cl##ed_op#/I#ed_cl##ed_op#/I#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#I#ed_cl##ed_op#I#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT class=subsectionhead face="Arial Narrow" color=red size=4#ed_cl##ed_op#STRONG#ed_cl#Incomparable #ed_op#/STRONG#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#STRONG#ed_cl##ed_op#FONT face="Arial Narrow" color=#ff0000 size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#/STRONG#ed_cl# #ed_op#/P#ed_cl##ed_op#P align=justify#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Madhukar Hegde takes his fondness for old Hindi songs seriously. He says, “To me music is melody, not the cacophony that passes for music these days. I would rather listen to Saigal’s #ed_op#I#ed_cl#Babul mora than to Crazy kiya re#ed_op#/I#ed_cl#, Rafi’s #ed_op#I#ed_cl#Man tadpat #ed_op#/I#ed_cl#than #ed_op#I#ed_cl#Beedi jalaile #ed_op#/I#ed_cl#or even #ed_op#I#ed_cl#Mera joota hai japani #ed_op#/I#ed_cl#than #ed_op#I#ed_cl#Kajra re#ed_op#/I#ed_cl#.” #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#His wife Mukta is willing to concede that there are a few beautiful songs even today like those from #ed_op#I#ed_cl#Parineeta#ed_op#/I#ed_cl#, but they are rare. #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#“Songs like #ed_op#I#ed_cl#Beedi... #ed_op#/I#ed_cl#may be chartbusters, but will anyone remember them five years from now? Can you compare that to say #ed_op#I#ed_cl#Kabhi khud pe kabhi halat pe rona aaya #ed_op#/I#ed_cl#from #ed_op#I#ed_cl#Hum Dono #ed_op#/I#ed_cl#or #ed_op#I#ed_cl#Kisike muskoorahaton pe ho nissar#ed_op#/I#ed_cl# from #ed_op#I#ed_cl#Anari#ed_op#/I#ed_cl#. It is like comparing the sublime to the ridiculous”. #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl# #ed_op#/P#ed_cl##ed_op#P align=justify#ed_cl##ed_op#WEB#ed_cl##ed_op#/WEB#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT size=2#ed_cl##ed_op#STRONG#ed_cl#PANKAJA SRINIVASAN #ed_op#/STRONG#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#/I#ed_cl##ed_op#/I#ed_cl##ed_op#DIV#ed_cl##ed_op#/DIV#ed_cl#


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sur
Wed 07 Nov, 2007 01:18

Re: CLASSICAL TRANQUILITY & MUSIC REVIEW
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#ed_op#DIV#ed_cl##ed_op#STRONG#ed_cl##ed_op#FONT face="Arial Narrow" color=#441415 size=5#ed_cl#Two voices, one melody #ed_op#/FONT#ed_cl##ed_op#/STRONG#ed_cl##ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#STRONG#ed_cl##ed_op#FONT face="Arial Narrow" color=#0000ff size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#/STRONG#ed_cl# #ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#TABLE width="100%" bgColor=#ffeeff border=0#ed_cl##ed_op#T#ed_cl##ed_op#TBODY#ed_cl##ed_op#TR#ed_cl##ed_op#TD#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#The duo’s devotion to the Khayal tradition imbibed from family and gurus will shine through the concert#ed_op#/FONT#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#/T#ed_cl##ed_op#/TBODY#ed_cl##ed_op#/TABLE#ed_cl##ed_op#/DIV#ed_cl##ed_op#CENTER#ed_cl##ed_op#BR#ed_cl##ed_op#IMG height=167 src="http://www.hindu.com/mp/2007/11/05/images/2007110550270701.jpg" width=287 align=middle border=1#ed_cl# #ed_op#/CENTER#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Brothers in Song#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Pandits Rajan and Sajan Misra#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#November 12,  The Music Academy.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#DIV#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Pandits Rajan and Sajan Misra have earned their place among the most popular Khayal artistes of the modern era, not only because of their erudition and training but also because of their unique style that has taken the art of duet singing to a zenith . Their approach combines a dedicated adherence to the core values of classical Indian music with a selfless devotion to the traditions imbibed from family and gurus. #ed_op#/FONT#ed_cl##ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/DIV#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Exponents of the Benaras gharana, they trained under their father, Pandit Hanuman Misra, and later under Pandit Gopal Prasad Misra and Pandit Bade Ramdas Misra. They have performed across India and the world and are known to prefer the natural resonance of the voice and acoustic instruments to the high level technology available today in the music industry. #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Always singing as a duo, the brothers have, over a career spanning nearly four decades, cultivated a heightened sensibility that allows them to complement each other’s singing and create a holistic performance that exemplifies both the polish of a rehearsed performance and the spark of spontaneity. This quality comes as much from their long years of practice as from their amiable relationship as artistes and brothers. In an art whose soul is improvisation, and despite an avowed avoidance of concert planning, they are thus able to merge their musical thoughts and anticipate each other’s progression, with electric results for the audience. #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Alongside a hectic performance schedule that keeps them away from their Delhi home for at least half of every month, they continue to teach. Strong believers in the guru-sishya parampara of teaching, they are known for the gurukuls they set up in Dehradun and Varanasi. #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#While a number of fine singers have come up under their tutelage, the current young crop includes Ritesh and Rajnish Mishra, sons of Pandit Rajan, who are beginning to make their mark as soloists.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl# #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Recipients of the Sangeet Natak Akademi Award, the brothers are perhaps as popular for their easy-going personalities and wacky humour as for their rich voices and loyalty to the classical traditions.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#DIV#ed_cl##ed_op#WEB#ed_cl##ed_op#/WEB#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#FONT size=2#ed_cl##ed_op#STRONG#ed_cl#ANJANA RAJAN#ed_op#/STRONG#ed_cl##ed_op#/FONT#ed_cl##ed_op#BR#ed_cl##ed_op#BR#ed_cl##ed_op#/FONT#ed_cl##ed_op#A href="http://www.hindu.com/mp/2007/11/05/stories/2007110550270700.htm" target=_blank#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#http://www.hindu.com/mp/2007/11/05/stories/2007110550270700. htm#ed_op#BR#ed_cl##ed_op#/FONT#ed_cl##ed_op#/DIV#ed_cl##ed_op#/A#ed_cl#


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sur
Thu 08 Nov, 2007 11:31

Re: CLASSICAL TRANQUILITY & MUSIC REVIEW
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#ed_op#STRONG#ed_cl##ed_op#FONT face="Arial Narrow" color=#441415 size=5#ed_cl# Month of Music #ed_op#/FONT#ed_cl##ed_op#/STRONG#ed_cl##ed_op#P align=justify#ed_cl##ed_op#BYLINE#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#FONT color=#7f3f00 size=2#ed_cl##ed_op#STRONG#ed_cl#GOWRI RAMNARAYAN #ed_op#/STRONG#ed_cl##ed_op#/FONT#ed_cl##ed_op#BR#ed_cl##ed_op#I#ed_cl#in Chennai#ed_op#/I#ed_cl# #ed_op#/FONT#ed_cl##ed_op#P#ed_cl##ed_op#TABLE bgColor=white border=0#ed_cl##ed_op#TBODY#ed_cl##ed_op#TR#ed_cl##ed_op#TD#ed_cl##ed_op#B#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#This time the Madras Music Festival offered great variety in music and dance. For the first time it had a large orchestra playing classical Western music. #ed_op#/FONT#ed_cl##ed_op#/B#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#/TBODY#ed_cl##ed_op#/TABLE#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#BLURB1#ed_cl##ed_op#/BLURB1#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#CENTER#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl#SHAJU JOHN #ed_op#BR#ed_cl##ed_op#IMG height=266 src="http://www.flonnet.com/fl2301/images/20060127000506601.jpg" width=351 align=center border=1#ed_cl# #ed_op#BR#ed_cl##ed_op#B#ed_cl#Amjad Ali Khan playing the sarod at The Music Academy on December 31. #ed_op#/B#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/CENTER#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#"THREE thousand concerts in a month! Impressive!'' exclaimed Zubin Mehta at The Music Academy, where he conducted the Bavarian State Orchestra in a special performance on December 26. A year ago on the same date, a monster tsunami had devastated South Asia. Mehta's show was in aid of relief measures for the victims of that catastrophe. This was the first time the Madras Music Festival had a large orchestra playing classical Western music. #ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Mehta's figures were slightly wrong, though. The over 3,000 concerts are part of the whole "December season'' as old Madras (now Chennai) named it, which spills back into November and forth into January. Still incredible, especially since this festival is conducted by private organisations without government funding. Last year saw 74 sabhas operating in every part of the city. #ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#CENTER#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl#V. GANESAN #ed_op#BR#ed_cl##ed_op#IMG height=168 src="http://www.flonnet.com/fl2301/images/20060127000506602.jpg" width=351 align=center border=1#ed_cl# #ed_op#BR#ed_cl##ed_op#B#ed_cl#T.N. Krishnan's violin recital at Music Academy on January 1. #ed_op#/B#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/CENTER#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#But it is a festival with no central organisation or system, and surprisingly little advertisement. The city's streets do not swagger with festival hoardings or posters. Yet it is not an elitist event. In fact, the years have seen a democratisation in its content and quality. #ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#It all began in the 1920s as a Carnatic music festival conducted by a few sabhas, some under pandals on school playgrounds. There were fewer musicians and listeners. The stars - Ariyakudi Ramanuja Iyengar, Chembai Vaidyanatha Bhagavatar, G.N. Balasubramanian, Semmangudi Srinivasa Iyer, Madurai Mani Iyer, M.S. Subbulakshmi - packed the halls a half hour before the show began. Eager fans from hardcore Mylapore and distant Purasawalkam arrived early and waited for the treat. The four-hour concerts included not only major ragas and #ed_op#I#ed_cl#kriti#ed_op#/I#ed_cl#s, but also a full-length #ed_op#I#ed_cl#pallavi#ed_op#/I#ed_cl#, challenging the percussionists and bringing out the best in teamwork. The tailpieces were many and satisfied the taste for #ed_op#I#ed_cl#slokam#ed_op#/I#ed_cl# and #ed_op#I#ed_cl#viruttam#ed_op#/I#ed_cl# as much as the yen for #ed_op#I#ed_cl#kavadi chindu#ed_op#/I#ed_cl# and #ed_op#I#ed_cl#javali#ed_op#/I#ed_cl#. #ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#CENTER#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl#D. KRISHNAN #ed_op#BR#ed_cl##ed_op#IMG height=350 src="http://www.flonnet.com/fl2301/images/20060127000506603.jpg" width=236 align=center border=1#ed_cl# #ed_op#BR#ed_cl##ed_op#B#ed_cl#T.K. Murthy on the mridangam. Music Academy, December 25. #ed_op#/B#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/CENTER#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Morning lecdems at the Music Academy were reserved for the giants. Mudicondan Venkatrama Iyer would demonstrate a #ed_op#I#ed_cl#pallavi#ed_op#/I#ed_cl# in Simhanandana tala, and Professor Sambamoorthy would discuss #ed_op#I#ed_cl#ghana, naya#ed_op#/I#ed_cl# and #ed_op#I#ed_cl#desya#ed_op#/I#ed_cl# ragas. `Tiger' Varadachariar might get up and contest a point, or it could be Dr.V. Raghavan expounding on some abstruse line in #ed_op#I#ed_cl#Sangita Ratnakara#ed_op#/I#ed_cl#. Those who came to such talks were themselves scholars and music students. Today many sabhas conduct their own lecdems of varying quality. #ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#The changing decades have seen not only the birth and growth of other sabhas, but also the slow entry of Hindustani music, dance and related genres. A decade ago contemporary dance and #ed_op#I#ed_cl#avante garde#ed_op#/I#ed_cl# theatre found its way in with The Other Festival. The Chennai International Film Festival appeared three years ago. The Sathyam Theatre complex added inputs this year with "Gitam Vadyam Nrityam", a film fest on performing traditions from Kathakali to Dhrupad. #ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#CENTER#ed_cl##ed_op#BR#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#IMG height=300 src="http://www.flonnet.com/fl2301/images/20060127000506604.jpg" width=246 align=center border=1#ed_cl# #ed_op#BR#ed_cl##ed_op#B#ed_cl#T.N. Seshagopalan. #ed_op#/B#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/CENTER#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Corporate sponsorship gained ground as late as the 1980s but has trickled down. The sabhas continue to be dependent on membership and uncertain ticket sales. Many concerts are free, especially in the morning and noon slots. #ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#No musician performs in the December fest for money. There is no large remuneration from even the big sabhas, and nothing in some smaller venues. But just as he goes to pay annual tributes to the saint composer Tyagaraja in Tiruvaiyaru down south, every musician thinks it is an honour to participate in the Madras festival. For the veterans it is a chance to prove that they still reign supreme. For the young it is a platform to showcase their skills. This is where they impress locals, outsiders and non-resident Indians (NRIs), who may engage them for lucrative wedding recitals, or foreign tours. #ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#CENTER#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl#R.RAGU #ed_op#BR#ed_cl##ed_op#IMG height=333 src="http://www.flonnet.com/fl2301/images/20060127000506605.jpg" width=350 align=center border=1#ed_cl# #ed_op#BR#ed_cl##ed_op#B#ed_cl#Carnatic vocalist Aruna Sairam performing at Music Academy on December 30. #ed_op#/B#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/CENTER#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Musicians make the impossible possible with 15 to 20 concerts within a month. Accompanists on violin, mridangam, ghatam and kanjira have bigger scores. Only the top ten draw crowds wherever they perform. The others get high voltage publicity during the season and have therefore learnt to ignore the empty chairs. Sabhas even conduct exclusive NRI music festivals where those who learn in MacDonald Land get a chance to fulfil their dream of singing at Chennai-Upon-Cooum. #ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#December audiences are different. Daytime concerts attract senior citizens. Segments are made up of the floating population of NRIs and foreign aficionados of Carnatic music, who make their annual pilgrimage to the Coromandel city. Music students and young vidwans try to catch as many concerts as they can. Some seniors put in an appearance for part of a junior's concert. #ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#CENTER#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl#M.KARUNAKARAN #ed_op#BR#ed_cl##ed_op#IMG height=287 src="http://www.flonnet.com/fl2301/images/20060127000506606.jpg" width=351 align=center border=1#ed_cl# #ed_op#BR#ed_cl##ed_op#B#ed_cl#R.K. Srikantan at Kalakshetra on December 31. #ed_op#/B#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/CENTER#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Few musicians can be sure of retaining their listeners right through. December is the time of the Great Audience Shift - people move from sabha to sabha, catching Mala Chandrasekhar's #ed_op#I#ed_cl#varnam#ed_op#/I#ed_cl# in one, hopping to nearby P. Unnikrishnan's for the main raga, ending up in Hyderabad Brothers' for the tailpieces. The restlessness is also part of the eagerness to know everything. By and large audiences are not under pressure to be quiet. Cell phones ring, plastic bags rustle, neighbours chat, and everyone thinks he or she can walk in or out any time. Yet the man who reads the newspaper in row ten and the woman who knits in the corner seat will know that the flute is not aligned to the #ed_op#I#ed_cl#sruti#ed_op#/I#ed_cl#, or that the singer is mixing a phrase from Kedaragowlai in Sahana. That the same restive souls sat in moveless silence at Zubin Mehta's concert is another story altogether. #ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#December 2005 offered great variety in music and dance. Veterans like T.N. Krishnan, N. Ramani, M.S. Gopalakrishnan, T.K. Murthy, Umayalpuram Sivaraman, Tiruchi Sankaran, R. Vedavalli and Suguna Purushotthaman showed that vintage stuff is still available for the seekers. It was heartening to see young musicians flocking to hear octogenarian R.K. Srikantan, whose ripe powers inspired awe. The next rung is also occupied by eminent performers from T.V. Sankaranarayanan and T.N. Seshagopalan to O.S. Thiagarajan. #ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#CENTER#ed_cl##ed_op#BR#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#IMG height=300 src="http://www.flonnet.com/fl2301/images/20060127000506607.jpg" width=195 align=center border=1#ed_cl# #ed_op#BR#ed_cl##ed_op#B#ed_cl#Carnatic vocalist Bombay Jayashree. Music Academy, December 27. #ed_op#/B#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/CENTER#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Instrumental music, which once reigned supreme, has now taken a backseat. There are few takers for the flute, and fewer for that primal instrument, the veena. The violin should fare better, but it does not - not in solo. Listeners say that they want to hear the #ed_op#I#ed_cl#sahitya#ed_op#/I#ed_cl#, as the lyric is the lifeblood of Carnatic music. #ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#This is galling to the young instrumentalists who have achieved high standards. Young violinists Akkarai Subhalakshmi and Charumati Raghuraman showed remarkable maturity, as did percussionists like Trivandrum Balaji and R. Sankaranarayanan (mridangam), N. Guruprasad and Giridhar Udupa (ghatam) B. Shrisundarkumar, Anirudh Atreya and Bangalore Amrit (kanjira). #ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#CENTER#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl#SHAJU JOHN #ed_op#BR#ed_cl##ed_op#IMG height=281 src="http://www.flonnet.com/fl2301/images/20060127000506608.jpg" width=401 align=center border=1#ed_cl# #ed_op#BR#ed_cl##ed_op#B#ed_cl#Hindustani singer Venkatesh Kumar performs at Kalakshetra on December 29. #ed_op#/B#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/CENTER#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#December is also time for unknown newcomers to surprise you with their remarkable talent. Years ago the Hyderabad Brothers had done just that. Bombay Jayashree had trailed light from her debut on a dingy stage. So had the Bombay sisters Ranjani and Gayathri with their sparkling violin, before turning vocalists. This year brought Pantula Rama from Andhra Pradesh, whose rich voice and confident expression made audiences sit up. Sikkil Gurucharan had already proved his mettle in the last two years. This year saw him aiming high and sustaining quality. #ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Among the popular artists Sudha Ragunathan continued to draw crowds and Aruna Sairam mesmerised with her operatic personality and vibrant vocalisation. Nithyasri was missed; with a child on the way, she opted to stay out of the season. #ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#CENTER#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl#R. SHIVAJI RAO #ed_op#BR#ed_cl##ed_op#IMG height=271 src="http://www.flonnet.com/fl2301/images/20060127000506609.jpg" width=351 align=center border=1#ed_cl# #ed_op#BR#ed_cl##ed_op#B#ed_cl#Violinists M. Chandrasekhar and G. Bharathi. Music Academy, December 31. #ed_op#/B#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/CENTER#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Sanjay Subrahmanian's originality in #ed_op#I#ed_cl#manodharma#ed_op#/I#ed_cl# and effort at acquiring fine compositions from many sources made his recitals always interesting. When he peaked, he could amaze and move. T.M. Krishna remained an uncompromising classicist. His #ed_op#I#ed_cl#sarva laghu swara#ed_op#/I#ed_cl#s were superb. What a tribute to his role model Semmangudi Srinivasa Iyer! He even unleashed a slow #ed_op#I#ed_cl#padam#ed_op#/I#ed_cl# towards the end of a recital, just when listeners expected some peppy lilts. #ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Vijay Siva was on a waxing phase, refusing to allow audiences to dictate to him in any way. Targeting in-depth #ed_op#I#ed_cl#bhava#ed_op#/I#ed_cl#, he used his maturity to evoke it. He was one of the few singers to deliver perfectly polished #ed_op#I#ed_cl#kriti#ed_op#/I#ed_cl#s. Neyveli Santhanagopalan tried to overcome his voice problems with a sincere effort to find new strengths in the #ed_op#I#ed_cl#suddha swara#ed_op#/I#ed_cl#s and succeeded in achieving #ed_op#I#ed_cl#sowkhyam#ed_op#/I#ed_cl#. Bombay Jayashree has found her direction along the highway of classicism. Her alignment with the two tamburas on either side had a magnetic impact. What splendid music Ravikiran made! Generations of past-masters spoke through his #ed_op#I#ed_cl#chitraveena#ed_op#/I#ed_cl#. #ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#CENTER#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl#N. SRIDHARAN #ed_op#BR#ed_cl##ed_op#IMG height=198 src="http://www.flonnet.com/fl2301/images/20060127000506610.jpg" width=351 align=center border=1#ed_cl# #ed_op#BR#ed_cl##ed_op#B#ed_cl#Music lovers at Sri Krishna Gana Sabha on December 7. #ed_op#/B#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/CENTER#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Ranjani and Gayathri gave polished performances, where everything from #ed_op#I#ed_cl#varnam#ed_op#/I#ed_cl# to #ed_op#I#ed_cl#tukkada#ed_op#/I#ed_cl# brimmed with feeling. The Malladi Brothers made robust music in a distinct style. #ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#There was no dearth of talent among the youngsters. They have not only grasped but mastered the techniques. The difficulty is in going beyond. Many want to return to #ed_op#I#ed_cl#sampradaya#ed_op#/I#ed_cl# music, chaste and profound. This despite the lure of fusion which has a ready market as heavyweight does not. But the younger generation is unable to focus on music alone. The demands of school and college, as also of professional courses, leave little time for practice. They believe that they can overcome this drawback by listening to the tapes of the masters. Fortunately for them this is the age of cassettes and CDs. But their concerts during the season showed that this results only in patchwork effects. Imitation could not infuse soulfulness. The internalisation process betrayed shakiness. #ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#The major problem with Carnatic music, a problem which affects its appeal beyond the inner circle of cultivated taste, continues to be the lack of voice culture. Young artists seem hardly aware of the fact that they are in control only in the middle octave. The upper is a dicey affair, the lower is almost non-existent. They seem heedless of #ed_op#I#ed_cl#swarasthana suddham#ed_op#/I#ed_cl#, letting the notes spill out of their slots without accuracy. #ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#CENTER#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl#SHAJU JOHN #ed_op#BR#ed_cl##ed_op#IMG height=350 src="http://www.flonnet.com/fl2301/images/20060127000506611.jpg" width=444 align=center border=1#ed_cl# #ed_op#BR#ed_cl##ed_op#B#ed_cl#The season of music in Chennai now includes dance as well. Here, Odissi dancer Madhavi Mudgal and her disciples perform at the Kalakshetra. #ed_op#/B#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/CENTER#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Most of them do not know the proper methods of vocalisation. They muffle their voices, suppress its volume and are satisfied with closed-mouth singing. Even the few who sing full-throatedly do not know how to produce the best tone. Some of them justify this lack of finesse by believing that the #ed_op#I#ed_cl#gamaka#ed_op#/I#ed_cl#s of Carnatic music cannot be rendered with fidelity to the pitch, whereas the Hindustani musician (they say!) can be #ed_op#I#ed_cl#sruti#ed_op#/I#ed_cl#-pure because he sings straight notes. #ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#The dependence on mikes continued its baneful influence. Singers do not seem to try to realise the full potential of their vocal chords. The gap between the mind (intention) and the voice (implementation) yawned wide. The instrumentalists keep pushing up the volume, often producing cacophony. Chennai sabhas continue to pay scant respect to acoustics, or balancing the sound. But facilities have improved. Old halls have been refurbished, new halls try to be kinder to artist and rasika. But no sabha can vie with Kalakshetra, where the sound quality is not of the best, but the ambience so perfect for forgetting the self and getting tuned to the music and dance. This makes for exemplary audience behaviour. #ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Variety marked Madras Music Fest 2005. Hindustani music was well represented. There were Venkatesh Kumar and Madhup Mudgal; Ronu Majumdar teamed with Ravikiran; and Amjad Ali Khan closed the year at the Music Academy. Rhythm ensembles had a good reception. All the major dance genres were displayed - the city even hosted a major Kathak festival, which brought a range of artists to Chennai for the first time. Perhaps no other city has such catholic tastes able to appreciate a diverse range of performance genres. #ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#CENTER#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl#T.A. HAFEEZ #ed_op#BR#ed_cl##ed_op#IMG height=299 src="http://www.flonnet.com/fl2301/images/20060127000506612.jpg" width=409 align=center border=1#ed_cl# #ed_op#BR#ed_cl##ed_op#B#ed_cl#The Music Academy in Chennai. #ed_op#/B#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/CENTER#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#I#ed_cl#Nama sankirtanam#ed_op#/I#ed_cl# or community chants and singing is very much part of the December festival as many sabhas begin the day with #ed_op#I#ed_cl#bhajanai#ed_op#/I#ed_cl# and discourse. Visakha Hari excelled in #ed_op#I#ed_cl#harikatha#ed_op#/I#ed_cl# this year, drawing mega crowds in the cutcheri slots. Narrating myths with fluency, scholarship and good taste, Visakha vivified them with her singing, steeped in melody and classical to the core. #ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#A lingering moment of the 2005 fest was a talk by violinist R.K. Shriramkumar on the imposing edifice of Muthuswami Dikshitar's nine compositions addressed to Kamalamba, the presiding deity of his birthplace Tiruvarur. Shriramkumar took us into tantric worship and complex metaphysics in describing the nature and power of each chakra and its presiding deities. Since the speaker is also one of the finest musicians of his generation, his words had a feel that was distinctly different from similar expositions by scholars. It reminded listeners of the ancient and primeval roots of a culture enshrined in its music. It also pointed to the amalgam of intellectual, emotive and meditative qualities in its aesthetic vision. #ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#A unique feature of the Chennai Music Festival is the way the musicians get together to welcome the New Year with group singing and chants. This time too, 2006 was welcomed enthusiastically, also with prayers for universal good fortune. It also paid tributes to the living legends of Carnatic music. #ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Another singular event connected with the festival is that after the birth of the New Year, many of the younger (male) vidwans gather at a playground. Discarding #ed_op#I#ed_cl#zari veshti#ed_op#/I#ed_cl# and silk #ed_op#I#ed_cl#kurta#ed_op#/I#ed_cl# they don 'whites'. With bat and ball in hand instead of tambura and mridangam, they play a happy game of cricket. This year too the game energised the `boys'. They are ready to get back on track once again.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#DIV#ed_cl##ed_op#/DIV#ed_cl#


-----------------------------------
sur
Sat 10 Nov, 2007 11:25

Re: CLASSICAL TRANQUILITY & MUSIC REVIEW
-----------------------------------
#ed_op#P#ed_cl##ed_op#FONT class=storyhead color=#441415 size=5#ed_cl##ed_op#B#ed_cl#Mesmerising as always #ed_op#/B#ed_cl##ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT size=2#ed_cl#MALATHI RANGARAJAN #ed_op#/FONT#ed_cl##ed_op#P#ed_cl##ed_op#P align=justify#ed_cl##ed_op#TABLE width="100%" bgColor=#ddffdd border=0#ed_cl##ed_op#TBODY#ed_cl##ed_op#TR#ed_cl##ed_op#TD#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#STRONG#ed_cl#Spanning five decades, the voice of S. Janaki has retained its magic.#ed_op#/STRONG#ed_cl# #ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#/TBODY#ed_cl##ed_op#/TABLE#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#CENTER#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#FONT size=2#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/CENTER#ed_cl##ed_op#CENTER#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#FONT size=2#ed_cl#Photo: N. Sridharan #ed_op#/FONT#ed_cl##ed_op#BR#ed_cl##ed_op#IMG height=201 src="http://www.hinduonnet.com/thehindu/fr/2007/06/22/images/2007062250510101.jpg" width=336 align=center border=1#ed_cl# #ed_op#BR#ed_cl##ed_op#B#ed_cl#Scintillating vocals: S. Janaki with Kalpana Ranjith and Y. Gee Mahendra. #ed_op#/B#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/CENTER#ed_cl##ed_op#CENTER#ed_cl##ed_op#STRONG#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#/STRONG#ed_cl# #ed_op#/CENTER#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#You’ve got to watch her closely to realise that the enthralling voice is actually in action. Even the toughest of refrains cannot make her move her head or hands ever so slightly — till date her statuesque pose as much as her scintillatin g strains leave watchers wonderstruck. #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Meet S. Janaki, the effervescent and cheerful (“I’m always young at heart.”) play back singer, and winner of four National awards (besides several other laurels), who’s been singing continuously for five decades, in 17 languages, and is still going strong! In April, S.Janaki completed five decades of a successful singing career that began when she was 19. #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#“Her debut was before G. Ramanathan’s time and she has recently recorded songs for composers Dhina and Oviyan! An entire gamut of creators,” says an awe-struck Y.G.Mahendra, actor and dramatist. He’s an organiser of an elaborate function to be hosted in her honour at Erode on July 1. “Why should the mega event be city-centric? She’s got innumerable fans here too,” the people there argued and hence the venue. A 10,000 plus crowd is expected to witness the event. #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#It is a rewarding two-hour session at the Janaki household in Chennai, where the singer regales you with a medley of her numbers peppered with interesting anecdotes. Kalpana Ranjith, an up and coming singer pitches in with her observations of the senior. “She’s my inspiration,” says Kalpana.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#The first song she recorded after completion of her 50 years as singer was for the Kannada film, ‘Premigagi Na’ —a duet with Hariharan. “I probably can’t hold my breath for as long as I could 30 years ago, but my vocals are intact and I continue with stage shows and playback singing,” she smiles. Recently, she had been to Australia for a show. Son Muralikrishna accompanies her everywhere (“Thanks to her I’ve visited a whole lot of countries,” he laughs) “You have singers who’ve reached a crescendo and have faded out with time. You see many mushrooming and going into oblivion, all in a jiffy. But she has been consistent throughout,” says Mahendra. #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#It was Janaki’s husband Ramprasad who first spotted her potential and relentlessly worked to see her scale heights. And scale she did, despite the persisting breathing problem which has been her companion for nearly 45 years now! “‘If you didn’t have such abundant talent I wouldn’t allow you to strain yourself,’ he would say,” Janaki wistfully recalls.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#DIV#ed_cl##ed_op#FONT class=subsectionhead color=red#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#STRONG#ed_cl#Then & now#ed_op#/STRONG#ed_cl# #ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/DIV#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#With so many years of recording experience behind her how does she find the present practice of singers and crew walking into a studio alone and recording their parts? “Earlier the assemblage of orchestra and singers made the work spot vibrant. Now, you heave and sigh romantically for a duet not even knowing who your singing partner would be,” she laughs. “But all of them have immense potential. As long as I do my job well, nothing bothers me,” she adds. She hums the Vidyasagar masterpiece, ‘Malarae Mounama…’ and Rahman’s unforgettable ‘Nenjinilae …’ to exemplify the point. The former was filmed on Arjun. “He came with a bouquet after the recording,” she remembers. #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Talking of her romantic pieces reminds you of the ones she sang for the late sexy siren ‘Silk’ Smitha. “I couldn’t believe the seductive overtures in the ‘Naethu Rathiri Yamma …’ duet (shot on Kamal and Smitha) were actually Janaki’s,” says Mahendra, as the two chorus in laughter. “There have also been those who asked me why I had to sing such numbers? ‘Don’t you have enough money?’ wrote an angry fan. But a playback singer should be able to sing for any character. It’s God’s gift that from a small child to a hag, my voice can adapt itself to suit any age,” Janaki explains. Are the romantic moans — the ‘hmmm’ and ‘ha’— taught by the composers and directors? “They would just tell us to add ‘masala’ at certain points in the song. The ‘masala’ is our own,” she laughs aloud. The ace singer is a composer too.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Her numbers which she feels have been well filmed… “Many. ‘Chinna Chinna Vanna Kuyil …’ (‘Mouna Ragam.’), ‘Senthoora Poovae …’ (‘16 Vayadhinilae’) and so on. “Don’t forget that masterpiece of yours, ‘Chinnanjiriya Vannaparavai,’” Mahendra reminds her. And who can forget the memorable ‘Singaravelanae’ from ‘Konjum Salangai’? “Strangely, Tamil offers became less after that hit,” says Janaki. M.S.Viswanathan gave her lustrous hits, such as ‘Sumai Thaangi’ and ‘Policekaaran Magal,’ but it was only after Ilaiyaraja and his debut film ‘Annakkili,’ that her career in Tamil really zoomed. “I had known Ilaiyaraja from the days he was a guitarist with composer G.K.Venkatesh.” she tells you.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Janaki’s allergy to certain drugs has led her to the brink quite a few times. “Many of my hits have been recorded when I was terribly ill. I remember when I was singing ‘Thookam Un Kangalai …’ (‘Aalaya Mani’) I was nearly choking and my eyes seemed to be popping out. The song was okayed and my husband rushed me straight to hospital. I could never have managed another take,” she shudders. “Does the melody show her agony even slightly?” Mahendra’s rhetorical poser echoes what you feel. Once when we were singing for ‘Sankarabharanam’ SPB gave me a pain killer. I hesitantly took it. In a matter of minutes my eyes got swollen and I started choking. You should have seen the fear on SPB’s face,” she laughs. #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#DIV#ed_cl##ed_op#FONT class=subsectionhead color=red#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#STRONG#ed_cl#Fan support#ed_op#/STRONG#ed_cl# #ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#FONT face="Arial Narrow" color=#ff0000 size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/DIV#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#“My fans are my life. Many of them are like my own children. It’s all right if it makes Murali jealous,” she looks at her son with a glint in her eyes. She mentions the girl in Tiruppur who’ll listen to nobody’s voice but hers, the boy in Australia who was in tears when he couldn’t get a ticket for her show, Iqbal who sent her prasadam from the Samayapuram temple when she was in hospital, Maharajan, Badri, the ambulance driver who rushed her to hospital during the last crisis without taking his leg from the accelerator saying he loved her music … “Why, when I told Sneha about the Erode event she said she has to be there, because she just loves Janaki’s voice. Actors Lakshmi and Manorama are also joining us only because of their admiration for the singer,” says Mahendra, as Janaki joyously looks at you and asks: “You’ll also be there, won’t you.” #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P align=justify#ed_cl##ed_op#CNETER#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#* * * #ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#CENTER#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#/CENTER#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#B#ed_cl#Fifty not out#ed_op#/B#ed_cl# #ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#The golden jubilee, of S. Janaki's career as playback singer, will be celebrated at Erode on July 1. The legend will present some of her songs herself. #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#DIV#ed_cl##ed_op#/DIV#ed_cl#


