Vocalists

Ustad Bade Ghulam Ali Khan

The family of Ustad Bade Ghulam Ali Khan was born in the year 1902 and belonged to a village called Kasur, near Lahore (in present day Pakistan) . He came from an already renowned family of musicians. His father Ustad Ali Baksh Khan and uncle Ustad Kale Khan were famous vocalists of the time. Ustad Bade Ghulam Ali Khan had three brothers who also grew up to be musicians in their own right . Ustad Bade Ghulam Ali Khan was trained in the Patiala Gharana style.

In his childhood he started taking lessons in music from his uncle Ustad Kale Khan but due to family circumstances he was made to learn an instrument called Sarangi. He continued to practice vocal music as this remained his interest. Later he travelled to Bombay where he began learning Hindustani classical music from Ustad Sindhi Khan. Soon he was performing at concerts all across India. He has given enthralling performances in numerous music conferences. His rendering of each musical note with finesse was the most appealing quality in his singing.

In 1961 he suffered a severe paralytic attack and on the 23rd of April, 1968 he passed away in Hyderabad. In his lifetime he received several honors and awards, amongst which Sangeet Natak Akademi (academy) and the Padmabhushan (one of India's highest civilian awards). A specialist in Thumri and Khayal style of music, he has cut numerous albums which are popular even today.

Pandit Jasraj

Pandit Jasraj is one of the most well known and popular Indian classical musician. A vocalist from a family that has been connected with music for over four generations. Pandit Jasraj was born in the year 1930. He first trained under his father the late Pandit Moti Ram who a pioneer of the Mewati Gharana. Pandit Jasraj actually began as an instrumentalist playing the table, till the age of twelve. He realized however that accompanying musicians were not accorded the same respect as solo performers and hence switched over to learning vocal music in order to pursue his career as a solo vocal artist. He trained under his elder brother the late Pandit Mani Ram. Another teacher who had a profound impact on his music was the late Maharana Shri Jaywant Singh, also of the Mewati gharana. Pandit Jasraj's voice has a sublime emotional quality about it, one that touches the listeners soul. He is able to give each part of a raga a separate identity and is able to convey the emotion to an audience which may not necessarily understand the meaning of the words being sung. Audiences are mesmerized by his performance as his control over his voice and levels he can take it too are absolutely amazing. Pandit Jasraj is one of the most renowned Indian muscians both India and abroad. He has received many prestigious awards like the Padma Bhusan (one of India's highest civilian awards), Surer Guru, Sangeet Martand, Sangeet Kala Ratna, Maharashtra Gaurav Puraskar and the Dinanath Mangeshkar award. A scholarship in the University of Toronto (Canada) has also been named after him. He has also been involved in efforts to continue the Indian classical music tradition, taking a lot of interest in teaching the next generation of aspiring artists. Aptly described as one of the living legends of Indian classical music.

Pandit Bhimsen Joshi

Pandit Bhimsen Joshi was born on the 14th of February 1922 to conservative Brahmin family in Gadang, Karnataka. Early in his life he developed an interest for classical music after listening to a recording of noted classical musician, Abdul Karim Khan. Pandit Bhimsen Joshi father was the village schoolmaster and wanted his son to pursue his education and become a doctor or engineer. Pandit Bhimsen Joshi however keen on pursuing music and showed little interest in academics. One day he ran away from home to be able to further pursue his interest. Pandit Bhimsen Joshi went to the city of Gwalior which was one of the prominent centers of classical music. He worked with several musicians in that area and learnt as much as he could from them. His father learnt of this and abandoned his opposition. He brought Pandit Bhimsen Joshi back home and arranged for him to learn music from Sawai Gandharva. Under this guru his technique was perfected his voice reached dazzling levels of brilliance. His ability to sing in all three octaves effortlessly has been achieved through rigorous practice. His music is an epic struggle with Pandit Bhimsen Joshi in the center as a one man chorus.

