please please keep these recordings safe forever. I think the next generations are going to need more and more of this....the rudra veena is completely amazing in the hands of the great ustaad.....every indian deserves to know who we are..and who we will always be. NO music I've heard until now can be compared to this, and never will be.
Well, publishing those recordings here with global access for everyone interested will hopefully make sure that they will be available long after we are gone. And yes, Ustadji and his Veena are a unparalleled couple, hard to to be excelled.
Actually sir, I have wanted to play this instrument ( and the Santoor also)ever since I was a child. Hope to get it someday have an opportunity to learn from you or from great ustaads like he was!
@@hrishikeshchoudhary Well, this generation of Ustads is gone. Whoever lives and plays today has to be of the 21th century. But that has not to be a bad thing. Each time has its own requirements. Learning the Veena is not a question of taking classes, its a decision to live with it. When you ready for it the Veena and a Guru will find you.
I especially am drawn to the lower register of the Veena. It exemplifies deep longings in my soul. Time slows down and we can spend our attention in peaceful atmospheres. It also reminds me of American blues guitarists.
That's the magic of the Rudra Veena sound. Drawing the musician and the listener alike on a unique journey from the outside to the inside core. Leading the soul from ahata to anahata naada...
Ustadji was masterful, unfolding the deep meditative bhav of this raga, in many others artists hands can sound only playful and entertaining. He brings out the Ni Sa Ma... phrase to great beauty which many miss and gives the sobriety and some kind of open beautiful yearning... respect.
I wasn't able to understand a lot out of this video as much i should as a student, i don't have the capacity to understand this. Its beyond words. Just fantastic. And the jhala is just so delightful. Getting to see ustad's hands moving is a great bonus!!!
Very please raaga, that Bhimplasi is. Rendered beautifully in the hands of a great artist. Many thanks for the posting. The pakhawaj player is very good too.
A sunny Sunday afternoon with one's belly full of mutton curry and rice, a couple of cold rasogullas, a meetha pan, and this bhimpalasi aalap after that, is my Idea of heaven. Thank you carsten.
@@jigggro If one can listen on a fasting stomach or on fruits-only fasting stomach, then it will be superb. The great Bhaagavata says: abhOgairaSubha-kshayam = Willing withdrawal from consumption creates auspiciousness (destroys inauspiciousness)!
An absolutely monumental aalaap in Bhimpalasi by Khan sahib! Having heard him live several times, I can say that this is surely among his finest performances! On the question of style and development of raga, I feel that even though Khan sahib belonged to the Khandar Bani tradition, the extended period of time his family spent with the Dagar Bani exponents infused his sense of style with elements of Dagar Bani. In fact, if one listens to the recordings of Khan sahib's father, one gets a very different picture of development of raga. In any case, it is a matter of delight that such long recordings from his Baithak sessions in Europe are seeing the light of the day. Thanks a lot to Carsten Wicke Bhai for taking this yeoman initiative! 🙂
The alaap was one of the most profound and magnificent I've ever heard in any raga, actually being quite beyond words. All nicely balanced by such spirited and charming interplay between the musicians in the second half. Truly memorable!
Amazing, sublime and divine. I felt posting now because I may have crossed 100th time listening to this. Thanks a zillion for making this recording available.
Oh my goodness! What a splendid rendition and recording. Thank you so much Carsten Ji! This is one of the best Dhrupad recordings I've heard so far. Naman to the great Ustad and Pandit Mohan Shyam Sharma Ji who puts me in a trance everytime I listen to him 🙏🏽❤️🙏🏽
This Bhimpalasi rendition has taught me so much about the rendering of this raga. Ustad ji and his divine connect is unparalleled. I always look forward to your uploads. 🙏
Bhimpalashi is raga of semi arid region of world.the rain shadow area of India is home for it, why it is afternoon raga, alleviate heat, the kind unfamiliar to west. Only, simon and garfunkle understood it. Are u going to sarobarro place' song - graduate - 1968 ( year). I think it should be our national raga. Kailash to kanyakumari! All tributes Veerasan pose of ustadji. Luv u.
Blessings of blessings to have this rendition of Bhimpalasi by this great master. Every listening brings joy to my heart as I listen to how Ustad Khan develops this raga. 🙏🙏🙏
Beautiful! Thanks for posting! It brings to mind that I'm told Allaudin Khan's teacher Wazir Khan wouldn't teach him Been, as it was only for family members.
