without knowing marathi, i listened to the whole 2 and half hours of this... 50% of it I understand as I know hindi, remaining 50% i understand because she speaks from her heart...
She reached the supreme level in music in such way they both are inseparable, that's why you can see all these big names silently listening to her advice. Fantastic :)
Can't believe she is no more amongst us!!! I was very fortunate to meet her and have her blessings just two months back. A huge loss to Classical music and it's lovers. The baithaks like these will help us understand the thoughts and sadhana of these legends hereafter. I request the sources to provide English subtitles to this video so it can reach worldwide and not remain limited to certain people.
Wow, what an incredible performance! Smt KishoriTai Amonkar's mastery of classical music is truly awe-inspiring. Her voice is like a soothing balm for the soul, and every note she sings carries so much emotion and depth. Thank you for sharing this beautiful Baithak session with us. It's a precious glimpse into the world of classical music, and I'm grateful for the opportunity to experience it. 🙏🎶
I do not understand the language but I must say Kishori Tayi is a blessed soul and she has found the pathway via Raga's and there is something present in her that activate the depth of ragas - she do not sing ragas to activate the powerful but powerful is allowing her soul to touch the depths of ragas and the output carrys the particles that touch to the powerful and spread the beautiful presence to the listeners. Beautiful - Simply Beautiful.
नतमस्तक 🙏🏼🙏🏼🙏🏼 The deepest, most profound thought about music is expounded here. May every student of music get to listen to this and grasp the crux of Kishori Tai’s core message!
Genuineness and authenticity embodied... music applied in life for its true purpose!! Full potential of music has been explained .. needs a few hearings to internalise....
Sublime....the best vocalist and the best flautist together without the formality of a formal performance. Probably one of her last performances. Truly wonderful to listen to this.
It has been 5 years and i still keep coming back to this upload to try to understand it bit more. I don't know Marathi but still trying (and able) to pick context and words at high level. But there are still many nuances that i am unable to pick due to language gap. Thus, It is my humble request to Vrindaban Gurukul to please add subtitles
It's unfair to translate someone's soul ....no one in this planet who can justifiably translate this.. plz try to understand only she has a write to touch that words.
She is saying that Raag should sing by itself, not she singing the raag. If she keeps herself concious that "she" is singing then the raag will not come out fully. Only when she steps aside the raag comes out in full form. Also stresses on swaras more than raag. Should master the swaras more. Vadi samvadi chalan etc are not raagas. Practice one raag more and more and more and then you can get the essence of the raaga. There are people with lot of degrees in music PhD etc. But only if you sing from anubhav that's the true music. There is no reason to sing for 10 hours daily. Sing a raag till you get the perfection on a daily basis. Not more. All forms of art meets music in the end. Practice gamaks and alankars in aakar. Then the medium gets prepared. Her mother taught her bhairav raag first. And taught her the dignity of raaga. Like bhairav raag would be taught with picture of Shiva. Never practice raaga with stress on the words of the Bandish. The emotion and swara of the raaga is more important. People say for playback singing in films etc it's important to learn classical music first. But as per her this is not possible. If anyone learns classical music first they would never be able to leave it and go to light music. Classical music is not used for competition between singers. It's the raag which is important. Which will give peace. Not silence but peace. She never goes abroad to sing. She is surprised how gurus are allowing singers to sing abroad. The Audience there only look for excitement. Not peace. They are only thinking about how many different instruments you can play. But Indian classical music is focused on peace. Express raagas through one medium only. One instrument etc. So only practice on swaras. Performance is ok where you need tabla etc. But a raagas rythym is set by its emotion, bhav. Example if it's a karuna raag then teental will not go with it. I tried to translate most of first half. But not all. Appology if anything is wrong.
A lot of thanks for guiding us in her thoughts. I love it feel sorry to know she thought that abroad we just search fo excitement....NO ! No not every one. Music can be understood the same way as peaceful as a deep fusion with the sacred world of sound, which requires peace and respect, not a show of or excitement. I'm classical musician who love Indian Classical music FOR this reason... I'm in deep respect for the way she's singing since so long ... I will not change. I know that today she's on peace in the after life and I'm extremely happy for her though I will miss the chance to meet her once, as I could have done few years ago...