-----------------------------------
sur
Sat 10 Nov, 2007 12:49

Re: CLASSICAL TRANQUILITY & MUSIC REVIEW
-----------------------------------
#ed_op#DIV#ed_cl##ed_op#FONT color=#7f3f00 size=6#ed_cl##ed_op#STRONG#ed_cl#Golden voice of a glorious era #ed_op#/STRONG#ed_cl##ed_op#/FONT#ed_cl##ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#STRONG#ed_cl#Date: 03-10-1997#ed_op#/STRONG#ed_cl# #ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl# #ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl# #ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Playback singer P. B. Srinivos is known for his distinct tone and versatile voice. M. L. Narasimham writes on his long music career. #ed_op#/FONT#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Chennai recently witnessed two playback singers, K. J. Yesudass and S. P. Balasubramaniyam, performing together on stage for the first time. A highlight of the show was the honouring of a veteran in the field by the two singers. It was none other than playback singer P. B. Srinivos, a melodious voice of the Sixties. At the request of the audience, Srinivos rendered his evergreen hit `Kaalangalil Aval Vasantham'' from the film, ``Paavamannippu''. Age might have taken its toll on the veteran, but his voice is still intact as mellifluous as it was in the Sixties. The thunderous applause from the 15,000-strong audience was ample proof of this. A visibly moved Srinivos said, ``I have never seen such a gala musical nite in my life.'' #ed_op#/FONT#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Why did he choose to sing this particular song? ``My career in the Tamil film field picked up after the release of ``Paavamannippu'' in 1961,'' recalls Srinivos. But there is more to it, as M. S. Viswanathan of the Viswanathan-Ramamurthy music troupe, puts it: ``At that time there were certain wrong notions that only T. M. Soundararajan should sing for `Sivaji' Ganesan and M. G. Ramachandran and only A. M. Raja's voice suited Gemini Ganesan's. I wanted to break that. So I selected Srinivos to render a song for Gemini Ganesan in ``Paavamannippu''. Though he had sung for me before, this was the first time he was singing for a leading actor. In fact, ``Paavamannippu'' was co-produced by me. So it was not difficult for me to experiment. After ``Kaalangalil Aval Vasantham'' became a hit I made Srinivos sing for M. G. Ramachandran and ``Sivaji'' Ganesan too. In fact, when he sang the number, ``Penn Ondru Kandaen'' (``Padithal Mattum Poduma'') along with T. M. Soundararajan, Sivaji insisted that he would render lip movement to Srinivos's lines. Similarly, even in the Telugu field, there was a feeling that only Ghantasala's voice suited A. Nageswara Rao and N. T. Rama Rao's. In ``Vazhkai Padagu'', Srinivos rendered the song ``Chinna Chinna Kannanukku'' so well that we retained his voice for the Telugu version ``Aada Brathuku'' in which N. T. Rama Rao played the lead. But the distributors protested that the audience would not accept a new voice for NTR. But S. S. Vasan, the film's producer firmly told them that the decision was entirely with his music directors. Srinivos rendered the number ``Bujji Bujji Paapai'' which became an instant hit.'' #ed_op#/FONT#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Much before this, S. Rajeswara Rao made Srinivos sing the popular number, ``Bhayamela O Manasa'' for the film ``Bhale Ramudu'' (1956). Srinivos had sung for the film's Tamil version, ``Prema Pasam'' starring `Gemini' Ganesh and Savithri. ``Many asked me why I had opted for a new voice when Ghantasala was there. But I felt a new voice would enrich the scene. I knew Srinivos from his Gemini Studios days. I liked his base voice. It has a smooth flow, a refreshing change from Ghantasala's. He later sang some of the best songs for me which include the very popular ``Manasuloni Korika'' from ``Bhishma'' (1962) starring Rama Rao and Anjali Devi'', says Rajeswara Rao. #ed_op#/FONT#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Recalling his early days, Srinivos says ``Though I made my debut in the South with R. Nagendra Rao's trilingual, ``Jathaka Phala'' (Kannada), ``Jathaka Phalam'' (Telugu) and ``Jathagam'' (Tamil) in 1953 under the music direction of R. Govardhan and R. Sudarsanam, it was Narasu Studio's ``Bhale Ramudu'' and ``Prema Pasam'' that got me recognition, followed by Anjali Pictures' ``Adutha Veettu Penn,'' for which I sang five songs and all of them proved to be hits. But, it was with ``Paavamannippu'' that my career picked up''. #ed_op#/FONT#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#However, Srinivos' first song was for a Hindi film, ``Mr. Sampath'', produced by S. S. Vasan in 1952. ``From the beginning, I was interested in music and my father, Phanindra Swamy, told me that if I wanted to become a playback singer, I must first concentrate on my studies. So I completed B.Com. in my native place, Kakinada, and came to Chennai and joined the Law College. But even before I completed the first year, the urge to enter the cinema field forced me to make regular visits to the Gemini Studios, where our family friend, Emani Sankara Sastry, was the head of the music department. He took me under his care and because I had good knowledge of Hindi, it became easy for me to sing the Hindi numbers.'' #ed_op#/FONT#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#After listening to a ``doha'' rendered by Srinivos in ``Mr. Sampath'', R. Nagendra Rao gave him a break in his trilingual. But to render another Hindi song, Srinivos had to wait till AVM remade their Tamil hit ``Nanum Oru Penn'' in Hindi as ``Mai Bhi Ladkhi Hoon''. ``Chandra Se Hoga Ho Pyara'' which he sang along with Lata Mangeshkar, was a big hit. #ed_op#/FONT#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Srinivos soon became a much sought after playback singer not only in Tamil and Telugu, but also in Kannada and Malayalam. ``For Sathyan and Prem Nazir, I sang more than 100 songs.'' Some of the Malayalam songs that won him fame are from ``Mamalugaluku Appurathu'', ``Kattu Tulasi;; and ``Ini Oru Janamam Undo''. He even made a guest apperance in a Malayalam movie, ``Kavya Mela'' along with K. J. Yesudass, M. B. Srinivasan and Dakshina Murthy. His latest screen appearance was in the Tamil hit, ``Kalamellam Kathal Vazhga''. #ed_op#/FONT#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Srinivos' success, apart from Tamil films, was in the Kannada field as well. The reason behind his occupying a prime position in Kannada film playback singing was his voice that had become synonymous with the legendary Rajkumar. ``I first sang for him in ``Ohileswara'' (1956). Then came ``Bhakta Kanakadasa'' (1960) which was a turning point for both of us. After this film our combination clicked in a big way and I sang in over 200 films for him which include, ``Tukaram'', ``Srikrishnadevaraya'', ``Ranadheera Kanterava'' and ``Manthralaya Mahathme''. Rajkumar himself is a good singer apart from being a great artiste''. #ed_op#/FONT#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Though Srinivos has rendered less number of songs in Telugu when compared to Tamil and Kannada films, most of his renderings are popular even today. ``Among the Telugu songs, I consider `Bujji Bujji Pappai'' (``Aada Brathuku''), `Vennela reyi'' (``Preminchi Choodu''), `Oho Chittemma Chinnamma' (``Asadhyudu''), `Oho Gulabi Bala' (``Manchi Manishi''), `Aanati Chelimi Oka Kala' (``Pelli Roju''), `Andala O Chilaka' (``Letha Manasulu'') and `Manasuloni Korika' (Bheeshma). #ed_op#/FONT#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Says M. S. Viswanathan, ``In Tamil films, Srinivos has given many hits with me, K. V. Mahadevan and V. Kumar. In fact, all my compositions with him have proved hits. His strong point is the swaragnana. He can sing a song as soon as he hears the tune and the lyric. Modest and disciplined, he has a distinct tone and a peculiar voice which blends easily be it pathos, comedy or romance. He can sing an `Anubhavam Pudimai', `Nilave Ennidam', `Yar Yar Yar Aval Yaro' and `Mayakkama Kalakkama' to `Viswanathan Velai Vendum' with ease. Such is his range. #ed_op#/FONT#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#But a modest Srinivos says, ``A song becomes popular only when it has a well conceived scene and a strong picturisation. Otherwise however good the singer, the lyric and the tune, it does not help''. #ed_op#/FONT#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#According to S. Rajeswara Rao, Srinivos is a very good ghazal singer too, ``perhaps the best from the South''. HMV brought out a cassette of ghazals sung by him.#ed_op#/FONT#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl# #ed_op#/FONT#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#A multi-linguist, proficient in Tamil, Telugu, Kannada, Hindi, Urdu, Malayalam, Sanskrit and Englsh, Srinivos has written poems too. His collection ``Pranavam'' has poems in eight languages. Another work, ``Time God'', tracks the essence of Hindu philosophy. When Neil Armstrong set foot on the moon, he wrote a lyric, ``Man to Moon'', recorded it along with S. Janaki and sent it to the then U.S. President, Richard Nixon. Later, he wrote a sequel to it, ``Moon to God''. One of his best works is the ``Diamond Key'' or ``Srinivasa Virtha'', a method he has evolved to identify the swarams for each of the 72 melakartha ragas. Srinivos provided musical score for a mythological film ``Mahasadhvi'' (Kannada) directed by Ravi. #ed_op#/FONT#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#What does he think about the present state of music? ``There is `vegam' (speed) but no `raagam' (rhythm). I do not blame the composer alone for this. It is as much the fault of the audience as it is of the music composer. Today's music directors are talented. But they are going according to the trend. Music directors such as M. S. Viswanathan never compromised on the melody aspect. Then the first letter in music represented only melody. But today without that, it makes one sick. I say all this with a sense of anguish. Naushad used to say that our rich Indian music has all the resources, including the western rhythm for a good score. Then why borrow? Perhaps it depends on the virtuosity and imagination of the composer to make use of it.'' #ed_op#/FONT#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Considering the fact that he has sung so many songs, did he ever feel he was sidelined? ``Every artiste in this field faces turning points. One has to adjust and move on. My job is to entertain the viewers within the available opportunities. I hope I have fulfilled that. Looking back, I feel contented. I sang to my heart's content. #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#/DIV#ed_cl#


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sur
Sun 11 Nov, 2007 13:53

Re: CLASSICAL TRANQUILITY & MUSIC REVIEW
-----------------------------------
#ed_op#DIV#ed_cl##ed_op#FONT color=#441415 size=5#ed_cl#Published South Asian holdings#ed_op#/FONT#ed_cl##ed_op#P#ed_cl##ed_op#TABLE height=259 width="100%" border=0#ed_cl##ed_op#TBODY#ed_cl##ed_op#TR#ed_cl##ed_op#TD class=text vAlign=top width="37%" height=257#ed_cl##ed_op#DIV align=left#ed_cl##ed_op#IMG height=189 alt="78rpm disc  (12K)" src="http://www.bl.uk/collections/sound-archive/images/wtmsasia1.jpg" width=184#ed_cl##ed_op#BR#ed_cl##ed_op#FONT size=2#ed_cl#78rpm disc of Bengal's most#ed_op#BR#ed_cl#famous poet and composer,#ed_op#BR#ed_cl#Rabindranath Tagore (1861-1941), #ed_op#/FONT#ed_cl##ed_op#/DIV#ed_cl##ed_op#DIV align=left#ed_cl##ed_op#FONT size=2#ed_cl#COLUMBIA GE 7023 (1CS0035641)#ed_op#/FONT#ed_cl##ed_op#/DIV#ed_cl##ed_op#/TD#ed_cl##ed_op#TD class=text vAlign=top width="63%" height=257#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Commercial music recording in India spans the whole history of recording technology. The earliest commercial disc recordings were made in London by the Gramophone Company in 1898, whereas the earliest to be made in India were by Frederick William Gaisberg on his famous expedition of 1902, which launched the Gramophone Company's activities in South and East Asia. There were many companies operating in India in the early twentieth century such as Pathé Fréres, International Talking Machine, Columbia, Odeon and Beka Records, as well as a number of Indian-owned companies such as H. Bose and Ram-a-phone (later Ramagraph) Disc Records.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#However, it was the Gramophone Co. that came to dominate the field, a situation that continued into the 1970s at least, and one which the World and Traditional Music Section's holdings of commercial Indian music clearly reflects. #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#/TBODY#ed_cl##ed_op#/TABLE#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Much of this early activity has been documented by Michael Kinnear in his book The Gramophone Company's First Indian Recordings, 1899-1908 (London: Sangam Books, 1994), and by his and others' work for the Journal of the Society of Indian Record Collectors. These items and others can be consulted in the Sound Archive's reference library, housed in the Humanities - Floor 2 reading room. #ed_op#/FONT#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Representing the lengthy performances of Hindustani and Karnatic classical music on the short 78rpm disc was impossible. The majority of the recordings made in the early decades, therefore, are of popular music traditions - ghazals by Malika Pukhraj and Akhtari Bai, for example - with many being from films (cf. The Bombay Talkies Film "Bhabi" from 1937 featuring performances by Miss Mara and Saroj Bharker). #ed_op#/FONT#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Long-playing microgroove discs were introduced in the late 1950s, cassettes in the 1970s and CDs in the 1980s. The World and Traditional Music Section's collections represent all of these. We buy or receive by donation CDs brought out on many of the contemporary labels on the market - Navras, Chhanda Dhara, Oriental Star being some. #ed_op#/FONT#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#We are primarily concerned with sound, so videos are not always considered a high priority. We do have some, however, including a valuable collection of recordings from Pakistan published by the company Shalimar. Two series, "Pakistan Musical Gems from Pakistan TV" and "Great musicians of our time", were produced by Lok Virsa of The National Institute of Folk and Traditional Heritage in Pakistan. #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#/DIV#ed_cl#


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Music
Tue 13 Nov, 2007 12:29

Re: CLASSICAL TRANQUILITY & MUSIC REVIEW
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#ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#FONT color=#441415 size=5#ed_cl##ed_op#STRONG#ed_cl#Rewinding memories #ed_op#/STRONG#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#BR#ed_cl##ed_op#BR#ed_cl##ed_op#/P#ed_cl##ed_op#/FONT#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" color=#40007f size=4#ed_cl##ed_op#STRONG#ed_cl#FILMS #ed_op#/STRONG#ed_cl##ed_op#/FONT#ed_cl##ed_op#FONT color=#40007f#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Melody in #ed_op#/FONT#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#movies #ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#FONT face="Arial Narrow" color=#441415 size=4#ed_cl#1948#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" color=#441415 size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#ASHA Bhosle makes her film debut with Sawan aaya sawan aaya with Geeta Roy and Zohrabai. Hansraj Behl composes #ed_op#/FONT#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#music#ed_op#/FONT#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Ziddi marks the playback debut of Kishore Kumar (Marne ki duaen kyoon mangoon) under Khemchand Prakash (Kishore also does a cameo in the #ed_op#/FONT#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#film#ed_op#/FONT#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#).#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#The film establishes the Dev Anand-Kishore bond, which ends only with Sacche Ka Bol Bala (1989). It also features the first-ever Lata-Kishore duet, Yeh kaun aaya re.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Pyar Ki Jeet marks Rajendra Krishan’s breakthrough.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#RK #ed_op#/FONT#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Films#ed_op#/FONT#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#, India’s premier musical banner, makes its first film Aag. Music director Ram Ganguly’s assistants Shanker and Jaikishan contribute a significant amount to the score. Mukesh breaks out of the Saigal shell.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Khayyaam makes his debut as co-composer of the Wali Sahab film Heer Ranjha.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Chandralekha marks the South’s super-successful entry into Hindi films. But the song-dance extravaganza’s score is by Southern composer S Rajeshwara Rao and is not very popular despite the presence of top Mumbai lyricists and singers.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Aag, Khemchand Prakash’s Asha, Naushad’s Anokhi Ada and Mela, Ghulam Haider’s Shaheed, Ziddi and Husnlal-Bhagatram’s Pyar Ki Jeet are the top scores. #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#B#ed_cl##ed_op#I#ed_cl##ed_op#FONT face="Arial Narrow" color=#000099 size=4#ed_cl#—Rajiv Vijayakar#ed_op#/FONT#ed_cl##ed_op#/I#ed_cl##ed_op#/B#ed_cl##ed_op#/P#ed_cl##ed_op#DIV#ed_cl##ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#/DIV#ed_cl#


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sur
Wed 14 Nov, 2007 11:56

Re: CLASSICAL TRANQUILITY & MUSIC REVIEW
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#ed_op#DIV#ed_cl##ed_op#BR#ed_cl##ed_op#SLUG#ed_cl##ed_op#/FONT#ed_cl##ed_op#P#ed_cl##ed_op#FONT class=storyhead face="Arial Narrow" color=blue size=4#ed_cl##ed_op#B#ed_cl#A happy marriage #ed_op#/B#ed_cl##ed_op#/FONT#ed_cl##ed_op#P#ed_cl##ed_op#STRONG#ed_cl##ed_op#FONT face="Arial Narrow" color=#0000ff size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#/STRONG#ed_cl# #ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#TABLE width="100%" bgColor=#ddffdd border=0#ed_cl##ed_op#TBODY#ed_cl##ed_op#TR#ed_cl##ed_op#TD#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#The music and dance evening, which involved accomplished artistes, was a successful one #ed_op#/FONT#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#/TBODY#ed_cl##ed_op#/TABLE#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#CENTER#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/CENTER#ed_cl##ed_op#CENTER#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl#Photo: Murali Kumar K. #ed_op#BR#ed_cl##ed_op#IMG height=178 src="http://www.hindu.com/fr/2007/06/29/images/2007062950790301.jpg" width=342 align=center border=1#ed_cl# #ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/CENTER#ed_cl##ed_op#CENTER#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#BR#ed_cl##ed_op#B#ed_cl#PERFECT ALIGNMENT The dancers were in perfect sync with the music and with themselves #ed_op#/B#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/CENTER#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Though vibrant and exuberant at times, pleasing tones marked the playing and dancing of an evening of music and dance presented by Pandit Ajay Pohankar, Abhijit Pohankar and party and dancers from the Stem Dance Kampni led by Madhu Nataraj Heri respe ctively. It was a compatible marriage between music and dance. The programme was held at the Jnana Jyothi auditorium, Central College, under the aegis of CI Foundation. The Foundation is attempting to attract the youth by presenting traditional art and culture in contemporary styles and holding workshops, interactions and benefit programmes. The proceeds of are shared with charitable organisations. #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Strictly speaking, the evening belonged to the Pohankars. While the older Pohankar was true to his reputation as an evocative thumri singer, the younger one excelled not only with his lead but also on his key board. #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#The dancers led by Madhu Nataraj performed with conviction more strongly accentuated by the dynamics of the body contributing tautness to their interpretations. They were in perfect sync with the music and with themselves while performing in groups. The leaps, jumps, alignments-realignments, the fluidity of their angikas et al left the viewers spellbound. Adding to all this was, though a questionable point, highly sophisticated lighting and smoke effect creating a world of colour and fantasy. The audience instantly warmed to the visual impact of the bending and twisting bodies of the dancers and the colourful garment and the general air of being tuned to concert pitch. #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#The sweeps of melody seemed to suit the orchestra better and there were some good moments. The total involvement of the orchestra comprising key board by Abhijit Pohankar, drums by Adhur Sony, guitar by Bintu Singh, saxophone and bansuri by Raj Singh and tabla and other effects by Amith Chowbe, which seemed to understand the genre of the music presented perfectly, resulted in clean playing and expressive dynamics and altogether a good performance. #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#First, Pandit Ajoy Pohankar and later joined by Arathi Ankalikar, sang judiciously selected bandishes and thumri with well balanced parts, the attacks and endings were cleanly executed, the trills precise and the tone clear and pleasing. The enjoyment of the performers was infectious and established a rapport with the rasikas. #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Panditji sang the numbers with all the Hindusthani paraphernalia like alap, bol baant, taan, bol-taan, sargam et al. Thus the rendition of “Payaliya jhankar more”, “Piya mose bol”, “Tum more” (based on rag Adana, with alap and sargams by Ajoy), “Naina more taras gaye”, an overture in raga Keeravani among others were the significant landmarks of the concert. Arathi’s rich voice came in handy in expressing the moods of the lyrics. #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#The dancers grace and geometry were the key words of the graphic presentation of Yugma. Needless to say, Madhu’s abhinaya was of a high order. “Ecstacy” had nothing special to impart.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P align=justify#ed_cl##ed_op#WEB#ed_cl##ed_op#/WEB#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT size=2#ed_cl##ed_op#STRONG#ed_cl#M. SURYA PRASAD #ed_op#/STRONG#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#/DIV#ed_cl#


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Music
Thu 15 Nov, 2007 09:46

Re: CLASSICAL TRANQUILITY & MUSIC REVIEW
-----------------------------------
#ed_op#DIV#ed_cl##ed_op#P#ed_cl##ed_op#FONT class=storyhead color=blue size=5#ed_cl##ed_op#B#ed_cl#Bidding for big time again #ed_op#/B#ed_cl##ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#TABLE width="100%" bgColor=#ffeeff border=0#ed_cl##ed_op#TBODY#ed_cl##ed_op#TR#ed_cl##ed_op#TD#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Call him a blast from the past if you will. Biddu, back with a new compilation, tells ANAND SANKAR dance music has largely remained the same since the disco years though genres have changed #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#/TBODY#ed_cl##ed_op#/TABLE#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#CENTER#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#FONT size=2#ed_cl#PHOTO: K. GOPINATHAN #ed_op#/FONT#ed_cl##ed_op#BR#ed_cl##ed_op#IMG height=260 src="http://www.thehindujobs.com/thehindu/mp/2006/12/14/images/2006121401480101.jpg" width=300 align=center border=1#ed_cl# #ed_op#BR#ed_cl##ed_op#B#ed_cl#TUNING INTO TRENDS Biddu: `The music today is basically the same. It is just dressed differently' #ed_op#/B#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/CENTER#ed_cl##ed_op#CENTER#ed_cl##ed_op#STRONG#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#/STRONG#ed_cl# #ed_op#/CENTER#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Ah, the swinging '60s and '70s. On the one hand you had flower power and #ed_op#I#ed_cl#Hare Rama Hare Krishna#ed_op#/I#ed_cl#, and on the other — disco, which followed #ed_op#I#ed_cl#Saturday Night Fever#ed_op#/I#ed_cl#. Yes, those were the years when Mithun#ed_op#I#ed_cl#da#ed_op#/I#ed_cl#'s leather pants shone under the strobes and India was #ed_op#I#ed_cl#disco deewane#ed_op#/I#ed_cl#. Remember Biddu? He was a name on everyone's lips back then. He did come back into public memory in the late '90s and now he is in the news again with his latest offering, #ed_op#I#ed_cl#Shut Up And Dance#ed_op#/I#ed_cl#. #ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Biddu is from our own Bengalooru. Of Kodava descent, he was born Biddu Appaiah but has been "legally" known as Biddu since the age of 13. The chances are close to nil that gen-now remembers this man now. #ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#"In this country, the guy who composes the songs and makes the record gets less recognition than the actor who mimes and makes a fortune," he reflects. A Cottonian, he never went to college and fled India in 1969 to pursue his love, music, in England. "India was a very closed society back then. It was a socialist state and we had no idea of the west." #ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#P align=justify#ed_cl##ed_op#FONT class=subsectionhead color=red#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#STRONG#ed_cl#Good old Radio Ceylon#ed_op#/STRONG#ed_cl# #ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT class=subsectionhead color=red#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#The '60s were not the days of FM, and one of the few channels for international music for us here was Radio Ceylon. Biddu remembers trying to tune into the static-prone channel every Sunday at 8 p.m. to catch the Binaca Hit Parade.#ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl# #ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#He hitchhiked through West Asia to Beirut, Lebanon. He sang at a nightclub there for about four months, saved money to fly to France. He dreamed of making it big but was broke. It took him nine months to get to England, and on the way he lived on the hospitality of the countries he passed through. #ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Once in England, he worked in a hamburger joint to save money and release his first record. The rest is history. There was "Kung Fu Fighting" composed for Carl Douglas and "Dance Little Lady Dance" for Tina Charles. In the late '70s his fame reached India and Feroze Khan came calling. "I was happy in Britain and then Feroze Khan came and asked me to do #ed_op#I#ed_cl#Qurbani#ed_op#/I#ed_cl#." #ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#"Aap Jaisa Koi" and "Laila O Laila" are very much part of Bollywood history now and they also launched the pop sensation of Pakistani origin, Nazia Hassan, with whom he had another chartbuster, "Disco Deewane".#ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl# #ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#The disco genre faded naturally over the '80s but Biddu decided to give India a shot again in the mid-'90s when he launched Alisha Chinai with "Made In India". Then he went on to launch the singer Shaan and worked with Sonu Nigam. #ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#"By 1995, India was opening up. Technology was (coming to its own) and computers and synthesisers were becoming common. The music today is basically the same. It is just dressed differently. You call it dance or club, you shift paradigms but the music is still catchy and danceable. There have been very little shifts with the radical difference only being hip-hop and rap." #ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Biddu's foray back into India happened right when music channels were taking off. Today Indipop is a big market but he feels that Indian music has a long way to go. "There are too many channels and they tend to play fairly similar kind of music. Bollywood has to always have music that has a fast tempo. Even a movie such as #ed_op#I#ed_cl#Baabul #ed_op#/I#ed_cl#has music for rocking youth. The problem is the people who make this don't even know what the market demands and how many times are people going to listen to this." #ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#I#ed_cl#Shut Up And Dance #ed_op#/I#ed_cl#is away from Biddu's usual genre of music because it is just a compilation of remixes though he insists it is different. #ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Biddu lives most of the year in Spain where he has a beach house."I am in India in December, January and February to escape the winter in Europe. I did a few remix tracks for fun and enjoyed what I did. So, I decided to do a whole album. It is a bit of a departure from my usual work. It is remix and thus purely dance, hence the title. It is not a pop album, it has melody, it's danceable and has a techno vibe to it." #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P align=justify#ed_cl# #ed_op#/P#ed_cl##ed_op#/DIV#ed_cl#


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sur
Fri 16 Nov, 2007 01:53

Re: CLASSICAL TRANQUILITY & MUSIC REVIEW
-----------------------------------
#ed_op#P#ed_cl##ed_op#STRONG#ed_cl##ed_op#FONT face="Arial Narrow" color=#0000ff size=4#ed_cl##ed_op#FONT size=5#ed_cl#Brothers on a melody trip#ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/STRONG#ed_cl##ed_op#STRONG#ed_cl##ed_op#FONT face="Arial Narrow" color=#0000ff size=4#ed_cl##ed_op#BR#ed_cl##ed_op#BR#ed_cl##ed_op#/P#ed_cl##ed_op#/FONT#ed_cl##ed_op#/STRONG#ed_cl##ed_op#TABLE width="100%" bgColor=#ffeeff border=0#ed_cl##ed_op#T#ed_cl##ed_op#TBODY#ed_cl##ed_op#TR#ed_cl##ed_op#TD#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Rajan and Sajan Mishra displayed uncompromising classicism at their three-hour concert #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#/T#ed_cl##ed_op#/TBODY#ed_cl##ed_op#/TABLE#ed_cl##ed_op#CENTER#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Photo: K. V. Srinivasan #ed_op#BR#ed_cl##ed_op#IMG height=291 src="http://www.hindu.com/mp/2007/11/14/images/2007111450300801.jpg" width=531 align=middle border=1#ed_cl# #ed_op#BR#ed_cl##ed_op#/FONT#ed_cl##ed_op#B#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#EM#ed_cl#RAIN OF harmony #ed_op#/EM#ed_cl#Rajan and Sajan Mishra performing at November Fest at The Music Academy#ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/B#ed_cl##ed_op#/CENTER#ed_cl##ed_op#CENTER#ed_cl##ed_op#B#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#BR#ed_cl##ed_op#BR#ed_cl# #ed_op#/CENTER#ed_cl##ed_op#P#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/B#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#The November Fest hosted its second classical Hindustani concert with Pandit Rajan Mishra and Pandit Sajan Mishra of the Benaras gharana. The brothers held the audience spellbound with their three-hour concert notable for many things, but most of all , an uncompromising classicism. A full three octave range of the voice, voices that could now roar and now whisper, a constantly meaningful engagement with the bandishes, but most of all a soaking in the raga bhava and letting all else follow. #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#The very choice of ragas was a treat – Shuddha Kalyan, Durga, Jhinjhoti, Megh, Darbari and Bhairavi. Shuddha Kalyan itself was enough to carry home, such was the majesty and evocativeness of the presentation. Not the easiest raga to handle, it needs to be kept away from allied ragas such as Bhoop and Deshkar; it needs to be handled with subtle nuances, with a nishadha and a madhyama that tease you with their inexplicit, but very real, presences….#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#"Bolana lagi papaya" in vilambit ektaal, a traditional bandish, communicated the yearning of love with the languorous alaaps in the bol banaav mode - the cuckoo is calling - "I don’t like it here away from him". The mukhada with its gentle movement from the panchama to the rishabha was handled with such delicacy as to leave one wanting more. And yet the mood was conveyed without a trace of sentimentalism. #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#A descent to the mandra sa and a sweeping movement to madhya pa took one's breath away. But this was done without any attempt at affectation. Two other traditional compositions, "Bajo re bajo" in teentaal and "Jaane guni guna ko" in Sulfakta, followed and the audience was treated to a judicious serving of sargam and taans.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#A short and beautiful rendition of Raga Durga ("Jaya jaya jaya Durge Maataa" in ektaal) preceded the interval.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" color=red size=4 ="subsection"#ed_cl#Sparkling improvisations #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" color=#ff0000 size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Post interval, Pandit Rajan Mishra had the audience tittering with his "welcome back" – after all this is the age of TV anchors and endless commercial breaks! It was Jhinjhoti, another ancient raga. "Karata langarayi" in rupak taal with its playful mukhada, "Mohana mohe jaane do" and "Saguna vicharo" in teentaal were the compositions rendered. The singers were in their element delivering some sparkling improvisations in the sargam and taan modes in the antara of the last composition. #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Without a break, Pandit Rajan Mishra introduced Raga Megh with the bandish "Kajara kare" in ektaal. Compositions in the Malhar family of ragas almost invariably include onomatopoeia such as the movement of the wind (sananananana) as did the compositions rendered and the brothers rendered these with great communicative skills. "Aayo garajata badarava" captured the mood of celebration that the rains bring. #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#The audience had not had enough and a request for raga Darbari Kanada was made! The brothers "provided a glimpse" of the raga. "Naada apaara udadhi gambhira" in vilambit teentaal was a magnificent composition. The concert ended with a bhajan in Bhairavi.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#A word about the audience is irresistible. A great audience, as always in Chennai, there were some disquieting elements too - whistling! Even when the audience applauded in the middle of a raga exposition in response to a long shadja or a neat tihai, Pandit Rajan Mishra requested that these be kept till the end of the raga delineation. How much more distracting to have whistling!#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Tabla accompaniment by Arvind Kumar Azad was very expressive and the improvisatory passages he played were brief and well rendered. Harmonium accompaniment by Subhash Kashalkar was restrained but coming out at the right moments with good effect.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#What can one write about a music that is the result of sustained sadhana and unexceptionable musical values with an attitude of surrender to the raga at its heart. As the Sanskrit poeticians said, it is when this attitude is cultivated that even though the same notes may be sung, even though the same raga maybe sung, it all appears new, like blossoms in spring - #ed_op#EM#ed_cl#sarve nava iva bhanti madhumase iva drumah#ed_op#/EM#ed_cl#.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl# #ed_op#/P#ed_cl##ed_op#WEB#ed_cl##ed_op#/WEB#ed_cl##ed_op#FONT size=1#ed_cl##ed_op#STRONG#ed_cl#LAKSHMI SREERAM#ed_op#/STRONG#ed_cl##ed_op#/FONT#ed_cl##ed_op#DIV#ed_cl##ed_op#/DIV#ed_cl#