Right, after long struggles because he initially did not want to teach him at all, he agreed to teach him. However he made him promise never to touch the Been. Which was not a too big loss in Allauddin Khan's case, seeing how he mastered so many other instruments including the Surshringar, a successor of the Indien Rabab, the second Dhrupad solo instrument beside the Veena. The main benefit he might have got from Ustad Wazir Khan's teaching, who was one of the last Binkars of the Senias, was the strong influence of the Dhrupad Ang which we find enriching today's Maihar Gharana as much in the Alaap, Jor and Jhalla as in the compositions. These are last not least direct heritage of the vocal Dhrupad tradition and the Rudra Veenas playing techniques and musical structure. One of the reasons they name their tradition today: Rampur Maihar Senia Binkar Gharana.
18:20 That cellphone was pretty jarring for me, and clearly a lot more for him too :( Great capture though, the sound fidelity is surprisingly great, and the focus on the veena so I can watch the finger movements was a pleasant bonus
Some guru-s have stated that AlAp is where true music is. When taan-s start, the raaga suffers, they say. The rationale might be this: during fast taan-s all the appropriate microtones cannot be touched because not melody but rhythm is "calling all the shots." I have read that some gharAnas of Rudra Veena used to stop after aalAp and jOD.
The focus on the Alap as the core of the Raga development is of course the center of vocal and instrumental Dhrupad music. A vocal based Veena tradition like that of the Dagars will naturally play a style that is much closer oriented on the vocal structure and leave out at times certain jhala parts and techniques. Others Veena traditions that are more instrumental based, like that of Ustad Asad Ali Khan, will use the full structure of Alap, Jor and Jhala, that basically has been developed on the Veena, before it became the standard of modern hindustani instrumental music and might also have inspired certain parts of the fast Alap in the vocal Dhrupad. I think Khansahibs playing is a wonderful prove that even while in the faster Angs the focus shifts towards rhythmical development it has not to go besura and srutis can be maintained.
@@akhilabhagavathi3467 this is how music ideally should be. Though many might strive for it, only few reach there. For Khansabs Bin there is no question to which category she belongs.
Start with closing your eyes, let yourself carry away from the sound without looking too much for familiar musical structure or elements. Listen to it like you would listen to the sound of ocean waves, the wind going through leaves or the silence of a clear dark night sky... If you give it attention like this for a while, something will open up within yourself that you possibly never experienced before. Else, if you want an intellectual, analytical understanding, you need to learn (about) the music. Besides taking lots of time, until and unless you want to perform the music yourself, you might end up not necessarily with a deeper or more satisfying experience when walking down this path. Whatever way, enjoy the sublime Naada of the Rudra Veena. 🕉️
Where did this technique come from of playing the vina without keeping the left thumb behind the fingerboard as a balance point? I see a lot of players do that and it seems counterintuitive. This guy appears to be doing it right.
This is Ustad Asad Ali Khan, one of the greatest Rudra Veena Masters of the 20th century. Playing the traditional Rudra Veena he uses naturally the original holding and playing position, amongst other things with the left hand thumb behind the dand. A technique Sitar and Surbahar playing inherited from the Veena. However with Ustad Zia Mohiuddin Dagar introducing a bigger version of the instrument that required a change of the holding position this handling of the left hand became physical impossible and was substituted by using the ball of the hand instead. However there are Veena players today holding the instrument in the traditional way on the shoulder and still not using the left hand thumb which in most cases is simply a result of playing an instrument that has not been rightly manufactured according to there body size, especially size of their hands.
With any of the Rudra Veena players that are available today. Though we are only a few - all of us are teaching, provided you can dedicate yourself seriously to the instrument and its music.
As much I like Uttarakhand and love to spend time in the mountains, for the music most of us are in big cities. I stay in Kolkata. The nearest for you would be possible Delhi, where Zahid Khan Faridi, son of Ustad Shamsuddin Faridi, lives. Given the present situation we use also online teaching, though it can not replace the personal lessons.
Well, being on concert tour first of all, without carrying much of equipment, it had to be recorded simple with one stereo microphone for all instruments. This simple setup does of course not allow any seperate leveling of the particular instruments, apart from changing the position of the microphone. However the Veena is audible in all details, though it is as an instrument much more silent then the tanpura. In the end I consider the audio levels secondary after having the chance to capture this performances at all...
