Natyasangeet collections
Chetan Vinchhi
"Anand" <kan...@hotmail.com> wrote...
>
> As kid brought up in Bombay, I used to enjoy natya-sangeet programs on
> radio and TV. I remember them mostly for fast pace and the electrifying
taans.
>
> Can any kind RMICer suggest some good collections?
I am cross-posting to RMIM where you may have better luck with this query.
I am also starting a new thread to avoid confusion.
There are a number of collections out there. Some that I know of are:
- There was one 4-tape set from HMV which traced the history of
natyasangeet. There was some commentary as well and I remember the
inclusion of historical recordings. Unfortunately, I don't recall the name
of this set.
- Two single CDs of Dinanath Mangeshkar's natyageets were put out in 2001
(his birth centenary year). I think the titles were "shata janma
shodhitaanaa"
vol. 1 & 2.
- HMV also had a series titled Naman Natwara. I have seen vols 1,2,4.
They contain some very good pieces. Also some average ones.
- Several albums of single artists are floating around - Jitendra Abhisheki,
Prabhakar Karekar, Jyotsana Bhole, Kumar Gandharva (I recall a tape
titled "malaa umazlele baal ga.ndharva". It featured songs originally sung
by BG) and so on.
C
Sanjeev Ramabhadran
"Chetan Vinchhi" <mylas...@hotmailxyz.com> wrote in message
news:c1nci1$p...@netnews.proxy.lucent.com...
>
> - Two single CDs of Dinanath Mangeshkar's natyageets were put out in 2001
> (his birth centenary year). I think the titles were "shata janma
> shodhitaanaa"
> vol. 1 & 2.
Yes. This also includes a Telugu song, entitled "Nannu Brova Nee" - I
believe this is a Tyagaraja kriti (though I have not been able to find a
corresponding Carnatic rendition), but Dinanath has sung it (albeit very
well) in his Natyageet style.
>
> - HMV also had a series titled Naman Natwara. I have seen vols 1,2,4.
> They contain some very good pieces. Also some average ones.
>
> - Several albums of single artists are floating around - Jitendra
Abhisheki,
> Prabhakar Karekar, Jyotsana Bhole, Kumar Gandharva (I recall a tape
> titled "malaa umazlele baal ga.ndharva".
To add to this - "Uttung Natyashilp" features Vasantrao Deshpande's singing
material from "Samshayakallol", "MeghMalhaar", and "Katyaar Kalzaat
Ghusali". Alurkar Music later released a free-style recording of him singing
the "Katyaar" songs in a more expansive way.
More recent artists who have released Natyageet recordings include Asha
Khadilkar, Ajit Kadkade, and Suresh Wadkar, the darling of RMIM :-)
Cheers,
Sanjeev
UVR
> "Chetan Vinchhi" <mylas...@hotmailxyz.com> wrote:
>
>>- Two single CDs of Dinanath Mangeshkar's natyageets were put out in 2001
>>(his birth centenary year). I think the titles were "shata janma
>>shodhitaanaa"
>>vol. 1 & 2.
>
> Yes. This also includes a Telugu song, entitled "Nannu Brova Nee" - I
> believe this is a Tyagaraja kriti (though I have not been able to find a
> corresponding Carnatic rendition), but Dinanath has sung it (albeit very
> well) in his Natyageet style.
If this is the abhOgi kriti "nannu brOva niiki.nta tAmasamA", then
it _is_ a tyAgaraja composition. Check musicindiaonline. I recall
hearing a Balamurali version. IIRC it is a post-90s recording, so
the standard caveats apply ;)
-UVR.
naniwadekar
"Sanjeev Ramabhadran" wrote -
>
> To add to this - "Uttung Natyashilp" features Vasantrao
> Deshpande's singing material from "Samshayakallol",
> "MeghMalhaar", and "Katyaar Kalzaat
> Ghusali". Alurkar Music later released a free-style recording
> of him singing the "Katyaar" songs in a more expansive way.
>
I haven't seen the Alurkar release mentioned by Sanjeev but
I had downloaded a longish rendition of 'surat piya kii' from
audiogalaxy which could be from the same collection. Neelam
Audio has also released a CD of 4 songs from 4 Naataks
sung by Vasantrao in an expansive way.
A set of 2 CDs (in 2 diff CD cases) of songs composed
by Abhisheki, titled Matsyagandha Te Mahananda, has
been released. Mehfil renditions of Natyageets by Vasantrao
and Abhisheki Buwa are sure to be floating around among
private collectors and the better ones among them are worth
their weight in gold.