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sur
Sat 17 Nov, 2007 01:54

Re: CLASSICAL TRANQUILITY & MUSIC REVIEW
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#ed_op#DIV#ed_cl##ed_op#SPAN style="FONT-WEIGHT: bold"#ed_cl##ed_op#FONT face=Georgia#ed_cl##ed_op#FONT color=#7f3f00#ed_cl#T M Krishna -- Balancing tradition & modernity#ed_op#/FONT#ed_cl##ed_op#BR#ed_cl##ed_op#BR#ed_cl##ed_op#/FONT#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#FONT size=2#ed_cl#An interview by  Geeta Iyengar#ed_op#/FONT#ed_cl##ed_op#BR#ed_cl##ed_op#/FONT#ed_cl##ed_op#/SPAN#ed_cl##ed_op#FONT style="FONT-FAMILY: Georgia,Times New Roman,Times,serif"#ed_cl##ed_op#BR#ed_cl##ed_op#BR#ed_cl##ed_op#/FONT#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#FONT style="FONT-FAMILY: Georgia,Times New Roman,Times,serif" face="Arial Narrow"#ed_cl##ed_op#IMG height=177 src="http://www.carnatica.net/nvr/tmk.jpg" width=135 align=left border=0#ed_cl##ed_op#/FONT#ed_cl##ed_op#BR style="FONT-FAMILY: Georgia,Times New Roman,Times,serif"#ed_cl##ed_op#/FONT#ed_cl##ed_op#FONT style="FONT-FAMILY: Georgia,Times New Roman,Times,serif"#ed_cl##ed_op#BR#ed_cl##ed_op#BR#ed_cl##ed_op#BR#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#“It’s cool to listen to Carnatic music”, says T. M. Krishna when asked whether Carnatic music and young people gel well these days. Krishna, dressed in black shorts and T-shirt could pass for a typical example of Generation Next – but with a difference. On stage, he is a totally different person, extremely dignified in a kurta and veshti with the “namam” on his forehead as he puts out his best at each performance and is exactly what he says young people could stand for - an ability to be traditional and yet be one with the times. Very articulate and clear in his mind about his priorities and what he wants in life, this charismatic young man shares his thoughts about life, work and his opinions about the world of Carnatic music. It’s a charming family with Krishna’s mother warmly welcoming me, daughter Arya asking what brought me here and little Ananta sleeping peacefully in the crib nearby as I get to know him and share the experience with our rasikas.#ed_op#BR#ed_cl##ed_op#BR#ed_cl##ed_op#B#ed_cl#Tell us a bit about your family background.#ed_op#/B#ed_cl##ed_op#BR#ed_cl##ed_op#BR#ed_cl#I come from a family of businessmen and I am the first professional musician in the family. My paternal grandmother was a rasika and patron of music. My mother was good in music and learnt from Shri. B. Seetharama Sharma. Watching her sing kindled an interest in me and I started at the age of 6. My first performance was at the age of 12. My father was perhaps the first ardent fan of Mandolin Srinivas and I remember a funny incident when he gate crashed to a wedding reception just to hear him play! There was never any compulsion from my parents to get into the grooves a lot of youngsters get into and they let me do what I liked. I chose to make music my profession ad I have never regretted it. My wife is also a musician and we have two daughters, Arya and Ananta.#ed_op#BR#ed_cl##ed_op#BR#ed_cl##ed_op#B#ed_cl#Who has been the inspiration in your life as a musician?#ed_op#/B#ed_cl##ed_op#BR#ed_cl##ed_op#BR#ed_cl#The musicians of the 40s and 50s like Ariyakudi, Musiri and Semmangudi mama. Listening to their tapes, I have tried to imbibe those cardinal qualities that made them outstanding in this art.#ed_op#BR#ed_cl##ed_op#BR#ed_cl##ed_op#B#ed_cl#Does a penchant for music have anything to do with genes or is a musician made?#ed_op#/B#ed_cl##ed_op#BR#ed_cl##ed_op#BR#ed_cl#I suppose genetics does play a role but it has to be supported by environment or background. Just genes won’t produce this interest. The ethos in which you grow up is a very positive factor.#ed_op#BR#ed_cl##ed_op#BR#ed_cl##ed_op#/FONT#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#B#ed_cl#You are described as a singer who stays clear of gimmicks . Would you label yourself as a purist?#ed_op#BR#ed_cl##ed_op#/B#ed_cl##ed_op#BR#ed_cl#Call it purist or whatever but the fact is I am a staunch believer in tradition. Tradition is dynamic, not static. Being purist doesn’t mean you don’t check out other ragas or stifle creativity. Tradition draws a boundary and gives you full freedom to do whatever you want within that framework. Often it is said the artiste gives the audience what it wants. On the contrary you have to decide what to give and so you set the benchmark for yourself.#ed_op#BR#ed_cl##ed_op#BR#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#B#ed_cl#Ever thought of dabbling in film music?#ed_op#BR#ed_cl##ed_op#/B#ed_cl##ed_op#BR#ed_cl#Frankly I have never even given it a thought and personally I have never given it any significance. Many top musicians have entered the field of music for films and I don’t think it affects their performance or attitude to Carnatic music. It seems to be a myth that the quality of the music deteriorates with an exposure to film music. If an artiste is very strong in music, irrespective of his dabbling in other forms of music his performance as a Carnatic musician will not be affected. #ed_op#BR#ed_cl##ed_op#BR#ed_cl##ed_op#B#ed_cl#What was it like to perform during your recent trip to US?#ed_op#/B#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl# #ed_op#/FONT#ed_cl##ed_op#P style="FONT-FAMILY: Georgia,Times New Roman,Times,serif" align=left#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Performing in the US and Chennai is the same. It seems no different and you could well imagine it to be a Mylapore audience except that geographically it is not so. The audience there is as savvy and interested as it is here. No doubt it was a good experience.#ed_op#BR#ed_cl##ed_op#BR#ed_cl##ed_op#B#ed_cl#You were the #ed_op#I#ed_cl#Isai Peroli#ed_op#/I#ed_cl# last year. How did you feel and what next?#ed_op#/B#ed_cl##ed_op#BR#ed_cl##ed_op#BR#ed_cl#Great! An award is an incentive. It should make you work harder. It sure creates an immense feeling of satisfaction and is certainly a strong impetus to move forward. #ed_op#BR#ed_cl##ed_op#BR#ed_cl##ed_op#B#ed_cl#You were associated with YACM. Tell us about it.#ed_op#/B#ed_cl##ed_op#BR#ed_cl##ed_op#BR#ed_cl#YACM (Youth Association for Classical Music) is the brainchild of Vijay Siva, Unnikrishnan, R. K. Shriramkumar, Anand Siva, K. R. Subramania, B. Kannan and many others. It was founded in 1985. It is a movement to create an awareness and interest in Carnatic music among youth. And the striking thing is that it gave an opportunity for young musicians to perform whereas it had always been that the stalwarts and senior musicians were the only ones to take to the stage. There came a group of young musicians and Unnikrishnan, Bombay Jayshree and others got their breaks in their careers here.#ed_op#BR#ed_cl##ed_op#BR#ed_cl#I got involved in YACM in 1992 and was on the committee for 4 years and president for another 4 years between 1992 and 2000. This movement was a renaissance of Carnatic music and a turning point in the field of music as young artistes were able to perform too and gain acceptance as time went by. The "Build a Rasika" program was a very innovative idea of Vijay Siva and it widened the reach of Carnatic music.#ed_op#BR#ed_cl##ed_op#BR#ed_cl##ed_op#/FONT#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#B#ed_cl#The general observation is that the audience is always older folk. Any comments?#ed_op#BR#ed_cl##ed_op#/B#ed_cl##ed_op#BR#ed_cl#I think there is a sea change now and many young people are into appreciating music. It needs a certain maturity to appreciate classical music. Appreciation comes with maturity which is emotional and intellectual maturity.#ed_op#BR#ed_cl##ed_op#BR#ed_cl##ed_op#B#ed_cl#Your advice to the youth?#ed_op#/B#ed_cl##ed_op#BR#ed_cl##ed_op#BR#ed_cl#Success doesn’t come easily. Work hard, hard, hard! Don’t be in a rush. Cultivate a balance. There are more opportunities now than ever before. The earlier artistes such as Ariyakkudi went through the whole cycle and then reached the top. There is no easy way to good music. It requires #ed_op#I#ed_cl#sadhana#ed_op#/I#ed_cl# – and lots of it. Don’t forget, “It’s cool to listen to Carnatic music!”#ed_op#BR#ed_cl##ed_op#BR#ed_cl##ed_op#B#ed_cl#Do you think music is getting commercialized?#ed_op#/B#ed_cl##ed_op#BR#ed_cl##ed_op#BR#ed_cl#What is wrong with commercialism? Unless music is rewarding enough as a career who will take to it? Let us be clear - it is not commercialism at the cost of quality and commitment. Music cannot be a passion for the sake of charity alone. #ed_op#I#ed_cl#Bhakti#ed_op#/I#ed_cl# is no doubt an important element but nothing stops a musician from getting the returns he should and if he does not, then art is degraded. Unless we make it attractive enough for a musician he loses interest and cannot give it his all to rise to any level of greatness.#ed_op#BR#ed_cl##ed_op#BR#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#B#ed_cl#What is behind the "crowd pullers" and rave reviews? Are they good parameters to judge a performance?#ed_op#BR#ed_cl##ed_op#/B#ed_cl##ed_op#BR#ed_cl#Quality sustains, quality lives. If an artist starts worrying about these two reactions then his performance will suffer. The great names in Carnatic music stood their ground for many years and they performed till they were 65 plus sometimes. Their single-point aim was to give their best and all else would follow.  They followed this cardinal principle of our philosophy and that explains their eminence.#ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P style="FONT-FAMILY: Georgia,Times New Roman,Times,serif" align=left#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Geetha Iyengar.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P style="FONT-FAMILY: Georgia,Times New Roman,Times,serif" align=left#ed_cl# #ed_op#/P#ed_cl##ed_op#P style="FONT-FAMILY: Georgia,Times New Roman,Times,serif" align=left#ed_cl##ed_op#FONT size=3#ed_cl#Source:  #ed_op#A href="http://www.carnatica.net/nvr/tmk-interview.htm" target=_blank#ed_cl#http://www.carnatica.net/nvr/tmk-interview.htm#ed_op#/A#ed_cl##ed_op#BR#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#/DIV#ed_cl#


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sur
Mon 19 Nov, 2007 02:13

Re: CLASSICAL TRANQUILITY & MUSIC REVIEW
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#ed_op#DIV#ed_cl##ed_op#TABLE cellSpacing=0 cellPadding=0 width=775 align=center border=0#ed_cl##ed_op#TBODY#ed_cl##ed_op#TR#ed_cl##ed_op#TD class=displayDate vAlign=top#ed_cl##ed_op#TABLE cellSpacing=0 cellPadding=0 width="100%" border=0#ed_cl##ed_op#TBODY#ed_cl##ed_op#TR#ed_cl##ed_op#TD class=categoryHead width=316#ed_cl##ed_op#B#ed_cl##ed_op#A onmousedown="tkbk('553')" href="http://www.dnaindia.com/"#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#IMG style="MARGIN-TOP: 2px; MARGIN-BOTTOM: 10px" src="http://www.dnaindia.com/images/new/dna-logo.gif" border=0#ed_cl##ed_op#/FONT#ed_cl##ed_op#/A#ed_cl##ed_op#/B#ed_cl##ed_op#/TD#ed_cl##ed_op#TD class=content width=223#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#  #ed_op#/FONT#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#TR#ed_cl##ed_op#TD class=spacer align=middle colSpan=4 height=2#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl# #ed_op#/FONT#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#TR bgColor=#000000#ed_cl##ed_op#TD class=spacer colSpan=4 height=2#ed_cl##ed_op#TABLE cellSpacing=1 cellPadding=0 width="100%" border=0#ed_cl##ed_op#TBODY#ed_cl##ed_op#TR#ed_cl##ed_op#TD class=content align=middle bgColor=#000000 height=15#ed_cl##ed_op#DIV align=left#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl#      #ed_op#B class=DNAHead#ed_cl#Daily News & Analysis#ed_op#/B#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/DIV#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#/TBODY#ed_cl##ed_op#/TABLE#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#/TBODY#ed_cl##ed_op#/TABLE#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#TR#ed_cl##ed_op#TD class=displayDate vAlign=top#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl# #ed_op#/FONT#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#TR#ed_cl##ed_op#TD class=displayDate vAlign=top#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Monday, November 19, 2007 #ed_op#/FONT#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#TR#ed_cl##ed_op#TD class=reportHeadLine vAlign=top#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl# #ed_op#/FONT#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#TR#ed_cl##ed_op#TD class=content vAlign=top#ed_cl##ed_op#I#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#/I#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#TR#ed_cl##ed_op#TD class=reportHeadLine vAlign=top#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl# #ed_op#/FONT#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#TR#ed_cl##ed_op#TD class=reportHeadLine vAlign=top#ed_cl##ed_op#STRONG#ed_cl##ed_op#FONT face="Arial Narrow" size=5#ed_cl#The best of musical acts in India#ed_op#/FONT#ed_cl##ed_op#/STRONG#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#TR#ed_cl##ed_op#TD vAlign=top#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl# #ed_op#/FONT#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#TR#ed_cl##ed_op#TD vAlign=top#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#SPAN class=writerName#ed_cl#Shridevi Keshavan#ed_op#/SPAN#ed_cl# #ed_op#SPAN class=serviceName#ed_cl##ed_op#/SPAN#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#TR#ed_cl##ed_op#TD vAlign=top#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl# #ed_op#/FONT#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#TR#ed_cl##ed_op#TD vAlign=top#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#For Artie Kornfeld, the original Woodstock organiser, every step in the direction of making a similar venture possible in India is a déja vu. #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Cornfield reveals that the Indian version of the Woodstock music concert will be held at Bangalore in collaboration with spiritual guru Sri Sri Ravishankar’s Art Of Living foundation. Sri Sri has promised to lend full support to the project. #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#“I felt a deep spiritual connection and it looked like he knew a lot about my work. Besides, I am great friends with Swami Sachidananda and Mahesh Yogi (who were part of the original Woodstock),” says Artie, adding that he has already become a disciple of Sri Sri. #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#“He is my guru now and I shall take advice from him for everything that I get involved with,” Artie says.  #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#The concert is slated to happen during November next year and the negotiations are on in full swing.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#According to the organiser Suryaveer Singh, Artie has set up his own company called Full Circle which will be taking care of all the details of the music festival. #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#“The proceeds from the concert will go to various projects that Art Of Living is involved with. The meeting with Sri Sri Ravi Shankar went off really well. He heard us out and said, ‘Let’s do it’,” says Suryaveer, adding that they are also tying up with World Peace One, an NGO which has previously brought together celebrities for a 30-hour live concert.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#The organisers and Artie are in negotiations with heavy musical acts like Coldplay, Santana, Red Hot Chilli Peppers and Metallica. #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#“We are looking at about 10 international bands from Asia and Indian musicians such as Anoushka Shankar, Zakir Hussain etc,” Artie says.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#A three-day event, the concert will be held near the Bangalore airport, where Art Of living generally holds camps. #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#“Sri Sri Ravishankar will inaugurate the first day of the festival which will be an Art Of Living workshop followed by the two-day festival. We also want to include a little bit of Bollywood and Saif Ali Khan seems to be the best option because of his inclination towards music and also because he has performed with the rock band, Parikrama. Let’s see how things shape up,” Artie ends.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl# #ed_op#/P#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#/TBODY#ed_cl##ed_op#/TABLE#ed_cl##ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#/DIV#ed_cl#


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sur
Wed 21 Nov, 2007 04:31

Re: CLASSICAL TRANQUILITY & MUSIC REVIEW
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#ed_op#H2#ed_cl#“Music is a universal language without any labels.” #ed_op#/H2#ed_cl##ed_op#BR#ed_cl##ed_op#H3#ed_cl##ed_op#/H3#ed_cl##ed_op#H3#ed_cl#NIRUPAMA VAIDHYANATHAN, Jan 11, 2007#ed_op#/H3#ed_cl##ed_op#P#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#IMG height=350 hspace=8 src="http://www.indiacurrents.com/directory/getdata.asp?about_id=d9d666eb2404c69b23382162e2dca5f9-2" width=203 align=right vspace=8 border=0#ed_cl#Asha Ramesh is getting ready for her upcoming concert, “Navneet Sangeet,” to be held on Jan. 20. The concert is a fundraiser for Nandala Mission to support the Suraksha Dialysis Center in Chennai. Asha will be accompanied by the talented brother-sister duo of Anuradha Sridhar on the violin, and Sriram Brahmanandam on the mridangam, while Ravi Gutala will provide tabla accompaniment for pieces sung in the Hindustani style. The concert, which will include both traditional Karnatik music pieces and Hindustani pieces, reflects Asha’s core beliefs. “Music is a universal language, and several formative experiences come together when I plan a concert which includes songs from many Indian languages. My formal training has been in Karnatik music, while I listened to my sister practice Hindustani music. I am a South Indian who grew up in North India. There was always an openness to speaking Hindi, and to absorbing the best that the North had to offer in terms of music. When I am asked to define where I come from, I answer that I am a ‘true’ Indian,” she says with a laugh. When asked about the differences between Karnatik and Hindustani music, she peppers her impromptu demonstration of the two styles with these thoughts. “The differences start with the alapana. The Karnatik phrasing is crisp, and there is a rigidity in the way the raga swaras are delineated. Fluidity in the raga phrasing marks a Hindustani musician’s alapana rendering. Then, of course, there are differences in pronunciation. ‘Ri’ in Karnatik music becomes a ‘re’ in the Hindustani style. #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT size=4#ed_cl#As a student, I wanted to avoid the situation where one style’s nuances would seep into another, making it a wasteful exercise to try and master both.” Reminiscing about her experiences learning Karnatik music under D.K. Jayaraman in Chennai, Asha says that, “for my Guru, shruthi alignment, clear pronunciation, appropriate bhava, and maintaining a style that did not rely on speedy phrasings that went up and down the scale were important. I use this to guide me, and take care when presenting songs from different languages. If I do not pronounce words in an unfamiliar language correctly, there might be an audience member who will tune me out for the rest of the concert based on his knowledge of the language. Planning a concert like this which tries to reach out to people from different language and cultural groups entails more hard work.” Having explored the work of many Indian composers, any favorites? I ask. “Muthuswami Dikshitar,” she says promptly, adding, “I love singing abhangs too. They have an upbeat quality that matches my personality.” As I drove away after our conversation, I was reminded of a Bhimsen Joshi concert I attended in Baltimore 10 years ago, accompanied by a friend who understood Hindustani music. Being familiar with Karnatik music, I whispered to him anxiously between songs, not wanting to miss any tid-bit that he might have to share about the music. After some time, I found him with his eyes closed, completely enjoying the music. And I? I was sitting on the edge of my seat, worried that I might miss some important nuance that would help me enjoy the concert. Then, I realised how silly my quest had been. I had equated understanding the style’s technical nuances to an enjoyment of the music. I put the brochure inside, and let the music flow into me. #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT size=4#ed_cl#Asha’s concert will have songs from about eight Indian languages with traditional pieces from Karnatik music followed by bhajans, and abhangs in the Hindustani style of music. Having listened to Asha for many years, I can imagine that what will remain in listeners’ hearts will be her voice that soars to connect with the Divine in a sincere way. Does it truly matter whether the language is Telugu or Bengali when you try and invoke a spiritual space through music? Try not to affix labels of “Karnatik musician” versus “Hindustani musician,” or “Telugu” versus “Bengali.” Let the music truly flow into you. #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT size=4#ed_cl#Do not repeat the mistake I made in that Bhimsen Joshi concert. Nirupama Vaidhyanathan Saturday, Jan. 20, 5 p.m., CET Performing Arts Center, 701 Vine St., San Jose. $15 general, $10 seniors, students, and balcony seating, children under 5 free, $100 sponsor (2 prime seats). (408) 255-8526, (408) 720-8437, (510) 818-0092. Nandalala Mission funds the Suraksha Dialysis Center in Chennai, which serves poor people who receive dialysis at the subsidized cost of Rs. 500. It uses state-of-the-art medical equipment with an operational cost of $15,000 per month. An example of their educational programs for needy Indian children is the Childrens’ Club in Vijayanagar, Bangalooru where they provide childen with school supplies, and access to music, art, computer, and other classes. Local chapter of Nandalala Mission sponsors Matru Seva, where food is cooked and served in homeless shelters. They also sponsor youth concerts where children can perform music and other talent in a supportive environment. For more information about the Mission’s activities, email Anu Sundaresan at sundaresan_anu@hotmail.com, or visit www.nandalala.com#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#DIV#ed_cl##ed_op#/DIV#ed_cl#


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sur
Thu 22 Nov, 2007 02:09

Re: CLASSICAL TRANQUILITY & MUSIC REVIEW
-----------------------------------
#ed_op#TABLE cellSpacing=2 cellPadding=2 width="97%" align=center border=0#ed_cl##ed_op#TBODY#ed_cl##ed_op#TR#ed_cl##ed_op#TD class=story align=middle#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#B bG1cO="0" P_WMX="0"#ed_cl#Shafqat Ali,Raghu Dixit, Atif Aslam to perform at Lycra MTV Style Awards#ed_op#/B#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#TR#ed_cl##ed_op#TD class=story#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl# #ed_op#/FONT#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#TR#ed_cl##ed_op#TD class=story#ed_cl##ed_op#P#ed_cl##ed_op#FONT bG1cO="0" P_WMX="0"#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#MUMBAI: Lycra Brand and MTV will present the biggest night in music#ed_op#/FONT#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl# and fashion as Lycra MTV Style Awards will bring the best of Shafqat Amanat Ali - known for his famous song 'Mitwa' of KANK fame, female rap artist #ed_op#/FONT#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#"Hard Kaur" who made an anthem out of 'Ek Glassy', the renowned group 'The Raghu Dixit Project', Atif Aslam, the popular Pakistani pop singer and the sexy girl band 'Rouge' to India. These popular artists w#ed_op#/FONT#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#ill perform exclusively for their Indian fans on October 25th at the Lycra MTV Style Awards 2007 in Mumbai. #ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT bG1cO="1" P_WMX="0"#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#IMG height=217 src="http://www.indiantelevision.com/images17/raghu_8.jpg" width=250 align=left#ed_cl#It's a fashion show… it's a music concert… NO! It's the Lycra MTV #ed_op#/FONT#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl# Style Awards! For four years running, MTV has fused music with fashion as no one can. This year too with an awesome line up of talent from across India, Pakistan and the UK; get set for explosions; as Raghu Dixit will make music with Lycra Brand line entitled "Universe of the Young". Uniforms will be the anthem for Shafqat Amanat Ali & designers Abhishek & Nandita. Gangs will be the common thread for Hard Kaur & Vikram Phadnis. Atif will mesmerize the audiences with his performance as the youth designers will unveil their creations as they get personal with "My Tee". Last but not the least ROUGE will urge you to leave your "shyness" behind with their flamboyant performance!#ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT bG1cO="0" P_WMX="0"#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Says Ashish Patil, General Manager - MTV India#ed_op#/FONT#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl# & Vice President, Creative & Content, "At Lycra MTV Style Awards our objective is to create harmony with different forms of artistic interpretation. Every year we have well known designers showcase their designs to the tunes of popular musicians. This year all our performers are chartbusters and have straddled nearly every genre of music. So when the designers of the year and the musicians come together at Lycra MTV Style Awards you can expect nothing less than magic!"#ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT bG1cO="1" P_WMX="0"#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#IMG height=188 src="http://www.indiantelevision.com/images17/shafqat_amanat_ali.JPG" width=250 align=right#ed_cl#Shafqat Amanat Ali known as the voice of Shahrukh Khan is currently one of the best singers in Pakistan and is slowly making his way into Bollywood. Trained in the classica music#ed_op#/FONT#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl# 'Gharana of Patiala', Shafqat has made a name for himself in the world of Pakistani Pop Music#ed_op#/FONT#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl# and was the force behind the Pakistani band - Fuzon. Commenting on performing at the Lycra MTV Style Awards this year Shafqat says, "I'm honoured to be performing at one of the most stylish award ceremonies of the year! To have Abhishek & Nandita showcase their creations for the theme 'Uniforms' to my music adds to the flavour of my song and makes it come alive!" #ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT bG1cO="0" P_WMX="0"#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#No newcomer to the scene, Hard Kaur has graced the stage at some of the world's most prestigious venues, opening London shows for Justin Timberlake and Pharrell Williams and has had resounding success with the club classic 'Ek Glassy'. Quotes Taran Kaur Dhillon, popularly known as Hard Kaur "Music & fashion are two sides of the same coin. As a pop artists  #ed_op#/FONT#ed_cl##ed_op#FONT style="FONT-WEIGHT: 400; COLOR: blue! important; FONT-FAMILY: Verdana, Arial, Helvetica, sans-serif; POSITION: static" color=blue#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#SPAN class=kLink style="FONT-WEIGHT: 400; COLOR: blue! important; FONT-FAMILY: Verdana, Arial, Helvetica, sans-serif; POSITION: relative"#ed_cl#pop #ed_op#/SPAN#ed_cl##ed_op#SPAN class=kLink style="FONT-WEIGHT: 400; COLOR: blue! important; FONT-FAMILY: Verdana, Arial, Helvetica, sans-serif; POSITION: relative"#ed_cl#artist#ed_op#/SPAN#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl# it is important to be in sync with style, to set trends & create a culture that people follow." Hard Kaur will create the rhythm for the theme 'Gangs' created by none other than Vikram Phadnis. #ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT bG1cO="0" P_WMX="0"#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Raghu Dixit's music is a seamless amalgamation of Indian ethnic music #ed_op#/FONT#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl# and styles from different parts of the world. Raghu's singing style can be described as unique as he uses a clever combination of Indian ethnic folk, Sufi and classical phrases into his songs. Says Raghu, "The theme of Lycra MTV Style Awards is "It's my Style" and that is particularly relevant to me because my music is a contemporary personal interpretation of the confluence of musical #ed_op#/FONT#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#heritage that only India can boast of!" The Lycra Brand partner's line will be showcased to the music of the Raghu Dixit Project.#ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4 bG1cO="0" P_WMX="0"#ed_cl#Atif Aslam, the Pakistani singer who took India by storm from his very first song 'Woh Lamhe, Woh Baatein' from the movie Zeher, will be setting the beat to the 'My Tee' collection created by students from NIFT Mumbai. These students were chosen as part of the Designer Hunt and will be mentored by Vikram Phadnis. Quips Atif "I'm very excited to perform at the Lycra MTV Style Awards this year, to be in the midst of popular Bollywood celebrities and famous musicians is very humbling."#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4 bG1cO="0" P_WMX="0"#ed_cl#Rouge, the British Asian all-girl pop band, whose refrain 'Don't be shy' rocked the clubs all over the world, will also ensure that the invitees won't stop rocking here as well. Says Amrita Hunjan, the Indian part of the band, "We are extremely thrilled about our performance at Lycra MTV Style Awards. This will be our first performance in Mumbai and we just can't wait to get there."#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Since the conception of Lycra MTV Style Awards, well known artists such as Shankar Ehsaan Loy & DJ Aqeel in 2003, Pentagram & Raghav in 2004, Bombay Rockers & Kailash Kher in 2005 and Bappi Lahiri and Pritam in 2006 have graced the awards with their mind blowing performances and presence. #ed_op#BR#ed_cl##ed_op#BR#ed_cl#Lycra MTV Style Awards is known for showcasing the best in music, fashion and Bollywood year on year, so sit back and get ready to enjoy yet another year of mesmerizing magic on stage!#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#/TBODY#ed_cl##ed_op#/TABLE#ed_cl##ed_op#DIV#ed_cl##ed_op#/DIV#ed_cl#


-----------------------------------
sur
Tue 01 Jan, 2008 04:58

Re: CLASSICAL TRANQUILITY & MUSIC REVIEW
-----------------------------------
#ed_op#DIV#ed_cl##ed_op#DIV class=art_head1 id=divTitle#ed_cl##ed_op#FONT face="Arial Narrow" color=#800000 size=5#ed_cl##ed_op#STRONG#ed_cl#An instrumental link#ed_op#/STRONG#ed_cl##ed_op#/FONT#ed_cl##ed_op#/DIV#ed_cl##ed_op#DIV class=art_head1#ed_cl##ed_op#STRONG#ed_cl##ed_op#FONT face="Arial Narrow" color=#800000 size=5#ed_cl##ed_op#/FONT#ed_cl##ed_op#/STRONG#ed_cl# #ed_op#/DIV#ed_cl##ed_op#DIV class=art_head1#ed_cl##ed_op#DIV class=art_head1 id=divTitle#ed_cl##ed_op#IMG src="http://epaper.hindustantimes.com/Web/HTPunjab/Photographs/2008/01/01/133/01_01_2008_133_007_002.jpg"#ed_cl##ed_op#/DIV#ed_cl##ed_op#DIV class=art_head1#ed_cl# #ed_op#/DIV#ed_cl##ed_op#DIV class=art_head1#ed_cl# #ed_op#/DIV#ed_cl##ed_op#DIV class=art_head1#ed_cl##ed_op#FONT face="Arial Narrow" color=#000000 size=4#ed_cl#Recently concluded Harballabh Sangeet Sammelan brought eminent musician on one platform in Jalandhar. Meet Ustad Ali #ed_op#/FONT#ed_cl##ed_op#A class=kLink oncontextmenu="return false;" id=KonaLink1 onmouseover=adlinkMouseOver(event,this,1); style="POSITION: static; TEXT-DECORATION: underline! important" onclick=adlinkMouseClick(event,this,1); onmouseout=adlinkMouseOut(event,this,1); href="http://epaper.hindustantimes.com/ArticleText.aspx?article=01_01_2008_133_007&kword=&mode=1#" target=_new#ed_cl##ed_op#FONT style="FONT-WEIGHT: 400; FONT-SIZE: 12px; COLOR: blue! important; FONT-FAMILY: Verdana,Arial, Helvetica, sans-serif; POSITION: static"#ed_cl##ed_op#FONT color=#000000#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#SPAN class=kLink style="FONT-WEIGHT: 400; FONT-SIZE: 12px; COLOR: blue! important; FONT-FAMILY: Verdana,Arial, Helvetica, sans-serif; POSITION: relative"#ed_cl#Ahmed #ed_op#/SPAN#ed_cl##ed_op#SPAN class=kLink style="FONT-WEIGHT: 400; FONT-SIZE: 12px; COLOR: blue! important; FONT-FAMILY: Verdana,Arial, Helvetica, sans-serif; POSITION: relative"#ed_cl#Khan#ed_op#/SPAN#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/A#ed_cl##ed_op#FONT face="Arial Narrow" color=#000000 size=4#ed_cl#…‘S hehnai, a fast diminishing instrument on the horizon of Indian classical music#ed_op#FONT color=#000000#ed_cl#,  #ed_op#/FONT#ed_cl#needs to be revived and taught to upcoming artistes to keep up the art form for generations to come": #ed_op#/FONT#ed_cl##ed_op#/DIV#ed_cl##ed_op#DIV class=art_head1#ed_cl##ed_op#FONT face="Arial Narrow" color=#000000 size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/DIV#ed_cl##ed_op#DIV class=art_head1#ed_cl##ed_op#FONT face="Arial Narrow" color=#000000 size=4#ed_cl#Shehnai maestro Ustad Ali Ahmed Khan verbalises his foremost wish during an interaction with HT Style. The Shehnai exponent was in Jalandhar to perform at 132nd Harballabh Sangeet Sammelan organised at Shree Devi Talab temple. #ed_op#/FONT#ed_cl##ed_op#/DIV#ed_cl##ed_op#DIV class=art_head1#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/DIV#ed_cl##ed_op#P class=art_head1 jvZBR="0" ALR6w="0"#ed_cl##ed_op#FONT face="Arial Narrow" color=#000000 size=4#ed_cl#Ustad Ali Ahmed Khan's absolute mastery of the raga form and of his craft makes him an artiste in the league of Pt Ravi Shankar, Hariprasad Chaurasia, Pt Shivkumar Sharma and Rais Khan, among other great innovators of Hindustani music forms. #ed_op#/FONT#ed_cl##ed_op#P class=art_head1 jvZBR="0" ALR6w="0"#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#P class=art_head1 jvZBR="0" ALR6w="0"#ed_cl##ed_op#FONT face="Arial Narrow" color=#000000 size=4#ed_cl#He is also a man of legendary simplicity, which, to those who know him well, springs from his utter devotion to his art and the complete sublimation of his self in his music. #ed_op#/FONT#ed_cl##ed_op#P class=art_head1 jvZBR="0" ALR6w="0"#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#P jvZBR="0" ALR6w="0"#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#He recalls, "My first performance fetched me a gold medal and that encouraged me perform better and to learn and try different ragas on my instrument, my Shehnai. And the innovations include application of Shehnai in gayaki, sur meend, pukaar, tantkari, baat ki taan, sapat ki taan and jod and jhaala." #ed_op#/FONT#ed_cl##ed_op#P jvZBR="0" ALR6w="0"#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#P jvZBR="0" ALR6w="0"#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Besides, Ali Ahmed Khan has played Shehnai in the signature tune of Doodarshan that has been its identity for decades now. He has also played for several Bollywood and regional language films#ed_op#/FONT#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl# as a master artiste. #ed_op#/FONT#ed_cl##ed_op#P jvZBR="0" ALR6w="0"#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#P jvZBR="0" ALR6w="0"#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#He also got a position in All India Radio, Delhi in 1960 but did not join the same for his own reasons. #ed_op#/FONT#ed_cl##ed_op#P jvZBR="0" ALR6w="0"#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#P jvZBR="0" ALR6w="0"#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#He says, "I got it but did not join it because after having bagged the position I did not wish to be tied up. I wanted to pursue my passion and promote my instrument." #ed_op#/FONT#ed_cl##ed_op#P jvZBR="0" ALR6w="0"#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#P jvZBR="0" ALR6w="0"#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#So much so is the love for the instrument that Ustad ji has passed on his skills to sons Ahmed Abbas Khan and Hassan Haider Khan who performed with him during the sammelan. #ed_op#/FONT#ed_cl##ed_op#P jvZBR="0" ALR6w="0"#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#P jvZBR="0" ALR6w="0"#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#And the trio has also formed an organisation that aims to promote Shehnai. Reveals son, Ahmed Abbas Khan, "This organisation is aimed at promoting the tradition of Shehnai among the younger generation.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P jvZBR="0" ALR6w="0"#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P class=art_head1 jvZBR="0" ALR6w="0"#ed_cl##ed_op#FONT face="Arial Narrow" color=#000000 size=4#ed_cl#Adopted and trained by his maternal uncle, Ustad Nazir Hussain Khan, Ustad Ali started learning the art of playing Shehnai at the age of nine and gave his first performance in All Bengal Music Conference organised in Kolkata in 1956. #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P class=art_head1 jvZBR="0" ALR6w="0"#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#/DIV#ed_cl##ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#/DIV#ed_cl#