Mrs. N.Giri: Thank you so much for the translation though not completely as you claim. I could follow to some extent but your work here highly appreciated.
She is so articulative and knowledgeable. Its a pleasure to hear her speak. Of course she is in such a playful and talkative mood here. Hariji should take up her offer to come a give more lectures, especially how to train in alankars.
She was in a mood to talk and express her thoughts on music. Sadly it seemed they compelled her to sing more. We would have liked her to speak more on this rare occasion. Now that too not possible. :( Anyways.. Many thanks to the organizers for this wonderful interaction. May her soul attain Sadgati.
Very frustrating that this was not in Hindi not even subtitled/narrated. She spoke from her heart - she gave her opinion - lessons etc. Unfortunately, hardly a few could understand it. Let her do that, but the publisher might have presented in English/Hindi. Namaskar/Pranam to Kishori-ji. I listened her so many time, particularly, in Malkosh Sandya in Kolkata. She is truly legend.
Psyche1954 probably you have no idea that Marathi is very prosperous and rich language in the world since ancient times. Super rich with huge collection of literature, abhangvani, sant sampraday, art, culture, Naatya-Sangeet sanskriti has been deeply rooted more than 500 yrs ago for minimum I say, might be more than that. Maharashtra had been in the past, been today and tomorrow's the place of wide range of musical genre's, say it classical music, sugam sangeet, bhav-geet, devotional abhanga vaani, sant-vaani, folk music like powada, shahir, gazal, koli-geet, etc. Etc..many more to mention here for example. Legendary maestros Sawai Gandharva & Pandit Bhimsen Joshi other legends in recent times Shankar Mahadevan etc. as well has resorted in Maharashtra because here maharashtrian people provide firm platform for art performances & appreciate it by heart and soul. Humble suggestions, please do not point out anything without facts and figures. Although, you can request for subtitles for any language barrier..however that doesn't mean you should knockout other cultures. We are Indian before we separate ourselves in state wise. Hopefully this clarifies. Thanks.
Ajit - Make the effort to understand what she is saying. Marathi is not all that difficult plus it's rooted in the tradition and culture of our country. We may not be able to speak or converse but there is no excuse to make the effort to understand. I am from UP but by paying attention to what she is saying and piecing it with her body language. I can confidently say I have been able to grasp 90% of what she is saying.
It does not matter. i can somwhat understand marathi, by watching many youtube videos. And i kind of get the hang of what kishori tai is saying even though Marathi is not my mother tongue. If you listen closely and carefully i am sure you can understand it.
On the question of Pt.Kishori Ji's opinion on Karnatak Sangit, Kishori Ji said that 'sound' and 'layakari' base is of Karnatak Sangit and not based on 'Svar-Sur', which are the major differences between both the system. Kishori Ji's opinion was based only on her observation on the practice by the practitioners. It's not based on the lakshya and lakshana treatise of Karnatak Sangit. We need events/program to educate both the practitioners and rasikas of both the systems of Indian Classical Music to make the knowledge and experience of ICM. Karnataka Sangita edifice is built on laksha and lakshana with the objective of Manodharma-Manas, sense of mind in imagination; ideation; innovation; discovery (existing, either unknown or making it known, more, afresh) and creativity (not in existence, manifestation anew) and Dharma, sense of righteousness to the art form in conformance to the parampara-tradition; spiritual; culture; bani (school of music) and lakshana, theory of art form. Modes in manodharma are :1.Raga-alapana; 2. Tana; 3. Pallavi; 4. Kruthi, Keertana; 5.Niraval; 6. Svara prastara, kalpana; 7. Devotional-Classical-pada; sloka; ugabhoga; vachana; viruttam. Highest state is for Raga-alapana, celebration of Svara, Svara sanchari, bhava, aesthetic unaided by sahithya bhava and tala, rhythmic bhava. Laya gets embedded in Svara sanchari-movement. Raga alapana is to present and create experience of abstract beauty, aesthetic of Suddha Svara-pure note; Anu Svara-micro note; Nyasa Svara; Jiva Svara; Moorchana-a set of Svaras. Unfortunately, due to AIR's and Sabha short duration time concert have lead to the present practice of one or two sub-main raga alapana of 3-5 minutes and main raga alapana of 8-15 minutes of duration. To win the support and patronage by the causal of 'novelties', 'surprises' and 'excitement' by over emphasis on madhya laya based compositions and svara prastara (though it is said to be kalpana svaras, but in truth it is Kalpita-premeditated). Important aspects of 'Ati Vilamba' and 'Vilamba' has gone out of choice, favor and memories.
