Pandit Amiya Dasgupta & Pandit Taranath Rao скачать в хорошем качестве

Pandit Amiya Dasgupta & Pandit Taranath Rao

Pandit Amiya Dasgupta Prof. Amiya Dasgupta was born in Barisal, East Bengal on Oct. 12, 1924. He was a distinguished North Indian musician, an artist on the sitar and surbahar, a teacher of vocal music, sitar and other Indian instruments and a composer in Indian classical and European classical forms. He directed the Ravi Shankar Kinnara School of Indian Music in Bombay for six years, and later the Los Angeles branch. Afterwards Amiya founded his own Sangeet School of Indian Music in Hollywood, CA. Amiya was one of Pt. Ravi Shankar's earliest and most devoted disciples. He was associated with the celebrated sitarist for more than 40 years. Dasgupta assisted Shankar as an instructor of Indian music history at City College of New York and performed on numerous projects, including the recordings 'Festival From India' and 'Anthology of Indian Music'. Dasgupta wrote the manual of the Ravi Shankar book 'My Music, My Life' and edited 'Ravi Shankar Teaches'. He accompanied Shankar and Yehudi Menuhin in the E.M.I. recording 'West Meets East, No. 3'. Amiya taught at California Institute of the Arts for 20 years, where he was deeply loved by both students and faculty. At CalArts, Amiya founded and conducted the 'North Indian Music Ensemble', and composed many wonderful orchestral compositions for the group in numerous ragas and talas. His understanding of Indian classical music was vast and deep, and he generously imparted his knowledge to his many students with patience and affection. Amiya was also a talented painter and quite a good cook. Amiya-da was known for his warmth, generosity, kindness and humor. Our revered guru and dear friend Amiya passed away on May 23, 1994. Information from: https://davidphilipson.com/music/amiya/ Pandit Taranath Rao The life of Taranath Ramarao Hattiangady (1915-1991) spanned most of the Twentieth Century and so unfolded during a period of radical change in Indian music. He was witness to the decline of courtly patronage, the passing of the traditional gharanas' of tabla playing, the advent of sound amplification and recording, the rise of governmental, educational and public sponsorship of classical music, and a new wave of western notice. He studied formally for 47 years. The consensus of musicians, connoisseurs, and scholars of Indian music is that each of these modern influences has been predominantly detrimental to this ancient classical tradition. Some particularly dour musicians have even suggested that it would be better for the music to die gracefully than to be corrupted by unworthy musicians and audiences. Such an attitude was completely foreign to Taranath - he lived to teach. If a beginning student expressed self-doubt, Guruji would laugh and say, "Don't worry. I will make you play!" Early Years - Taranath Rao was born March 6, 1915 to a musical family of Saraswat Brahmins in Mangalore (Kannada), South India. Taranath's early years were rich in musical experiences. His uncle was a famous Carnatic violinist, Prof. A. K. Rao. Young Taranath learned tabla from Vishnuji Goakar, tala with Laya Brahma Bhaskar Khapruji and mridangam and maddalam from his father, Ramarao Hattiangady. Besides being a musician, Ramarao was an actor in the Yakshagana, the folk theater of South Kannada that features night-long performances of traditional stories with elaborate costumes and make-up. Ramarao was a specialist in the depiction of women's roles. A wealthy patron bequeathed to Ramarao a successful tobacconist business, enabling him to invite musicians from both the North and South to his home for extended visits, to the benefit of Taranath's musical education. (Incidentally, young Taranath displayed an aptitude for wrestling, and his father occasionally invited worthy opponents for him.) While still in his native Mangalore, Taranath met his future teacher, Shamshuddin Khan, who was on tour as the accompanist to the legendary Abdul Kareem Khan. Shamshuddin was also Abdul Kareem Khan's vocal disciple. Shamshuddin cut a striking figure, and could easily have been mistaken for Clark Gable in a kurta. Shamshuddin Khan's hand was admired for its light, smooth, effortless touch - it was said that if you sat behind him on the dais, you could not tell from his movements when he was playing and when he was not. After the concert Taranath introduced himself and expressed a desire to study with him. 'Anytime' was the reply. (Little did anyone suspect that young Taranath himself would one day accompany Abdul Karim Khan!) https://davidphilipson.com/music/amiya/ This video is from Mr. Ted Morano's archive and was recorded back in the late 70's at CalArts. The Ravi & Shashi Bellare Arts is trying to preserve the legacies of these great masters.