-----------------------------------
sur
Thu 03 Jan, 2008 00:48

Re: CLASSICAL TRANQUILITY & MUSIC REVIEW
-----------------------------------
#ed_op#DIV#ed_cl##ed_op#FONT face=Arial color=#ff6600 size=2#ed_cl# #ed_op#/FONT#ed_cl##ed_op#STRONG#ed_cl#"#ed_op#/STRONG#ed_cl##ed_op#FONT size=5#ed_cl#CLASSICAL MUSIC IS NOT FOR ENTERTAINMENT"#ed_op#/FONT#ed_cl##ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#STRONG#ed_cl##ed_op#/STRONG#ed_cl# #ed_op#/DIV#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#IMG height=300 hspace=8 src="http//www.indiacurrents.com/directory/getdata.asp?about_id=96720f0fc745223f8de264ff0ceb430c-5" width=199 align=left vspace=8 border=0#ed_cl#Sitting and talking with Alam Khan, 24, at the world famous Ali Akbar College of Music in San Rafael, Calif., is like sharing a sacred meal with a rising acolyte at an ancient temple. One of the youngest sons of maestro Ali Akbar Khan, Alam Khan radiates seriousness and an intense self-awareness about his role as one of the youngest torchbearers of his father’s and grandfather’s legacy. The young Khan began studying sarod—a 25-string instrument that traces its roots to Afghanistan—with his father when he was 7, and has performed with him around the world, including at the prestigious Dover Lane Music Conference in Kolkata, India, and at Carnegie Hall. In 2004, Alam Khan made his debut solo performance accompanied by the great tabla wizard Zakir Hussain.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#"I don’t consider myself a good musician or a learned musician," Alam Khan says. "I think I am just learning, that I am a student, and that I will always be a student. Right now, I am practicing rigorously and taking all my father’s classes. I instruct review classes, and give private instruction to students at the college. What I need now, and what I am doing now, is the practice that comes only through performance."#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Throughout the interview, Alam Khan deftly evades any opportunity to talk about his own musical achievements. To the point of being self-deprecating, he defers to the elders in his family and the lineage he represents. It is easy to understand why. His father carries forth the teachings of his father, the mystical genius Allaudin Khan. Allaudin Khan, who was also the guru of sitar player Ravi Shankar, is said to have mastered hundreds of musical instruments—both Indian and Western. A visionary innovator, he is credited with modernizing sitar, sarod, and a number of other instruments; he was also able to create and improvise ragas.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#"On a conscious and subconscious level, it plays a big part of my mental state that I come from a line of great musicians," Alam Khan says. "If I didn’t do this, it would haunt me that I didn’t do it." Spirituality and reverence for the sacred are central to Khan’s way of thinking about the music and his place in the family profession. "I want to make people happy like my father did. The lineage is important, yes, but devotion to the music is the most important thing. You can be an American student and this music can touch your heart, and it feels like an old friend, it feels right, and you understand the connection and you devote yourself to that."#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#IMG height=129 hspace=9 src="http//www.indiacurrents.com/directory/getdata.asp?about_id=96720f0fc745223f8de264ff0ceb430c-6" width=164 align=left vspace=9 border=0#ed_cl#Like many developing masters before him, Alam Khan’s course to becoming an established classical North Indian musician has been deliberate and slow. You won’t find any fancy marketing schemes here. He is still establishing himself in the old way, by performing selectively at prestigious conferences in India and throughout the world. His only album release to date, #ed_op#EM#ed_cl#Father to Son#ed_op#/EM#ed_cl# (2002), features him playing alongside his father. When we begin to talk about the Asian Massive movement and about contemporary applications of classical North Indian music, Alam Khan expresses strong reservations. "My father always says, ‘There is fusion, and there is confusion.’ My grandfather spent his whole life learning this music to make it as pure as possible, and he learned it directly from blood-related descendants of Mian Tansen [a 16th-century musical genius in the court of the Mughal emperor Akbar]. It is important to me that this music remains pure. We have the technology and, yes, we can [sample classical music], but we must have a foundation or the building will collapse."#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#In 2002, Alam Khan released a self-produced hip-hop album, #ed_op#EM#ed_cl#Raps, Rupees and Rickshaws#ed_op#/EM#ed_cl#, featuring himself and Oliver Black as MCs. Alam Khan produced all the beats and the album featured rising tabla virtuoso Debopriya Sarkar on the signature track, "Hangin’ with Bubai."#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#"I like electronic music. I listen to it and I make it, so I would be a hypocrite if I said I didn’t enjoy it. But it can only take you to a certain place, it taps into different kinds of emotions and vibrations. But it doesn’t get to the core essence," he says. "Spiritually, classical music is not for entertainment, it is not fashionable and it is not image-saturated—it transcends all of that. It is for your body, mind, and soul; and one of the things that is great about my father—and all the masters living (there are not many living these days)—is that they are able to be open channels for love and compassion to come through them. My grandfather used to say that you can play and devote yourself to the ragas so much that you forget the time of day, your surroundings, the place you are in, your name, everything. In order to achieve that, it has to be very pure, and the emphasis has to be on real pitch, rhythm, and tuning. It is a whole different level."#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Khan says he notices a lot of carelessness in pitch in electronic music that utilizes classical Indian samples. The focus on rhythm and beat over tuning seems disrespectful to him. "A lot of people are trying to fuse this music. I think that is just the medium through which people listen to music these days. Music is made electronically. It is a reflection of our generation today. We want a quick fix. We have no time to meditate, no time to get in touch with old traditions. In modern society, we pick up our #ed_op#EM#ed_cl#Yoga Journal#ed_op#/EM#ed_cl# magazine, we wear our shirts with deities on them, and that makes us spiritual," he says. "It is a whole state of mind that the music misses nowadays."#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl#


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sur
Tue 08 Jan, 2008 10:38

Re: CLASSICAL TRANQUILITY & MUSIC REVIEW
-----------------------------------
#ed_op#DIV#ed_cl##ed_op#TABLE cellSpacing=0 cellPadding=0 width=636 align=center border=0#ed_cl##ed_op#TBODY#ed_cl##ed_op#TR#ed_cl##ed_op#TD class=t_t_11_b#ed_cl##ed_op#FONT class=t_v_16_b_b face="Arial Narrow" color=#7f3f00 size=5#ed_cl##ed_op#STRONG#ed_cl#L Subramaniam: India's violin icon#ed_op#/STRONG#ed_cl##ed_op#/FONT#ed_cl##ed_op#BR#ed_cl#By PTI#ed_op#BR#ed_cl#Nov 05, 2007, 20:05#ed_op#BR#ed_cl##ed_op#BR#ed_cl##ed_op#/TD#ed_cl##ed_op#TD class=t_t_11_b vAlign=top align=right#ed_cl##ed_op#BR#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#/TBODY#ed_cl##ed_op#/TABLE#ed_cl##ed_op#TABLE cellSpacing=0 cellPadding=0 width=636 align=center border=0#ed_cl##ed_op#TBODY#ed_cl##ed_op#TR#ed_cl##ed_op#TD style="FONT-SIZE: 10pt; FONT-FAMILY: Trebuchet MS, Verdana, helvetica, sans-serif; BACKGROUND-COLOR: white"#ed_cl##ed_op#P#ed_cl##ed_op#TABLE cellSpacing=2 cellPadding=0 align=left border=0#ed_cl##ed_op#TBODY#ed_cl##ed_op#TR#ed_cl##ed_op#TD#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#/TBODY#ed_cl##ed_op#/TABLE#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#New Delhi, Sept. 19 (PTI): He is one of the few exponents of Indian Classical Music who has wowed western audiences by playing Indian classical music on what is essentially a western instrument- Violin. #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Dr L Subramaniam has performed the Carnatic and Western classical music on stage in various parts of the world, besides conducting some of the most famous orchestras and sharing the state with western and Indian music geniuses. But it is in playing Carnatic music that he says, he finds 'real joy.' #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#"Playing Carnatic music in India or the West is a challenge in the sense that Indian audience are not that familiar with the violin, whereas the westerners listen to somebody playing the instrument rather critically as they are well aware of the instrument and the technique." Subramaniam said. #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Initially, sitting cross legged and playing the violin was a bit of a shock for the westerners. "But once they started listening to the Indian music, perceptions changed," says the legend. Subramaniam was here to participate in the annual SPIC-MACAY festival for the youth. #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Subramaniam studied medicine and got registered as a general practitioner before deciding to dedicate his life to playing the violin. #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#"Violin is the most expressive of all instruments I know and it called me to dedicate myself to it," he says. #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Subramaniam who has many pupils under his tutelage including his own son and daughter feels that though the opportunities for youngsters are vast, dedication to any art form they choose is not the same as he saw during his younger days. #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#"Youngsters these days want to be most well known artists rather than great exponents of their art" he says. #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Citing carnatic singing legend MS Subbulakshmi and late Sarod maestro Bismillah Khan as great examples to follow for youngsters, he says, "They were only concerned with dedicating themselves to the music form they chose and better themselves at it, all throughout their lives. Nothing else mattered to them." #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Subramaniam is of the opinion that Indian classical music should be made part of the school and college curriculum in the country. "If youngsters learn and start appreciating the Indian classical music, we can have not just more talented people in the field, but also the future of our music will be in safer hands," he says. #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#But he is certainly not impressed with the television driven talent-hunt shows. "I don't like this sms business," he says in exasperation. How can the audience judge a singer, when the judges are already there, he asks. #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#In his opinion only a judge can evaluate a singer's pitch, rhythm and emotion. "Some people like a cute face and they will vote for it, that is not a talent hunt," he says. #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Subramaniam who has composed music for Mira Nair's films "Salaam Bombay" and "Mississippi Masala" besides a solo background recital in Bernardo Bertoucci's "Little Buddha" is not very excited about the Indian film music scene. "We had great musicians like Madan-Mohan and Laxmikanth-Pyarelal in the past, but now the music that is being composed is not something that will linger on forever," he says. #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Although he is not averse to composing film music, Subramaniam says that time is a major factor. "All my programmes are decided almost two years in advance, so taking out time is almost impossible," he says. Subramaniam is married to Bollywood singer Kavitha Krishnamurthy. #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Subramaniam has more than 150 recordings to his credit, including with legends like Menuhin, Stephane Grappelli, Ruggiero Ricci and many others. "I have only enriched myself by playing with so many legends and made some great friends in the process," he says. He specially treasures his recordings with Yehudi Menuhin. #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#/TBODY#ed_cl##ed_op#/TABLE#ed_cl##ed_op#/DIV#ed_cl#


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sur
Thu 10 Jan, 2008 00:27

Re: CLASSICAL TRANQUILITY & MUSIC REVIEW
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#ed_op#DIV#ed_cl##ed_op#P#ed_cl##ed_op#FONT class=storyhead color=#441415 size=5#ed_cl##ed_op#B#ed_cl#Making of the Ustad #ed_op#/B#ed_cl##ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#P#ed_cl##ed_op#TABLE width="100%" bgColor=#ffeeff border=0#ed_cl##ed_op#TBODY#ed_cl##ed_op#TR#ed_cl##ed_op#TD#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Moving between time frames, Ustad Zakir Hussain says it was all about being at the right place at the right time #ed_op#/FONT#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#/TBODY#ed_cl##ed_op#/TABLE#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#HR color=#ff99ff noShade#ed_cl#When you come to a table with five others you are an assortment. But make sure you take to the table your specialty #ed_op#HR color=#ff99ff noShade#ed_cl##ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#CENTER#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl#PHOTO: K. GOPINATHAN #ed_op#BR#ed_cl##ed_op#IMG height=227 src="http://www.hinduonnet.com/thehindu/mp/2006/12/23/images/2006122302610501.jpg" width=250 align=center border=1#ed_cl# #ed_op#BR#ed_cl##ed_op#B#ed_cl#PRODUCT OF HIS TIME Ustad Zakir Hussain. #ed_op#/B#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/CENTER#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#A combination of Lucknowi elegance and Western courtesy, Zakir Hussain is remarkably unassuming. #ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#But, where should one begin a conversation with him? With the choices that Zakir was compelled to make in his life or in his work, replete with experiments, it seemed fascinating to start with the former. #ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#"The choices that you make are largely dependent on what is available to you. At that time, when I made those choices, there was so much happening in the world of music. It was difficult not to respond to it. I always feel if my father, Ustad Alla Rakha was in my place, he too would have made the same choices. Born in different eras, we made different journeys," says the Ustad. #ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Change, as he perceives it, is hardly a conscious exercise and is only an outcome of the times. If the Ustad did what he did, it was only because it was made available to him. "I took a leap in faith and chose the less- trodden path. It was unusual, yes, at least in my genre of music." The fact that he was educated also guided his complex choice. "I was young and open to change. I was an educated, classical musician and not blinded by tradition. Whereas my father, steeped in tradition, found it difficult to cross boundaries. But then he was probably a step ahead of his forefathers," he quickly adds, looking at the entire process as one of natural progression. Ustad Alla Rakha had just one demand to make of his son. Zakir had to promise to preserve the grand tradition he represented, in its quintessence. He had even illustrated it: "When you come to a table with five others you are an assortment. But make sure you take to the table your specialty and don't simply become part of that assortment." The words left a big impact on the Ustad. "I realised I didn't have to be a Western drummer, or a guitarist hamming away. All I had to be was just myself, a tabla player, and that's the specialty I brought to the table. My father felt reassured too," he says. #ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT class=subsectionhead color=red#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Role model #ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#VB_TAG#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#From here, Ustad Zakir Hussain went on to be hailed as an icon. He gave the tabla a status that it never enjoyed prior to him. "I was fortunate to be at the right place at the right time. There are musicians in India, who are as good as I am, or probably better. As a tabla player I'm just as good as I was 20 years ago. The difference is that I learnt the language the West understood. It gave me opportunities and also allowed me the kind of exposure hailed by young musicians today. Therefore, even though there have been musicians of equal calibre, I've enjoyed that iconic status," he says modestly. #ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#The Ustad concedes that today's musician interacts with the audience at various levels, unlike the musician of yesteryear who was bestowed a demigod status and put on a pedestal, cut off from the common man. "When your audience realises that you too went to college like them, you too wear western clothes and go to Pizza Hut, it instils in them a sense of familiarity. With all these commonalities, they recognise a specialty in you that makes you different. And that's what has given me the identity of a global musician." #ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#In the early days of his career, when Zakir Hussain associated himself with some of the best bands, it marked the beginning of fusion music. But now, when there are any number of competent bands, does Shakti, with which he has been associated since its inception, feel the need for a re-evaluation? "We are not trying to `make it' or have a huge success. We play music together even as we enjoy each other's company. It would be sad to even try and be young, or compete with them. The opportunity that Shakti gets to be what it `was' is important to me." Even while Shakti hasn't made efforts to realign, it surely doesn't mean it is devoid of influences. However, he admits, Shakti is not worried about pleasing its audience and only wants to enjoy its music. His answer is similar when asked about the recent Grammy nomination: "With the nomination, I've got my share of blessings. Whether I win or not doesn't matter." #ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#He recalled his childhood and how one legendary tabla player and three aspiring ones drove their mother crazy. "For someone who wasn't musically inclined, we were a bit much," he says, remembering the annoyance on his mother's face. #ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#"Our father gave us music, but she took care of everything else. She made sure that we all did well in our studies too. In a way, she's our real hero," says the Ustad, nostalgically. #ed_op#/FONT#ed_cl##ed_op#P align=justify#ed_cl##ed_op#P align=justify#ed_cl##ed_op#P align=justify#ed_cl##ed_op#P align=justify#ed_cl##ed_op#P align=justify#ed_cl##ed_op#P align=justify#ed_cl##ed_op#WEB#ed_cl##ed_op#/WEB#ed_cl##ed_op#P align=justify#ed_cl#DEEPA GANESH #ed_op#/P#ed_cl##ed_op#/DIV#ed_cl#


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sur
Sun 20 Jan, 2008 19:51

Re: CLASSICAL TRANQUILITY & MUSIC REVIEW
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#ed_op#DIV#ed_cl##ed_op#DIV class=art_head1 id=divTitle#ed_cl##ed_op#STRONG#ed_cl##ed_op#FONT size=5#ed_cl#Classically yours#ed_op#/FONT#ed_cl##ed_op#/STRONG#ed_cl##ed_op#/DIV#ed_cl##ed_op#DIV class=art_head1#ed_cl##ed_op#DIV class=art_head1 id=divTitle#ed_cl##ed_op#DIV class=art_head1 id=divTitle#ed_cl##ed_op#DIV id=divBlurb#ed_cl#The 29th Janfest will kick-off on January 25#ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl#Bhanuj Kappal#ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl# #ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#IMG src="http://epaper.hindustantimes.com/Web/HTMumbai/Photographs/2008/01/21/540/21_01_2008_540_003_010.jpg"#ed_cl# #ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#IMG src="http://epaper.hindustantimes.com/Web/HTMumbai/Photographs/2008/01/21/540/21_01_2008_540_003_012.jpg"#ed_cl##ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl# #ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl# #ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#IMG src="http://epaper.hindustantimes.com/Web/HTMumbai/Photographs/2008/01/21/540/21_01_2008_540_003_009.jpg"#ed_cl##ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl# #ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl# #ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#I f you're a fan of Indian classical music, and have nothing to do next weekend, find your way to St Xavier's College to witness some of the most respected musicians in the field weaving their magic. #ed_op#/FONT#ed_cl##ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/DIV#ed_cl##ed_op#P wCdZy="0" OgHe5="0"#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Yes, it's that time of the year, as the members of the Indian Music Group bring you the 29th edition of the Janfest, one of the biggest music festivals in the city. The IMG is an organization started by students of St Xavier's to promote classical music and encourage the youth to appreciate and carry forward this cultural tradition.#ed_op#/FONT#ed_cl##ed_op#P wCdZy="0" OgHe5="0"#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl# #ed_op#/FONT#ed_cl##ed_op#P wCdZy="0" OgHe5="0"#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#This year the festival promises to be a veritable treat, featuring artistes varying from fusion band Silk to the world famous flautist Pt Hariprasad Chaurasia.. #ed_op#/FONT#ed_cl##ed_op#P wCdZy="0" OgHe5="0"#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#P wCdZy="0" OgHe5="0"#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Other distinguished performers include Pt Vishwamohan Bhatt, the Frammy- winning creator of the Mohan Veena, Ashwini Bhide-Deshpande and Pt Ajoy Chakrabarty. Tradition keepers "I've been associated with the IMG for a long time," said Pt Chaurasia, about the festival. "In fact, I was given an award at Xavier's for my music even before the IMG started. I used to perform at Janfest every year. Nowadays, these young boys and girls don't invite SITAR PLUS: Ashwini Bhide-Deshpande me too often," he joked. #ed_op#/FONT#ed_cl##ed_op#P wCdZy="0" OgHe5="0"#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#P wCdZy="0" OgHe5="0"#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#He also praised the college for being the only one in the city which has a rich tradition of music and culture. Louis Banks, a proponent of fusion music said on his desire to mix Indian and western rhythms. #ed_op#/FONT#ed_cl##ed_op#P wCdZy="0" OgHe5="0"#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#P wCdZy="0" OgHe5="0"#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#"Our brand of music is not purely classical, it's a hybrid. It stems from impurities but we hope it grows into something that's pure and beautiful in its own right," asserts Banks. #ed_op#/FONT#ed_cl##ed_op#P wCdZy="0" OgHe5="0"#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#P wCdZy="0" OgHe5="0"#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#The three-day festival starts on the January 25. The tickets are already on sale. So, make sure you grab yours before they're over.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P wCdZy="0" OgHe5="0"#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#BR#ed_cl# #ed_op#/P#ed_cl##ed_op#/FONT#ed_cl##ed_op#/DIV#ed_cl##ed_op#/DIV#ed_cl##ed_op#/DIV#ed_cl##ed_op#/DIV#ed_cl#


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sur
Mon 28 Jan, 2008 01:40

Re: CLASSICAL TRANQUILITY & MUSIC REVIEW
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#ed_op#DIV#ed_cl##ed_op#DIV class=art_head1 id=divTitle#ed_cl##ed_op#FONT color=#451528 size=5#ed_cl##ed_op#STRONG#ed_cl##ed_op#EM#ed_cl#Gone classical...#ed_op#/EM#ed_cl##ed_op#/STRONG#ed_cl##ed_op#/FONT#ed_cl##ed_op#/DIV#ed_cl##ed_op#DIV class=art_head1#ed_cl##ed_op#FONT color=#7f3f00 size=3#ed_cl##ed_op#DIV id=divBlurb#ed_cl##ed_op#EM#ed_cl##ed_op#STRONG#ed_cl#Razvin Namdarian reports from the Teen Prahar Festival#ed_op#/STRONG#ed_cl##ed_op#/EM#ed_cl##ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#EM#ed_cl##ed_op#/EM#ed_cl# #ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#EM#ed_cl##ed_op#/EM#ed_cl# #ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#EM#ed_cl##ed_op#IMG src="http://epaper.hindustantimes.com/Web/HTMumbai/Photographs/2008/01/28/540/28_01_2008_540_004_001.jpg"#ed_cl##ed_op#/EM#ed_cl##ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#EM#ed_cl##ed_op#/EM#ed_cl# #ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#FONT face="Arial Narrow" color=#000000 size=4#ed_cl#The day long music festival organised by Banyan Tree Events on the occasion of Republic Day, was a treat for all those who worship at the altar of classical Indian music. #ed_op#/FONT#ed_cl##ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#FONT face="Arial Narrow" color=#000000 size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/DIV#ed_cl##ed_op#P GBFiQ="0" EhnrS="0"#ed_cl##ed_op#FONT face="Arial Narrow" color=#000000 size=4#ed_cl#The music renditions at the Teen Prahar Music Festival, organised in association with Birla Sunlife Insurance, were in keeping with the prahars - morning, evening and night. Morning raga Sangeet maestros regaled the audiences in the morning with a mix of classical and keeping with the spirit of Republic Day - national, soul stirring music, which includ ed a rendition of Raghupati Raghav raja Ram by Shailesh Bhagwat on shehnai and Milind Raikar on violin. #ed_op#/FONT#ed_cl##ed_op#P GBFiQ="0" EhnrS="0"#ed_cl##ed_op#FONT face="Arial Narrow" color=#000000 size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#P GBFiQ="0" EhnrS="0"#ed_cl##ed_op#FONT face="Arial Narrow" color=#000000 size=4#ed_cl#Saskia Rao from the Netherlands played the cello which blended well with Shubhendra Rao on the sitar. The morning session was brought to a befitting end with Pandit Vishwamohan Bhatt (mohan veena) and Shashank on flute playing Vande Mataram and Jana Gana Mana. #ed_op#/FONT#ed_cl##ed_op#P GBFiQ="0" EhnrS="0"#ed_cl##ed_op#FONT face="Arial Narrow" color=#000000 size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#P GBFiQ="0" EhnrS="0"#ed_cl##ed_op#FONT face="Arial Narrow" color=#000000 size=4#ed_cl#The evening session saw more music lovers thronging the auditorium. The Gundecha Brothers opened the session with their trademark Dhrupad vocals showing amazing range, control and depth in their voices. #ed_op#/FONT#ed_cl##ed_op#P GBFiQ="0" EhnrS="0"#ed_cl##ed_op#FONT face="Arial Narrow" color=#000000 size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#P GBFiQ="0" EhnrS="0"#ed_cl##ed_op#FONT face="Arial Narrow" color=#000000 size=4#ed_cl#Kala Ramnath on violin, Rupal Kulkarni on flute, Pandit on Bhavani Shankar mridangam and Anubrata Chatterjee on tabla lifted the spirit of the evening with their jugalbandi. #ed_op#/FONT#ed_cl##ed_op#P GBFiQ="0" EhnrS="0"#ed_cl##ed_op#FONT face="Arial Narrow" color=#000000 size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#P GBFiQ="0" EhnrS="0"#ed_cl##ed_op#FONT face="Arial Narrow" color=#000000 size=4#ed_cl#Ajay Shrinivasan of Birla Sun Life felicitated the artistes. Several foreigners flocked the event and seemed all-soaked in the Indian musical heritage and culture. #ed_op#/FONT#ed_cl##ed_op#P GBFiQ="0" EhnrS="0"#ed_cl##ed_op#FONT face="Arial Narrow" color=#000000 size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#P GBFiQ="0" EhnrS="0"#ed_cl##ed_op#FONT face="Arial Narrow" color=#000000 size=4#ed_cl#Amongst them was David Raphael Israel, 51. He moved to India a year ago from the U S to learn classical music from the Gundecha brothers in Bhopal. #ed_op#/FONT#ed_cl##ed_op#P GBFiQ="0" EhnrS="0"#ed_cl##ed_op#FONT face="Arial Narrow" color=#000000 size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#P GBFiQ="0" EhnrS="0"#ed_cl##ed_op#FONT face="Arial Narrow" color=#000000 size=4#ed_cl#He feels, "The language of music has a magical ability to express structural paradoxes of ideas. It's universal and can be recognised instinctively." Mixed bag Taal India - a vibrant percussion ensemble of classical and folk drums lead by Pandit Anindo Chatterjee was a surprise packet. There was the nagada, the mridangam, the dholak and the tabla - each presenting its resonance individually and in unison. #ed_op#/FONT#ed_cl##ed_op#P GBFiQ="0" EhnrS="0"#ed_cl##ed_op#FONT face="Arial Narrow" color=#000000 size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#P GBFiQ="0" EhnrS="0"#ed_cl##ed_op#FONT face="Arial Narrow" color=#000000 size=4#ed_cl#They were joined by the khartaal and sarangi players from Rajasthan who amazed with not just the dexterity of their nimble fingers but also their showmanship, taking entertainment to a higher level. #ed_op#/FONT#ed_cl##ed_op#P GBFiQ="0" EhnrS="0"#ed_cl##ed_op#FONT face="Arial Narrow" color=#000000 size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#P GBFiQ="0" EhnrS="0"#ed_cl##ed_op#FONT face="Arial Narrow" color=#000000 size=4#ed_cl#The grand finale was Shujaat Khan first individually on the sitar playing Rageshwari and then in a jugalbandi with Pandit Anindo Chatterjee. They did a vocal encore at the behest of the audience that just didn't seem to want to leave.. though most had been there the whole day.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P GBFiQ="0" EhnrS="0"#ed_cl##ed_op#FONT face="Arial Narrow" color=#000000 size=4#ed_cl##ed_op#BR#ed_cl##ed_op#IMG src="http://epaper.hindustantimes.com/Web/HTMumbai/Photographs/2008/01/28/540/28_01_2008_540_004_010.jpg"#ed_cl##ed_op#/P#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/DIV#ed_cl##ed_op#DIV class=art_head1#ed_cl##ed_op#STRONG#ed_cl##ed_op#FONT color=#7f3f00 size=5#ed_cl##ed_op#/FONT#ed_cl##ed_op#/STRONG#ed_cl# #ed_op#/DIV#ed_cl##ed_op#/DIV#ed_cl#