Pu La and Vasantrao Deshpandes had presented a programme
on Akashwani in the late 1970s. I remember listening to
some episodes. They could be available with private
collectors. The level of talk is altogether different from
the 'Sa Re Ga Ma Pa' junk lovingly watched by people
these days; to listen to Pu La and V-rao feels like
getting to listen to two Maharishis in conversation. I wish
they had lived longer into the video era and had been
recorded more in video format so that the future generations
may know how *real* men looked and dressed and talked.
If you want to watch pimps and sluts in assorted hideous
costumes and bindi-s, surely a taste of worse days to come,
watch "Sa Re Ga Ma Pa" and start praying for an Indian
Khomeini every night afore you go to bed.
The 4 cassette set mentioned by Chetan, which includes
historical recordings, features a song or two by Keshavrao
Bhosle who died around 1924. (I think I am talking about
the same set mentioned by Chetan.) IIRC the set had
aimed at spanning several artists across several decades.
A very special mention must be made of a 2-cassette
lec-dem-ish Alurkar release of Vasantrao. It is titled
'Sangeet Natakachi Waat-chaal (or Itihaas)'; Va Pu Kale
is the interlocutor.
One source of private-ish compilations (more for the rarity
of their 78s than the length of songs) is Alurkar's Music
House. He used to make copy of 90-min compilations by
Bal Gandharva, Master Krishnarao, and some other artists.
That catalogue, I hear, is not always on display at the shop.
You need to be lucky or need right contacts. But in my
limited experience, it is far more often present in the shop
than absent. Not all the compilations are dedicated exclusively
to Natya-Sangeet; but no one with good taste in music is
going to complain if a compilation of Krishnarao's or
Abhisheki's features some of their sublime work outside
the domain of Sangeet Natak.
- dn
Sanjeev Ramabhadran
"UVR" <u...@usa.net> wrote in message
news:103uo3b...@corp.supernews.com...
That is certainly the one - at least the "pallavi" matches (any link to
complete lyrics of the version you mention?) - I think I have heard the
Balamurali version you allude to. However, Dinanath's version is certainly
*not* in Abhogi - the rendition is Mishra Kafi-ish, in Carnatic terms, I
would describe it as something between Kapi and Anandabhairavi, though I am
sure that there is a ragam that provides a better match.
Sanjeev
naniwadekar
"Sanjeev Ramabhadran" wrote -
>
> That is certainly the one - at least the "pallavi" matches (any link to
> complete lyrics of the version you mention?) - I think I have heard the
> Balamurali version you allude to. However, Dinanath's version is certainly
>
But Dinanath's launch of 'nannu brova nee' does seem like
Abhogi, no? I don't have clear memory of the rest of the
song and, anyway, once a raag gets into my head, rightly
or wrongly, I keep seeing its chhaya in the song and it often
turns out to be a mistake on my part. But the opening few
words of 'nannu brova nee' do seem like Abhogi only to me.
As is well-known, Dinanath liked pushing boundaries. He
added Multani flavour to 'prem seva sharan'; he attracted
criticism of purists by introducing non-Malkauns phrases to
'divya swatantra ravi' which his critics alleged were designed
only to show off his virtuosity but did not match the tenor of
the lyrics; he (so I hear) vowed to make some hitherto less
prominent songs ('ravii mii') in Manapman the centre-pieces
and succeeded so brilliantly that the songs still carry Dinanath's
imprint in public consciousness. He might have brought to bear
the same desire and ability to innovate on his treatment of
'nannu brova nee' .
- dn
UVR
> "UVR" <u...@usa.net> wrote in message
>
>>Sanjeev Ramabhadran wrote:
>>
>>>[...] a Telugu song, entitled "Nannu Brova Nee" - I
>>>believe this is a Tyagaraja kriti
>>
>>If this is the AbhOgi kriti "nannu brOva niiki.nta tAmasamA", then
>>it _is_ a tyAgaraja composition.
>
> That is certainly the one - at least the "pallavi" matches (any link to
> complete lyrics of the version you mention?)
I don't know of a URL, but here are the lyrics:
P | nannu brOva niiki.nta tAmasamA? nApai nEramEmi? balkumaa
AP | chinnanaadE nii chelimi kalga kOri --
chi.nti.ncha lEdA? shrI rAmA
C | nijadAsavarulaku tammulatO niivu baaga puTTagalEdaa?
gajaraajarakShakA! tanayulanu kani pe.nchalEdaa? tyAgarAjanuta
A gentle request: please refer to this song as "nannu brOva" (v/s
"nannu brOva nee" -- which doesn't make much sense at all).