The sheer power of his voice is fantastic engulfing a listener from all sides. His talent was soon recognized and his fame spread to all parts of India and the world. He performed at one location after with the other with remarkable rapidity, giving him the title of "The flying musician of India"! A highly distinguished and popular artist,he has won numerous awards which include, the Padma Shree, the Padma Bhusan (one of India's highest civilian awards) and the Sangeet Natak Akademi (academy) Award.

Rashid Khan

Rashid Khan was born on the 1'st of July 1966 in Budaon, Uttar Pradesh and is one of the prominent young maestros of Indian classical music. He is part of a family of illustrious musicians, like his grandfather, the legendary Ustad Inayat Hussain Khan Saheb. Rashid Khan initially was not interested in music but under the guidance of his grand uncle, the late Ustad Nissar Hussain Khan he soon developed an interest and entered the field. Ustad Nissar Hussain realized the full potential of Rashid Khan and worked with him to perfect his technique. Ustad Nissar Hussain was a strict teacher and Rashid Khan had to undergo intensive training with hours of practice. Rashid Khan went on to give his first public performance when he was only eleven. That was in the year 1977, the following year he performed in the ITC Sangeet Shammelan held at New Delhi. His fame spread rapidly after that and he was soon invited to perform at concerts in India and across the world. Rashid Khan's music is one of balance between technical perfection on one side and creativity on the other. Rashid Khan has been widely appreciated not only in India, but all over the India. Despite his fantastic success he is an embodiment of humility and believes he still has a lot more to learn.

Ustad Amir Khan Ustad Amir Khan was a legendary artiste of the 20th Century and was an important figure in Indian classical music. Born in the year 1912 in the city of Indore, Madhya Pradesh. His father was involved in music and was a noted instrumentalist, playing the sarangi. Ustad Amir Khan began to learn to play the sarangi from his father but later switched to learning vocal music on the insistence of his father. His vocal music training was under Lala Girdhari Lal. Ustad Amir Khan through years of practice was able to develop a very distinctive style, artiste's of his stature are often known as gharanas themselves! He used the Kirana Gharana concept of note elaboration and meticulously moving through the notes at a very slow tempo, to bring out the purity of the notes. He also believed a raga was an interrelationship of notes and these generated the feeling and emotion, without which the raga had no meaning. Ustad Amir Khan died in the year 1974.

Pandit Mallikarjun Mansur

Pandit Mallikarjun Mansur was born in the year 1910 and displayed talent in music at a very young age. When he was ten years old he ran away from home to join a touring music/theatre company. His travels brought him into contact with Pandit Neelakantha Bua who trained Pandit Mallikarjun Mansur for the next six years. By the age of twenty he had begun performing but his desire to further his training was not yet over. He became the disciple Ustad Manjhi Khan and then Ustad Bhurjhi Khan. His training under these different teachers brought an interesting blend of different styles into his singing. His repotoire of ragas was extensive and he often sang some of the rarest of ragas. His singing style was also very exciting for he would often jump suddenly from one segment to the other surprising his audience.

Ajay Chakrabarty

Ajay Chakrabarty was born in the year 1953. He first trained under his father, Ajit Chakrabarty and then under Pannalal Samanta, Kanai Das Bairagi and Pandit Jnan Prakash Ghoghs. In 1969 he became a disciple of Ustad Munawar Ali Khan son of the legendary Ustad Bade Ghulam Ali Khan whose style had a profound impact on Ajay Chakrabarty. Ustad Munawar Ali Khan made some significant contributions in developing Ajay Chakrabarty's vocal style. Ajay Chakrabarty also holds a M.A. (Masters) in Music from the Rabindra Bharati University. He has also been associated with the Sangeet Natak Akademi (academy) since 1977 when he joined it as a scholar. A very successful artiste who is popular both in India and abroad.