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sur
Sat 09 Feb, 2008 23:52

Re: CLASSICAL TRANQUILITY & MUSIC REVIEW
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#ed_op#DIV#ed_cl##ed_op#SPAN style="FONT-SIZE: 12px; FONT-FAMILY: arial"#ed_cl##ed_op#STRONG#ed_cl#http://www.littleindia.com/#ed_op#/STRONG#ed_cl##ed_op#/SPAN#ed_cl# #ed_op#BR#ed_cl##ed_op#TABLE cellSpacing=0 cellPadding=0 width="100%" border=0#ed_cl##ed_op#TBODY#ed_cl##ed_op#TR#ed_cl##ed_op#TD#ed_cl##ed_op#!-- Article content --#ed_cl##ed_op#DIV#ed_cl##ed_op#TABLE cellSpacing=0 cellPadding=0 width="100%"#ed_cl##ed_op#TBODY#ed_cl##ed_op#TR#ed_cl##ed_op#TD vAlign=top#ed_cl##ed_op#H1 class=a_title#ed_cl#A Musical Life#ed_op#/H1#ed_cl##ed_op#DIV class=a_author#ed_cl#Kavita Chhibber #ed_op#/DIV#ed_cl##ed_op#DIV class=a_date#ed_cl#Thu Aug 10, 2006#ed_op#/DIV#ed_cl##ed_op#DIV class=a_date#ed_cl# #ed_op#/DIV#ed_cl##ed_op#DIV class=a_date#ed_cl# #ed_op#/DIV#ed_cl##ed_op#DIV class=a_description#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Rajeev Taranath on music and extraordinary musicians.#ed_op#/FONT#ed_cl##ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#TABLE cellSpacing=0 cellPadding=0 width="100%" border=0#ed_cl##ed_op#TBODY#ed_cl##ed_op#TR#ed_cl##ed_op#TD#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#He recites T.S. Eliot with the same ease with which he plays the sarod. A linguist, who once fooled a diverse array of people from different Indian states by speaking their own dialect flawlessly, he is also a highly accomplished singer who was invited to become Bollywood's golden voice. But then Ustad Ali Akbar Khan happened to him, and Rajeev Taranath was hopelessly hooked to the sarod.#ed_op#/FONT#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#BR#ed_cl##ed_op#BR#ed_cl##ed_op#/P#ed_cl##ed_op#/FONT#ed_cl##ed_op#P align=left#ed_cl##ed_op#TABLE style="MARGIN-BOTTOM: 3px; MARGIN-LEFT: 6px" cellSpacing=2 cellPadding=5 width="10%" align=right bgColor=#e8e8e8 border=0#ed_cl##ed_op#TBODY#ed_cl##ed_op#TR#ed_cl##ed_op#TD#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#IMG title="" height=333 alt="" src="http://www.littleindia.com/data/images/news/categories/aug2006/Rajeev_01_enlarged.jpg" width=225 align=baseline border=0#ed_cl# #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#/TBODY#ed_cl##ed_op#/TABLE#ed_cl##ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#In an exclusive interview with Kavita Chhibber the sarod maestro, who is also a PhD in English literature, talks about his extraordinary beginnings, his relationship with Annapurna Devi, the elusive ex wife of Pandit Ravi Shankar, Shankar himself and the man whose music makes him fall in love with melody over and over again - Ustad Ali Akbar Khan, Annapurna Devi's brother.#ed_op#BR#ed_cl##ed_op#BR#ed_cl##ed_op#/FONT#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#FONT color=#ff0000#ed_cl##ed_op#EM#ed_cl#Your mother and father seemed to be way ahead of their times. What truly extraordinary beginnings for a child born in the 1930s.#ed_op#BR#ed_cl##ed_op#BR#ed_cl##ed_op#/EM#ed_cl##ed_op#/FONT#ed_cl#My father was tall and handsome like a Roman soldier and a true Renaissance man. He was like Da Vinci - a physician, a table player, a singer and a freedom fighter. He was an allopath who was also an expert in Ayurveda and Yunani medicine and he successfully treated lepers, helped unwed mothers.#ed_op#BR#ed_cl##ed_op#BR#ed_cl#My father taught me tabla in order to teach me Ayurveda. There is an interesting connection. Just like in tabla where your fingers have to get the subtlest sense of rhythm, in Ayurveda you diagnose disease by checking the patient's pulse. Each subtle variation signifies a certain ailment. Music he discovered had a strong healing effect. He would sing a particular raga which strangely would cause fever to come down. I grew up listening to musical geniuses like Abdul Karim Khan sahib. Before I knew how to read, I could put any record on the gramophone and know what was in it. I had memorized every little detail on every record in that collection.#ed_op#BR#ed_cl##ed_op#BR#ed_cl#I learnt Ayurveda under his supervision. He knew the day he was going to die. Two days earlier he had told my mother that he was going to die and how to treat each patient. He also told her that she would be the mother for everyone from now on, and must not dress in a widow's garb. That day in 1942, he asked me to sing a song he had composed -"Darshan bin mohe chain nahin," and then went in to lie down. He called my mother as I continued my tabla practice at his behest and the next time I saw him he was unconscious. I was 10 when he passed away. He did not want me to come to the crematorium and to remember him as a vibrant, healthy father. His friends cremated him.#ed_op#BR#ed_cl##ed_op#BR#ed_cl#My mother was a very special lady. She was a dusky beauty who wrote what was probably the first book on S** education for girls in English in India in the 1920s. In fact she was selling these books on a railway platform wearing a Nehru cap when Pandit Nehru saw her at the station and asked to see the book. Their discussion was so animated that the train started and Nehru had to pull the chain and helped my mother get down. He became very fond of her. She too passed away when I was 20.#ed_op#BR#ed_cl##ed_op#BR#ed_cl#I had a good voice and was considered a child prodigy and was surrounded by admirers, all of my father's age, until I turned 15 and my voice cracked. The cuckoo became a crow and everyone disappeared. #ed_op#BR#ed_cl##ed_op#BR#ed_cl#I did sing again later in college for the fun of it and won many prizes. Talat Mehmood heard me sing and asked me to come to Bombay and meet with him. He said he will try and help me break into play back singing.#ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#FONT color=#ff0000#ed_cl##ed_op#EM#ed_cl#And then?#ed_op#BR#ed_cl##ed_op#/EM#ed_cl##ed_op#/FONT#ed_cl##ed_op#BR#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#TABLE style="MARGIN-BOTTOM: 3px; MARGIN-RIGHT: 6px" cellSpacing=1 cellPadding=5 width="10%" align=left bgColor=#e8e8e8 border=0#ed_cl##ed_op#TBODY#ed_cl##ed_op#TR#ed_cl##ed_op#TD#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl# #ed_op#IMG title="" height=323 alt="" src="http://www.littleindia.com/data/images/news/categories/aug2006/Rajeev_06.jpg" width=225 align=baseline border=0#ed_cl##ed_op#/FONT#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#/TBODY#ed_cl##ed_op#/TABLE#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#And then Ali Akbar Khan happened to me and the rest is history!  In 1952, Panditji came to Bangalore for the first time with Ali Akbar Khan. Until then I had a pronounced dislike for sarod. I had heard the instrument on those hard older 78 rpm records and it came across as a staccato and harsh instrument. I took a girl with me who loved my filmi singing, escorted by her father, to see Raviji in concert. When I entered the hall, there he was, the handsome young Ravi Shankar who looked like the live incarnation of Lord Krishna - all he was missing was a peacock feather around his head and a flute.#ed_op#BR#ed_cl##ed_op#BR#ed_cl#And then followed Ali Akbar Khan trudging stolidly behind, wrapped around his sarod like a tired wet towel, a balding Buddha and he hasn't changed much.#ed_op#BR#ed_cl#Ravi Shankar was as wonderful as ever, and then Ali Akbar Khan began, and I was dumbfounded. His sarod soared and the world watched.#ed_op#BR#ed_cl##ed_op#BR#ed_cl#When the performance ended, the girl, her father all seemed like a distant dream. Until then I had been this brilliant English scholar, a super debater, a good singer of Talat Mehmood songs and a pretty good cricketer, preparing to sit for the civil services exams, and now it was as if everything was wiped out from my life - all that remained was Ali Akbar Khan's music.#ed_op#BR#ed_cl##ed_op#BR#ed_cl#It took me a year and a half to even get an introduction to Khan sahib. When I told him I wanted to learn the sarod from him, he said, "You are mad. I heard you are a professor. You have a great career ahead of you." I didn't budge. Finally he gave me my first lesson and still told me to go back to Bangalore and think about the things I may have to give up in order to chase this musical dream of mine.#ed_op#BR#ed_cl##ed_op#BR#ed_cl#I obediently went back to Bangalore and returned again to knock on his door. He looked at me and asked, "Why are you here? What happened?"#ed_op#BR#ed_cl##ed_op#BR#ed_cl#I said that I had resigned my job. He looked at me and said, "You are mad!" but took me in.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#FONT color=#ff0000#ed_cl##ed_op#EM#ed_cl#You met Annapurna Devi there. She remains an enigma to this day and many people say many things about her. While she and Raviji are not on talking terms, and Ali Akbar Khan too has fallen out with Panditji, you have had an ongoing cordial relationship with all three. What are your thoughts on them?#ed_op#BR#ed_cl##ed_op#/EM#ed_cl##ed_op#/FONT#ed_cl##ed_op#BR#ed_cl#The first thing that comes to mind about Annapurna Devi or didi as I call her, is her laughter. It is the most beautiful sound I have ever heard. To this day while she is now in her 80s it is as youthful as that of an 18 year old. I met her in Calcutta where she was staying with her brother and teaching sitar to a very small group, may be six people. #ed_op#BR#ed_cl##ed_op#BR#ed_cl#She is a wizard on sitar and surbahar, and I would often go to where she was after finishing my lesson with her brother and listen from a distance. She is a hard taskmaster. If you messed up, you would be made to repeat the same exercise 100 times.#ed_op#BR#ed_cl##ed_op#BR#ed_cl#I was the proverbial poor church mouse when I went there and caught the famous Calcutta ailment, amoebic dysentery, but had no money to go to a doctor. I lost over 40 pounds, wasting away. I was asked to sell my sarod by this musician who knew of my pitiful state. He said he will pay me handsomely. I could then finally indulge in one good meal, get all the medical treatment and then go back to Bangalore. I almost sold out, but went to sitar maestro Nikhil Bannerjee instead who was also there. He laughed outright - "You've left everything for sarod, struggled for two years and now you want to go back?"#ed_op#BR#ed_cl#Then he told Annapurna Devi quietly about my plight. Till then she had been a remote presence in my life, but that day she sent me to a doctor, gave me yoghurt which is good for the stomach and said: "You are to continue your sarod. Now go."#ed_op#BR#ed_cl##ed_op#BR#ed_cl#After many years, for the first time, I felt like I was not motherless any more. In a strange coincidence she resembles my mother tremendously. She lives an austere life and has set the bar very high. #ed_op#BR#ed_cl##ed_op#BR#ed_cl#Pandit Ravi Shankar is an amazing man. He is so bright intellectually that if he hadn't been a musician may be he would have been a space scientist. He learnt from a guru who was very demanding, very intense but Raviji was able to learn everything very quickly. Raviji has always been a pioneer, a man who has been way ahead of his times in anything he does. He is also instrumental in forcing me out of a hiatus I took from music.#ed_op#BR#ed_cl##ed_op#BR#ed_cl#There came a time in my life, due to personal reasons, I gave up on active performance, in spite of having gone through so much to become a sarod player. I went back to being a professor of literature when Raviji came to perform in my city. He took me to task for giving up on music and asked me if I felt I owed anything to the gharana and the gurus who had given me such a treasure of music. He told me to stop thinking and go back to music. At 51 years of age I went back, because he knew how to get me to focus in his usual no nonsense crisp way and I'm glad I did.#ed_op#BR#ed_cl##ed_op#BR#ed_cl#Ali Akbar Khan, what can I say about him. He is composing all the time. Between the given and the improvised, what is given is so ventilated that sometimes it can be blown away if you are not careful. There are two kinds of musicians, one who makes sure he sticks to the known path, so no one can fault him, and then there is the other who pushes the boundaries. Khan sahib is among the latter. Whether it's music or art, there comes a man who pushes at the possibilities in a way that when he is done, we never look at music, or art or literature the same way. Khan sahib's relation with music is that way. He is not a dazzler, he may not have the greatest pyrotechniques and yet what he is doing is having a constant affair with melody and experimenting with all kinds of tonal possibilities. It is only after he started performing that the sarod began to be recognized as an Indian classical instrument which had great tonal possibilities. No one, not even his father who was a musical genius and played so many instruments brilliantly could garner that respect for sarod.#ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#EM#ed_cl##ed_op#FONT color=#ff0000#ed_cl##ed_op#P#ed_cl##ed_op#TABLE style="MARGIN-BOTTOM: 3px; MARGIN-LEFT: 6px" cellSpacing=1 cellPadding=5 width="10%" align=right bgColor=#e8e8e8 border=0#ed_cl##ed_op#TBODY#ed_cl##ed_op#TR#ed_cl##ed_op#TD#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#IMG title="" height=150 alt="" src="http://www.littleindia.com/data/images/news/categories/aug2006/Rajeev_stage.jpg" width=225 align=baseline border=0#ed_cl# #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#/TBODY#ed_cl##ed_op#/TABLE#ed_cl##ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Your research as a Ford Foundation scholar was on the teaching techniques of the Maihar-Allauddin Gharana. What did you come away with?#ed_op#BR#ed_cl##ed_op#BR#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#/FONT#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Look at all the great musicians and look at the number of maestros Baba Allauddin Khan produced - Ravi Shankar, Nihkil Bannerjee, Ali Akbar Khan, Annapurna Devi are just a few names. Allauddin Khan was the fountain from where all the streams of talent emerged, each with their own unique touch, but it's the water from that fountain that keeps hrefilling and hrefurbishing those streams. No matter what instrument we play and Baba taught every instrument on the planet, you will see familiar flashes in each of our play, and that is the beauty of the Maihar gharana. Another thing, he created great musicians in every genre.#ed_op#BR#ed_cl##ed_op#BR#ed_cl#In other gharanas you will often see the teacher producing students in his own mould, but the versatility that comes from the Maihar gharana is mind boggling.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#/EM#ed_cl##ed_op#EM#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#FONT color=#ff0000#ed_cl##ed_op#EM#ed_cl#Peope talk about fusion and that good music is struggling today. What is your take on that? #ed_op#BR#ed_cl##ed_op#BR#ed_cl##ed_op#/EM#ed_cl##ed_op#/FONT#ed_cl#For me music is like meditation and it should be like meditation, but musicians are the products of their time and audience. Vilayat Khan's and Ravi Shankar's era could not have produced an A.R. Rehman, and A.R. Rehman has his own brilliance. Also on the flip side, the audience is also drawn to a musician that the culture of that time produces, but eventually in the totality of it all, the boundaries of music are limited or expanded by the ears of the audience.#ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#FONT color=#ff0000#ed_cl##ed_op#EM#ed_cl#What kind of audience do you like playing before?#ed_op#BR#ed_cl##ed_op#/EM#ed_cl##ed_op#/FONT#ed_cl##ed_op#BR#ed_cl#A close knit live audience that understands music. It challenges the musician to do his best and genuine appreciation is the nectar he sips in return.  #ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#/P#ed_cl##ed_op#/EM#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#/TBODY#ed_cl##ed_op#/TABLE#ed_cl##ed_op#/DIV#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#/TBODY#ed_cl##ed_op#/TABLE#ed_cl##ed_op#/DIV#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#/TBODY#ed_cl##ed_op#/TABLE#ed_cl##ed_op#/DIV#ed_cl#


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sur
Mon 11 Feb, 2008 01:59

Re: CLASSICAL TRANQUILITY & MUSIC REVIEW
-----------------------------------
#ed_op#DIV#ed_cl##ed_op#SPAN style="FONT-SIZE: 10pt; FONT-FAMILY: Verdana; mso-bidi-font-size: 10.0pt" SPAN#ed_op##ed_cl##ed_op#FONT color=#ff0000 size=6#ed_cl##ed_op#SPAN style="FONT-SIZE: 10pt; FONT-FAMILY: Verdana; mso-bidi-font-size: 10.0pt" SPAN#ed_op##ed_cl##ed_op#FONT color=#ff0000 size=6#ed_cl##ed_op#FONT color=#000000 size=2#ed_cl##ed_op#FONT color=#ff0000 size=6#ed_cl##ed_op#FONT color=#000000 size=2#ed_cl##ed_op#FONT color=#ff0000 size=6#ed_cl##ed_op#SPAN style="FONT-SIZE: 10pt; FONT-FAMILY: Verdana; mso-bidi-font-size: 10.0pt" SPAN#ed_op##ed_cl##ed_op#FONT color=#ff0000 size=6#ed_cl##ed_op#SPAN style="FONT-SIZE: 10pt; FONT-FAMILY: Verdana; mso-bidi-font-size: 10.0pt" SPAN#ed_op##ed_cl##ed_op#FONT color=#ff0000 size=6#ed_cl##ed_op#FONT color=#000000 size=2#ed_cl##ed_op#FONT color=#ff0000 size=6#ed_cl##ed_op#FONT color=#000000 size=2#ed_cl##ed_op#FONT color=#ff0000 size=5#ed_cl##ed_op#FONT color=#660000#ed_cl#Taking the santoor West #ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/SPAN#ed_cl##ed_op#/FONT#ed_cl##ed_op#/SPAN#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/SPAN#ed_cl##ed_op#/FONT#ed_cl##ed_op#/SPAN#ed_cl##ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#SPAN style="FONT-SIZE: 10pt; FONT-FAMILY: Verdana; mso-bidi-font-size: 10.0pt" SPAN#ed_op##ed_cl##ed_op#P#ed_cl##ed_op#STRONG#ed_cl##ed_op#FONT color=#800080#ed_cl##ed_op#EM#ed_cl##ed_op#/EM#ed_cl##ed_op#/FONT#ed_cl##ed_op#/STRONG#ed_cl##ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT size=-2#ed_cl##ed_op#FONT face="" color=crimson#ed_cl##ed_op#FONT face=Arial size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT color=crimson#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#STRONG#ed_cl#Tarun Bhattacharya, the Maihar school's only santoor player, says it will take some time for his instrument to match the popularity of the sitar and the tabla in the West#ed_op#/STRONG#ed_cl# #ed_op#BR#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#/FONT#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT color=crimson#ed_cl##ed_op#FONT face="Arial Narrow" color=#000000 size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT color=crimson#ed_cl##ed_op#FONT face="Arial Narrow" color=#000000 size=4#ed_cl#"Let music be the sanctuary in this age of unrest," says Pandit Tarun Bhattacharya, just back from the US and Canada after an 18-city, 36-day tour.#ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT color=crimson#ed_cl##ed_op#FONT color=#000000#ed_cl##ed_op#BR#ed_cl##ed_op#BR#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#The tour was, in his words, an extension of that effort, and his commitment to spreading Indian classical music.#ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT color=crimson#ed_cl##ed_op#FONT color=#000000#ed_cl##ed_op#BR#ed_cl##ed_op#BR#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Bhattacharya is the only santoor exponent of the Maihar school, made famous by the great Ustad Allauddin Khan, his children Ustad Ali Akbhar Khan and Annapurna Devi, his disciple Pandit Ravishankar, and a stable of illustrious practitioners who learnt from these maestros.#ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT color=crimson#ed_cl##ed_op#FONT color=#000000#ed_cl##ed_op#BR#ed_cl##ed_op#BR#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#The tour, supervised by the University of Pittsburgh, saw Bhattacharya performing and giving lecture demonstrations at places such as Washington DC, Milwaukee, Los Angeles, Atlanta, Houston, Chicago, Pittsburgh (Pennsylvania), Tampa (Florida) and Torento (Canada).#ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT color=crimson#ed_cl##ed_op#FONT color=#000000#ed_cl##ed_op#BR#ed_cl##ed_op#BR#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#"I always start my concert explaining what I am going to play and finding parallels for it from the West," says Bhattacharya, winner of the Excellence in World Music (USA) and Best Critic (Germany) awards.#ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#BR#ed_cl##ed_op#/P#ed_cl##ed_op#/FONT#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT color=crimson#ed_cl##ed_op#FONT face="Arial Narrow" color=#000000 size=4#ed_cl#"Let music be the sanctuary in this age of unrest," says Pandit Tarun Bhattacharya, just back from the US and Canada after an 18-city, 36-day tour.#ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT color=crimson#ed_cl##ed_op#FONT color=#000000#ed_cl##ed_op#BR#ed_cl##ed_op#BR#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#The tour was, in his words, an extension of that effort, and his commitment to spreading Indian classical music.#ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT color=crimson#ed_cl##ed_op#FONT color=#000000#ed_cl##ed_op#BR#ed_cl##ed_op#BR#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Bhattacharya is the only santoor exponent of the Maihar school, made famous by the great Ustad Allauddin Khan, his children Ustad Ali Akbhar Khan and Annapurna Devi, his disciple Pandit Ravishankar, and a stable of illustrious practitioners who learnt from these maestros.#ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT color=crimson#ed_cl##ed_op#FONT color=#000000#ed_cl##ed_op#BR#ed_cl##ed_op#BR#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#The tour, supervised by the University of Pittsburgh, saw Bhattacharya performing and giving lecture demonstrations at places such as Washington DC, Milwaukee, Los Angeles, Atlanta, Houston, Chicago, Pittsburgh (Pennsylvania), Tampa (Florida) and Torento (Canada).#ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT face="" color=crimson#ed_cl##ed_op#FONT face=Arial#ed_cl##ed_op#FONT color=#000000#ed_cl##ed_op#BR#ed_cl##ed_op#BR#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#"I always start my concert explaining what I am going to play and finding parallels for it from the West," says Bhattacharya, winner of the Excellence in World Music (USA) and Best Critic (Germany) awards.#ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#BR#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT size=-2#ed_cl##ed_op#FONT face="" color=crimson#ed_cl##ed_op#FONT face=Arial size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT size=-2#ed_cl##ed_op#FONT face="" color=crimson#ed_cl##ed_op#FONT face=Arial#ed_cl##ed_op#STRONG#ed_cl##ed_op#FONT size=4#ed_cl##ed_op#FONT color=#7f3f00#ed_cl#By:#ed_op#EM#ed_cl##ed_op#FONT face=Verdana#ed_cl#Tanusree Chatterjee#ed_op#/FONT#ed_cl##ed_op#/EM#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/STRONG#ed_cl##ed_op#/P#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/SPAN#ed_cl##ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#/DIV#ed_cl#


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Music
Wed 13 Feb, 2008 11:19

Re: CLASSICAL TRANQUILITY & MUSIC REVIEW
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#ed_op#DIV#ed_cl##ed_op#DIV class=art_head1 id=divTitle#ed_cl##ed_op#FONT color=#7f3f00 size=5#ed_cl##ed_op#STRONG#ed_cl##ed_op#EM#ed_cl#Misra\'s Rudra Veena mesmerises#ed_op#/EM#ed_cl##ed_op#/STRONG#ed_cl##ed_op#/FONT#ed_cl##ed_op#/DIV#ed_cl##ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#SPAN class=art_locationwhite id=artLocation#ed_cl#Ludhiana#ed_op#/SPAN#ed_cl# #ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl# #ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl# #ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#FONT color=#800000#ed_cl##ed_op#STRONG#ed_cl#MUSIC CONNECTS#ed_op#/STRONG#ed_cl# #ed_op#/FONT#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#you to the Divine. Words fail when music takes over. Well, this was what the audience at Ramgarhia College for Women felt during Suvir Misra's rudra veena recital at the college here today. #ed_op#/FONT#ed_cl##ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/DIV#ed_cl##ed_op#P lHr4T="0" CVbhz="0"#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#The raags he played included Raag Saraswati and Raag Basant. Explaining to the audience the beauty of rudra veena, the artiste from Dagar Gharana said it was the mother of all string in struments. The Ludhiana chapter of SPIC MACAY had organized the programme. Among those present on the occasion included Ramgarhia Colleges president Ranjodh Singh, former GCW principal Manjeet Sodhia and the host college principal Harmit Kaur.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P lHr4T="0" CVbhz="0"#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#IMG src="http://epaper.hindustantimes.com/Web/HTPunjab/Photographs/2008/02/13/194/13_02_2008_194_005_001.jpg"#ed_cl##ed_op#BR#ed_cl##ed_op#/P#ed_cl##ed_op#/FONT#ed_cl#


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Music
Thu 14 Feb, 2008 08:01

Re: CLASSICAL TRANQUILITY & MUSIC REVIEW
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#ed_op#DIV#ed_cl##ed_op#FONT face="Arial Narrow" size=5#ed_cl##ed_op#A href="http://www.iht.com/"#ed_cl##ed_op#IMG height=58 alt="International Herald Tribune" src="http://img.iht.com/images/v3/logo_all.gif" width=290#ed_cl##ed_op#/A#ed_cl##ed_op#/FONT#ed_cl##ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl# #ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#FONT face="Arial Narrow" size=5#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#FONT face="Arial Narrow" size=5#ed_cl#MEANWHILE : #ed_op#FONT size=4#ed_cl#The voice that touched the soul of India#ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl#Published: WEDNESDAY, DECEMBER 15, 2004#ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#DIV id=author style="FLOAT: left"#ed_cl##ed_op#STRONG#ed_cl#By Pranay Gupte#ed_op#/STRONG#ed_cl##ed_op#/DIV#ed_cl##ed_op#/FONT#ed_cl##ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#P#ed_cl##ed_op#STRONG#ed_cl##ed_op#/STRONG#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#STRONG#ed_cl##ed_op#/STRONG#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#STRONG#ed_cl##ed_op#FONT color=#7f3f00 size=5#ed_cl#SINGAPORE:#ed_op#/FONT#ed_cl##ed_op#/STRONG#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl# She was known as the "nightingale of India," but that scarcely captured what Madurai Shanmukhavadivu Subbulakshmi — who died on Saturday at the age of 88 — was all about. Known widely as just "M.S.," she was the greatest singer of Carnatic music, the South Indian genre that's considered to be one of the oldest systems of devotional music in the world. Subbulakshmi was more than a voice — she was the very embodiment of a centuries-old music tradition that lives on in the homes of millions of Indians in the subcontinent and around the globe.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#While maestros like Pandit Ravi Shankar of India and the late Nusrat Ali Khan of Pakistan, along with the show-biz tunes of Bollywood, put South Asian pop-classical music on the global map, it was Subbulakshmi who introduced Carnatic music to the West. She enthralled audiences with her mellifluous voice that captured the seven talas — or rhythmic cycles — and 72 fundamental ragas — or melodic scales — of the genre in a way that could only be characterized as mesmerizing. She sang bhajans, or spiritual songs, in 12 Indian languages in venues ranging from her native Chennai to Carnegie Hall.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#In a career that started when she was 13 years old, Subbulakshmi performed before audiences all over the world, and received scores of awards, including the Bharat Ratna, India's highest civilian honor. But perhaps her greatest accomplishment was that she enticed an entire new generation of young Indians to Carnatic music.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Today, even young Indians living in the United States and other places, start their day listening to "Sri Venkateswara Suprabhatam," a hymn invoking the blessings of the elephant-headed Hindu god Ganesh. Sreenath Sreenivasan, a professor at Columbia University, tells of how his two-year-old twins nod while the hymn is played in the household every morning.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#That the Sreenivasan twins — and their Indian-born parents — in New York should listen to Subbulakshmi says something important about the preservation of Indian culture at a time when it's under siege by the Westernization wrought by globalization. Subbulakshmi took Carnatic music out of the concert halls and injected it into everyday people's homes.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#It is music that, while indigenous to India's south and its temple-based Hindu culture, appeals to listeners across the board because of its emotion and spirit of improvisation. Indian classical music is categorized under two genres. The best known is Hindustani, developed in the north of the country, in the form of ghazals, Sufi mystical music, and the sitar, which Shankar popularized in the West.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#What Subbulakshmi did was to advance the system codified by Purandara Dasa, a 15th century guru, who codified Carnatic music and gave it an identifiable format as a medium of teaching, performing, prayer and therapy. It was Purandara Dasa, and subsequent gurus, who influenced Subbulakshmi.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Subbulakshmi, with the help of her husband, T. Sadasivam, drew attention to the works of three saint-composers of the 19th century — Tyagaraja, Muthuswami Dikshitar and Shyama Shastri — by organizing concerts featuring thousands of songs that remain favorites. As Subbulakshmi explained to me some years ago when I met her and Sadasivam at their modest Chennai home, the lyrics of the traditional Carnatic compositions, whether mythological or social in nature, are set entirely against a devotional or philosophical background.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#I asked her if she was surprised that Carnatic music had caught on among India's contemporary youth. No, was her response, it was testimony to the innate power of the genre to induce tranquillity and energy. In an age when young Indians, as young people everywhere, are obsessed with career advancement and gaining prosperity, Subbulakshmi's singing offered a welcome musical interlude as well as an opportunity for personal renewal.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Hers was a public life led very privately. She donated millions of dollars to charities. Subbulakshmi once said that she would stop giving concerts if her husband, Sadasivam, died. He died a few years ago, after which she only sang on private occasions, mainly to raise money for struggling musicians. She was already a legend. Her voice and music, summoning up India's ancient traditions of peace and devotion to communal harmony, will always be with us, will always be relevant in a world of increasing tensions. What better legacy could this legendary figure have left?#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#!-- sidebar --#ed_cl##ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#/DIV#ed_cl#


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sur
Fri 22 Feb, 2008 01:11

Re: CLASSICAL TRANQUILITY & MUSIC REVIEW
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#ed_op#DIV#ed_cl##ed_op#DIV class=art_head1 id=divTitle#ed_cl##ed_op#FONT face="Arial Narrow" size=5#ed_cl##ed_op#STRONG#ed_cl##ed_op#EM#ed_cl##ed_op#FONT color=#7f3f00#ed_cl#CULTURE CLUB - #ed_op#FONT size=4#ed_cl#Tell me it\'s not true#ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/EM#ed_cl##ed_op#/STRONG#ed_cl##ed_op#/FONT#ed_cl##ed_op#/DIV#ed_cl##ed_op#DIV class=art_head1#ed_cl##ed_op#DIV class=art_locationwhite id=divAuthor#ed_cl##ed_op#STRONG#ed_cl##ed_op#EM#ed_cl##ed_op#FONT color=#800000#ed_cl#Renuka Narayanan#ed_op#/FONT#ed_cl##ed_op#/EM#ed_cl##ed_op#/STRONG#ed_cl##ed_op#/DIV#ed_cl##ed_op#DIV class=art_locationwhite#ed_cl##ed_op#STRONG#ed_cl##ed_op#EM#ed_cl##ed_op#FONT color=#800000#ed_cl##ed_op#/FONT#ed_cl##ed_op#/EM#ed_cl##ed_op#/STRONG#ed_cl# #ed_op#/DIV#ed_cl##ed_op#/DIV#ed_cl##ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl# #ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#First,let's be nice to foreigners. The Shanmukhananda Sabha, Delhi, will hold a four-day Tyagaraja Aradhana at the Andhra Bhavan hall between February 23 and 26. Solid Carnatic singers from the South like the Malladi Brothers, Bombay Jayashree and several others will sing and the festival will resume next month with Carnatic vocalists TM Krishna, Sudha Raghunathan and dance-dramas (March 21-24). Call 22750982/ 22721124/ 26517637/ 22620358 for invitations. #ed_op#/FONT#ed_cl##ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#BR#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Da-dhin din Pretty Manjari Chaturvedi of Nrityagram is apparently very vocal about having an artistic patent on ‘Sufiyana Kathak'. But I do seem to remember Rani Khanam dancing to Khusravi mausiki years ago, too, to zihal-e-miskeen. Whatever, let's not get into all that angry ghungroo jangling: we just want to know if it's worth the effort to get through the traffic to watch you gals for two whole hours of our life. Check out Rani Khanam dance ‘Sufiyana Kathak' (oops!) with Latif Bolat of Turkey on Tuesday, February 26, at 7 pm at the LTG Theatre, Copernicus Marg. (Gosh, d'you suppose there'll be a bunfight? Do tell if there is, so I can tell us all: the War of the Really Great (Sufi) Kattakinas?) Hype da hadd ‘Arjuna' whose ‘muse' is Bharata Natyam dancer Geeta Chandran, presents a show of paintings, serigraphs and sculpture, called Shiva and Devi in Art and Dance this evening at Lalit Kala Akademi Galleries at 7 pm. Just after Geeta's performance, they'll both lead a pow-wow on "creativity and transformation." #ed_op#/FONT#ed_cl##ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#BR#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#I used Arjuna's Lakshmi serigraphs to illustrate the Faith page recently It was bright, funky stuff, so I opened the . brochure for this show quite eagerly Citizens, I was . gobsmacked. One, by the many tacky images. He cruelly makes poor Geeta look like Hidimbi, not Saraswati (see detail above). Two, by the artist's statement. Sample: "Like a wild mythic tiger, Arjuna solitarily stalks the uncharted unexplored untraveled nether lands (sic) of the deep, dark, blooming, teeming, magical and mysterious jungles of painting, blazing a brand new red and orange path in the prevailing darkness of mediocrity, repetition…"#ed_op#/FONT#ed_cl##ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#BR#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#The real disappointment though, was the essay-for-hire by Devdutt Patnaik of Mumbai who writes so well on mythology Devdutt puts down . Raja Ravi Varma as having "fettered the idea of Shiva and Devi" (as if !) and calls Arjuna's work "Moksha…step closer to divinity I turn again in ." stead to the truth of the saying, "Khaadda chholiya dakaar badaama de": He eats chickpeas but (tries to) burp almonds. And hopes for a controversy, as a shortcut to fame? Ravi Varma was a true trailblazer and the public connected to his images with deep emotion. Don't you think it's cheap to kick the very ladder that you (try) to climb? Abhi toh main jawaan hoon… Hafiz Jullundhry's terrific song live? Malika Pukhraj who made it rock won't sing it on Saturday, March 1 at 5.30 pm at IIC, but Rashmi Agarwal will, an evening themed on Pukhraj. And hit the NSIC grounds, Okhla between February 22 and 24 if bands are your thing, for the Eastwind Music Festival: 60 bands (with the usual suspects like Parikrama, Menwhpoause). Log on to #ed_op#/FONT#ed_cl##ed_op#A href="http://www.ticketpro.in"#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#www.ticketpro.in#ed_op#/FONT#ed_cl##ed_op#/A#ed_cl##ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl# #ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#IMG src="http://epaper.hindustantimes.com/Web/Photographs/2008/02/22/211/22_02_2008_211_003_005.jpg"#ed_cl##ed_op#/DIV#ed_cl#


