SAWF Treasure Trove - Preview
Rajan P. Parrikar
An updated edition of the Treasure Trove will be up sometime
this summer. Some preview items will be posted here in the
coming weeks as teasers.
Mallikarjun Mansur's Raga Lajwanti -
http://www.sawf.prohosting.com/rajan/mansur_lajwanti.ram
The rAga is an Atrauli-Jaipur specialty. Chhayas of Ragas
Kamod, Shuddha Malhar and Khambavati will be seen, as also
some special prayogas. This rAga is much older than the
one conceived and so named by the nanga Empie of San Rafael,
Mr. Alubhai Khan.
Warm regards,
r
Rajan P. Parrikar
Bade Ghulam Ali Khan's Raga Kafi Kanada:
http://www.sawf.prohosting.com/rajan/bgak_kafikanada.ram
Kishori Amonkar in a 1975 mehfil with Raga Shuddha Kalyan:
http://www.sawf.prohosting.com/rajan/kishori_shuddhakalyan.ram
Kishori's cheez in Nand has been up for a while now. Here
she sings the canonical vilambit bandish "dhooNDooN bAre saiyyAN":
http://www.sawf.prohosting.com/rajan/kishori_nand_vil.ram
Warm regards,
r
Rajan P. Parrikar
Jitendra Abhisheki sings Raga Shyam Kalyan in this 1985
mehfil at the Kesarbai Kerkar Samaroh in Panjim, Goa.
Both the vilambit and druta bandishes are compositions
of Ramashreya Jha "Ramrang":
http://www.sawf.prohosting.com/rajan/abhisheki_shyamkalyan_vil.ram
http://www.sawf.prohosting.com/rajan/abhisheki_shyamkalyan_druta.ram
Sample the druta composition heard above ("belA sAnjha ki") in
Jha-sahab own voice. He remarks on the sAhitya and the bhAva.
Satyasheel Deshpande joins him briefly in the antarA:
http://www.sawf.prohosting.com/rajan/jha_shyamkalyan_druta.ram
D.V. Paluskar, Raga Soor Malhar. The bandishes are familiar:
http://www.sawf.prohosting.com/rajan/dvpaluskar_soormalhar.ram
Krishnarao Shankar Pandit, Raga (Brindavani) Sarang:
http://www.sawf.prohosting.com/rajan/krsp_sarang.ram
Mallikarjun Mansur, Raga Todi:
http://www.sawf.prohosting.com/rajan/mansur_todi.ram
Jha-sahab sketches an old composition in Raga Kamod. For
reasons not quite clear he has chosen not to publish a
lot of such traditional repertoire known to him:
http://www.sawf.prohosting.com/rajan/jha_kamod_druta.ram
Warm regards,
r
Ajay Nerurkar
>
> D.V. Paluskar, Raga Soor Malhar. The bandishes are familiar:
>
> http://www.sawf.prohosting.com/rajan/dvpaluskar_soormalhar.ram
The vilambit bandish "garajat aaye" presented here was the basis for
the Marathi natyageet "anrutachi gopaalaa" (Swayamvar). The composer
was Bhaskarbuwa Bakhle, who incidentally passed away almost exactly
eighty years ago (on April 8, 1922). He was probably the most complete
khayal singer of the last century. It's nothing less than tragic then
that no recording of his exists, except a very scratchy one of the
Jaunpuri khayal "baaje jhananana" (according to "devagandharva",
Shaila Datar's biography of him).
Ajay
naniwadekar
>
> He (Bhaskarbuwa) was probably the most complete
> khayal singer of the last century. It's nothing less than tragic then
> that no recording of his exists, except a very scratchy one of the
> Jaunpuri khayal "baaje jhananana" (according to "devagandharva",
> Shaila Datar's biography of him).
>
the impression that barely a line of the Jaunpuri khayal was
retrievable (say, 5-10 second piece) and even that short piece
is very scratchy. It is not known for sure that the voice on
that recording is Bhaskarbuwa Bakhale's. All that Master Krishnarao
was willing to say was that the voice could be Bhaskarbuwa's.
(Master Krishnarao was Bakhale's student.)
Keshavrao Bhosale, the natyageet singer, also died in early 1920s,
around the same time as Bhaskarbuwa Bakhale. Thankfully, his
recordings exists. Abdul Karim Khan sahib had recorded on discs
full 15 years before Bhaskarbuwa died. A compilation of AKK's
1905-1907 (IIRC) recordings has been released. Shailatai
also lamented that Master Krishnarao had himself recorded
music (Hameer IIRC) before Bhaskarbuwa died. But the guru did
not learn from his shishya the value of archival.
Re. Lata's classical singing, being discussed in another thread
currently, it looks like she did record a longish piece for
a documentary made by Pu Raa Bhide (who later started calling
himself Vidyaanaanand). SIRC members are trying to track down
that documentary. There are some other rumours about her classical
singing, and I am beginning to feel they should not be dismissed
out of hand. In a compilation, named (just) LATA, of tributes
paid to her in 1967, Ramubhaiya Date has claimed to have heard
her 'classical tapes'.
How about rumours that OM chants in Vivekanand's voice exist,
and that LATA owns that rare disc? V died in 1902. The first
Indian record was cut in 1902, IIRC. Was recording technology
available in US when V visited in early 1890s? Did he visit
US later, too? There are rumours about Vivekanand having
discussed percussion matters with Khaprumama Parvatkar. But
the percussion rumour came from a gull and is not percooshacive.
