Kumar Prasad Mukherji | Gaud Malhar | Demo: Bilawal ang | komal gandhaar: बरसे मेहरवा barse meharvaa скачать в хорошем качестве

Kumar Prasad Mukherji | Gaud Malhar | Demo: Bilawal ang | komal gandhaar: बरसे मेहरवा barse meharvaa

बरसे मेहरवा बड़ी बड़ी बड़ी बड़ी बूँदन चहूँ ओर बिजली चमके डर पावे पिया बिन जियरा मोरा तरसे This is excerpted from Kumar Prasad Mukherji's Lec-Dem in a Doordarshan Bangla programme hosted by Buddhadev Das Gupta (not the film maker but the Sarod player):    • Kumar Prasad Mukherji | Gaud Malhar Demos:...   And then segues to Ramdasi Malhar with two gandhaars *** For me, Kumar Prasad Mukherjee (February 1927 – 14 May 2006) was first and foremost a writer on Hindustani classical music; I discovered his singing much later. My interest in the art form owes as much to his and Sheila Dhar’s writings. While I had long enjoyed Dhar’s anecdotal and entertaining accounts, his The Lost World of Hindustani Music offered a riveting panorama of the art form. It deepened my engagement with Hindustani music that had begun with Rajan Parrikar’s and Patrick Moutal’s websites, along with MusicIndiaOnline – which opened up a vast free-to-access repository at just the right time – and provided a historical sweep I had not encountered before. Unlike most practitioners, Mukherjee combined a full-time career in government and corporate service with serious engagement with music. Even while holding senior posts at NCDC, the Coal Mines Authority, and Coal India Limited, he remained deeply involved in Kolkata’s musical life, and later served as Vice–President of the West Bengal State Music Academy. As a musician, he was widely acknowledged in Bengal as the voice of the Agra gharana – an articulate performer who could sing, write, and explain. He trained initially with Ravindralal Rai, then with Mushtaq Husain Khan, and later extensively with Atta Husain Khan and Latafat Husain Khan. His gayaki bore the imprint of Faiyaz Khan. Mukherjee appeared frequently in prose and commentary and remained an engaged presence in Kolkata’s musical life. Gana Kala Parishad, Bengaluru, conferred the honorific “Pandit” on him in 1972. His first major book project, Kudrat Rang–Birangi (serialised in Desh and later issued as a Bengali volume), became a critically acclaimed best–seller and received the Rabindra Puraskar. A Hindi edition, translated by Dipali Nag, appeared in 2002. Its translation into English as The Lost World of Hindustani Music in 2006 broadened his readership far beyond Bengal. My introduction to Mukherjee came via Ramachandra Guha’s review in The Telegraph (29 July 2006), who called it “a wonderful anecdotal history of an art form that has perhaps not got its due from historians and writers alike” and noted poignantly that “apparently, Kumar Mukherji died the very day that the first lot of copies was sent by the publishers in Delhi to his home in Kolkata.” Guha also described it as “one of the most enjoyable works of non-fiction to be published in India (in English, at any rate),” praise I fully share, having immediately ordered and devoured the book. For me, this English translation remains the best window into that lost world, providing a historical sweep that even Dhar’s delightful narratives could not offer. What makes Mukherjee matter is not merely the information he assembled but the way he told it – vivid, wry, and humane – drawing readers into raag, gharana, and parampara through character and story rather than pedantry. He wrote of great ustads and pandits with warmth and curiosity, carrying forward an oral culture into print without flattening its texture. *** Shared strictly for educational, research, and non-commercial entertainment purposes under fair use and YouTube's copyright policies. This channel is not monetised and never will be. No copyright infringement is intended. If you wish for any recording to be removed, please don’t issue a copyright strike – just leave a comment and I’ll address it right away. Your help is welcome in correcting or completing lyrics, crediting the author, or identifying the raag.