Ordures de You Tube remettez moi de la pub au milieu d’un raga sans même que je ne puisse rien dire au prétexte scandaleux d’une application enfant, (c’est encore pire, et çà en dit long sur votre mentalité) et je vous promets de faire passer toute envie de travailler chez vous à ceux que je connais qui le font, il y en a quelques uns.......
Check your system. Since this is a concert recording, it's all about audio, which is very well audible, as you can see also from the number of likes this video got...
Well, if everything was wrong, maybe it was already right again 😁 I'm not sure from what you draw your assumptions, while experiencing the video. However being present in the concert, I can tell you that since this was a newly started venue in the Saxonia province the choice of raga did not made too much of an difference to the mainly with Indian music unexposed audience. Sure, Rudra Veena and it's strict form of music is always a challenge, even for experianced Indian classical listeners. However neither is Bhimpalasi a very unpleasant raga for uninitiated ears, nor was the audience cultural overchallenged with the evening. Which I have also experienced in other occasions like this... Here, everyone tried to be with the artists after the concerts, while enjoying, how could it be different, Indian dinner.
please please keep these recordings safe forever. I think the next generations are going to need more and more of this....the rudra veena is completely amazing in the hands of the great ustaad.....every indian deserves to know who we are..and who we will always be. NO music I've heard until now can be compared to this, and never will be.
Well, publishing those recordings here with global access for everyone interested will hopefully make sure that they will be available long after we are gone. And yes, Ustadji and his Veena are a unparalleled couple, hard to to be excelled.
Actually sir, I have wanted to play this instrument ( and the Santoor also)ever since I was a child. Hope to get it someday have an opportunity to learn from you or from great ustaads like he was!
@@hrishikeshchoudhary Well, this generation of Ustads is gone. Whoever lives and plays today has to be of the 21th century. But that has not to be a bad thing. Each time has its own requirements.
Learning the Veena is not a question of taking classes, its a decision to live with it. When you ready for it the Veena and a Guru will find you.
@@RudraVeena I'm sure they will, sir, when I'll be ready.
@@RudraVeena how well said ! Music possesses your heart. Namaste!
A really profound dhrupad rendition of any raga is the best way to experience the true foundations and essence of that raga. Such genius, such soul.
I especially am drawn to the lower register of the Veena. It exemplifies deep longings in my soul. Time slows down and we can spend our attention in peaceful atmospheres. It also reminds me of American blues guitarists.
I don't think any other stringed instrument is going to make me feel like this again. There's something stunning about the Been 😍😍
That's the magic of the Rudra Veena sound. Drawing the musician and the listener alike on a unique journey from the outside to the inside core. Leading the soul from ahata to anahata naada...
Only Bin, Rabab , Surbahar and Surshringar can Give ......
🙏🙏
@@souravbratachakraborty9213 Even Esraj
@@RudraVeena Hi I would like to know about your life , where are you originally from?
I hv never heard Bhimpalasi so divine! An unforgettable masterpiece by Ustadji. 🙏🙏. Thank u Carstenji.
Mindblowingly beautiful rendition of Raag Bhimpalasi by the true Maestro of Rudra Veena himself!
So impressive.
The ultra-low notes give me goosebumps.
Ustadji was masterful, unfolding the deep meditative bhav of this raga, in many others artists hands can sound only playful and entertaining. He brings out the Ni Sa Ma... phrase to great beauty which many miss and gives the sobriety and some kind of open beautiful yearning... respect.
I wasn't able to understand a lot out of this video as much i should as a student, i don't have the capacity to understand this. Its beyond words. Just fantastic. And the jhala is just so delightful. Getting to see ustad's hands moving is a great bonus!!!
This instrument should djent!
Master piece !
Thank you dear Carsten, om namah shivaya, namaskaram.
Very please raaga, that Bhimplasi is. Rendered beautifully in the hands of a great artist. Many thanks for the posting. The pakhawaj player is very good too.
Really a precious gem from so many precious gems we've heard from Khansaheb
A sunny Sunday afternoon with one's belly full of mutton curry and rice, a couple of cold rasogullas, a meetha pan, and this bhimpalasi aalap after that, is my Idea of heaven. Thank you carsten.
if i remember right there was some good Indian food along with the concert. so it was quite near to your heaven, Neil ;-)
ustadji key ghar ki firni aur chai bhai kya baat hai
The music is satvic so please keep veg biryani next time 😜
@@jigggro If one can listen on a fasting stomach or on fruits-only fasting stomach, then it will be superb. The great Bhaagavata says: abhOgairaSubha-kshayam = Willing withdrawal from consumption creates auspiciousness (destroys inauspiciousness)!