It feels very sad to see when Kishori ji’s student was trying to stop her by saying “Bas zala” (meaning lets wrap up) again and again when she herself is so much involved in the interaction. Afte hearing it frequently Kishori Ji said “Aga thamb ga” (meaning please stop, wait !). Being a music student I would never interrupt my Guru
Many people who don't understand Marathi are asking for subtitles. I request the channel owner to create subtitle formation for this video where Marathi speaking people like me can contribute in subtitles. This feature is present in youtube. Or please get it translated and upload. Let all get the knowledge sharing.
Her mother Late Shri Mogubai Kurdikar was from remote village in Goa, was from poor family. But in those era without any economic help she migrated outside Goa only for her music passion devotion.
Can any1 provide hindi subtitles... This video looks like full of most valuable information related to Indian classical music.. It's a request if any1 can take this initiative to provide hindi or English subtitles?
@@Bhatmuley thanks a lot. You can either record your audio or can write down the translations and share. Anything will work.. I have seen this video. 3 to 4 times and I don't understand marathi.. So for me anything will work.. I m OK with whichever way you are comfortable writing or recording. Again thanks a lot.
@@Bhatmuley I have used Amara online for creating subtitles for TH-cam videos like this one. If workload is too much for an individual it also allows for collaborative editing. Basically you add TH-cam video link and start adding text using its interface which can help to sync it with time.
प्रश्नोत्तर आशा पद्धतीने ही बैठक झाली. याला पंडित हरिप्रसाद चोरसिया उपस्थित होते. स्वरार्थ रमणी हे पुस्तक किशोरीताईनी मराठीत प्रसिद्ध केले आहे . त्याचे अजुनी हिन्दी किवा इंग्रजीमध्ये भाषान्तर झाले नाही. राग संगीत हे प्रामुख्याने भाव संगीत आहे असे हे पुस्तक वाचल्यावरून वाटेल. राग संगीत शब्दाच्या किवा नाटयाच्या माध्यमातून नाही तर स्वरांच्या माध्यमातून भाव आणि रस या हृदयातून त्या हृदयात घालते. संगीताचा अभ्यास विषय म्हणून किशोरीताईनी केला; मनोरंजन या भूमिकेतून केला नाही. ते आत्मरंजन असले पाहिजे हे आपल्या हिंदू संस्कृतीला धरून आहे. त्यामुळे मनःशांती हे ध्येय आहे त्यामुळे कुठे तारेवरची कसरत किवा अकरोबाईट याचा अंतर्भाव नाही. . माध्यमाची चौकट म्हणजे माध्यमाचा हेतू नव्हे. राग किवा सूर म्हणजे भारतीय संगीत नव्हे. सूर तर जगात पसरलेले आहेत त्यातून आपल्याला काय व्यक्त करायचे ते समजणे आवश्यक आहे. रंजयती इति रागः !