Gangubai Hangal

Gangubai Hangal was born in the year 1913 to a family with a musical background. She initially trained under her mother, Ambabai and later on went to become a disciple of Rambabu Kundgolkar. She is a gifted singer with a resonant and flexible voice. Her repertoire is also vast. She has received several awards like the Mysore State Academy Award, Padma Bhushan (one of India's highest civilian awards), the Sangeet Natak Akademi (academy) Award and an honorary doctorate from the Karnataka University.

Giriji Devi

Giriji Devi was born in the year 1929 in the city of Varanasi, Uttar Pradesh. Her initial training was under Sarju Prasad Misra and then later with Shrichandra Mishra. She has won several awards in her career like the Padma Bhushan (one of India's highest civilian awards), Tansen award of the government of Madhya Pradesh, the Ustad Hafiz Ali Khan Award, the Sangeet Natak Akademi (academy) award and a honorary doctorate from the Mahatama Gandhi Kashi Vidyapeeth.

Kishori Amonkar

Kishori Amonkar was born in the year 1931 in the city of Bombay, Maharashtra. She received her training under her mother, Mogubai Kuridkar. Kishori Amonkar is a leading exponent of Khayal and semi-classical aspects of Indian classical music. She also sings devotional songs. She has done an in-depth research on Indian classical music and has conducted seminars across the world on the subject. She has also performed at several  locations across the world as well as within the country. She has received several awards like the Sangeet Natak Akademi (academy) Award and the Padma Bhushan (one of India's highest civilian awards).

____________
"I am a dreamer,I collect all the smiles from My yesterday,
Neatly pack them into words and hide them in my heart,
I call them "MEMORIES" Music has no boundary.

Profile Kishori Amonkar (b. 1931)


Kishori Amonkar, widely considered the finest female vocalist of her generation, was bom in 1931, daughter of another great artist, Smt Mogubai Kurdikar. In her early years she absorbed the approach and repertoire of her distinguished mother's teacher Ustad Alladiya Khan. As her own style developed however she moved away from Alladiya Khan's "Jaipur gharana" style in some respects, and as a mature artist her approach is usually regarded as an individual, if not unique, varient of the Jaipur model.

Though her public image is sometimes dominated by perceptions of an uncompromising approach and unapproachability, the power and emotional appeal of her music has kept her in the forefront of classical music lovers' thoughts for many years

Discography Of Kishori Amonkar
Title Artists Catalog # Nature Contents Label
1 Megh Malhar Vol 4

Bismillah Khan - Shenai. ..more

Hindustani Duet
Gaud Malhar, Mishra Mel k ..more
Music Today

2 Raga
Kishori Amonkar - Vocal

Hindustani Vocal
Basant Bahar, Gaud Malhar
Music Today

3 Bhaktimala - Shri Vishnu Sahasranamavali Vol.2
Kishori Amonkar - Vocal

Hindustani Vocal
Shri Vishnu Sahasranamava ..more
Music Today

4 Kishori Amonkar - Vocal - Sangeet Sartaj - Volume 1 and 2
Kishori Amonkar - Vocal

Hindustani
Raga Alhaiya Bilawal - 30 ..more
Music Today

5 Malhar Malika
Kishori Amonkar - Vocal

Hindustani Vocal
Nat Malhar: Barkha Rut Ay ..more
EMI India

6 Bhaktimala - Shri Vishnu Sahasranamavali Vol.1
Kishori Amonkar - Vocal

Hindustani Vocal
Shri Vishnu Dhyanam, Shri ..more
Music Today

7 Mharo Pranam - Meera Bhajans
Kishori Amonkar - Vocal

Hindustani Vocal
Mharo Pranam, Jao Nirmohi ..more
EMI India

8 Gaana Saraswati
Kishori Amonkar - Vocal

Hindustani Vocal
Todi-- Mere Mana Yahoo Ra ..more
Multitone Prestige

9 Ghat Ghat Mein Panchi Bolta
Kishori Amonkar - Vocal

Hindustani Vocal
Ghat Grat Mein Panchi Bol ..more
BMG Crescendo

10 Hindustani Vocal
Kishori Amonkar - Vocal

Hindustani Vocal
Rageeshri, Kedar
TIPS

11 Live Concert SwarUtsav 2000 - Vol.1
Kishori Amonkar - Vocal, ..more
CDA01007
Hindustani
E Nara Hara Narayan, vila ..more
Music Today