D.K.M. Kartha sadho.
LABAI AČIŪ! (THANKS A LOT in an oldest from remaining alive indoeuropean language - Lithuanian.)
Beyond all boundaries, beyond all space and time!
An absolutely monumental aalaap in Bhimpalasi by Khan sahib! Having heard him live several times, I can say that this is surely among his finest performances!
On the question of style and development of raga, I feel that even though Khan sahib belonged to the Khandar Bani tradition, the extended period of time his family spent with the Dagar Bani exponents infused his sense of style with elements of Dagar Bani. In fact, if one listens to the recordings of Khan sahib's father, one gets a very different picture of development of raga. In any case, it is a matter of delight that such long recordings from his Baithak sessions in Europe are seeing the light of the day. Thanks a lot to Carsten Wicke Bhai for taking this yeoman initiative! 🙂
The alaap was one of the most profound and magnificent I've ever heard in any raga, actually being quite beyond words. All nicely balanced by such spirited and charming interplay between the musicians in the second half. Truly memorable!
Amazing, sublime and divine. I felt posting now because I may have crossed 100th time listening to this. Thanks a zillion for making this recording available.
my pleasure Srinivas, i'm happy that those recordings find their way to such devoted listeners.
Carsten Wicke Thanks. I enjoyed your performances as well. Only few blessed people are fortunate to enjoy this kind of music. Keep going. Regards.
priceless recordings. thx for sharing!
Sublime! He captures and works the essence of the sounds, their vibrations, more than only melodies.
This is a very very nice rendition! The range, sound and improvisation is brilliant! Thanks for uploading.
Oh my goodness! What a splendid rendition and recording. Thank you so much Carsten Ji! This is one of the best Dhrupad recordings I've heard so far. Naman to the great Ustad and Pandit Mohan Shyam Sharma Ji who puts me in a trance everytime I listen to him 🙏🏽❤️🙏🏽
Always happy to hear when these recordings are finding enthusiastic and inspired listeners like you Arman. Always enjoy the divine nada of the Veena.
Absolutely amazing , In love of sound of rudra Veena 😍😍😍
Out of this world !!
This Bhimpalasi rendition has taught me so much about the rendering of this raga. Ustad ji and his divine connect is unparalleled. I always look forward to your uploads. 🙏
What an exquisite bhimpalasi!
Very nice audio segue - perfectly seamless.
the pakhawaj is so beautifully recorded, even if a bit loud compared to the veena. It is rare to find good sounding pakhawaj recordings on yt. Thanks!
!ABSOLUTE WONDERFUL!
Bhimpalashi is raga of semi arid region of world.the rain shadow area of India is home for it, why it is afternoon raga, alleviate heat, the kind unfamiliar to west. Only, simon and garfunkle understood it.
Are u going to sarobarro place' song - graduate - 1968 ( year). I think it should be our national raga. Kailash to kanyakumari! All tributes Veerasan pose of ustadji. Luv u.
Scarborough Fair, in fact
Sounds of deep space, the universe construction destruction vibration by Lord Shiva...
Really enjoyed this! Thank you for posting.
Blessings of blessings to have this rendition of Bhimpalasi by this great master. Every listening brings joy to my heart as I listen to how Ustad Khan develops this raga. 🙏🙏🙏
This is pure Divine
wow sick playing !total respect !
I miss you
Divine!
Beautiful! Thanks for posting! It brings to mind that I'm told Allaudin Khan's teacher Wazir Khan wouldn't teach him Been, as it was only for family members.
Right, after long struggles because he initially did not want to teach him at all, he agreed to teach him. However he made him promise never to touch the Been. Which was not a too big loss in Allauddin Khan's case, seeing how he mastered so many other instruments including the Surshringar, a successor of the Indien Rabab, the second Dhrupad solo instrument beside the Veena. The main benefit he might have got from Ustad Wazir Khan's teaching, who was one of the last Binkars of the Senias, was the strong influence of the Dhrupad Ang which we find enriching today's Maihar Gharana as much in the Alaap, Jor and Jhalla as in the compositions. These are last not least direct heritage of the vocal Dhrupad tradition and the Rudra Veenas playing techniques and musical structure. One of the reasons they name their tradition today: Rampur Maihar Senia Binkar Gharana.