प्रत्येक राग चैतण्यापूर्ण आहे म्हणजे त्याला त्याचे अस्तित्व आहे. राग माझ्यातून गातो ही अभ्यासाची पहिली पायरी आहे. भारतीय संगीत म्हणजे स्वरांनी सिद्ध केलेला म्यूझिकल भाव आहे. पूर्वी ६ राग आणि ३६ रागिण्या होत्या. भारतीय संगीत पाश्चात्य पद्धतीने शिकवणे हे चुकीचे आहे . किशोरी ताईनी आपल्या गुरु म्हणजे त्यांच्या आई मोगुबाई कुरडीकर यांना विचारले की मला एका अमुक रागाचे चलन शिकवाल का . त्यांनी चालनाचे बोल सांगितले आणि सांगितले की यापलीकडे जायचे नाही. तुला चलन पाहिजे की राग पाहिजे असा परखड प्रश्न त्यांनी किशोरीताईना विचारला . सरगम शिकून राग म्हणत येत नाही . राग गाऊन त्यातील स्वर समजावून घ्यायला लागतात आणि उत्तम गुरूच्या सान्निध्यात राहून शिकावा लागतो.संगीताचा रियाज हा स्वरांचा रियाज आहे. स्वर काबूत नसतील तर राग गाता येणार नाही. कोमल, अति कोमल असे स्वरांचे बारकावे आहेत ते समाजाने आवश्यक आहे. सगळ्या कला शेवटी संगीताला मिळतात . असे म्हणणे सोपे आहे , पण तसे अनुभवणे कठीण आहे. किशोरीताई पहिल्यांदा भैरव रागाने शिकून सुरुवात केली , त्यामुळे एका दिव्य आणि भव्य संस्काराने वाढ झाली. रियाज करताना बंदिश म्हणजे भाषेचा अभ्यास अभिप्रेत नाही. स्वरांचा अभ्यास अपेक्षित आहे. अलंकार शिकले पाहिजेत. सुरेल अंतःकरणापासून येणारा सुर शब्दांची वाट पाहत नाही. शास्त्रीय संगीत हे स्वरांचे संगीत आहे हे समजणे गरजेचे आहे. अंतःकरणापासून येणारा सूर शब्दांची वाट पाहत नाही. क्लासिकल संगीत म्हणजे स्वरांचे प्रधानत्व . भारताचे संगीत शांत करणारे संगीत आहे . ज्या राष्ट्रांमध्ये ललित कलांचा उत्कर्ष किवा सांभाळ होत नाही , त्या राष्ट्रात शांती निवास करणार नाही . राग तबल्या शिवाय गाता आला पाहिजे. रागातील लय म्हणजे झपताल किवा तीन ताल नव्हे. रागाची लय ही त्या भावाची लय आहे. प्रत्येक कलाकाराचा एक संच असतो त्याचा तब्बलजी असतो, गाण्याची साथ देणार असतो , तानपुरा वाला असतो , पेटीची संगत करणारा . या सर्वांचा प्रमुख गायकाच्या लयीशी सुसंवाद असतो. कला ही भावनेशी जुडलेली पाहिजे . त्यामध्ये बुद्धिमतेचा वरचष्मा असता कामा नये असे किशोरीताई म्हणतात म्हणून त्यांना फ्यूजन अजिबात पसंत नाही कारण ते ऐकल्यानंतर मनाची शांती ढळते. जगाच्या पडद्यावर तंतुवाद्याचे चाहते जास्ती आहेत असे दिसते. त्याप्रमाणात गायनाकडे ओढ कमी दिसते, पॅरिसला जेव्हा किशोरीताई गेल्या त्यावेळी एका जिज्ञासूने त्यांना विचारले की रागाची वृद्धी आणि त्याची लय आणि त्याची अनफोल्डमेन्ट किवा रागामध्ये उर्जितावस्था कशी तुम्ही निर्माण करता. त्या उत्तरल्या की मी शब्द विसरून जाते , केवळ भाव लक्षात घेते. त्या अमूर्ततेला मी स्वरांचे स्वरूप देत गाते . शब्दाच्या ऐवजी स्वरांच्या रूपात विस्तार सादर झाला तर शास्त्रीय संगीत प्रसिद्धी पावेल. तेथे जाऊन स्वरांची सिद्धता दाखवा . शुद्ध कल्याण आणि भूपामधील गंधाराचा फरक विषद करा .नुसती शाब्दिक चर्चा करू नका भारतीय संगीत साधकाचे संगीत आहे ; ४ दिवस थातुर मातुर करून ते प्राप्त होत नाही. . २२ श्रुतीन्चा शरीराच्या निरनिराळ्या भागांतील नसांशी संबंध आहे. सुर हा बिंदु म्हणजे गोलाकार असतो. कलात्मक आकारात्मक गाणे हे महत्वाचे आहे. मनाच्या नैसर्गिक अवस्थेला अनुसरून सूर आहेत. त्यामुळे ६ राग ऋतूनशी निगडीत आणि ३६ रागीण्या आहेत. निसर्ग कसा वाढेल या दृष्टीने सूरान्ची योजना केली आहे. किशोरीताईंच्या स्मृतीला नम्र अभिवादन !
