Uday Bhawalkar | Dagarvani Dhrupad | The Lyrical Tradition of Dhrupad - Part 2 скачать в хорошем качестве

Uday Bhawalkar | Dagarvani Dhrupad | The Lyrical Tradition of Dhrupad - Part 2

Album: Uday Bhawalkar Collection: The Lyrical Tradition Of Dhrupad Vocal: Uday Bhawalkar Pakhavaj: Manik Munde Tanpura: Jyoti Bhawalkar and Sombala Satale Tracks: 0:00 Rag Vibhas - Alap 31:51 Rag Vibhas - Chautal 49:36 Rag Suha - Alap 53:31 Rag Suha - Jhaptal Description: Born in 1966 at Jaora (M. P.) in a family of musicians, Uday Bhawalkar has studied classical singing since he was 8 years old. After the cursus of the music school of Ujjain, he received the Allauddin Khan Sangeet Academi grant and became the student of Fariduddin Dagar in Bhopal. Since 1985 and until his death, the great master Zia Mohiuddin Dagar (Rudraveena) has taught him the Dhrupad of the Dagarvani. In 1987 he received the National Grant for Dhrupad, then the Gold Medal of Dhrupad from the hands of Aminuddin Dagar (The Dagar Brothers). He gave his first concert in Bhopal in1985. He has toured a lot in India in very famous festivals ("Tansen Samaroh" of Gwalior, "Dhrupad Samaroh" of Bhopal, "Amir Khan Samaroh" of Indore...) and in Europe (Masters of the Raga in Holland, Otono Music Festival in Spain, Sangeet Parampara Festival of Berlin). In 1988 he became an artist of the All India Radio. Uday believes that when immersed in the note and raga, the self disappears and music takes on its own existence; the principle of ‘darshan’ in Indian philosophy. Manik Munde (Pakhavaj), born in 1960, has studied Pakhavaj from a very great master Pt Amarnath Mishra from Bénarès. He is a known accompanist in India. The Dagar Gharana took firm roots under the adept supervision of Ustad Behram Khan (1753-1878), who was associated with the royal court of Jaipur. Ustad Behram’s father was Baba Gopal Das Pandey who was ostracized by his fellow brahmins for having chewed a pan offered to him by the then Mughal ruler in Delhi, Muhammad Shah Rangile, for his excellent rendition of Dhrupad. Haider and Behram were his two sons. Haider Khan died early while Behram Khan spent the best part of his long life in establishing the purity of the gayaki not known before. The entire credit for keeping alive and passing down to posterity the pure form of Dagarvani goes to him. A superb teacher, his disciples included his sons, Haider Khan’s sons and their sons. Particularly famous were his nephew’s sons, Zakiruddin Khan (1840-1926) and Allabande Khan (1845-1927), well known for their jugalbandi (duet) performances. The main representatives of the present-day Dagar gharana are the descendants of Ustad Zakiruddin Khan as well as of Ustad Allabande Khan’s four sons, Nasiruddin, Rahimuddin, Imamuddin and Husseinuddin: all of them extremely gifted and highly respected Dhrupad musicians. Nasir Moinuddin Dagar (1919-1966) and Nasir Aminuddin Dagar (1923-2000), now referred to as the Senior Dagar Brothers, were the elder sons of Nasiruddin and grandsons of Allabande Khan. Their jugalbandi captivated audiences all over India and even in Europe bringing about a major revival of the dying genre. After the death of Moinuddin, their younger brothers, Nasir Zaheeruddin (1932-1994) and Nasir Fayyazuddin (1934-1989) also gained fame as a duo. Major contributions to the upkeep of this tradition also came from the sons of Rahimuddin and Husseinuddin, Rahim Fahimuddin (b. 1927) and Hussein Sayeeduddin respectively, as well as the grandsons of Zakiruddin Khan, Ustad Zia Mohiuddin (1929-1990 – who revived the majestic Rudra Veena as a concert instrument) and Zia Fariduddin (b. 1932). The rich heritage of the Dagar tradition lives on in the remaining Dagar brothers and their sons and well-groomed disciples from outside the family. The Dagarvani Dhrupad rendition is characterized by meditative and leisurely development of Alap. The purity of a raga is usually maintained all through and in spite of intricate rhythmic patterns, there is a profound sense of devotion. Dhrupad is performed in two specific parts: 1. Ālāp : In this first part, instead of percussion accompaniment the singer uses syllables taken from Sanskrit mantras. The Raga is slowly and methodically set forth developed in a meditative mood, the syllables are used in a specific way to clarify the rendering of the raga. The speed of the Alap increases with the use of gradually accelerating rhythmic pulse that builds to a point where the melodic patterns literally dance in space. 2. Bandish (Accompanied by Pakhavaj, a horizontal double headed drum) : The ‘Bandish’ is a short poem set to a rhythmic composition of a specific fixed cycle of 12, 14, 10 or 7 beats. The poems are usually devotional or amorous in nature but they can also specify the ways of using Raga, Tala, Swar and Laya. During the Bandish the singer develops the improvisations in the melody and rhythm, dividing the cycle systematically. The intricate patterns and improvisations woven by the Pakhavaj player and the singer, create a dialogue often playing against or complementing one another. View the pictures embedded in the video for more details.