12 Live Concert SwarUtsav 2000 - Vol.2 Khayal
Kishori Amonkar - Vocal, ..more
CDA01008
Hindustani
Aali ri kitve gaye, vilam ..more
Music Today

13 Raag Ek Kalakaar Anek - Shuddh Kalyan (Bhimsen Joshi, Kishori Amonkar , Ustad Bismillah Khan)
Kishori Amonkar - Vocal, ..more
Sony Music NR 7043 2
Hindustani
Pt.Bhimsen Joshi (Vocal) ..more
Sony India

14 The Malhars
Kishori Amonkar - Vocal, ..more
CDNF 150361
Hindustani
Raag : Miyan Malhar - Kar ..more
RPG Music

15 Sampradaya - Tribute To Late Mogubai Kurdikar - Live Kensington Town Hall, London, 2000
Kishori Amonkar - Vocal, ..more
NRCD0151/52
Hindustani
Ragas: Alhaiya Bilwal, Je ..more
Navras

16 Prabhat
Kishori Amonkar - Vocal, ..more
NRCD0133/4(DDD)
Hindustani
Raga Todi - Khyal in Vila ..more
Navras

17 Live In Concert
Kishori Amonkar - Vocal. ..more

Hindustani Vocal
Raag Bhoop, Bhajan. From ..more
EMI India

18 Live at Nehru Centre
Kishori Amonkar - Vocal. ..more

Hindustani Vocal
Bhoop-Prathama Sur Sadhe; ..more
EMI India

19 Volume 1
Kishori Amonkar - Vocal. ..more

Hindustani Vocal
Deskar-- Piya Jaag Jaag, ..more
Melody

20 Malhar Malika Vol 3
Kishori Amonkar - Vocal. ..more

Hindustani Vocal
Meera Malhar: Tum Ghan Se ..more
EMI India

Showing 1 - 20 of 38 Page   1 | 2    Next

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Articles on Kishori Amonkar

Perfectionist and a Dreamer

____________
"I am a dreamer,I collect all the smiles from My yesterday,
Neatly pack them into words and hide them in my heart,
I call them "MEMORIES" Music has no boundary.

Perfectionist and a Dreamer




------------------------------------------------------------ --------------------
Posted on RMIC by Rajan Parrikar as part of Great Masters Series
Taken from Vibha Purandare's article in Sangeet Kalavihar
Reproduced here for educational purposes only
------------------------------------------------------------ --------------------

Perfectionist and a Dreamer
To know Smt. Kishori Amonkar is to know genius. She has in her a concentrated essence of tbe good, the bad and the beautiful that any genius could boast of.
I have known Kishoritai now for many a year, yet I find that the passage of time does not help me to bind in words her elusive and many dimensional personality. It is one thing to know her and another to write about her. Like a great poet, she can say "Yes. I contradict myself. I contain many." And look at the variety within her - a concrete love for the abstract, a sharp analytical power to dissect systematically an intellectual problem and also an ability to synthesise beautifully the diverse shades of thought, a unique intensity to fathom the mystery of music, a scientific approach towards the ancient and modern theories of Art and Art Creation, a child-like faith in Guru Raghavendra Swami, a sense of wonder of being lost in the fantastic, illogical world of fairy tales and a strong belief in superstitions. All these colourful bits of a jigsaw puzzle refuse to form a very sedate straight picture. At the most one can say, she is a superstitious rationalist and an adult who continues to be child.