> However, Dinanath's version is certainly
> *not* in Abhogi - the rendition is Mishra Kafi-ish, in Carnatic terms, I
> would describe it as something between Kapi and Anandabhairavi, though I am
> sure that there is a ragam that provides a better match.
Hmm. Kapi and _Anandabhairavi_, eh? Very intriguing. This makes me
even more curious about Dinanath's version (is it available anywhere
online?). Has Dinanath really sung it with those special sangati-s
that make it classifiable as Kapi or Anandabhairavi? Not that I
doubt your understanding of these rAga-s, but is there a chance that
you were referring to Kharaharapriya when you said "Kapi"? Also,
does Dinanath really sing it with that liberal a dose of the 'pa',
or is his rendition simply peppered generously with komal ni -- in
which case 'shrIra.njani' might be a closer match?
-UVR.
naniwadekar
"UVR" <u...@usa.net> wrote -
>
> This makes me even more curious about
> Dinanath's version (is it available anywhere online?).
>
Your newsreader is chewing up too many posts these
days, I suppose. Rajan's post has obviously not appeared
on it; in case Ragde-ji's post has also failed to show up,
here is the URL :
"nannu brova" by Dinanath Mangeshkar -
http://www.parrikar.org/misc/dinanath_nannubrovani.ram
- dn
Sanjeev Ramabhadran
> Sanjeev Ramabhadran wrote:
>
> A gentle request: please refer to this song as "nannu brOva" (v/s
> "nannu brOva nee" -- which doesn't make much sense at all).
Sure. If I actually knew Telugu, I would have done so to begin with. On top
of that, the Dinanath CD has (albeit erroneously) listed it as "Nannu
Brovani".
> > However, Dinanath's version is certainly
> > *not* in Abhogi - the rendition is Mishra Kafi-ish, in Carnatic terms, I
> > would describe it as something between Kapi and Anandabhairavi, though I
am
> > sure that there is a ragam that provides a better match.
>
> Hmm. Kapi and _Anandabhairavi_, eh? Very intriguing. This makes me
> even more curious about Dinanath's version (is it available anywhere
> online?). Has Dinanath really sung it with those special sangati-s
> that make it classifiable as Kapi or Anandabhairavi? Not that I
> doubt your understanding of these rAga-s, but is there a chance that
> you were referring to Kharaharapriya when you said "Kapi"? Also,
> does Dinanath really sing it with that liberal a dose of the 'pa',
> or is his rendition simply peppered generously with komal ni -- in
> which case 'shrIra.njani' might be a closer match?
No, it's not Shriranjani or Kharaharapriya (especially since scales aside,
you need the special shakes on Ga and Ni to really make Kharaharapriya). The
notes are that of Kharaharapriya mela (or Kafi Thaat) with G3 and N3 used
regularly. In particular, the two G's are juxtaposed regularly (in the first
half of the "mukhda" or "pallavi"). The Kapi and Anandabhairavi were brief
thoughts, but I could see filling those blanks with other names...it is
easier to nail it down in Hindustani terms, not surprisingly, as Dinanath's
moorings were in Hindustani music. Check out the link Rajan posted and see
what you think.
Sanjeev
Sanjeev Ramabhadran
"naniwadekar" <nani3...@hotmail.com> wrote in message
news:c1o0is$1lcvkn$1...@ID-75735.news.uni-berlin.de...
>
> If you want to watch pimps and sluts in assorted hideous
> costumes and bindi-s, surely a taste of worse days to come,
> watch "Sa Re Ga Ma Pa" and start praying for an Indian
> Khomeini every night afore you go to bed.
Wow, that's a little much...
>
> The 4 cassette set mentioned by Chetan, which includes
> historical recordings, features a song or two by Keshavrao
> Bhosle who died around 1924. (I think I am talking about
> the same set mentioned by Chetan.) IIRC the set had
> aimed at spanning several artists across several decades.
Did you mean Bhosle or Bhole?
Sanjeev
naniwadekar
"Sanjeev Ramabhadran" wrote -
>
> >
> > The 4 cassette set mentioned by Chetan, which includes
> > historical recordings, features a song or two by Keshavrao
> > Bhosle who died around 1924. (I think I am talking about
> > the same set mentioned by Chetan.) IIRC the set had
> > aimed at spanning several artists across several decades.
>
> Did you mean Bhosle or Bhole?
>
Bhosle. Born around 1889/90, died around 1924.