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sur
Wed 27 Feb, 2008 02:21

Re: CLASSICAL TRANQUILITY & MUSIC REVIEW
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#ed_op#DIV#ed_cl##ed_op#DIV id=divBlurb#ed_cl##ed_op#FONT color=#441415 size=5#ed_cl##ed_op#STRONG#ed_cl##ed_op#DIV class=art_head1 id=divTitle#ed_cl#‘I don\'t want to commercialise him\'#ed_op#/DIV#ed_cl##ed_op#/STRONG#ed_cl##ed_op#/FONT#ed_cl##ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#FONT color=#800000 size=4#ed_cl##ed_op#STRONG#ed_cl#Shahbaaz Khan pays tribute to his father Ustad Amir Khan#ed_op#/STRONG#ed_cl##ed_op#/FONT#ed_cl##ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#STRONG#ed_cl##ed_op#FONT color=#7f3f00 size=5#ed_cl##ed_op#/FONT#ed_cl##ed_op#/STRONG#ed_cl# #ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#STRONG#ed_cl##ed_op#EM#ed_cl##ed_op#FONT color=#7f3f00#ed_cl#Satarupa Basu#ed_op#/FONT#ed_cl##ed_op#/EM#ed_cl##ed_op#/STRONG#ed_cl##ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl# #ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#IMG src="http://epaper.hindustantimes.com/Web/HTMumbai/Photographs/2008/02/27/538/27_02_2008_538_004_010.jpg"#ed_cl##ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#BR#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#FONT color=#ff0000 size=6#ed_cl#T#ed_op#/FONT#ed_cl#he legendary Hindustani classical vocalist Ustad Amir Khan had died in an accident in Kolkata in 1974. Sur Rang, a two-day concert was organised by his son Shahbaaz Khan in memory of his father in Kolkata. Over to the actor. How did the concert come about? I was just eight when my father passed away. My mother kept me away from the classical music scenario. My image of my father has been culled from conversations with those who knew him. My father was revered.#ed_op#/FONT#ed_cl##ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl# #ed_op#BR#ed_cl#I had this long-cherished desire to do something in his memory, a thought that was encouraged by artistes like Rashid Khan. I had to start something and it had to be in Kolkata. Do you have any memories of your father? I studied at St Joseph's Convent, Nagpur. Though he was travelling most of the time, he wrote letters to me in broken English. #ed_op#/FONT#ed_cl##ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#BR#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#He was an intense person, an introvert who was always immersed in music. He never craved the limelight, music was like a prayer for him. Why did Kolkata have to wait so long for this concert? I had to get a foothold in Kolkata in terms of organisational support and funds. But the artistes were very supportive. Sultan Khan, being a disciple of my father's, initiated the efforts. Are you planning to widen the range of the concert? In a deviation from the pure classical format of the show, I want to also incorporate world music. Though Bollywood music is a strict no-no, ghazals can be included in it. #ed_op#/FONT#ed_cl##ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#However, it will always remain a show for invitees only. I don't want to commercialise it. You are the son of a legendary father giftedwitharemarkablevoice.Don'tyou regret not becoming a singer? Yes, it is my greatest regret. However, I didn't want to become a Himmesh Reshammiya. I am currently taking lessons in music from a teacher. #ed_op#/FONT#ed_cl##ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#BR#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#I plan to cut an album that has elements of hip hop and Sufi music. I've written most of the lyrics myself and composed some of the music as well. What's happening on the acting front? Television takes up most of my time. I'm doing serials like Mere Apne on 9X, Rajkumar Aryan on NDTV Imagine and Naagin on Zee. I'm also acting in an Urdu play on Amir Ali Shirazi, architect of the Taj Mahal. #ed_op#/FONT#ed_cl##ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#BR#ed_cl##ed_op#A href="mailto:satarupa.basu@hindustantimes.com"#ed_cl#satarupa.basu@hindustantimes.com#ed_op#/A#ed_cl##ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl# #ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#IMG src="http://epaper.hindustantimes.com/Web/HTMumbai/Photographs/2008/02/27/538/27_02_2008_538_004_011.jpg"#ed_cl##ed_op#BR#ed_cl##ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#STRONG#ed_cl##ed_op#FONT color=#7f3f00 size=5#ed_cl##ed_op#/FONT#ed_cl##ed_op#/STRONG#ed_cl# #ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#STRONG#ed_cl##ed_op#FONT color=#7f3f00 size=5#ed_cl##ed_op#/FONT#ed_cl##ed_op#/STRONG#ed_cl# #ed_op#/DIV#ed_cl##ed_op#/DIV#ed_cl#


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sur
Fri 14 Mar, 2008 01:00

Re: CLASSICAL TRANQUILITY & MUSIC REVIEW
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#ed_op#DIV#ed_cl##ed_op#DIV class=art_head1 id=divTitle#ed_cl##ed_op#FONT face="Comic Sans MS" color=#441415 size=5#ed_cl#Extending the line#ed_op#/FONT#ed_cl##ed_op#/DIV#ed_cl##ed_op#DIV class=art_head1#ed_cl# #ed_op#/DIV#ed_cl##ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#DIV id=divBlurb#ed_cl##ed_op#FONT face="Comic Sans MS"#ed_cl#Sitarist Ankit Bhatt from Jaipur is carrying forward the lineage of his father Pandit Chandra Mohan Bhatt and great granduncle Pandit Vishwa Mohan Bhatt#ed_op#/FONT#ed_cl##ed_op#/DIV#ed_cl##ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#DIV class=art_locationwhite id=divAuthor#ed_cl##ed_op#FONT face="Arial Narrow" color=#7f3f00#ed_cl##ed_op#STRONG#ed_cl#Nonika Singh#ed_op#/STRONG#ed_cl##ed_op#/FONT#ed_cl##ed_op#/DIV#ed_cl##ed_op#DIV class=art_locationwhite#ed_cl# #ed_op#/DIV#ed_cl##ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl# #ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Hailing from a family of musicians from Jaipur, young sitarist Ankit Bhatt could have easily been dwarfed by the musical personas of stalwarts within the family . #ed_op#/FONT#ed_cl##ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#BR#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#But he, in Chandigarh for Pracheen Kala Kendra's monthly baithak on Tuesday , reveals that instead of feeling threatened, he seeks inspiration from masters like great granduncle, Mohan Veena player Pandit Vishwa Mohan Bhatt & father sitarist Pandit Chandra Mohan Bhatt. #ed_op#/FONT#ed_cl##ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#BR#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Even with uncle, young & talented Salil Bhatt here, is no rivalry or jealousy Rather, . he muses: "I'm fortunate to be surrounded by so many gifted musicians". Of course, right now, he is under the tutelage of uncle, eminent sitarist Pandit Krishna Mo han Bhatt & aunt Vidhushi Manju Mehta from Ahmedabad. With his grandfather, sitarist late Pandit Shashi Mohan Bhatt (foremost disciple of Pt Ravi Shankar) and now both his father & paternal uncle (well-known sitar exponents), the instrument was both a conscious and an unconscious choice. #ed_op#/FONT#ed_cl##ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#BR#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#He smiles: "Sitar had to happen… didn't I grow up amidst its melodious strains?" And he admits that the illustrious musical lineage does open many doors. #ed_op#/FONT#ed_cl##ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#BR#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#He's already performed at major venues across the country including Saptak Music Festival, Ahmedabad, Shruti Mandal, Jaipur, Sangeet Sankalp, Jamnagar, Sangeet Kala Kendra, Agra, et al. Still, life is no cakewalk. #ed_op#/FONT#ed_cl##ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#BR#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#While others may deem that sitar is the easiest instrument to play Ankit, knows its beauty is not easy to capitalise and epitomise. Currently engaged in a PhD on sitar's relation with vocal music, he observes: "Bringing out the gayaki ang on sitar is no cakewalk and is as tough as on any other stringed instrument". #ed_op#/FONT#ed_cl##ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#BR#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Of course, he says sitar is a complete instrument & the gamaks are especially noteworthy and closest to vocal. Idolising styles of maestros like Pandit Ravi Shankar, Ustaad Vilayat Khan Nikhil Banejree, he tries to create a blend. Nah, till today no one , has accused him of copying. #ed_op#/FONT#ed_cl##ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Aware that greats have already placed sitar on the international map, he knows he can contribute little in that direction. In fact name, fame and money are not the reasons why he took to sitar. "Sitar is my muse and provides me satisfaction". Right now, carrying forward the family tradition appears to be his main responsibility . #ed_op#/FONT#ed_cl##ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#BR#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#But one day Ankit would care to ankit (leave his own stamp in) the musical world.#ed_op#/FONT#ed_cl##ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#IMG src="http://epaper.hindustantimes.com/Web/HTPunjab/Photographs/2008/03/14/134/14_03_2008_134_007_010.jpg"#ed_cl##ed_op#/FONT#ed_cl##ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#/DIV#ed_cl#


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sur
Thu 20 Mar, 2008 01:10

Re: CLASSICAL TRANQUILITY & MUSIC REVIEW
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#ed_op#DIV#ed_cl##ed_op#DIV class=art_head1 id=divTitle#ed_cl##ed_op#FONT face="Comic Sans MS" color=#441415 size=5#ed_cl#The many flavours of thumri#ed_op#/FONT#ed_cl##ed_op#/DIV#ed_cl##ed_op#DIV class=art_head1#ed_cl##ed_op#DIV class=art_locationwhite id=divAuthor#ed_cl##ed_op#FONT face="Comic Sans MS"#ed_cl#Nonika Singh#ed_op#/FONT#ed_cl##ed_op#/DIV#ed_cl##ed_op#DIV class=art_locationwhite#ed_cl##ed_op#FONT face="Comic Sans MS"#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/DIV#ed_cl##ed_op#DIV class=art_locationwhite#ed_cl##ed_op#FONT face="Comic Sans MS"#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/DIV#ed_cl##ed_op#DIV class=art_locationwhite#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#W hether she spews fiery 'no holds barred' refrains or proffers tranquil pearls of wisdom… the child in her is very much alive. Behold thumri queen the one and only redoubtable Vidushi Girija Devi Padamabhushan honoured with four D Lit degrees. #ed_op#/FONT#ed_cl##ed_op#/DIV#ed_cl##ed_op#FONT face="Comic Sans MS"#ed_cl##ed_op#DIV class=art_locationwhite#ed_cl##ed_op#BR#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#In City for 38th Bhaskar Rao Nritya and Sangeet Sammelan, she doesn't weigh her words. Childlike, she states what comes naturally to her. "If I say it all today what shall I sing tomorrow", it's evident it's singing which is her first and foremost nature and calling. And her singing repertoire comprising dhrupad, khayal, tappa tarana, sadara, thumri is the quintessential bouquet, fragrant of Benarse gharana. Thumri offers many moods On her chaumukhi singing style - the highpoint of Benarse gharana - she says: "you can't eat the same food each day Ditto for singing. You . can't render the constant menu every time. We have to give listeners, variety - actually everything". Of course as the epithet 'thumri queen' sits lightly on her, she laughs: "Call me Queen Victoria or whatever. I haven't coined these terms". But she does admit: "I've done so much for the cause of thumri till then relegated to the background and associated with the song of courtesans". She nods that indeed thumri is brimming with shringaar ras but to say it's only shringaar is erroneous. "Thumri can be steeped , in bhakti ras, vaatsalaya, raudra, virah… any human emotion". This kaleidoscopic mirror of feelings, closest to human life, is a taxing form. But "all can learn it if you don't seek monetary returns & nurse music like your child". Awards or no awards... #ed_op#/FONT#ed_cl##ed_op#/DIV#ed_cl##ed_op#DIV class=art_locationwhite#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/DIV#ed_cl##ed_op#DIV class=art_locationwhite#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#As she has for decades, overcoming obstacles, challenges, embellishing thumri further and further with import & beauty of sahitya. As to if women can sing thumri better, she quips: "perhaps yes for they have more nazaakat, but one can't generalise". And as she has moved from Benarse - "it's become more academic centered with greater emphasis on degrees and jobs" to ITC, Kolkata and is busy passing her style to many disciples she doesn't fear for the form. "Nothing vanishes overnight, not even dhrupad is under siege". But one concern that does make her fret and fume is the attitude of the government, of AIR and other such patrons. She grimaces: "of what use are awards like Padmabhushan if these are only token statements and won't translate into any tangible benefits and will mean only posthumous moment of glory". Totally worthless, are these Padma awards, then! She chuckles: "oh no, don't you hang paintings in your house? So these come handy… at least media can take pictures". Hmm… nearing 80, the lady has not lost her spunk. Or humour. Nor her powerful mellifluous singing either. #ed_op#/FONT#ed_cl##ed_op#/DIV#ed_cl##ed_op#DIV class=art_locationwhite#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/DIV#ed_cl##ed_op#DIV class=art_locationwhite#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Performing today at Punjab Kala Bhawan.#ed_op#/FONT#ed_cl##ed_op#/DIV#ed_cl##ed_op#DIV class=art_locationwhite#ed_cl##ed_op#IMG src="http://epaper.hindustantimes.com/Web/HTPunjab/Photographs/2008/03/16/103/16_03_2008_103_003_001.jpg"#ed_cl##ed_op#/FONT#ed_cl##ed_op#/DIV#ed_cl##ed_op#/DIV#ed_cl##ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#/DIV#ed_cl#


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sur
Sun 30 Mar, 2008 00:57

Re: CLASSICAL TRANQUILITY & MUSIC REVIEW
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#ed_op#DIV#ed_cl##ed_op#STRONG#ed_cl##ed_op#FONT face="Comic Sans MS" color=#0000ff size=5#ed_cl#Just music #ed_op#/FONT#ed_cl##ed_op#/STRONG#ed_cl##ed_op#/DIV#ed_cl##ed_op#P align=justify#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#STRONG#ed_cl##ed_op#FONT color=#0000ff size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#/STRONG#ed_cl##ed_op#/P#ed_cl##ed_op#DIV#ed_cl#GAUTAM CHATTERJEE #ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl# #ed_op#/DIV#ed_cl##ed_op#P#ed_cl##ed_op#/P#ed_cl##ed_op#P align=justify#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#/P#ed_cl##ed_op#DIV#ed_cl##ed_op#TABLE width="100%" bgColor=#ddffdd border=0#ed_cl##ed_op#TBODY#ed_cl##ed_op#TR#ed_cl##ed_op#TD#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Varanasi’s Shashi Kumar wins over the stronghold of Hindustani music with his Carnatic renditions. #ed_op#/FONT#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#/TBODY#ed_cl##ed_op#/TABLE#ed_cl##ed_op#/DIV#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#DIV#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#K. Shashi Kumar is part of the doughty brigade of musicians who live in North India but are completely devoted to classical music of the South. The young vocalist teaches Carnatic Vocal at Banaras Hindu University. #ed_op#/FONT#ed_cl##ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/DIV#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#“I think and feel in this beautifully evolved music system. My endeavour is to spread the perfume of its deeper ambience,” he says.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#This Sunday evening, Shashi Kumar performed on a prestigious platform, the Sangit Sabha organised by Puran Maharaj at the residence of Pandit Kishan Maharaj. The vocalist started with Ganesh vandana in Ek tala. He enunciated his first detailed raga, Vageeshvari, in the tala Rupakam. Bageshri is a raga originally from North Indian classical music, but Vageeshvari is a modern raga of the Carnatic system. It has the notes Sa, Re, Ga, Ma, Pa, Dha, Sa in its aaroh (ascent). #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#In the Carnatic system, gitas are usually composed in Sanskrit and Kannada, and a few in Telugu. His renditions of gita and pada in Vageeshvari were beautiful. Perhaps because he also accompanies dancers in various South Indian forms, he also sang a jatiswaram, commonly danced in Bharatanatyam and Kuchipudi, but rarely sung in a vocal recital, though it is essentially a vocal composition. #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#DIV#ed_cl##ed_op#FONT class=subsectionhead face="Arial Narrow" color=red size=4#ed_cl##ed_op#STRONG#ed_cl#Embellishments #ed_op#/STRONG#ed_cl##ed_op#/FONT#ed_cl##ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#FONT face="Arial Narrow" color=#ff0000 size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/DIV#ed_cl##ed_op#P align=justify#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#After completing this raga in a lucid manner, he sang another popular raga, Shanamukhapriya, lesser known in North India. #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Shashi Kumar makes fine use of sangatis and gamakas, the major tools of embellishment in Carnatic music. His delicate nuances and shades distinguish the young vocalist from others. At the end, he presented a bhajan in raga Tilak composed by Purandaradasa, known as the father of Carnatic music. #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Before his recital, there were two other performances. One was a Kathak recital and the other a tabla solo. Neither was up to the mark, with the result that they detracted from the grace of the occasion.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl#


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sur
Tue 01 Apr, 2008 00:37

Re: CLASSICAL TRANQUILITY & MUSIC REVIEW
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#ed_op#DIV#ed_cl##ed_op#DIV class=art_head1 id=divTitle#ed_cl##ed_op#FONT face="Comic Sans MS" color=#441415 size=5#ed_cl#A string of many moods#ed_op#/FONT#ed_cl##ed_op#/DIV#ed_cl##ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#DIV id=divBlurb#ed_cl##ed_op#FONT face="Comic Sans MS" color=#7f3f00#ed_cl#Violin isn't just about melancholy. It dances and hops in glee too, says Ustad Asghar Husain, in Chandigarh on Sunday.#ed_op#/FONT#ed_cl##ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl# #ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#DIV class=art_locationwhite id=divAuthor#ed_cl##ed_op#STRONG#ed_cl#Sarika Sharma#ed_op#/STRONG#ed_cl##ed_op#/DIV#ed_cl##ed_op#/DIV#ed_cl##ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl# #ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#The flight of a violin is shattered the moment it's associated with poignancy alone. Ah it exults in joy, immerses in pleasure, fumes in anger & gushes in love as well, says Ustad Asghar Husain from Delhi gharana, in Chandigarh for a private concert on Sunday courtesy Triveni Sangeet Sabha. And as he, while posing for lensmen, sits to delight the strings, you know what he means. As he sits there, plucking them high & low… oblivious to the clicks & chatters. LIFE STRING Son of a tabla player, Ustad Asghar Husain was born into music, so it was natural to pick up an instrument. But somewhere, his father wasn't too keen that he picked tabla. "Maybe, he thought it was an accompanying instrument. He wanted me to take up a main instrument," he says. A young Asghar would accompany his father to the radio stations. People playing violins would intrigue him, & at age 10, he himself was playing Hindustani classical on a foreign instrument. #ed_op#/FONT#ed_cl##ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/DIV#ed_cl##ed_op#P StI8Y="0" iDtrE="0"#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Ustad stresses that violin is not indigenous to India. It was adapted in 18th century. "It'll take time for it to settle and evolve as a genre." And among all, stresses on the gaayaki ang of violin. "My western audiences too have appreciated it. Our aim is that sound of the song is maintained on the violin as in a song," he says. And tells that western audiences appreciate the Indianisation of violin. "The depth of our music never fails to touch them." Also, when playing Hindustani, the violinists play seated on the floor and rest the scroll on their foot side. PERCEPTIONS Mild & serious, the clichéd image of violin is all how our cinema has fed us. #ed_op#/FONT#ed_cl##ed_op#P StI8Y="0" iDtrE="0"#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#P StI8Y="0" iDtrE="0"#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#And then cinema is the common man's only link to the instrument. Ustad says violin has evolved to the extent that it's become a character in many Hindi films. "Like in Mohabbatein, Shah Rukh played it throughout the film". But then doesn't mainstream cinema promote western alone? "No, many make subtle use of the violin in Hindustani classical form, as also other instruments like sitar, sarangi, tabla are essential to films and used so. Well, film songs can't be all purely classical. Common audiences don't know the grammar of classical," he says. FUSING THE FOLK His latest album fuses folks of India with violin, like the one that blends Ra jasthani folk elements as Ravan Hatta, Maand & Ghumar with the violin. Earlier he has collaborated with Mehdi Hasan in Sadaa-e-Dil and of late with Ghulam Ali. #ed_op#/FONT#ed_cl##ed_op#P StI8Y="0" iDtrE="0"#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#P StI8Y="0" iDtrE="0"#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#SUR SANGAT Accompanying Ustad Asghar on tabla is Ustad Akhtar Hasan of Farrukhabad gharana. He & Ustad have been childhood friends. Now together for 20 years, they say they know each other musically better. "A tabla player has to do sangat, I have to ensure I don't disturb the main performer & wait for my chance to play," says Ustad Akhtar Hasan.#ed_op#BR#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P StI8Y="0" iDtrE="0"#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#IMG src="http://epaper.hindustantimes.com/Web/HTPunjab/Photographs/2008/04/01/133/01_04_2008_133_005_010.jpg"#ed_cl##ed_op#/P#ed_cl##ed_op#/FONT#ed_cl#


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sur
Tue 01 Apr, 2008 00:45

Re: CLASSICAL TRANQUILITY & MUSIC REVIEW
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#ed_op#DIV#ed_cl##ed_op#DIV class=art_head1 id=divTitle#ed_cl#       #ed_op#FONT face="Comic Sans MS" color=#441415 size=6#ed_cl#Hindustani Classical#ed_op#/FONT#ed_cl##ed_op#/DIV#ed_cl##ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#TABLE cellSpacing=0 cellPadding=0 width="100%" align=left border=0#ed_cl##ed_op#TBODY#ed_cl##ed_op#TR#ed_cl##ed_op#TD width=19#ed_cl##ed_op#/TD#ed_cl##ed_op#TD vAlign=top height=97#ed_cl##ed_op#TABLE cellSpacing=0 cellPadding=0 width="94%" align=left border=0#ed_cl##ed_op#TBODY#ed_cl##ed_op#TR#ed_cl##ed_op#TD#ed_cl##ed_op#!--Code For Google Ad--#ed_cl##ed_op#TABLE height=250 width=300 align=right border=0#ed_cl##ed_op#TBODY#ed_cl##ed_op#TR#ed_cl##ed_op#TD#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#/TBODY#ed_cl##ed_op#/TABLE#ed_cl##ed_op#!--Code For Google Ad--#ed_cl##ed_op#DIV class=KonaBody ZFVAG="true"#ed_cl##ed_op#DIV id=divArtBody style="FONT-SIZE: 12px"#ed_cl##ed_op#BR#ed_cl##ed_op#IMG src="http://epaper.hindustantimes.com/Web/HTPunjab/Photographs/2008/04/01/165/01_04_2008_165_009_002.jpg"#ed_cl# #ed_op#DIV id=speechData style="DISPLAY: none"#ed_cl##ed_op#/DIV#ed_cl##ed_op#/DIV#ed_cl##ed_op#/DIV#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#/TBODY#ed_cl##ed_op#/TABLE#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#/TBODY#ed_cl##ed_op#/TABLE#ed_cl##ed_op#/DIV#ed_cl#


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Music
Thu 10 Apr, 2008 23:26

Re: CLASSICAL TRANQUILITY & MUSIC REVIEW
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#ed_op#DIV#ed_cl##ed_op#DIV class=art_head1 id=divTitle#ed_cl##ed_op#FONT face="Comic Sans MS" color=#033d3d size=5#ed_cl##ed_op#STRONG#ed_cl#Sarod Rani no more#ed_op#/STRONG#ed_cl##ed_op#/FONT#ed_cl##ed_op#/DIV#ed_cl##ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl# #ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Versatile Hindustani musician Shann Thmi.popularly known as 'Sarod Rani', passed away Tuesday morning in the city a day before her 80th birthday Rani, the first woman to take up Sarod, breathed her last after batt1ing cancer for some time, family sources said. She was to release her double CD set of Hindustani #ed_op#FONT color=#000000#ed_cl##ed_op#FONT style="FONT-WEIGHT: 400; FONT-SIZE: 12px; COLOR: blue! important; FONT-FAMILY: Verdana,Arial, Helvetica, sans-serif; POSITION: static"#ed_cl##ed_op#SPAN class=kLink style="FONT-WEIGHT: 400; FONT-SIZE: 12px; COLOR: blue! important; FONT-FAMILY: Verdana,Arial, Helvetica, sans-serif; POSITION: relative"#ed_cl#classical #ed_op#/SPAN#ed_cl##ed_op#SPAN class=kLink style="FONT-WEIGHT: 400; FONT-SIZE: 12px; COLOR: blue! important; FONT-FAMILY: Verdana,Arial, Helvetica, sans-serif; POSITION: relative"#ed_cl#music#ed_op#/SPAN#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/FONT#ed_cl#on the same day A disciple of great music maestros Ustad Allaudin Khan and Ustad Ali Akbar Khan, she belongs to the Maihar Senia gharana. Rani, a Padma Bhushan awardee who created new ragas, was the first musician to travel abroad and record with major music companies in the United States and Britain. She was also an avid collector of rare instruments and set up Sharan Rani Backliwal Gallery, displaying nearly 450 classical instruments.#ed_op#BR#ed_cl##ed_op#/FONT#ed_cl##ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#IMG src="http://epaper.hindustantimes.com/Web/Photographs/2008/04/11/205/11_04_2008_205_002_008.jpg"#ed_cl##ed_op#/DIV#ed_cl#


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Music
Sat 12 Apr, 2008 10:17

Re: CLASSICAL TRANQUILITY & MUSIC REVIEW
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#ed_op#DIV#ed_cl##ed_op#DIV align=center#ed_cl##ed_op#TABLE cellSpacing=0 cellPadding=0 width=556 bgColor=#ffffff border=0#ed_cl##ed_op#TBODY#ed_cl##ed_op#TR#ed_cl##ed_op#TD#ed_cl##ed_op#DIV align=center#ed_cl##ed_op#IMG height=91 src="http://www.sarangi.co.uk/images/p1.jpg" width=556#ed_cl##ed_op#/DIV#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#/TBODY#ed_cl##ed_op#/TABLE#ed_cl##ed_op#FONT face=Arial size=2#ed_cl##ed_op#B#ed_cl#Thursday, March 14, 2002#ed_op#/B#ed_cl##ed_op#/FONT#ed_cl# #ed_op#BR#ed_cl##ed_op#BR#ed_cl##ed_op#TABLE width=556 align=center border=0#ed_cl##ed_op#TBODY#ed_cl##ed_op#TR bgColor=#990000#ed_cl##ed_op#TD colSpan=2#ed_cl##ed_op#DIV align=center#ed_cl##ed_op#B#ed_cl##ed_op#FONT face="Times New Roman, Times, serif" size=5#ed_cl##ed_op#I#ed_cl##ed_op#FONT color=#ffffff#ed_cl#Keeping a great tradition alive#ed_op#/FONT#ed_cl##ed_op#/I#ed_cl##ed_op#/FONT#ed_cl##ed_op#/B#ed_cl##ed_op#FONT color=#ffffff#ed_cl##ed_op#I#ed_cl##ed_op#FONT face="Times New Roman, Times, serif" size=5#ed_cl##ed_op#B#ed_cl# #ed_op#/B#ed_cl##ed_op#/FONT#ed_cl##ed_op#/I#ed_cl##ed_op#/FONT#ed_cl##ed_op#/DIV#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#/TBODY#ed_cl##ed_op#/TABLE#ed_cl##ed_op#TABLE width=556 align=center border=0#ed_cl##ed_op#TBODY#ed_cl##ed_op#TR#ed_cl##ed_op#TD vAlign=top width=283 bgColor=#fdf1cc rowSpan=6#ed_cl##ed_op#DIV align=center#ed_cl##ed_op#BR#ed_cl##ed_op#TABLE cellSpacing=0 cellPadding=0 width=150 border=0#ed_cl##ed_op#TBODY#ed_cl##ed_op#TR#ed_cl##ed_op#TD#ed_cl##ed_op#FONT face=Arial size=2#ed_cl##ed_op#IMG height=251 src="http://www.sarangi.co.uk/19-03-2002/s2.jpg" width=160 border=1#ed_cl##ed_op#/FONT#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#TR bgColor=#cc3300#ed_cl##ed_op#TD height=13#ed_cl##ed_op#DIV align=center#ed_cl##ed_op#FONT face="Verdana, Arial, Helvetica, sans-serif" color=#ffffff size=1#ed_cl##ed_op#B#ed_cl#Ustad Sabri Khan with Kamal and Suhail#ed_op#/B#ed_cl##ed_op#/FONT#ed_cl##ed_op#/DIV#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#/TBODY#ed_cl##ed_op#/TABLE#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT face=Arial size=2#ed_cl#Like most other children his age in the city, Suhail too, is facing examination hysteria, But, unlike the other 12 years olds, Suhail did not study the night before his English examination. Instead, he played the sarangi alongside his grandfather Ustaad Sabri Khan and his uncle Kamal Sabri this evening.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT face=Arial size=2#ed_cl#What makes Suhail different is that it is not the fact it was probably the first time three generations of the same family shared the stage together but also the instrument of his choice the sarangi. An unusully stringed instrument, the sarangi is being forced into oblivion because of lack of interest.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P align=left#ed_cl# #ed_op#/P#ed_cl##ed_op#/DIV#ed_cl##ed_op#/TD#ed_cl##ed_op#TD vAlign=top width=13 rowSpan=6#ed_cl# #ed_op#/TD#ed_cl##ed_op#TD vAlign=top width=246 bgColor=#fdf1cc rowSpan=6#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#"Probably the toughest instrument to handle unlike any other instrument it is played with cuticles of the fingers- which can be very painful." Explained Kamal Sabri. "It is also called saurangi- meaning hundred colours and a player should have the ability to bring at least some colours through his performance," he added.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Part of a long tradition of sarangi players, the Sabris trace their ancestry back to the Mughal Emperor Akbar's legendary court singer Tansen. Each new generation has been orally handed down the priceless musical heritage like all other Indian art forms.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#The sarangi his another unique distinction of being closest to the human voice, in richness and melody, affording intense emotional expression. Ustad Sabri Khan has devoted his entire life to popularizing this instrument. First to introduce the sarangi to audiences abroad, he has also played a duet with Yahudi Menuhin, world renowned composer. It is this legacy that he passes on to his son and grandson.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#"It is important that many more such public performances are held for the sarangi to become a mainstream instrument. I have held performances all over the world--in English, Swizerland, Finland and Pakistan to fulfill my motto of popularizing the instrument. Audiences abroad have been very encouraging, but more needs to be done," said Kamal Sabri.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#But the onus of keeping the tradition alive now really rests on young Suhail's shoulders. Attracted to sarangi at the age of three by the "sound" it makes, he has a lot to live up to.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#/TBODY#ed_cl##ed_op#/TABLE#ed_cl##ed_op#/DIV#ed_cl##ed_op#DIV align=center#ed_cl# #ed_op#/DIV#ed_cl##ed_op#DIV align=center#ed_cl# #ed_op#/DIV#ed_cl##ed_op#/DIV#ed_cl#


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sur
Fri 25 Apr, 2008 01:03

Re: CLASSICAL TRANQUILITY & MUSIC REVIEW
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#ed_op#DIV#ed_cl##ed_op#DIV class=art_head1 id=divTitle#ed_cl##ed_op#FONT face="Comic Sans MS" size=5#ed_cl#Mucho music and a skin show#ed_op#/FONT#ed_cl##ed_op#/DIV#ed_cl##ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#DIV class=art_locationwhite id=divAuthor#ed_cl#M /Renuka Narayanan#ed_op#/DIV#ed_cl##ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl# #ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Punjab Academy, Government of NCT, wW hold a twoday 'Festival of Traditional Music of the Punjab' on April 29 and 30, (Tuesday-Wednesday) at 7 pm, at the India Habitat Centre. Billed to sing khayal and thumri: Jawad and Mazhar Ali Khan (grandsons of Bade Ghulam Ali Khan), Pt. Bhimsen Sharma and Pt. Yashpal; and Javed Bashir of Pakistan, for a spot of the now indispensable Sufiyana. The highlight of the festival, definitely, is the showcasing of bandish (compositions) in Punjabi, traditional airs like 'Raanjhan ghar cavo pyaare/lakkh-lakkh khushiyaan manaavaan'. What's so interesting about this festival for Delhi is that while Sufiyana and bhangra are hugely popular from Punjabi culture, the classical heritage of Punjabi music is hardly known, despite Patiala having been such a big gharana. And Sikhism is the religion where classical music (shabad in ragas) is the form of worship as devised by Guru Nanak himself and perpetuated by the other Gurus. #ed_op#/FONT#ed_cl##ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#So it's incorrect to say, "the only culture of Punjab is agriculture". It's just that the state's clas- sical heritage seems to have got completely stampeded over by its mass culture after Partition. Good for the Punjabi Academy that it's trying to rescue classical Punjabi compositions. Bhakt/ Pravah Tonight's the night if you want 'Ibaadat ke Rang' (The Colours of Prayer): ghazals, nazm, doha and (surprise!) Sufiyana kalam at the Chinmaya Mission, Lodi Road, at 6.30 pm. Singer Sudeep Banerjee of Mumbai also sings for Bollywood. His classical guru is Shanti Hiranand, disciple of the late Begum Akhtar. BTW, notice the multi-faith culturescape that mainstream institutions are trying to re-establish for 'desh ke hit'? Be it the six-city Sufi festival (Ruhaaniyat) guys from Mumbai or the Bhakti Utsays and Shabad festivals by Seher or the Madras Music Academy beginning its recent concert season with nadaswaram (shehnai) artistes Sheikh Mahaboob Subhani and Mrs Kaleeshabi Mahaboob, a lot of people are noticeably trying through culture to make it all better: truly a 'culture club'. Documania! The India International Centre and Magic Lantern Foundation present 'Persistence Resistance: A Festival of Contemporary Documentaries', made in the last 10 years, which will screen over 100 films in a multitude of spaces. #ed_op#/FONT#ed_cl##ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Films will be shown in two auditoria, in 8 simulated video parlours, at a video library where people can check out a film of their choice from a temporary 'library', as well as installations around the venue. The festival will showcase retrospectives of the work of four among the documentary filmmakers working in India today: R.V.Ramani, Sehjo Singh, Paromita Vohra and Madhusree Dutta. Hit magiclantern.org for the schedule. Fur pie Lots of art shows, but this one sounds eyeball-popping, by Pakistani artist Ali Kazim at Gallery Espace, 16, Community Centre, New Friends' Colony: fur, leather, paper, goatskin, all kinds of whimsy! Until May 7 (11am -7 pm), go see#ed_op#/FONT#ed_cl##ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl# #ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#IMG src="http://epaper.hindustantimes.com/Web/Photographs/2008/04/25/210/25_04_2008_210_006_007.jpg"#ed_cl##ed_op#/DIV#ed_cl#