" I love to be a child. I know that I am foolish and obstinate as a child. But this state is very precious for me." Kishoritai said to me one evening, with her tanpuras standing in front as mute witnesses, " But at the same time, let me tell you I will not be a child in my Art, " she added vehemently. Her witnesses must have silently consented. For when her fingers play on their strings, thc musical instruments are thrilled with the touch of a master. Kishoritai tunes her tanpura with the precision of a scientist. It has to be the exact shade of 'nishad', the correct 'shadja.'

She believes that playing the tanpura well is of utmost importance - even more important than tuning it. " Then how does one do it ? " I asked. Pausing only for thc well anticipated question to end, she replied, " Well, it is an art. You see, though the frequencies of the notes vary, their sound level should be the same. One should strike the next string in such a manner that the sound of the second is blended into the first and so on and thus thereby there is being established sacred serious, musical cyclic pattern. Of course it inspires me to sing, but at times I am afraid even to mingle my own vocal notes into that divine sound. However, one thing I must state that the scientific rendering of a tanpura is different from its aesthetical rendering; in thc case of the latter, the stress is significant."

And when she is tuning the tanpura - to the admiration of some, whilst tesing the patience of many - she is a picture of concentration. Her eyes gently shut, one hand adjusting thc beads below, the other stretching out towards the knobs at the other end, she becomes an object of beauty for any photographer, a portrait painter or even all ordinary viewer.

And when the tanpuras are tuned to perfection, we have beautifully spanned for our ears a musical rainbow. And the colour is the colour of love. For, this artiste, has a profound love for notes, musical instruments, musicians and music; in fact, anything and everything that is musical. Her love, more than her scholarship, makes her ask, "I wonder from where these these notes come? "

A musicologist, a musician or a commoner could as well give an appropriate answer. But that will never satisfy her. She has in her a uniqne combination of a child, mystic and artist. The seen world she does love but the pull and the insight into the unseen world is more fascinating. Her imagination then knows no bounds "How must be the home of these notes ? How do they behave with each other ? I wish I could see them, then I would be able to talk to them."

Actually, the notes are as familiar to her as her face, in fact definitely more so, for she has spent much more time with her tanpura than with a mirror.

She is an ideal student of her subject. She has thonght consistently and deeply on the various problems that face a creative artist. Thc hard core of her philosophy of Music is her faith in its power to transcend the material world and touch the spiritual. Her notes are divine and their singing is sacred. With her singing, a concert hall is transformed into a temple and the listeners become her Guru Raghavendra. Therefore, after a concert, whenever and wherever, she humbly bows down her head at the people in front this gesture has an added dimension.

There are two different beings that harmoniously dwell in her - one a romanticist and the other a classicist. She herself does not very much like this classification. She feels that an artist is an artist. All other nomenclatures are secondary. Her approach toward Art is spiritual. She believes that realism is depicted in art to take you to the ideal, and the ideal is self-realisation - for the singer as well as for the listener. Like a true romanticist, she has an undying urge to reach out to Beauty. Her singing has its birth in the beautiful and it merges too in thc beautiful.

She said to me some years ago, "People say that I look beautiful when I sing. Today I seem to have got an answer. When I sing, I want everything to be beautiful - my notes, ny rhythm and myself too. My desire is so intense that on the stage you have beauty personified, not Kishori looking beautiful." And how true it is !

Her search for beauty does not turn her into an escapist. She is aware of the ugliness of life, its sordidness, its darkness and drabness. Yet she is convinced that when Art touches it, it does not wipe it out, but the innate strength of an art-medium makes it different. There is sorrow and joy inexplicably experienced together. Wheras, in life most often than not, they are mutually exclusive. In her heaven of art, a rose does have a thorn, and a thorn does prick, but its pain leads to peace. That is the uniqueness of art. Music may thrive on and be enriched by the depth and expanse of a 'Karuna Rasa' or 'Shringar Rasa', but it ultimately culminates in 'Shanti Rasa' that is 'ultimate bliss'.