Keshavrao Bhole (Jyotsnabai's husband) was not a singer
himself. He was a music director with Prabhat after the film
company moved to Pune in 1933. He used to write regularly
on music as well. Born in 1898, died around 1975, IIRC.
Bal Gandharva and Keshavrao Bhosale had made Manapman
very popular 85-90 years ago for their respective drama
companies. An idea was mooted to bring them together (with
Bhosle in the main male role and BG in the female). Bal
Gandharva's friends advised him against it since they felt his
mellow style of singing would be overshadowed by Bhosle's
explosive style. But the idea did come to fruition and the joint
show featuring the cream from their troupes has passed into
the folklore as 'Sanyukta Manapman'.
- dn
UVR
>
> Your newsreader is chewing up too many posts these
> days, I suppose. Rajan's post has obviously not appeared
> on it; in case Ragde-ji's post has also failed to show up,
> here is the URL :
>
> "nannu brova" by Dinanath Mangeshkar -
>
> http://www.parrikar.org/misc/dinanath_nannubrovani.ram
Thanks. It would appear that my newsreader does need to be
looked into.
It's a fascinating rendition in spite of the fact that the
actual lyric presented is not quite the same as the original.
Can anyone figure out what he's singing instead of "naapai
nEramEmi" (in the second 'half' of the mukha.Daa/pallavi)?
-UVR.
Manohar Bodas
death anniversary on AIR. Fortunately I have the recording. It starts
with a clip from Balgandharv Nath Ha Maza. Vasantrao sings Vedya Mana,
also explains how Balgandharv effortlessly could sing Jabdya Taan with
his beautiful touch. He also sings Balsaavar tumhi as it was in
original Tappa style and how it was changed to suit Subhadra. The
other Geet they discussed is Sujan kasa and the original Bhup Chiz
Phulawan se. The best is Kavi Bala. How beautifully Balgandharv could
sing Dadra in many ways is also presented. Vasantrao sings Kashiya
Tyajoo Padala also. It is 30 Min presentation which is some thing I am
lucky to have.
There is another private recoding of Vasantrao when he sang Ahi Mamata
Vishasam. This was recorded at Baburao Deshmukh's house. Vasantrao
imitates Bal Gandharv superb manner. It is almost impossible to know
if he is singing or Balgandharv. PLD imitates the prose part of Bal
Gandharv. This is another excellent jewel I am lucky to have.
Regarding Matsyagandha te Mahananda is far below expectation. The one
I have is Raja Kale, Arun Date, Little bit of Bua and the female
artists are really bad.
Vasantrao also presented two days of Vatchal in Delhi in 77. This was
way before it was commercially produced. This is about three hour
music with all the History, Geography and developments in Natya
Sangeet. He sings at least four songs in Balgadharv and Dinanath
style. It is amazing to listen to him how he could sing different
styles so effortlessly.
At least once a month I listen to this.
MB
naniwadekar
"Manohar Bodas" <bod...@yahoo.com> wrote -
>
> Regarding Matsyagandha te Mahananda is far below expectation.
>
Manoo - I don't know how you set your expectations. If you have
a look at the songs and artists featured on the CDs and approach
the collection accordingly, it is a superb collection.
>
> There is another private recoding of Vasantrao when he sang Ahi Mamata
> Vishasam. This was recorded at Baburao Deshmukh's house. Vasantrao
> imitates Bal Gandharv superb manner. It is almost impossible to know
> if he is singing or Balgandharv. PLD imitates the prose part of Bal
> Gandharv. This is another excellent jewel I am lucky to have.
>
Me too, Bodas, me too.
There are a few such recordings doing rounds among collectors.
Apart from Baburao Deshmukh, Pu La knew Nana Jog of
Nagpur very well. In these mehfils, Pu La used to imitate Bal
Gandharva's speech, the content touching upon how BG
used to praise Dinanath : Dinanath-rao mhaNaje Dinanath-rao,
bar.n kaa. Amhi aapali naaTak.n soDuun te gaaN.n aikaayacho,
baappaa. (Dinanath-rao was one of a kind. We used to forget
our own association with the genre and lose ourselves listening
to him in his Naatak-s.) Baburao's son had put together a 90-min
cassette with a magnificent Bhimsen Puriya on the other side
of a Pu La - Vasantrao (who were not related) private mehfil.
I remember listening to it a couple of times in 1980-85 span.
I think Bhimsen had stayed in Baburao's house in Nagpur for
a month in the 1950s to establish residency there before he
could acquire Vatsalabai Mudholkar as his wife # 2.
Polygamy was not permitted by law in the Mumbai province
but before the law was made uniform in 1955ish, one could
take second wife in the Central Province and its humane
capital : Nagpur.