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sur
Tue 29 Apr, 2008 01:14

Re: CLASSICAL TRANQUILITY & MUSIC REVIEW
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#ed_op#DIV#ed_cl##ed_op#STRONG#ed_cl##ed_op#FONT face="Comic Sans MS" color=#0000ff size=4#ed_cl#Celebrating devotion #ed_op#/FONT#ed_cl##ed_op#/STRONG#ed_cl##ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#P align=justify#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#STRONG#ed_cl##ed_op#FONT color=#0000ff size=4#ed_cl##ed_op#/FONT#ed_cl##ed_op#/STRONG#ed_cl##ed_op#/P#ed_cl##ed_op#FONT size=1#ed_cl#BUDDHA DEV MALAKAR #ed_op#/FONT#ed_cl##ed_op#P#ed_cl##ed_op#/P#ed_cl##ed_op#P align=justify#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#/P#ed_cl##ed_op#TABLE width="100%" bgColor=#ddffdd border=0#ed_cl##ed_op#TBODY#ed_cl##ed_op#TR#ed_cl##ed_op#TD#ed_cl##ed_op#FONT face="Comic Sans MS"#ed_cl#Songs of the soul filled the air at the Bhakti Utsav. #ed_op#/FONT#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#/TBODY#ed_cl##ed_op#/TABLE#ed_cl##ed_op#P align=justify#ed_cl##ed_op#/P#ed_cl##ed_op#P align=justify#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#/P#ed_cl##ed_op#P align=justify#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#/P#ed_cl##ed_op#P align=left#ed_cl##ed_op#/P#ed_cl##ed_op#CENTER#ed_cl##ed_op#FONT size=-2#ed_cl#Photo: Rajeev Bhatt #ed_op#/FONT#ed_cl##ed_op#BR#ed_cl##ed_op#IMG height=177 src="http://www.hindu.com/fr/2008/04/18/images/2008041850160301.jpg" width=330 align=center border=1#ed_cl# #ed_op#BR#ed_cl##ed_op#B#ed_cl##ed_op#EM#ed_cl#Ecstasy #ed_op#/EM#ed_cl#Classical vocalist Ramashreya Jha at the Bhakti Utsav. #ed_op#/B#ed_cl##ed_op#/CENTER#ed_cl##ed_op#CENTER#ed_cl##ed_op#STRONG#ed_cl##ed_op#/STRONG#ed_cl# #ed_op#/CENTER#ed_cl##ed_op#P#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#/P#ed_cl##ed_op#P align=justify#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#The three-day Bhakti Utsav of devotional music that took place in New Delhi’s Nehru Park this past weekend encompassed a variety of genres from Sanskrit chants to bhajans in folk and popular traditions, from Sufiana Qawwali to Baul singing and Dhrupad, from verses of Kabir and Tulsidas to Carnatic devotional compositions.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#The festival, presented by the Government of NCT, Delhi, and Seher in association with the NDMC, brought top vocalists from India and Pakistan to a single platform. The participating artistes included Hariharan (Mumbai), Hans Raj Hans (Jalandhar), Siddhi Shankar Mishr#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#DIV id=forecolor_editor#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/DIV#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#a and Vipin Kumar Mishra (Bihar), Pushkar Lele (Pune), Javed Bashir (Pakistan), Padma Talwalkar (Mumbai), Bombay Jayashri (Chennai), Madhavan Nampoothiri (Kerala), Hemant Chauhan (Rajkot), Shafi Mohammad Faqir (Pakistan), Gokul Utsav Maharaj (Indore), Ramashreya Jha (Allahabad), Akhtar Sharif Husain (Pakistan) and A. Maheshwar Rao (Delhi).#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#On the opening day the mystic poetry of Bulle Shah, Madho Lal Hussain and Khwaja Gulam were sung by Javed Bashir from Pakistan. Javed Bashir’s father, Bashir Ahmad Khan, was a qawwal, and this style of singing is the one Javed has been commonly associated with over the years. #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Bashir, an exceptionally talented singer, began his performance with Bulle Shah’s mystical effusions like “Ke Jana May Kaun” (Bulle Shah says I do not know who I am) and “Uski ada mein nahin hun”. For the Sufi, the utter need for mystical union with God makes him realise that such attainment of God is possible only through total realisation of one’s own self, which Bulle Shah knew is the most difficult thing to do. The inner being can be unravelled only by a total mystical surrender to God who is the Absolute and Ultimate Reality.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#On the second day , among other artistes, Hans Raj Hans extraordinarily rendered traditional Gurbani, infused with harmony and peace. Hans, among the earliest artistes to blend Punjabi folk and Sufi songs and garner popular appeal, has an original style that has its foundations in classical music and folk singing. In between his singing he spoke of the need for transformation of the inner man. The classical music grounding in his mellifluously rendered Gurbani added an extra dimension to the soulful music. #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#One of the highlights of the festival came on the last day when the erudite Pandit Ramashreya Jha presented that favourite epic of North India, the Ram Charitmanas. #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#He began his rendition with “Ganga teere”, depicting Lord Ram standing beside the Ganga, with the mellifluous words “Naiya na charayun”. He ended with “Jai Ram, Shri Ram, Jai Jai Ram, Jai Ram, Shri …..” that created an atmosphere of complete harmony and peace with the night sky with a crescent moon overhead. #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#/DIV#ed_cl#


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sur
Sat 10 May, 2008 23:39

Re: CLASSICAL TRANQUILITY & MUSIC REVIEW
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#ed_op#DIV#ed_cl# #ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl# #ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#TABLE cellSpacing=0 cellPadding=2 width="100%" align=left border=0#ed_cl##ed_op#TBODY#ed_cl##ed_op#TR#ed_cl##ed_op#TD vAlign=top height=97#ed_cl##ed_op#TABLE cellSpacing=0 cellPadding=0 width="94%" align=center border=0#ed_cl##ed_op#TBODY#ed_cl##ed_op#TR#ed_cl##ed_op#TD#ed_cl##ed_op#DIV id=divArtBody#ed_cl##ed_op#DIV id=imageArticleDiv style="BORDER-RIGHT: 10px; BORDER-TOP: 10px; LEFT: 0px; POSITION: relative"#ed_cl##ed_op#IMG id=artImage height=343 src="http://epaper.hindustantimes.com/Web/HTMumbai/Article/2008/05/11/001/11_05_2008_001_008.jpg" width=1048#ed_cl# #ed_op#/DIV#ed_cl##ed_op#DIV id=speechData style="DISPLAY: none"#ed_cl# #ed_op#/DIV#ed_cl##ed_op#DIV style="DISPLAY: none"#ed_cl#Continued#ed_op#/DIV#ed_cl##ed_op#DIV style="DISPLAY: none"#ed_cl# #ed_op#/DIV#ed_cl##ed_op#DIV style="DISPLAY: none"#ed_cl##ed_op#A href="mailto:sujit.kumar@hindustantimes.com"#ed_cl#sujit.kumar@hindustantimes.com#ed_op#/A#ed_cl# #ed_op#/DIV#ed_cl##ed_op#/DIV#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#/TBODY#ed_cl##ed_op#/TABLE#ed_cl##ed_op#P#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl# #ed_op#/P#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#/TBODY#ed_cl##ed_op#/TABLE#ed_cl##ed_op#/DIV#ed_cl#


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sur
Sat 10 May, 2008 23:42

Re: CLASSICAL TRANQUILITY & MUSIC REVIEW
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#ed_op#DIV#ed_cl# #ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#TABLE cellSpacing=0 cellPadding=2 width="100%" align=left border=0#ed_cl##ed_op#TBODY#ed_cl##ed_op#TR#ed_cl##ed_op#TD vAlign=top height=97#ed_cl##ed_op#TABLE cellSpacing=0 cellPadding=0 width="94%" align=center border=0#ed_cl##ed_op#TBODY#ed_cl##ed_op#TR#ed_cl##ed_op#TD#ed_cl##ed_op#DIV id=divArtBody#ed_cl##ed_op#DIV id=imageArticleDiv style="BORDER-RIGHT: 10px; BORDER-TOP: 10px; LEFT: 0px; POSITION: relative"#ed_cl##ed_op#IMG id=artImage height=1484 src="http://epaper.hindustantimes.com/Web/HTMumbai/Article/2008/05/11/008/11_05_2008_008_002.jpg" width=1465#ed_cl##ed_op#/DIV#ed_cl##ed_op#DIV id=speechData style="DISPLAY: none"#ed_cl#A T SINGER Suresh Wadkar's Ajivasan Music Academy in Santacruz, a constant stream of parents files through the lobby. Almost all of them have brought along their children - some playful, some in- different six-year-olds in tow. They're all here to find out the de- tails and fee structure of the academy's summer music camp for children. Rs 3,000 for the one- month package; it is essentially an introduction to Hindustani classical music, explains the manager patiently. Some sign up then and there, others promise to return soon. Some parents recognise a dark and stocky young man wearing a cap in their midst. Padma Wad- kar, Suresh's wife, who teaches at the academy too, introduces him to me as Abhishek Kumar, a con- testant on Indian Idol 3, the huge- ly popular musical talent hunt on Sony TV. "I was one of the top eight," Kumar tells me. What is he doing at the Ajivasan acade- my? "I want to learn classical mu- sic. I could not sing certain songs well because I had no classical training," he confides. Kumar has come to Mumbai all the way from Jharkhand's Dhanbad. "We get a lot of inquiries from contestants of music reality shows, especially those who come to Mumbai for auditions but fail to make it," Padma tells me. "They are not from a musical background and look for short- term courses. Of course, some of them get a proper perspective once they start learning. Because classical music gives them not only a good foundation but some mental balance, too." Her husband Suresh, who has been a judge on shows like Sa-re- ga-ma-pa Little Champs, says there is now a clear realisation among aspiring contestants that they need to learn classical mu- sic. "This awareness is now wide- spread and it's great that the dif- ferent channels are throwing up talented singers from different parts of the country. Some of these kids are able to make the kind of money they would never have dreamt of," he says. Abhishek Kumar has already seen the pot of gold. A final-year engineering student in Banga- lore, Kumar has taken a break of about nine months from his course since his first audition in Bhopal. And his aggregate marks have dropped from 76 to 63 per cent. Shouldn't he be preparing for his final exams, I ask. "My parents want me to complete my education first. But if I sing well, I will be famous," he says, break- ing into a smile. Kumar has it all worked out: "The three major shows - Indi- an Idol, Sa-re-ga-ma-pa and Voice of India - produce about 30 good singers every year. So they have created a pool of about 180 new singers over the last six years. If I want to be on top of the heap, I need to be able to sing better. And to sign better, I need to train in classical music." Though all of this means good business for him, Wadkar adds a note of caution. "Because of all these music shows, children sud- denly become heroes, get recog- nised on the streets, get called for shows, make a lot of money. All this can become a hurdle in their progress because they do not practise as much as they should. See, I am 54 and I still do riyaz for three to four hours a day. Music is like a well from which you draw every day," says Wadkar. Rajan Madhukar Panchikar, who runs the Vishwanath Sangeet Vidyalaya in Borivli, agrees. "I find today's children brighter and more eager to learn. But many of them lack patience, tenacity and devotion," says Panchikar, who used to teach English but took over the reins of his music school in the early 90s after his father's death. "Perhaps inspired by the TV channels, many people are making music an important part of their lives. Some of them come to me be- cause they want to sing well; oth- ers do so just to learn to appreci- ate it," he says. "Everyone wants to be a singer now," remarks Rimi Basu Sinha, who teaches at the Mumbai Mu- sic Academy at Goregaon. "I find this excessive because the indus- try doesn't have work for so many singers and good singers get pushed out." She adds, "It is good that peo- ple now want to study classical music. But where does a 22-year- old start? His throat and voice have been taken over completely by Hindi film music." The problem is, she believes, "Most aspirants don't know what to listen to and how to grow as a musician." Sinha, who is about to release an album called Maiyya, with Kumar Sanu, recollects, "When I used to learn music in Allahabad, we were prohibited from even listening to film music. Later, I made a conscious decision to switch to light music." Archita Bhattacharya has done the same. After studying music at the Khaigarh University in Mad- hya Pradesh and training under the late A T Kanan, Bhattacharya now goes to the Mumbai Music Academy to polish her light mu- sic skills. "I can go further in clas- sical music but I want to be a light music exponent. I don't want peo- ple to say that my style is more suited for classical singing," she says. In 2001, she took part in the Sa- re-ga-ma-pa contest but could not make it beyond two rounds. Last year, she went to audition for Voice of India but couldn't get a look-in. "I waited five hours but they simply shut the door," she says. She is now taking part in the 3 Idol organised by her company, 3, for its employees. Modelled on the TV shows, 3 Idol had three rounds and 200 participants. Needless to say, there is a huge demand for teachers who can pro- duce another Sunidhi Chauhan or Shreya Ghoshal. Will an insti- tute like Ajivasan try to cash in on the new trend? "Right now, we have so much to do in terms of our regular six-year course," says Padma. "But I am not #ed_op#/DIV#ed_cl##ed_op#/DIV#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#/TBODY#ed_cl##ed_op#/TABLE#ed_cl#......#ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#/TBODY#ed_cl##ed_op#/TABLE#ed_cl##ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#/DIV#ed_cl#


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Music
Sat 17 May, 2008 01:49

Re: CLASSICAL TRANQUILITY & MUSIC REVIEW
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#ed_op#DIV#ed_cl##ed_op#IMG title="It's Indiatime" height=45 alt="It's Indiatime" hspace=250 src="http://www.indiatime.com/images/indiatime_logo.gif" width=286#ed_cl##ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl# #ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl# #ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#DIV id=contenttitle#ed_cl##ed_op#H1#ed_cl#Kishan Maharaj (1923-2008), Tabla maestro#ed_op#/H1#ed_cl##ed_op#P#ed_cl#May 6, 2008 posted by indiatime #ed_op#/P#ed_cl##ed_op#/DIV#ed_cl##ed_op#P#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" color=#000000 size=4#ed_cl#Kishan Maharaj, one of the grand old masters of Indian tabla, is no more. He passed away 2 days ago, in Varanasi (aka Benares), the place whose lineage and mantle he so proudly carrried for well over 70 years of an extraordinary musical journey. #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" color=#000000 size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" color=#000000 size=4#ed_cl#Learning initially under his father Hari Maharaj, and later under his uncle Kanthe Maharaj (who studied with the famous Baldev Sahai in Kathmandu), he spent a lifetime wowing audiences with his amazing ability to play cross-rhythms, a faculty that takes an incredible mathematical discipline to manipulate phrases. Kishan Maharaj, with his aggressive open-ended style taking full advantage of the bass tabla (bayan), excelled at both solo as well as accompaniments, but his leanings were more towards soloist traditions (as against Shanta Prasad, the other great exponent of Benares lineage, whose leanings were more toward accompaniment). #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" color=#000000 size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" color=#000000 size=4#ed_cl#Kishan Maharaj stirred up a mild controversy a few years ago, when he tols a stunned audience in Varanasi that he was contemplating suicide to protest against Indian government’s erroneous methods to bestow prestigious awards to music maestros. “..If the government can award Bharat-Ratna to Bismillah Khan and Ravi Shankar, then why not me?..”, he demanded, adding that he would accept no other award byt the highest civilian award - #ed_op#EM#ed_cl#Bharat Ratna#ed_op#/EM#ed_cl#. A year later, in 2002, the Indian government honored him with the lesser Padma Vibhushan award that he shared that year with two great singing maestros - Kishore Amonkar and Gangubai Hangal. #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#/DIV#ed_cl#


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sur
Fri 23 May, 2008 09:52

Re: CLASSICAL TRANQUILITY & MUSIC REVIEW
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#ed_op#DIV#ed_cl##ed_op#FONT face="Comic Sans MS" color=#000000 size=5#ed_cl##ed_op#STRONG#ed_cl##ed_op#IMG height=38 src="http://graphics8.nytimes.com/images/misc/nyt_interbanner.gif" width=142#ed_cl##ed_op#/STRONG#ed_cl##ed_op#/FONT#ed_cl##ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#DIV class=timestamp#ed_cl##ed_op#TABLE style="MARGIN-TOP: 3px; MARGIN-BOTTOM: 3px" cellSpacing=0 cellPadding=0 width="80%" border=0#ed_cl##ed_op#TBODY#ed_cl##ed_op#TR vAlign=bottom#ed_cl##ed_op#TD#ed_cl##ed_op#DIV style="MARGIN-RIGHT: 2px"#ed_cl##ed_op#DIV align=right#ed_cl##ed_op#IMG height=1 alt="" src="http://graphics8.nytimes.com/ads/spacer.gif" width=1 border=0#ed_cl##ed_op#A href="http://www.nytimes.com/adx/bin/adx_click.html?type=goto&page=www.nytimes.com/printer-friendly&pos=Position1&sn2=336c557e/4f3dd5d2&sn1=4aa7fdae/a5c90f7e&camp=foxsearch2008_emailtools_810903d-nyt5&ad=biggie_88x31_8k.gif&goto=http://my.foxsearchlight.com/profile/WayneBarrow" target=_blank#ed_cl##ed_op#IMG height=24 alt="Printer Friendly Format Sponsored By" src="http://graphics8.nytimes.com/ads/fox/printerfriendly.gif" width=106 border=0#ed_cl##ed_op#IMG height=31 alt="" src="http://graphics8.nytimes.com/ads/fox/2008/biggie_88x31_8k.gif" width=88 border=0#ed_cl##ed_op#/A#ed_cl##ed_op#BR#ed_cl##ed_op#/DIV#ed_cl##ed_op#/DIV#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#/TBODY#ed_cl##ed_op#/TABLE#ed_cl##ed_op#BR clear=all#ed_cl##ed_op#HR align=left SIZE=1#ed_cl##ed_op#DIV class=timestamp#ed_cl#May 12, 2008#ed_op#/DIV#ed_cl##ed_op#DIV class=timestamp#ed_cl# #ed_op#/DIV#ed_cl##ed_op#/DIV#ed_cl##ed_op#DIV class=kicker#ed_cl##ed_op#NYT_KICKER#ed_cl#Music Review  '#ed_op#/DIV#ed_cl##ed_op#DIV class=kicker#ed_cl#Miles From India'#ed_op#/DIV#ed_cl##ed_op#DIV class=kicker#ed_cl##ed_op#/NYT_KICKER#ed_cl##ed_op#/DIV#ed_cl##ed_op#H1#ed_cl##ed_op#NYT_HEADLINE version="1.0" type=" "#ed_cl#Recalling Miles Davis by Crossing Cultures #ed_op#/NYT_HEADLINE#ed_cl##ed_op#/H1#ed_cl##ed_op#NYT_BYLINE version="1.0" type=" "#ed_cl##ed_op#DIV class=byline#ed_cl##ed_op#FONT face="Comic Sans MS" color=#000000 size=1#ed_cl##ed_op#STRONG#ed_cl#By NATE CHINEN#ed_op#/STRONG#ed_cl##ed_op#/FONT#ed_cl##ed_op#/DIV#ed_cl##ed_op#/NYT_BYLINE#ed_cl##ed_op#NYT_TEXT#ed_cl##ed_op#DIV id=articleBody#ed_cl##ed_op#P#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#During the second half of “Miles From India,” a boldly expansive concert at Town Hall on Friday night, the percussionist Badal Roy ventured a tabla solo, the sort of heroic exhibition that can end only in generous applause. He was annotating a composition called “Ife,” which he originally recorded with the trumpeter #ed_op#/FONT#ed_cl##ed_op#FONT face="Arial Narrow" color=#000066 size=4#ed_cl#Miles Davis#ed_op#/FONT#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl# in 1972. #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Mr. Roy was the linchpin but not always the focal point of “Miles From India,” which generally featured about a dozen other musicians onstage. The concert grew out of an ambitious new double album of the same name on Times Square Records, conceived as a cross-cultural experiment by the producer Bob Belden. On the album assorted Miles Davis alumni appear along with acclaimed Indian musicians — Mr. Roy hails from both camps of course — to play music spanning several periods of Davis’s chameleonic career. #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#It’s not such a stretch to seek affinities between Miles and India: as one of the chief proponents of modal improvisation in jazz, he occasionally reached in that direction himself. And a handful of his former sidemen, notably the guitarist John McLaughlin, went on to explore Indian music more deeply and directly. #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Mr. McLaughlin contributed the title track and lone original on “Miles From India,” but he wasn’t on the bill Friday. Not that there was much occasion to miss him. The concert, organized by Mr. Belden and the Indian jazz pianist Louiz Banks, heeded the same ethos of crowded collaboration that guided Davis during his first fusion epoch, in the late 1960s and early to mid-’70s. There were organizing principles to the program (a set list, even) but the prevailing spirit was free form, seemingly open to chance.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#On “Spanish Key,” which opened the second half, that method paid off handsomely. The trumpeter Wallace Roney, a leading disciple of the Davis sound and style, played with exacting purpose and unrepressed enthusiasm, carving up the song. And the melody, with its upward-tumbling arpeggio, suited the vocalist Shounak Abhisheki perfectly.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#“Miles Runs the Voodoo Down,” another track from the post-Woodstock album “Bitches Brew,” played to the strengths of both Mr. Roney and the guitarist Pete Cosey, who soloed in serpentine tandem. (It also provoked plaintive commentary from the violinist Kala Ramnath, who held her instrument in the Carnatic style, with its neck sloping to the floor.)#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Just as potent was “It’s About That Time,” which felt right from the moment the bassist Benny Rietveld began the song’s signature vamp. At its peak the tune had Lenny White flailing at his drums as the alto saxophonist Rudresh Mahanthappa sparred with Adam Holzman, on Fender Rhodes piano. Whatever fusion this implied, it was effective.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#The concert’s first half was less so, despite the stalwart contributions of the bassist Ron Carter and, on one song, the pianist Vijay Iyer. With a set drawn strictly from the album “Kind of Blue,” which uses modal concepts but predates “Bitches Brew” by a crucially important decade, the musicians had to work a lot harder at translation. It never quite came together, though their effort was worth hearing. #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#TABLE cellSpacing=0 cellPadding=0 width=690 border=0#ed_cl##ed_op#TBODY#ed_cl##ed_op#TR#ed_cl##ed_op#TD vAlign=center align=left width=690 colSpan=3#ed_cl##ed_op#TABLE cellSpacing=0 cellPadding=0 width=690 border=0#ed_cl##ed_op#TBODY#ed_cl##ed_op#TR#ed_cl##ed_op#TD#ed_cl##ed_op#IMG height=38 src="http://graphics8.nytimes.com/images/misc/nyt_interbanner.gif" width=142#ed_cl##ed_op#/TD#ed_cl##ed_op#TD#ed_cl##ed_op#DIV align=right#ed_cl##ed_op#FONT class=bodytext face=Verdana size=1#ed_cl##ed_op#STRONG#ed_cl#May 12, 2008#ed_op#/STRONG#ed_cl##ed_op#/FONT#ed_cl#    #ed_op#/DIV#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#/TBODY#ed_cl##ed_op#/TABLE#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#TR#ed_cl##ed_op#TD width=20#ed_cl##ed_op#IMG height=1 src="http://graphics8.nytimes.com/images/misc/spacer.gif" width=20#ed_cl##ed_op#/TD#ed_cl##ed_op#TD vAlign=top align=middle width=650#ed_cl##ed_op#IMG height=434 alt="" src="http://graphics8.nytimes.com/images/2008/05/12/arts/Miles650.jpg" width=650#ed_cl##ed_op#/TD#ed_cl##ed_op#TD width=20#ed_cl##ed_op#IMG height=1 src="http://graphics8.nytimes.com/images/misc/spacer.gif" width=20#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#TR#ed_cl##ed_op#TD width=20#ed_cl##ed_op#IMG height=1 src="http://graphics8.nytimes.com/images/misc/spacer.gif" width=20#ed_cl##ed_op#/TD#ed_cl##ed_op#TD vAlign=top align=left width=650#ed_cl##ed_op#DIV align=right#ed_cl##ed_op#FONT size=-2#ed_cl#Hiroyuki Ito for The New York Times#ed_op#/FONT#ed_cl##ed_op#/DIV#ed_cl##ed_op#BR#ed_cl##ed_op#FONT size=-1#ed_cl#From left, Pete Cosey, Wallace Roney and Badal Roy were among the dozen or so players in a tribute to Miles Davis.#ed_op#/FONT#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#/TBODY#ed_cl##ed_op#/TABLE#ed_cl##ed_op#/P#ed_cl##ed_op#/DIV#ed_cl##ed_op#/DIV#ed_cl#


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sur
Fri 23 May, 2008 10:08

Re: CLASSICAL TRANQUILITY & MUSIC REVIEW
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#ed_op#DIV#ed_cl##ed_op#IMG class="photo large" title="" alt="Photo: Debashish Bhattacharya" src="http://worldmusic.nationalgeographic.com/worldmusic/image/assets/images/artists/debashish_bhattacharya.jpg?w=150&h=100&scale=fill&fillAnchor=leftOrTop" align=left#ed_cl##ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#STRONG#ed_cl#Artist Name:#ed_op#/STRONG#ed_cl# Debashish Bhattacharya#ed_op#BR#ed_cl##ed_op#B class=label#ed_cl#Genre:#ed_op#/B#ed_cl# #ed_op#A href="http://worldmusic.nationalgeographic.com/worldmusic/view/page.basic/genre/content.genre/hindustani_classical_729"#ed_cl#Hindustani Classical#ed_op#/A#ed_cl#, #ed_op#A href="http://worldmusic.nationalgeographic.com/worldmusic/view/page.basic/genre/content.genre/world_fusion_800"#ed_cl#World Fusion#ed_op#/A#ed_cl# #ed_op#BR#ed_cl##ed_op#B class=label#ed_cl#Country:#ed_op#/B#ed_cl# #ed_op#A href="http://worldmusic.nationalgeographic.com/worldmusic/view/page.basic/country/content.country/india_31"#ed_cl#India#ed_op#/A#ed_cl# #ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl# #ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl# #ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl# #ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#SPAN class=label style="FLOAT: left"#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Artist Bio: #ed_op#/FONT#ed_cl##ed_op#/SPAN#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl# #ed_op#/FONT#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Born in Kolkata (formerly Calcutta) in 1963 to a family with a long musical lineage, Debashish Bhattacharya started learning Indian music from his parents before he learned the alphabet. In his childhood, he mastered many Indian classical instrumental styles as well as vocal music from different musical teachers in Kolkata.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#For ten years, he became a disciple and student of Brij Bhushan Khabra, the father of Indian classical guitar, and then also trained under Pandit Ajoy Chakrabarty, the eminent Indian vocalist. He has also studied with Ustad Ali Akbar Khan. At the age of 4, Debashish gave his first guitar recital at a public concert, broadcast on the All India Radio. In his teens and twenties, he advanced his unique style of playing guitar, and at the age of 21, was awarded the President of India award. Debashish's development of new slide guitars sets him apart from other artists, both on the international circuit and among Indian musicians who play Indian music on western instruments.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#His Hindustani Slide Guitar is a completely new instrument: by modifying and adding strings to the western guitar, Debashish has been able to create uniquely Indian sounds and techniques which recall other classical Indian instruments, such as the veena, sarod, sitar and santoor. These astonishing techniques are innovative both in Indian classical music, and among guitarists of every genre worldwide. Debashish developed his innovative twenty-four-string Hindustani Slide Guitar after years of research and experience. In addition to the six normal strings of a standard Hawaiian guitar, there are also twelve sympathetic strings, four supporting strings, and a pair of #ed_op#I#ed_cl#chikari#ed_op#/I#ed_cl# strings (which provide high rhythmic drones).#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#One of Debashish's innovations was to move the pair of chikari strings to the treble side of the guitar, which enables far more complex playing, as these rhythmic drones can be played by the fingers over other melodies simultaneously. Debashish plays lap-style while sitting cross-legged, with a small steel bar, metal finger picks and a thumb pick. These technical innovations, combined with his incredible talent and discipline, render Debashish as one of the greatest slide guitarists who has ever lived, elevating the Hindustani Slide Guitar to be the highest evolution of slide guitar anywhere.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Though he is often compared to V.M. Bhatt, there is little basis for comparison: Debashish's music has greater musical range, physical dexterity and emotional depth. Additionally, to develop his playing, he has undergone decades of disciplined study of Indian vocal technique combined with his instrumental work. Debashish can sing perfectly in parallel with every blindingly fast melody he plays.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow"#ed_cl##ed_op#FONT size=4#ed_cl#Possessed of a very open musical mind, Debashish is eager and exceedingly qualified to collaborate and truly blend with musicians from any other country. Bob Brozman initially met Debashish and his younger brother Subhashis in 1996 for the first of two 'World of Slide' tours of the USA and Canada. An immediate friendship was obvious from the first note, and they have since played together in India, Canada, South Africa and Hawaii, on occasion with vocalist Sutapa Bhattacharya. Debashish and Bob have also toured with Takashi Hirayasu (Okinawa) and René Lacaille (La Réunion Island), both of whom have also recorded with Bob for Riverboat Records. More recently, Debashish has toured Europe and recorded with John McLaughlin and his latest incarnation of Shakti.#ed_op#I#ed_cl#—Courtesy Calabash Music#ed_op#/I#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#/DIV#ed_cl#


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Music
Sat 24 May, 2008 00:29

