Kumar Prasad Mukherji | Gaud Malhar Demos: Nat, Shuddh Malhar, Khamaj & Bilawal Angs скачать в хорошем качестве

Kumar Prasad Mukherji | Gaud Malhar Demos: Nat, Shuddh Malhar, Khamaj & Bilawal Angs

Audio recording from a Doordarshan Bangla (then DD7) programme hosted by Buddhadev Das Gupta (not the film maker but the Sarod player) where Kumar Prasad Mukherji performed the Gaud Malhars featured earlier. 00:00 Intro by Buddhadev Das Gupta 01:28 Nat ang | जिसको जैसी बात हो | jisko jaiseii baat ho 04:16 Shudh Malhar ang | gandhaar varjit | जानी जानी तुमरे मन की सब जानी बात 06:45 Khamaj ang | Jhula | मोरी बईयां गोरी गोरी 08:45 Bilawal ang | Komal Gandhaar | बरसे मेहरवा 09:39 Ramdasi Malhar with two gandhaars 11:30 Talks about his gurus and ustaads – clarifies that he never learnt from Faiyaz Khan Talks about his four teachers: Ravindralal Rai (Malabika Kanan's father) Mushtaq Husain Khan (gandabandh ustaad – Rampur Sahaswan gharana) And then the reason why he was so influenced by Agra, as he learnt from: Ata Husain Khan Latafat Husain Khan [Ata Hussain Khan was the son of Mehboob Khan ‘Daras Piya’. His sister was married to Faiyaz Khan. Ata Hussain Khan became a disciple and a primary accompanist of his brother-in-law Faiyaz Khan for many years, often playing the Tanpura. Latafat Hussain Khan was Faiyaz Khan's nephew and also a student] 15:42 That everything has emerged from the belly of Gwalior Gharana Bandish: Nayaki | Gayaki rang Bahlaavaa Meend and larazdaar taans ('Maan Naa Kar' - He says he mainly did bahlaavaa, as what vistaar could he possibly do in a programme of half an hour? Says the best bahlaavaa illustrations would be available in Bade Ghulam Ali Khan recordings 18:04 Demonstrates Bahlaavaa with 'Maan naa kar' 19:04 Buddhadev Das Gupta asks for an illustration of Bol Banaanaa, Bol BaaNt, Bol Taan 19:25 Qawwali ang Bol Banaanaa: Barse Meharvaa [Says this was largely started by Faiyaz Khan] 20:55 Bol BaaNt again with 'Maan naa kar' 24:22 Gwalior: Kirana and Patiala Says no one sang Gwalior Gayaki better than Bade Ghulam Ali Khan – and says Mushtaq Hussain Khan also sang Gwalior Gayaki. 27:07 Demonstrates Gwalior style 29:03 Says listen to Rahimat Khan's Jamuna ke tiir to understand the influence he had on Abdul Karim Khan:    • Rahimat Khan Huddu Khan | Bhairavi Hori | ...   But says the taan of Rahimat Khan that Abdul Karim Khan could not reproduce, only Bhaskarbuwa Bakhale could. Says Rahimat Khan was "paagol" [mad] and "afiim khor" [opium addict] – that no one knew what sur he could lagaao when. *** Says don't bother about gharaanaas – just listen to their best recordings as their core is the same. *** 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. 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. *** No copyright infringement is intended.