If Kishoritai adores Beauty, she worships Truth anf therefore respects knowledge. Knowledge for her is not trapped wholly in books or fettered only in laboratories. She believes that knowledge is free. It can be found anytime, anywhere. You meet it like friend in a marketplace, or like a "bhakta" you are blessed by its "darshan" in the " santum sanctorum" of a temple. Yet, I must tell you, that Kishoritai is a treasurer of books, and as a student of science in Jai Hind College, had done some of the best dissection work in the Botany laboratory. Her love for books is natural and has grown with time. At times she intuitively buys a very good book. Some of the rarest titles in English Literature have been presented to me by Kishoritai, having bought the books in a bookshop, at various airports or on the pavement. She herself possesses one of the best libraries on aesthetics. Like gems, her books are well taken care of. They are neatly covered and bound. She will go to any extent to get a book she intently wants. Once she had wanted a book on " Indian Aesthetics" by Dr. Pandey. She searched for it high and low, She leafed through all the shops in Bombay, Delhi, Allahabad nd other smaller cities in India as well. The search was futile. But Kishoritai did not give in. And when she did get a copy of the book in a University Library, she got the whole significant part of the book cyclostyled. Today, it is one of her proud possessions, to be admired by the connoisseurs and not to be lent even to an ardent book lover.

It is well known that Dnyaneshwar, Tukaram, Surdas and Meera are her "singing partners" but few may know that Bharat Muni, Sarangdev, Narad and Anandvardhan- the great ancient literary masters--- are her 'thought companions." She is extremely happy in their company and it gives her equal joy to sing them or talk about them.

Kishoritai feels intently and thinks deeply. You cannot segregate " feeling " in life from "feeling" in art; for their roots go right down to that land which everyone owns but no one knows---i.e. the human mind. As far as feeling is concerned for Kishoritai, everything in this area is a "little more" than what the other people experience. For her the ruby-mud of her beloved Goa is a "little more" red; and its "sapphiresky" a "little more" blue. Jasmine, Champak, Roses and Lilies, all these flowers are more fragrant when they have to be offered to Guru Raghavendra Swami; at the same time a "more expensive" saree is " less expensive " if it is to be given to her mother Mai. And if Mai is unwell, Kishoritai is terribly disturbed. She repeatedly rings up her younger sister Lalitatai's place and keeps on enquiring about Mai's health. At that time, it is easier for Lalitatai to nurse Mai than attend her Tai's frequent and demanding phone calls. Not satisfied with what she hears, Kishoritai than decides to rely on her own eyes. She straight- as she is - dashes to Mai. "How are you Mai?" her transparent concern for her mother is evident in the curve of the question. And as soon as Mai says, "I am having a stomach ache or a little palpitation," Kishoritai leaves her side to sit besides the telephone. Then she rings up a Doctor or two. She rings up the Doctor so often and with so much of urgency that she makes the Doctor sick. But her Doctors know well that though a rebel in the field of music, she is also a nervous, highly strung daughter. They therefore smilingly take the "doses" she gives them. And only when Mai says that "she is feeling a little better" Kishoritai is at a little peace with herself. But her health is not even considered when it is a question of her music concerts. With a temperature as high as 103 raging in her body, I have seen her give all excellent full fledged concert in Dadar. She has also rendered a 3 1/2 hour programme on our Saint Poet Dynaneshar in a Bombay Hall, with the excruciating and relentless agony of a Herpes infection running a deadly line of pain on her face across thc nose. I can still see her holding her tanpura in her right hand and with the left hand dipping cotton in a medicinal solution and applying it to her face. One had only to see it to believe it. That is the fierce intensity she has for her music. It is almost inhuman or superhuman.

Thinking -intuitive, creative thinking - is also an innate part of her music. Her razor sharp intelligence is used to gently reach and unfold a particular "bhava" in a bhajan, a thumari, a ghazal or raga. Kishori tai firmly believes that "feeling" is the soul of music. She has thought long and lovinly about the various "bhavas" in art; how their subtle shades emerge and re-emerge, and one being prominent, surges forward towards the formation of a "rasa". Her study of "rasa theory" is very comprehensive. But everything that she reads in the ancient texts and whatever she herself experiences in the fire of the creative process is to be accepted only if it stands the test of actual music rendered.