Re: CLASSICAL TRANQUILITY & MUSIC REVIEW
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#ed_op#DIV#ed_cl##ed_op#DIV class=art_head1 id=divTitle#ed_cl##ed_op#FONT face="Comic Sans MS" color=#7f3f00 size=6#ed_cl##ed_op#STRONG#ed_cl#Voice of sitar#ed_op#/STRONG#ed_cl##ed_op#/FONT#ed_cl##ed_op#/DIV#ed_cl##ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#DIV id=divBlurb#ed_cl##ed_op#FONT face="Comic Sans MS" color=#441415#ed_cl##ed_op#STRONG#ed_cl#Fighting prejudices against the instrument, sitarist Ustad Shahid Parvez dares the critics to try playing it and making it sing#ed_op#/STRONG#ed_cl##ed_op#/FONT#ed_cl##ed_op#/DIV#ed_cl##ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl# #ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl# #ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#DIV id=imageArticleDiv style="BORDER-RIGHT: 10px; BORDER-TOP: 10px; LEFT: 0px; POSITION: relative"#ed_cl##ed_op#IMG id=artImage height=321 src="http://epaper.hindustantimes.com/Web/HTPunjab/Photographs/2008/05/21/134/21_05_2008_134_004_008.jpg" width=229#ed_cl##ed_op#/DIV#ed_cl##ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl# #ed_op#FONT face="Comic Sans MS" color=#ff0000 size=6#ed_cl#I#ed_op#/FONT#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#ndia's leading sitarist Ustad Shahid Parvez doesn't care to ruffle feathers. In Chandigarh for Satguru Partap Singh Sangeet Sammellan, watchful of what he says and how he might be interpreted, he treads a safe path. All at once, alluding and conveying it too. #ed_op#/FONT#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#BR#ed_cl#So when you ask him how does his Etawah gharana differ from others, you're met with a concise couplet: Hamaari aur unki bazm mein fark hai itna, ke unke yahaan chiraag aur hamaare yahaan dil jalaaye jaate hain. And this is no empty boast. Son of musician composer Ustad Aziz Khan, grandson of legendary Ustad Wahid Khan and not to forget, the nephew of ultimate sitarist late Ustad Vilayat Khan, his is an awesome inheritance. Interestingly though, he always idolised Vilayat Khan. "It was his sitar playing that had me converted". He never actually learnt from him. "My father has been my real guru. Still, one could say that Vilayat Khan, whose music I follow and not copy, has been my spiritual guru," he says. #ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl# #ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Sitar anyway, he deems, is a spiritual instrument. That explains why a sitar's asar leaves few untouched. However, to those who think it's the easiest instrument to play, he shoots back: "Sure enough, it's a complete instrument on which everything is technically possible. But try playing it… try making it sing…". Making an instrument sing, mastering its gayaki ang, anyways is the most arduous task in the world, he holds. #ed_op#/FONT#ed_cl##ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#As for the so-called hierarchy that rates vocal over instrumental, he quips: "I know it was said gaana uttam bajaana maddham. But it held true when instruments were not as highly evolved ". Of course, he faced and fought similar prejudices in the stronghold of music, Pune, where he lives. "I can take pride in the fact that after our concerted efforts, instrumental music is today rated at par with vocal," he says. On a global level, he who runs two music schools abroad, agrees that instrumental finds more acceptance. And sitar, to which Pandit Ravi Shankar has accorded a cult status, is doubly popular. #ed_op#/FONT#ed_cl##ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#So where can you take sitar from there? He nods "it's a great challenge". #ed_op#/FONT#ed_cl##ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#The even greater challenge that he, stimulated by world's best music of greats like Mozart and Bach, has taken upon himself is: "My mission is to do something that will lend an eternal life to my music". But for his grown up sons, sitarists in their own right, he will do little to grant them extra lease of life. "I will not go out of the way to promote them. One chance ought to be enough for them. I don't want to hear the refrain - we had to come to listen to you and now…" #ed_op#/FONT#ed_cl##ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#BR#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Hmm… saying it all without putting it in so many words is Shahid's inimitable style. Just as his sitar speaks without words… so does the underlying import of his thoughts.#ed_op#/FONT#ed_cl##ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#I ndia's leading sitarist Ustad Shahid Parvez doesn't care to ruffle feathers. In Chandigarh for Satguru Partap Singh Sangeet Sammellan, watchful of what he says and how he might be interpret- ed, he treads a safe path. All at once, alluding and conveying it too. So when you ask him how does his Etawah gharana differ from oth- ers, you're met with a concise cou- plet: Hamaari aur unki bazm mein fark hai itna, ke unke yahaan chi- raag aur hamaare yahaan dil jalaaye jaate hain. And this is no empty boast. Son of musician com- poser Ustad Aziz Khan, grandson of legendary Ustad Wahid Khan and not to forget, the nephew of ultimate sitarist late Ustad Vilayat Khan, his is an awesome inheritance. Interest- ingly though, he always idolised Vi- layat Khan. "It was his sitar playing that had me converted". #ed_op#/FONT#ed_cl##ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl# #ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#BR#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#He never ac- tually learnt from him. "My father has been my real guru. Still, one could say that Vilayat Khan, whose music I follow and not copy, has been my spiritual guru," he says. Sitar anyway, he deems, is a spiri- tual instrument. That explains why a sitar's asar leaves few untouched. However, to those who think it's the easiest instrument to play, he shoots back: "Sure enough, it's a complete instrument on which everything is technically possible. But try playing it… try making it sing…". Making an instrument sing, mastering its gayaki ang, anyways is the most ar- duous task in the world, he holds. As for the so-called hierarchy that rates vocal over instrumental, he quips: "I know it was said gaana ut- tam bajaana maddham. But it held true when instruments were not as highly evolved ". Of course, he faced and fought similar prejudices in the stronghold of music, Pune, where he lives. #ed_op#/FONT#ed_cl##ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl# #ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#BR#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#"I can take pride in the fact that after our concerted efforts, instru- mental music is today rated at par with vocal," he says. On a global level, he who runs two music schools abroad, agrees that instrumental finds more acceptance. And sitar, to which Pandit Ravi Shankar has ac- corded a cult status, is doubly popular. So where can you take sitar from there? He nods "it's a great challenge". The even greater challenge that he, stimulated by world's best music of greats like Mozart and Bach, has tak- en upon himself is: "My mission is to do something that will lend an eter- nal life to my music". But for his grown up sons, sitarists in their own right, he will do little to grant them extra lease of life. "I will not go out of the way to promote them. One chance ought to be enough for them. I don't want to hear the refrain - we had to come to listen to you and now…" Hmm… saying it all without put- ting it in so many words is Shahid's inimitable style. Just as his sitar speaks without words… so does the underlying import of his thoughts. #ed_op#/FONT#ed_cl##ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/DIV#ed_cl#


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Music
Thu 24 Jul, 2008 00:56

Re: CLASSICAL TRANQUILITY & MUSIC REVIEW
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#ed_op#DIV#ed_cl##ed_op#TABLE cellSpacing=0 cellPadding=0 width=567 align=left border=0#ed_cl##ed_op#TBODY#ed_cl##ed_op#TR align=left#ed_cl##ed_op#TD vAlign=bottom#ed_cl# #ed_op#/TD#ed_cl##ed_op#TD vAlign=center#ed_cl##ed_op#DIV class=art_head1 id=divTitle#ed_cl##ed_op#FONT size=6#ed_cl##ed_op#STRONG#ed_cl#what\'son#ed_op#/STRONG#ed_cl##ed_op#/FONT#ed_cl##ed_op#/DIV#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#/TBODY#ed_cl##ed_op#/TABLE#ed_cl##ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl# #ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl# #ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl# #ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl# #ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl# #ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Art * The Stupa: Recent works by B. Bodh at Gallerie Alternatives, DT Mega Mall, DLF City, Phased, Gurgaon, from July 30 to August 18. * New oils on canvas and a large installation in bronze by Amit Ambalal at Gallery Espace, New Friends Colony Community Centre, upto August 12. The exhibition will be accompanied by a well-documented book on the artist's oeuvre by Gayatri Sinha. * Abstracts and Figuratives: Works of Alka Raghuvanshi, Bikash Poddar, Dharmendra Rathore, Manisha Gawade, Niren Sen Gupta, Seema Kohli, Sidharth, Siraj Saxena, Sridhar lyer and others at Mystiq Art Gallery, D-3, Defence Colony, upto July 24. * Celebration of Nature: A new collection at Osho World Galleria, Ansal Plaza, upto July 31. * Paintings by Kamar Alam, Aaloek Sharma and Oinam Dilip, at Ishatvam, Mathura Road, upto August 4. * Divine Light of Lord Buddha: Paintings by Prince Chand at Studio Vasant, Hauz Khas Village, upto July 26. * Stree (Tracing 20 Years): Works of Sajitha G. at Trinethr Art Gallery, A-50, Sector 8, Noida, upto August 15. * Explore 2008: Exhibition and workshops on vocational courses at IIFT, South Extension I, upto August 8. Music & dance * UMAK Festival at Stein Auditorium, India Habitat Centre, on July 24 at 6.30 p.m. #ed_op#/FONT#ed_cl##ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#BR#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#The festival will feature an instrumental ensemble by UMAK Centre for Culture, a jugalbandi by sitar maestro Pandit Debu Chaudhuri and Prateek Chaudhuri, and a dance presentation by Shovana Narayan and her group. * Sur Mandir presents an evening of light vocal music by Aditi Sharma, Shraddha Pande and Gunjan Rastogi at the Poorva Sanskritik Kendra on July 26 at 7 p.m. Theatre * The Melody of Love, a romantic comedy at the Radisson Hotel, NH-8, on July 27 at 7.30 p.m. The play has been directed by Divya Arora and the star cast includes Divya Arora and Mantra in the lead along with Tom Alter, Arjun Khera, Surabhie Chadha and Nakul Bhatnagar * Vande Matram, directed by Surendra Jain, at the Poorva Sanskritik Kendra, on July 24 at 7 p.m. * Sadanand Ki Duniya, written by Satyajit Ray, at the Poorva Sanskritik Kendra, on July 28 at 7 p.m. * Wah Sharmaji Kamaal Kar Diya, a satirical comedy at the Poorva Sanskritik Kendra on July 31 at 7 p.m. * The Actor Factor Theatre Company will present The Red Corridor in Hindi at the LTG Auditorium on July 27 at 7 p.m. Dicsussion * Psyche and Image: Jung and India: Dialogue between depth psychology and Indian psyche at India International Centre 12 years. Adults who accompany the children can pay half the price for swimming pool use. * Savour monsoon delicacies at teatime at the Patio, the 24hour world cuisine restaurant at The Metropolitan Hotel. #ed_op#/FONT#ed_cl##ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Try the sizzling hot shrimp tempura, caraway and coriander flavoured fish or crispy chicken nuggets and complement it with drinks like a frozen maria or a heady rainbow cocktail. If you are a teetotaler then try the special Shoolin cooler or the Pink Panther or go for Clouds. Wrap up the meal with delicious desserts like shahi tukra and chocolate ginger mousse. All this and more upto August 31. * For the best breads in town, pop in at the GourMET Shop at The Metropolitan Hotel. Feast on cheese burger bread, jalapeno pepper focaccia, parsley caper garlic bread or go for the yummy fruit butter milk bread or the delicious German seven seed and dagwood, all at Rs. 50 each only The promotion is on upto August 15. * Now you can order a thali from Rajdhani, at MGF Metropolitan Mall, Gurgaon, opposite PVR Rivoli, Connaught Place, and The Great India Place Mall, Sector 38A, Noida. Pick your choice from two meal packs. It is with chicken, shrimps and vegetables in a red wine sauce), Mandarin noodles (noodles topped with chicken or vegetables in a special mandarin sauce), tomato stew noodles (served with shrimps, chicken or vegetables), etc. From 11.30 a.m. till midnight Price: Average meal for two for Rs 500-600. * Papa John's has something exciting for children, the six inch Happy Face Pizza. The pizza (veg/non-veg) comes with a kid's drink and an ice cream. * Crazy Noodles, Noida, offers a wide array of crisp green salads that are a perfect combination of rich taste and nutritional ingredients. The salad selection, popularly known as Green Googlies, is served in a big bowl with your choice of ingredients. * You can replicate your drink and that too without any cost at Cocoa by Belgique, Select Citywalk Mall, Saket, upto July 31. At the all day, everyday, happy hours, get two domestic drinks and pay for one. #ed_op#/FONT#ed_cl##ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Also, you can save by having three imported drinks and pay for two. Timings: 11 a.m. to midnight on weekdays and 11 a.m. to 8 p.m. on weekends. * Baujee ka Dhaba presents a weekend summer buffet with vegetarian and non-vegetarian delicacies at Rs 300 for adults and restaurant. Without liquor the brunch buffet costs Rs 749 (inclusive of taxes). Splurge on an extensive table of morning bakeries, cold meats, cheeses, salads, sandwiches, healthy breads, and pastas, all made right in front of you. The main course has a wide selection of Indian, Chinese and Continental. * What better way to spend a hot and humid evening, than at Rodeo, A-12 Connaught Place, and MGF Metropolitan Mall, MG Road, Gurgaon, which is hosting a beer festival. You can swig beer from various parts of the world along with delicious Mexican recipes. Beer enthusiasts can enjoy their pints - Corona from Mexico, Heineken from Holland, Stella Artois from Belgium, Beck's from Germany or any of the Indian brands from Cobra, Sand Piper, Carlsberg or Kingfisher - with a choice of nachos and spicy salsa, tacos, Tex-Mex chicken wings or fried shrimps. From 12 noon to 1 a.m. * Zen, an acclaimed Chinese restaurant in Connaught Place, is celebrating a noodles festival upto July 31. The festival will offer a wide variety of noodles: shallow fried noodles (served with shrimps, chicken or vegetables), South Sea noodles (shallow fried noodles with shrimps, chicken or vegetables topped with a hot curry sauce), chilli garlic noodles (served with shrimps, chicken or vegetables), Singapore fried noodles (served with shrimps, chicken or vegetables), pan fried noodles (served with shrimps, chicken or vegetables), sweet and sour crispy noodles (served with shrimps, chicken or vegetables), Fuekchu noodles (egg fried noodles topped chicken biryani, veg biryani, kadhai murgh, etc. Price: Average meal for two: between Rs 600700. * #ed_op#/FONT#ed_cl##ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl# #ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#TGI Friday's is all set to flatter your tastebuds with East Meets West, a two course meal comprising a blend of exotic far eastern-inspired tastes with classic American favourites. Savour the best of both the worlds, where 56 combinations have been laid out. * ChiKitchen, SDA Market, offers real Pan Asian food - soups, salads and starters. Play a game of Scrabble while you wait for your meal. * La Terraza, the poolside restaurant at Tivoli Garden Hotel, Chattarpur, brings for your children Aqua Fun every Friday to Sunday from 2.30 p.m. to 7.30 p.m. The food festival offers unlimited variety of eats served at your table. Price: Rs 399 plus taxes per child. Free use of swimming pool for children aged 3 to delivered at no extra cost in 20 minutes within 2 km radius of a Rajdhani outlet * Hotel Fortune Select Global, Gurgaon, is featuring a special Sunday brunch (12 noon onwards) for Rs 999 (inclusive of taxes) with unlimited liquor at The Orchid, the 24-hour multi-cuisine Annexe, on July 25 from 5 p.m. to 8 p.m. Food * York Restaurant, Connaught Place, offers a Mughlai food festival upto July 31 The variety includes reshmi kabab, kalmi kabab, barra kabab, chicken seekh kabab, stuffed tomatoes, veg sizzler, rahra mixed vegetable, dal makhni, rahra meat, Rs 200 for children between 5 to10 years, taxes extra, at the Garden of Five Senses (main entrance), Said-ul-Ajaib. No charges for children below 5 years. The buffet is on upto August 10. * Blanco, Khan Market, introduces a festival of frozen margaritas, upto July 31. A wide variety to choose from mango, straw- berry, peach, raspberry and lime, the tequila lovers will surely look forward to the month long fiesta. * Special summer luncheon at Kylin The Oriental Bar, 24 Basant Lok, Vasant Vihar, Monday to Saturday, upto September 30. Three-course meal Rs 399, four-course meal Rs 499, five-course meal Rs 599.#ed_op#/FONT#ed_cl##ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#IMG src="http://epaper.hindustantimes.com/Web/Photographs/2008/07/24/760/24_07_2008_760_001_008.jpg"#ed_cl##ed_op#BR#ed_cl##ed_op#IMG src="http://epaper.hindustantimes.com/Web/Photographs/2008/07/24/760/24_07_2008_760_001_011.jpg"#ed_cl##ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl#599.#ed_op#BR#ed_cl##ed_op#IMG style="WIDTH: 788px; HEIGHT: 344px" height=341 src="http://epaper.hindustantimes.com/Web/Photographs/2008/07/24/760/24_07_2008_760_001_002.jpg" width=927#ed_cl##ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#/DIV#ed_cl#


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Music
Thu 24 Jul, 2008 00:57

Re: CLASSICAL TRANQUILITY & MUSIC REVIEW
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#ed_op#DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#IMG id=artImage height=1141 src="http://epaper.hindustantimes.com/Web/HTPunjab/Article/2008/05/28/134/28_05_2008_134_002.jpg" width=500#ed_cl##ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl# #ed_op#/DIV#ed_cl##ed_op#DIV q7OEu="0" roeB2="0"#ed_cl#SAT #ed_op#/DIV#ed_cl##ed_op#/DIV#ed_cl#


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sur
Sun 27 Jul, 2008 12:02

Re: CLASSICAL TRANQUILITY & MUSIC REVIEW
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#ed_op#DIV#ed_cl##ed_op#DIV style="FONT-SIZE: 12px" oOSjc="0" La_G2="0"#ed_cl##ed_op#DIV class=art_head1 id=divTitle#ed_cl##ed_op#FONT face="Comic Sans MS" color=#7f3f00 size=5#ed_cl##ed_op#STRONG#ed_cl#CROSS CONNECTIONS#ed_op#/STRONG#ed_cl##ed_op#/FONT#ed_cl##ed_op#/DIV#ed_cl##ed_op#/DIV#ed_cl##ed_op#DIV style="FONT-SIZE: 12px" oOSjc="0" La_G2="0"#ed_cl# #ed_op#/DIV#ed_cl##ed_op#DIV style="FONT-SIZE: 12px" oOSjc="0" La_G2="0"#ed_cl# #ed_op#/DIV#ed_cl##ed_op#DIV style="FONT-SIZE: 12px" oOSjc="0" La_G2="0"#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Ravi Shankar Not only could he count the Beatles among his friends, he also taught one of them a thing or two about music (he was teacher to George Harrison#ed_op#/FONT#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl# in 1966). Yes, Ravi Shankar could well be hailed as the God of all things musical. Among his fusion performances are Raga Jog, from Three Ragas (1961), the Raga Rageshri, on Improvisations (1962), and the Ragas and Talas (1964), containing the Raga Jogiya and the Raga Madhu Kauns. Improvisations (1962), a collaboration with flautists Paul Horn and Bud Shank, was the first meeting of jazz and raga. Shankar pioneered the "eastwest" fusion with West Meets East (1967), a collaboration with British violinist Yehudi Menuhin Ustad Zakir Hussain Another artiste who has jammed with the Beatles, Zakir Hussain began making fusion music with artists like American psychedelic band Shanti. He also worked with John McLaughlin in Shakti in 1975 and with Mickey Hart on his Rolling Thunder album (on which he and his father played a tabla duet). In 1987, his first solo release, Making Music, was acclaimed as one of the most inspired East-West fusion albums ever. In 1992, Planet Drum, an album co-created and produced by Zakir and Mickey Hart, won a Grammy for Best World Music Album. #ed_op#/FONT#ed_cl##ed_op#/DIV#ed_cl##ed_op#DIV style="FONT-SIZE: 12px" oOSjc="0" La_G2="0"#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/DIV#ed_cl##ed_op#P style="FONT-SIZE: 12px" oOSjc="0" La_G2="0"#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Trilok Gurtu Trilok Gurtu has jammed a with artists like Terje Rypdal, John McLaughlin, Bill Laswell and Robert Miles. His journey began with the tabla and then he moved on to the drums before becoming interested in jazz. In 1999, Gurtu joined forces with Zakir Hussain, Bill Laswell, Karsh Kale and Talvin Singh to form a band that played a mixture of Hindustani music, Asian underground, ambient music#ed_op#/FONT#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl# and electronica. He went on to create an album with Robert Miles titled Miles Gurtu. #ed_op#/FONT#ed_cl##ed_op#P style="FONT-SIZE: 12px" oOSjc="0" La_G2="0"#ed_cl##ed_op#TABLE cellSpacing=0 cellPadding=0 width="94%" align=center border=0#ed_cl##ed_op#TBODY#ed_cl##ed_op#TR#ed_cl##ed_op#TD#ed_cl# #ed_op#DIV id=divArtBody#ed_cl##ed_op#DIV id=imageArticleDiv style="BORDER-RIGHT: 10px; BORDER-TOP: 10px; LEFT: 0px; POSITION: relative"#ed_cl##ed_op#IMG id=artImage height=131 src="http://epaper.hindustantimes.com/Web/HTMumbai/Photographs/2008/07/27/343/27_07_2008_343_003_002.jpg" width=105#ed_cl# #ed_op#IMG id=artImage height=143 src="http://epaper.hindustantimes.com/Web/HTMumbai/Photographs/2008/07/27/343/27_07_2008_343_003_005.jpg" width=106#ed_cl# #ed_op#IMG id=artImage height=145 src="http://epaper.hindustantimes.com/Web/HTMumbai/Photographs/2008/07/27/343/27_07_2008_343_003_008.jpg" width=107#ed_cl##ed_op#DIV id=imageArticleDiv style="BORDER-RIGHT: 10px; BORDER-TOP: 10px; LEFT: 0px; POSITION: relative"#ed_cl##ed_op#DIV id=imageArticleDiv style="BORDER-RIGHT: 10px; BORDER-TOP: 10px; LEFT: 0px; POSITION: relative"#ed_cl# #ed_op#/DIV#ed_cl##ed_op#/DIV#ed_cl##ed_op#/DIV#ed_cl##ed_op#/DIV#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#/TBODY#ed_cl##ed_op#/TABLE#ed_cl##ed_op#/P#ed_cl##ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#/DIV#ed_cl#


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sur
Mon 25 Aug, 2008 00:17

Re: CLASSICAL TRANQUILITY & MUSIC REVIEW
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#ed_op#DIV#ed_cl##ed_op#TABLE id=authortitletable cellSpacing=0 cellPadding=0#ed_cl##ed_op#TBODY#ed_cl##ed_op#TR#ed_cl##ed_op#TD class=authorandtitlebox#ed_cl##ed_op#FONT face="Comic Sans MS" color=#7f3f00 size=5#ed_cl##ed_op#STRONG#ed_cl#Title#ed_op#/STRONG#ed_cl##ed_op#/FONT#ed_cl##ed_op#/TD#ed_cl##ed_op#TD class=authorandtitlespecified#ed_cl##ed_op#!-- InstanceBeginEditable name="titlename" --#ed_cl##ed_op#FONT face="Comic Sans MS"#ed_cl##ed_op#FONT size=5#ed_cl##ed_op#STRONG#ed_cl##ed_op#FONT color=#7f3f00#ed_cl#Dipawali in New York 2000 #ed_op#!-- InstanceEndEditable --#ed_cl##ed_op#/FONT#ed_cl##ed_op#/STRONG#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/TD#ed_cl##ed_op#TD class=authorandtitlebox#ed_cl##ed_op#FONT face="Comic Sans MS" color=#7f3f00 size=5#ed_cl##ed_op#STRONG#ed_cl##ed_op#/STRONG#ed_cl##ed_op#/FONT#ed_cl##ed_op#/TD#ed_cl##ed_op#TD class=authorandtitlespecified#ed_cl##ed_op#FONT face="Comic Sans MS"#ed_cl##ed_op#!-- InstanceBeginEditable name="authorname" --#ed_cl##ed_op#!-- InstanceEndEditable --#ed_cl##ed_op#FONT color=#7f3f00 size=5#ed_cl##ed_op#STRONG#ed_cl##ed_op#/STRONG#ed_cl##ed_op#/FONT#ed_cl##ed_op#/FONT#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#/TBODY#ed_cl##ed_op#/TABLE#ed_cl##ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#TABLE id=authortitletable cellSpacing=0 cellPadding=0#ed_cl##ed_op#TBODY#ed_cl##ed_op#TR#ed_cl##ed_op#TD class=authorandtitlebox#ed_cl##ed_op#FONT face="Comic Sans MS" size=1#ed_cl##ed_op#STRONG#ed_cl#Author#ed_op#/STRONG#ed_cl##ed_op#/FONT#ed_cl##ed_op#/TD#ed_cl##ed_op#TD class=authorandtitlespecified#ed_cl##ed_op#!-- InstanceBeginEditable name="authorname" --#ed_cl##ed_op#FONT size=1#ed_cl##ed_op#STRONG#ed_cl##ed_op#FONT face="Comic Sans MS"#ed_cl#Sunita Budhiraja#ed_op#!-- InstanceEndEditable --#ed_cl##ed_op#/FONT#ed_cl##ed_op#/STRONG#ed_cl##ed_op#/FONT#ed_cl##ed_op#/TD#ed_cl##ed_op#/TR#ed_cl##ed_op#/TBODY#ed_cl##ed_op#/TABLE#ed_cl##ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl# #ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl# #ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Emperor Akbar one day asked Miyan Tansen, the best known vocal artist of the times and one the navratnas in his ministry, "Tansen, you sing so well and you are amongst the best. But who is your Guru? I would like to hear him sing." Tansen replied, "Jahanpanah, my Guru is a great exponent of music but it is not possible for me to bring him here as he does not go anywhere. He stays in Brindavan on the banks of the River Yamuna. If you wish to hear him, please come with me to Brindavan." Akbar agreed and dressed as a commoner, he left for Brindavan with Tansen. It was early morning when they arrived, the birds had just started leaving their nests for a journey, stars were still twinkling in the sky when Akbar and Tansen approached the hut where Swami Haridas lived. Oblivious to their presence, Swami Haridas started singing. The recital went on for hours. The music was so pure that it touched the emperor's soul. He was so completely enchanted by the music that tears rolled down his face. When the music stopped, they rode back to the capital city of Agra, without uttering a word. #ed_op#/FONT#ed_cl##ed_op#/DIV#ed_cl##ed_op#DIV#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl##ed_op#/FONT#ed_cl# #ed_op#/DIV#ed_cl##ed_op#P#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#On reaching Agra, Emperor Akbar asked, "Tansen, I always thought that you were the best singer on earth, but I saw that you were nowhere near your Guru, why is it so?" Tansen replied, "Your majesty, it is because I sing for you and my Guru sings for the Lord Almighty whose creation you are." Therefore, divinely inspired performance was real music. The idea is that one was so engrossed in it's purity that the performance was esoteric. The performance would be divine. So was the impact of the music that filled the air of Pandit Jasraj Auditorium at Vedic Heritage, Hempstead, New York, during the two day Dipawali festival during the weekend of Saturday, November 11th, 2000. Approximately 700 people were in attendance. They were all but spellbound; listening and clapping as they ‘vah-vahed’ at each of the three classical maestros. Some wiped off their tears in fear that even a little movement of their hand might disturb the effect of this great music. It was beyond soul stirring!#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#BR#ed_cl##ed_op#BR#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#For the past two decades, Vedic Heritage; Inc. in New York has been organizing Indian classical music and dance concerts to promote Indian culture in the United States of America. Classical music connoisseurs come to witness great musicians perform and they walk away with a joy that keeps them humming till the next year. It was on November 11-12, 2000, a few days after Dipawali as a continuation of the festival of lights that these concerts were held.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#BR#ed_cl##ed_op#BR#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#It was for the first time after being conferred with the title of Padma Vibhushan, (the second highest civil accolade awarded by the Government of India) that the three living legends and great masters of Indian vocal, dance and instrumental music-Pandit Jasraj, Hindustani music, Pandit Hari Prasad Chaurasia- Bansuri (the bamboo flute) and Pandit Kelucharan Mahapatra - Odissi dance form, performed on one stage. All due to the untiring efforts of Her Holiness Sri Sri Guru Maa Jyotishanand Saraswati [Guru Maa.] #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#BR#ed_cl##ed_op#BR#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#I was in Bombay when I received an invitation to be the master of ceremonies for the Dipawali function in New York. I could not have imagined the grand scale of its organization or the impact that this festival has on music lovers. I have never come across an organization where all the members and trustees regardless of their designations and social standings come together and offer themselves as volunteers for a program. It was therefore a pleasant surprise to be received at JFK Airport by Guru Maa, along with Dr. Bhangdia, Mrs. Rachna Sarang, Mehtaji, and Mukesh Malkan, when I landed there with Pandit Jasraj and his disciple Tripti Mukherji. #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#BR#ed_cl##ed_op#BR#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#I had also never imagined Guru Maa to be such a simple yet practical person that she would drive her own car. My mind had been conditioned with images of Gurus who travel with a lot of fanfare, in their big chauffeur-driven cars! I was touched by her humility and respect for these artists. No wonder all these artists give her the same respect and regard.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#BR#ed_cl##ed_op#BR#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Since I reached New York four days before the festival, I had the distinct pleasure of being behind the scenes! The mandir’s telephone never stopped ringing, people from all across the USA kept calling for tickets. The program was totally sold out. I can only wonder at the pains that Guru Maa went through to put the show together at a house-full level. Sanghapriya, Kusum, Annapurna, Renu, Vishnubhai, Falguni, Shilpa, Shyamala, Pandit Amol and Papaji are just a few of the many people who gave so much of their time and energy towards this function. And of course, Tinubhai Patel, Guru Maa's most beloved chela and his brother took charge of the sound system.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#BR#ed_cl##ed_op#BR#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#I would see Guru Maa in the Sri Hanuman Mandir in the Yagna Mandap, in her office, marketing chanas for food stalls, answering mail, arranging dinky lights for decoration, answering the phones that never ceased ringing, working on the itineraries and lodging arrangements for all the artists, asking for the gardener, working on the chief guest's confirmation and a million other things at the same time!#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#BR#ed_cl##ed_op#BR#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#All the guests were in their respective rooms by now. Guru Kelucharan Mohapatra, Mehtaji, Pandit Rakesh Chaurasia, Pandit Bhawani Shankar had all arrived. Pandit Jasraj was a little under the weather, everybody was really concerned since the festival would begin with his recital. There was a delay in the flight for Shri Shubhankar Benerji, the accompanying tabla artist. Shri Sameer Chatterji, the other local tabla player had a prior performance somewhere in New York and could only make it by 1000 pm. Pandit Hari Prasad Chaurasia who was scheduled to play the next day arrived from India and went straight to sleep because he was exhausted. The auditorium was already packed beyond capacity! #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#BR#ed_cl##ed_op#BR#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#Renu Jain introduced me to the crowd as the MC for the evening. God, I was so nervous! I went to work. I had to change the sequence of the program to accommodate Pandit Jasraj's delay. He was still feeling ill and everybody wanted their beloved Pandit Jasraj on stage. The tabla players were not to be seen yet either. #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#BR#ed_cl##ed_op#BR#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#One part of the program was to honor Vishnubhai and Falguni Patel and Shri Tinubhai Patel for their undivided attention, service and dedication to the Mandir. I was supposed to talk about each artist prior to the start of their performance, but what to do, I had to talk about them even if they were not physically present. #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#BR#ed_cl##ed_op#BR#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#I stalled and kept the crowd going for about an hour. I requested Pandit Bhawani Shankar Kathak to accompany Pandit Ratan Mohan Sharma, the renowned vocalist and disciple of Pandit Jasraj, on Pakhwaj, to kindly commence the concert. If Pandit Jasraj could hear his disciple, he would have been truly proud. Not to mention Ratan and Bhawani Shankar who also won the hearts of the audience.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#BR#ed_cl##ed_op#BR#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#What next! A seventh generation violinist from the famous family of Professor T. N. Krishnan and Dr. N. Rajam, the brilliant Miss Kala Ramnath who was to perform on the second day, was also there. She played after Ratan's recital. From the minute she commenced, it was like the violin was singing! The pakhwaj and violin complimented each other so beautifully that this rendering gave the feeling of beauty and rhythm at the same time.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#BR#ed_cl##ed_op#BR#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#The atmosphere was charged with electrifyingly soulful music. I noticed Her Holiness Maa Jaya Sati Bhagwati of Kashi Ashram, Florida, sitting in the audience totally engrossed in the swaras of Rakesh's flute. Shubhankar Benerji had also arrived. So had the Mayor of Hempstead Village, His Honour James Garner. He seemed to really enjoy himself. And then it was time to watch Guru Kelucharan Mahapatra captivate the audience with his Odissi dance. Arguably considered the greatest living Odissi dance exponent, Guruji has put Indian classical dance on the international map. It was like watching Lord Shiva or Lord Krishna dance! We were supposed to have an intermission which was flatly refused by the crowd! The show must go on!#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#BR#ed_cl##ed_op#BR#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#While Rakesh was playing, I caught a glimpse of Pandit Hariprasad Chaurasia in the green room. On finding out that Pandit Jasraj was indisposed, he agreed to perform on the same day instead of the next day. He was tired, but agreed to fill in. His performance was like feeding the spirit of my soul. His flute would create notes that carried power in the air that it moved in. If Lord Krishna was present amongst us that day, would he have played the flute like Pandit Chaurasia? It did not matter if we were by the Atlantic ocean or the River Yamuna. The only thing that mattered was that Pandit Hariprasad Chaurasia could take us with his flute to a plane where everything and everyone ceased to exist and the only reality was Lord Krishna and the Swaras of His flute.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#BR#ed_cl##ed_op#BR#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#In the mean time, despite being ill, Pandit Jasraj worked his way to the stage. His performance was canceled but he was determined not to let Guru Maa and the audience down, And he sang, touching everybody's soul. He lifted the spirits of one and all present in the auditorium that day. I have never learned music, I can neither sing, dance nor play any instruments. But just like any other creature, I can feel music. It is like a stream of notes that makes me forget everything around me, and makes me feel one with the universe.#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#BR#ed_cl##ed_op#BR#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#On the second day of the festival, the evening started with a performance by Pandit Ratan Mohan Sharma, followed by a solo Pakhwaj recital by Bhawani Shankar Kathak. This was followed by a Jugalbandi between Pandit Jasraj on vocal and Pandit Hariprasad Chaurasia on the flute. Pandit Jasraj had recovered and had great plans to make up for the previous day! The Jugalbandi left everybody mesmerized. #ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#BR#ed_cl##ed_op#BR#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#And then, we had the finale, the Odissi recital by Guru Kelucharan Mahapatra and his able son Ratikant. Guruji has given the world Odissi dancers like Sonal Mansingh, Madhavi Mudgal, Samyukta Panigrahi, and many others. His rendering of the Ashtapadi of Jaidev’s Geet Govind, and Ratikant's Hanuman Parsang will be remembered for years to come. But Guruji himself as Kewat Parsang, of the Ramacharitra Manas, shook everyone sitting in the auditorium that day. Can anyone else’s dance be this ethereal? Could anything else touch one’s soul so deeply?#ed_op#/FONT#ed_cl##ed_op#/P#ed_cl##ed_op#P#ed_cl##ed_op#BR#ed_cl##ed_op#BR#ed_cl##ed_op#FONT face="Arial Narrow" size=4#ed_cl#It reminds me o