This particular gull, however, often swoops with great effect
on rare recordings.
- dn
Allan Evans
just a more accurate reading of the groove walls), so that even discs from
1901-1924 (acoustic era) now sound almost electric, words are very
audible, and instruments emerge with great clarity and are no longer
compressed. I welcome the challenge of such 'scratchy' (easily removed
now) and inaudible discs, as there is much sound lying within the groove
walls and it can be clearly heard. One example of this transfer method is
up on my website, that of the classical (Italian-German) composer
pianistic genius Ferruccio Busoni, recorded in 1922 (London) playing a
Liszt Hungarian Rhapsody (like a wild gypsy). Note that the room tone,
ambiance, pedalling and tone color are present, going against the decades
of experts who decried acoustic discs as lacking those qualities.
www.arbiterrecords.com
Best wishes,
Allan Evans
In article <b4af975d.02041...@posting.google.com>,
nan...@hotmail.com (naniwadekar) wrote:
Rajan P. Parrikar
Govindrao Tembe's wizardry on the harmonium. He plays a
Natyageet in Raga Mand ("kharA to premA") from the drama
MANAPMAAN (1911), for which he provided the music himself -
http://www.sawf.prohosting.com/rajan/govindraotembe_mand.ram
Anandrao Limaye ("Limayebuwa"):
Raga Gaudi Lalit -
http://www.sawf.prohosting.com/rajan/limayebuwa_gaudilalit.ram
Raga Khamaji Bhatiyar -
http://www.sawf.prohosting.com/rajan/limayebuwa_khamajibhatiyar.ram
(For a slightly different version of this rAga, see "In the
Khamaj Orchard")
Agrawale Khadim Hussain Khan:
Raga Savani Nat -
http://www.sawf.prohosting.com/rajan/khk_savaninat.ram
Raga Meerabai ki Malhar -
http://www.sawf.prohosting.com/rajan/khk_meeramalhar.ram
AIR Dharwad's Tribute to Mallikarjun Mansur. The excerpts are
interspersed with Mansur's singing. Some Kannada speaker may
want to transcribe the speech (if it is interesting) -
http://www.sawf.prohosting.com/rajan/mansur_tribute.ram
P.L. Deshpande's rendition of a nATyageeta from VAHINI (1945)
composed by the great violin master of the first half of the
20th C, Shridhar Parsekar. Shridhar-bab was from Goa and
there's a jugalbandi recording of him and Ravi Shankar
somewhere in some collector's den. This song is based in
Raga Nand -
http://www.sawf.prohosting.com/rajan/pldeshpande_pakhara.ram
Warm regards,
r
Rajan P. Parrikar
>composed by the great violin master of the first half of the
>20th C, Shridhar Parsekar. Shridhar-bab was from Goa and
>there's a jugalbandi recording of him and Ravi Shankar
>somewhere in some collector's den. This song is based in
>Raga Nand -
>
>http://www.sawf.prohosting.com/rajan/pldeshpande_pakhara.ram
On a related note -
Has anyone recorded in recent times the well-known Nand-based
nATyageeta from AMRUTASIDDHI (~1933), "dhanya tuchi kAntA" ?
It was inspired by the canonical kHayAl "DhooNDooN bAre saiyyAN."
Master Krishnarao was the composer and the original recording is
by Gangadhar Londe.
That and the nATyageeta from SAJJAN (~1933), "udita nava tArA,"
(composer: Vazebuwa) have got to be the earliest Marathi songs
in the rAga. Bal Samant mentions ("Marathi Natyasangeet") that
Bapu Pendharkar has recorded this one. Anyone else reprised it?
Warm regards,
r
Ajay Nerurkar
> Has anyone recorded in recent times the well-known Nand-based
> nATyageeta from AMRUTASIDDHI (~1933), "dhanya tuchi kAntA" ?
> It was inspired by the canonical kHayAl "DhooNDooN bAre saiyyAN."
> Master Krishnarao was the composer and the original recording is
> by Gangadhar Londe.
I haven't heard it in any other voice. The Londhe version is available
BTW; you don't have to beard the collector in his den for it.
Don't know the answer to your other question.
Ajay
Rajan P. Parrikar
Andharia. He was a musician of a very high class but his
commercially available output is meagre. We present here
an unpublished Hamsadhwani. The kHayAl "Jai mAte vilamba"
was conceived by Aman Ali Khan (Bhendibazarwale) and rendered
immortal by Aman Ali's friend Amir Khan. Aman Ali Khan, who
took 'Amar' as his colophon, also composed the famous Hamsadhwani
cheez "lAgi lagana," an adaptation of "vAtApi gaNapatim" (see
the "Treasure Trove" for a clip of Aman Ali). Amir Khan's
influence on Rasiklal Andharia is transparent and on display
in this clip -
http://www.sawf.prohosting.com/rajan/andharia_hamsadhwani.ram
Omkarnath Thakur sings a sAdrA in the uncommon Raga Lacchasakh.
For an outline of the rAga, see "On the Bilawal Trail." This
composition "prathama tAla sura sAdhe" has been published
in Vinayakrao Patwardhan's "Raga Vigyan" (Vol 7, I think) -
http://www.sawf.prohosting.com/rajan/ot_lacchasakh.ram
Warm regards,
r