Like a sincere hard-working student, she still gets up early in the morning to study and interpret the texts and spends or invests some time with the textual notes. Then after an interval of some kitchen work, she turns to and becomes one with her musical notes. The journey from the world of words to the universe of "sa-re-ga-ma " is as smooth as the sliding of the finger from one string to the other of her tanpura.

Kishoritai has given immeasurable joy to her listeners - through her music and her lectures. By now, she has become a renowned exponent of the "Rasa Theory of Music". She is an excellent speaker, being clear in though and lucid in expression. She has given lectures - series of lectures all over India. She carries the same brand of fire in her speeches as in her musical rendering. I remember its early beginning.

It was the year 1977; Place: New Delhi. Smt. Kishoritai Amonkar had been invited to participate in an International Seminar on Arts to be held in the capital of India. Her paper was entitled "Music and Communication" The audience comprised of writers, musicians, dancers, painters, poets, sculptors and architects of national and international renown. In fact, they were the people who must have been more on the platform - on the other side of creation - than on the receiving side.

In the presence of such an illustrious and discerning listeners, Kishoritai read her paper with the ease of a professional and a fervour of a reformer. The text, born and bred on experience was appealing and thought provoking and the diction was perfect, her breath-control remarkable with the right pauses and correct stress. The thunderous applause at the end "communicated" the listeners' feeling of appreciation. The impact of the paper was further seen when the Indian and Foreign Delegates attended her concert at 'Ashoka Hotel' the following day and made it a point to tell her of the same. As one dancer then remarked "Is it necessary to read the paper also so well? Can you not leave anything to others ? "


That is Kishoritai -
Perfectionist and a dreamer,
Lover of words and notes,
Colour and stones,
An old understanding friend,
A singer, setting a new trend,
Bound to music and its Reedeemer too.

And now finally about her Music. Kishoritai doesn't sing music, she breathes it. Then what can one write about it? It is like trying to describe and give one's impression of a beautiful sunrise. The sun of her " Bhairav " or " Bhup " is the same; yet, just as, every dawn is new, so also the " ragas " are different with every rendering. Her Music is as fresh as dew and as ancient as the earth.
Here I acknowledge my utter helplessness to do justice to her singing. Much has been written about it, and many are still trying to write about it. She like her mother Mai has also been awarded a 'Padmabhushan'. It is indeed a rare feat for a mother and daughter to get one of the highest National awards in the same field - i. e. Hindustani Classical Music. Kishoritai sings with utmost intensity and sincerity. She believes in introspection and guidance from the ancient sages and seers, therefore the evolvement of her "raga" is different from others. Like a staunch classicist she wants to maintain the purity and the discipline of the " bhava " in a " raga ". She is totally convinced that in order to depict the " true and living raga " in future, one must progress towards the past wherein lies knowledge that is eternal and Absolute. Trying to analyse the subtle nuances of her music I find that the river of words merges into the sea of silence.

We can only pray that may Kishoritai continue to sing for a long long time; and may we all be blessed to listen to that divine melody.
u may listen to malhar by kishori here .......
http://www.musicalnirvana.com/hindustani/kishori_amonkar.html


http://www.emusic.com/album/10886/10886669.html





____________
"I am a dreamer,I collect all the smiles from My yesterday,
Neatly pack them into words and hide them in my heart,
I call them "MEMORIES" Music has no boundary.

____________
"I am a dreamer,I collect all the smiles from My yesterday,
Neatly pack them into words and hide them in my heart,
I call them "MEMORIES" Music has no boundary.

____________
Music forms a part of me again It gives Shape to my faceless Expressions...To my Thoughts. {Alochana}