Wonderful! wonderful art and love, lineage and blessings in this offering. thank you x
Bhimpalasi is north south link, its rooted from dhani of srigar rasa. I enjoy seeing ustadji's posture of veerasan.
Vajrasan original style of playing this.
18:20 That cellphone was pretty jarring for me, and clearly a lot more for him too :(
Great capture though, the sound fidelity is surprisingly great, and the focus on the veena so I can watch the finger movements was a pleasant bonus
Superb Raga vista from the Master.
Atieee gambhir ruhaaniyat ishwar ki pukaar.
31:30 He starts to ramp it up.
THE MOTHERSHIP HAS LANDED!
LOL!
🕉
Greatest beenkar of 20th century.
incredible fine float! Thx.😘
Absolutely superb. Exquisite. divine. Doesn't get much better than this short of the inner planes.
Wow, thank you so much for the upload of this beautiful rendition of Asad Ali Khan, i hope to see puriya and sohini next time, thank you again.
Thank you for uploading this beautiful spiritual concert. You made my day.
Woow... Thank's for posting!
Fully divine great khan sahab
Healing sound ❤❤❤❤❤❤❤
such purity of expression... ati madhur
amazing and awlz spiritual
thank you for sharing this treasure!!
wow so meditative
Maravilla de conexión!
!!!! Divine !!!!
So divine. 🙏🏾❤️
Some guru-s have stated that AlAp is where true music is. When taan-s start, the raaga suffers, they say. The rationale might be this: during fast taan-s all the appropriate microtones cannot be touched because not melody but rhythm is "calling all the shots." I have read that some gharAnas of Rudra Veena used to stop after aalAp and jOD.
The focus on the Alap as the core of the Raga development is of course the center of vocal and instrumental Dhrupad music.
A vocal based Veena tradition like that of the Dagars will naturally play a style that is much closer oriented on the vocal structure and leave out at times certain jhala parts and techniques. Others Veena traditions that are more instrumental based, like that of Ustad Asad Ali Khan, will use the full structure of Alap, Jor and Jhala, that basically has been developed on the Veena, before it became the standard of modern hindustani instrumental music and might also have inspired certain parts of the fast Alap in the vocal Dhrupad.
I think Khansahibs playing is a wonderful prove that even while in the faster Angs the focus shifts towards rhythmical development it has not to go besura and srutis can be maintained.
I will agree with this assessment. A composition should be evaluated based on the alaap, which truly explains the artist's understanding of the Raag.
Great. Excellent
Brilliant... I love this.
Thanks so much !
Amazing
IT'S WONDERFUL ....ENJOIED
Divine music! 🙏
Amazing ...
OUTSTANDING
Flow flow flow and then merge, into the transcendent
That is how this music is
@@akhilabhagavathi3467 this is how music ideally should be. Though many might strive for it, only few reach there. For Khansabs Bin there is no question to which category she belongs.
woooooooooooow
coooooooooooool
Blessed godly…
Flow into the transcendent
Flow, flow , flow and then merge , - into the transcendent and then behold Him there with our hands folded. This is what this music makes me feel
Master aadmi hai yaar
Legend!
প্রণাম করি।
Transcendent
🙏🌹
🙏
Aaaauuummmm!
Bliss
So impressed with the mridangam player on this. It really just rocks. Do you know who he is?
As mentioned in the opening title the Pakhawaj player is Pt. Mohan Syam Sharma, one of todays most wellknow Pakhawaj Maestros.
kya baat hai
Perhap accompanied with pakwaj but by whom?
As mentioned in the opening titel: Pandit Mohan Shyam Sharma
@@RudraVeena Thanks. It would be nice to be included in your notes.
@@u2naru he is mentioned in many of the other video notes. For some reason it seamed repetitive to mention him here. As we see now not for everyone 😉
Thanks for the post... Just great. Who is playing pakhawaj? I enjoyed very much.
Joel Olivé Pandit Mohan Shyam Sharma...
Truth is nothingness 🕉🙏🏻
I can see god
How can a novice understand this music? Please guide me
Start with closing your eyes, let yourself carry away from the sound without looking too much for familiar musical structure or elements. Listen to it like you would listen to the sound of ocean waves, the wind going through leaves or the silence of a clear dark night sky...