>
> style. It is amazing to listen to him how he could sing different
> styles so effortlessly.
>
I think it was because he was born in Murtizapur, not Nashik.
And in 1920, not 1937. As for 1937's batch : we know its calibre.
A quick quiz : which Beatle, if any, was born in 1937?
> The other Geet they discussed is Sujan kasa and the original
> Bhup Chiz Phulawan se.
>
It is not 'phulwan se', it is 'phuulavan sej savaaruu.N'. And it
reminds me of another nice Natyasangeet collection. Alurkar
has released a 2-cassette set of Sudhir Datar, Bhaskarbuwa's
daughter's son, Shaila Datar and their daughter Shilpa
Puntambekar presenting Bhaskarbuwa's natyageets alongwith
the original compositions on which Buwa had based the songs
and accompanying commentary.
>
> At least once a month I listen to this.
>
Me too, Bodas, me too. But I don't want to lie and I don't
want to exaggerate. Let's make it once a year.
- dn
Manohar Bodas
Dhenuvallbh Nanubaba's stupid response was expected as usual. This was
not all that bad though. Thanks Dhrnubaba,
MB
. Thanks Piggy Baby.
MB
Ashok
sanjeev.r...@duke.edu says...
>
>
>"naniwadekar" <nani3...@hotmail.com> wrote in message
>news:c1o0is$1lcvkn$1...@ID-75735.news.uni-berlin.de...
>>
>> Khomeini every night afore you go to bed.
>
>Wow, that's a little much...
>Sanjeev
I wonder why you are surprised. You couldn't have missed
observing the words and actions of the many Hindu elements
that are bent on ushering in a Semitized Hindu religion.
Many candidate Khomeinis are already there, e.g., Bal Thakre.
What's quite rare is one of the embittered goons actually
coming clean regarding the role model he seeks, as Naniwadekar
has done.
And what's fortunate is that the social basis for such
hate-filled ideologies is quite limited in a flourishing pagan
society. India will transform BJP far more than BJP tranform
India.
Ashok
UVR
[I thought I had responded to this post earlier today, but my
post has not showed up yet. Apologies for any duplicates.]
Sanjeev Ramabhadran wrote:
> No, it's not Shriranjani or Kharaharapriya (especially since scales aside,
> you need the special shakes on Ga and Ni to really make Kharaharapriya). The
> notes are that of Kharaharapriya mela (or Kafi Thaat) with G3 and N3 used
> regularly.
Well, "special" phraseology is required even more for A.bhairavi
(v/s Kharaharapriya), which is why I was surprised that you picked
that name. It's true that a number of musicians sing it with both
"G"s as well as both "N"s, but the raga-swaroopa is nothing like
Dinanath's "nannu brOva."
> In particular, the two G's are juxtaposed regularly (in the first
> half of the "mukhda" or "pallavi"). The Kapi and Anandabhairavi were brief
> thoughts, but I could see filling those blanks with other names...it is
> easier to nail it down in Hindustani terms, not surprisingly, as Dinanath's
> moorings were in Hindustani music. Check out the link Rajan posted and see
> what you think.
You know what? -- you should've just stuck to calling it "mishra
kaapi" ;) That's the closest description, IMO.
-UVR.
Sanjeev Ramabhadran
>
> Well, "special" phraseology is required even more for A.bhairavi
> (v/s Kharaharapriya), which is why I was surprised that you picked
> that name. It's true that a number of musicians sing it with both
> "G"s as well as both "N"s, but the raga-swaroopa is nothing like
> Dinanath's "nannu brOva."
True enough - especially comparing it with standard Anandabhairavis
(e.g. "tyAgarAja yoga vaibhavam", "paluke bangAramAyena",
"ksheerasAgara vihAra"), despite the assortment of phrases, it's hard
to find any common ground.
>
> > In particular, the two G's are juxtaposed regularly (in the first
> > half of the "mukhda" or "pallavi"). The Kapi and Anandabhairavi were brief
> > thoughts, but I could see filling those blanks with other names...it is
> > easier to nail it down in Hindustani terms, not surprisingly, as Dinanath's
> > moorings were in Hindustani music. Check out the link Rajan posted and see
> > what you think.
>
> You know what? -- you should've just stuck to calling it "mishra
> kaapi" ;) That's the closest description, IMO.
Agreed - I hereby eliminate Anandabhairavi from my list of candidates
:-) A strand of Kapi continues to be the most visible (er, audible)
Carnatic element to me.
Sanjeev