If you give it attention like this for a while, something will open up within yourself that you possibly never experienced before.
Else, if you want an intellectual, analytical understanding, you need to learn (about) the music. Besides taking lots of time, until and unless you want to perform the music yourself, you might end up not necessarily with a deeper or more satisfying experience when walking down this path.
Whatever way, enjoy the sublime Naada of the Rudra Veena. 🕉️
Smoke a big pipe of weed
Where did this technique come from of playing the vina without keeping the left thumb behind the fingerboard as a balance point? I see a lot of players do that and it seems counterintuitive. This guy appears to be doing it right.
This is Ustad Asad Ali Khan, one of the greatest Rudra Veena Masters of the 20th century. Playing the traditional Rudra Veena he uses naturally the original holding and playing position, amongst other things with the left hand thumb behind the dand. A technique Sitar and Surbahar playing inherited from the Veena.
However with Ustad Zia Mohiuddin Dagar introducing a bigger version of the instrument that required a change of the holding position this handling of the left hand became physical impossible and was substituted by using the ball of the hand instead.
However there are Veena players today holding the instrument in the traditional way on the shoulder and still not using the left hand thumb which in most cases is simply a result of playing an instrument that has not been rightly manufactured according to there body size, especially size of their hands.
At India , where can we learn rudra veena 🙂
With any of the Rudra Veena players that are available today. Though we are only a few - all of us are teaching, provided you can dedicate yourself seriously to the instrument and its music.
@@RudraVeena Sir thnx for your reply , sir do you know someone at Uttarakhand , at which place do you live sir ...
As much I like Uttarakhand and love to spend time in the mountains, for the music most of us are in big cities. I stay in Kolkata. The nearest for you would be possible Delhi, where Zahid Khan Faridi, son of Ustad Shamsuddin Faridi, lives.
Given the present situation we use also online teaching, though it can not replace the personal lessons.
@@RudraVeena thank you , come to Uttarakhand Himalayas , we will be very glad to see you here
Thanks Pawan, I will come when the situation allows traveling again.
02:55!!
What's the name of this instrument ?
As written above: Rudra Veena, the oldest still played instrument of Hindustani classical music.
Can't hear all of what he's doing.
It seems the recording level for the tambura was set too high /veena too low.
Other than that, it's great.
Well, being on concert tour first of all, without carrying much of equipment, it had to be recorded simple with one stereo microphone for all instruments. This simple setup does of course not allow any seperate leveling of the particular instruments, apart from changing the position of the microphone.
However the Veena is audible in all details, though it is as an instrument much more silent then the tanpura. In the end I consider the audio levels secondary after having the chance to capture this performances at all...
Tricky to get a good level on the tambura, but not too bad compared to other recordings you'll hear.
Ordures de You Tube remettez moi de la pub au milieu d’un raga sans même que je ne puisse rien dire au prétexte scandaleux d’une application enfant, (c’est encore pire, et çà en dit long sur votre mentalité) et je vous promets de faire passer toute envie de travailler chez vous à ceux que je connais qui le font, il y en a quelques uns.......
Audio is not audible
Check your system. Since this is a concert recording, it's all about audio, which is very well audible, as you can see also from the number of likes this video got...
@@RudraVeena yes I will check
the jwari is off a tad..otherwise gorgeous!!
sound quality not good, tanpura is dominating the overall music..
its a live recording with just one microphone. better this way than having no recording at all...
Come and record it better in the next life! For me the sound quality is amazing!
Amazing sound haters will say not good sound quality 🤣🤩🙏🏻🕉
Wrong choice of Raga, in a wrong place & setting
Well, if everything was wrong, maybe it was already right again 😁
I'm not sure from what you draw your assumptions, while experiencing the video. However being present in the concert, I can tell you that since this was a newly started venue in the Saxonia province the choice of raga did not made too much of an difference to the mainly with Indian music unexposed audience. Sure, Rudra Veena and it's strict form of music is always a challenge, even for experianced Indian classical listeners. However neither is Bhimpalasi a very unpleasant raga for uninitiated ears, nor was the audience cultural overchallenged with the evening. Which I have also experienced in other occasions like this...
Here, everyone tried to be with the artists after the concerts, while enjoying, how could it be different, Indian dinner.
koodon ko kyaa kaha jasakta hai arup senguptha jaise logonko ishwar hi maaf kare
Wrong for you perhaps. Right for me ❤