उरलेले काही शब्द: ४ दिवस थातुर मातुर करून ते प्राप्त होत नाही. . २२ श्रुतीन्चा शरीराच्या निरनिराळ्या भागांतील नसांशी संबंध आहे. सुर हा बिंदु म्हणजे गोलाकार असतो. कलात्मक आकारात्मक गाणे हे महत्वाचे आहे. मनाच्या नैसर्गिक अवस्थेला अनुसरून सूर आहेत. त्यामुळे ६ राग ऋतूनशी निगडीत आणि ३६ रागीण्या आहेत. निसर्ग कसा वाढेल या दृष्टीने सूरान्ची योजना केली आहे. सुराला जात आहे , काळ आहे , राहण्याचे ठिकाण आहे. भारतीय संगीत आणि कर्नाटकी संगीत यात मुख्य फरक म्हणजे कर्नाटक संगीत हे संतांनी केलेल्या वाणीचे सांगितिक रूपांतर आहे. भारतीय संगीत स्वरसिद्ध आहे. प्रत्येक स्वराच्या दैवी अस्तित्वाला धरून संगीत केल्यामुळे ते जास्ती स्वरप्रधान आहे. स्वराला पूर्ण महत्व देऊन आलापी केली राग गाताना श्रुतीनचे दर्शन झाले पाहिजे. कर्नाटक संगीत शब्दप्रधान आहे त्यात लयकारी जास्ती आहे. जाते. ध्रुपद गायकीत लयकारी आहे स्वरांना प्राधान्य नाही
Itni acchi batein bata rahi hai kishori amonkar ji.....kuch smjh me aarahi hai bhtt kuch ni qki har kisiko marathi nahi aati....har music ka student marathi nahi hota...isiliye english subtitle ya hindi me kijiye...
Can we get the English/Hindi subtitles of this lecture somehow? It's a very very useful lecture for future generations of music students. Subtitles would help non-Marathi listeners to understand Tai's divine thoughts.
Pt.Kishori Ji said 'never practice raga with stress on the words of the Bandish' and Pt.Jasraj Ji in Anubhav-Baithak says the lyric with words are also critical need for practice. What is the truth? Word is frozen emotion of lyricist with potency for svara, the latency for chaitanyatva-movement and in movement the raga svaroopa, the form. The akshara-svara- raga form is potency for bhava, emotion. Bhava is potency for aesthetic and aesthetic is latency for anubhava, the experience of santosha, joy; sowkhya, pleasure; ananda, bliss. Akshara inspires union with svara; svara inspires union with bhava; bhava inspires union with raga; raga inspires union with santosha or sowkhya or ananda, the ultimate in anubhava.
Ek bat ki samne sunane wale pandit hariprasad chaurasiya ji , pandit jasraj, Suresh wadkar, etc bade bade aur jo mukhy vyakti hai unki level kaha hogi unka gyan kitna hoga ek ek shabd bramh gyan Es taraha ke program 50 ,100 Sal me ek bar aata hai
watch it 10 times 100 things will come to the surface. This is a masterclass
True
So true... Its priceless
Out 0
True
Ho kharach
without knowing marathi, i listened to the whole 2 and half hours of this... 50% of it I understand as I know hindi, remaining 50% i understand because she speaks from her heart...
@sapna mukherjee same here
Same with me
@sapna mukherjee ĺ
तिथे बसलेले लोक किती सुदैवी आहेत 🙈त्यांना ताई जवळ बसायला मिळाले
She reached the supreme level in music in such way they both are inseparable, that's why you can see all these big names silently listening to her advice. Fantastic :)
What a legend in Classical singing!! Will never be another one like her ....Kishoritai will live on through her songs...🙏🙏🙏🙏🙏
As I sit and listen .. tears flow down my cheeks .. feeling blessed!!! No words to express .. but an urge to learn and embrace more and more!! 🙏🙏🙏
Can't believe she is no more amongst us!!! I was very fortunate to meet her and have her blessings just two months back. A huge loss to Classical music and it's lovers. The baithaks like these will help us understand the thoughts and sadhana of these legends hereafter. I request the sources to provide English subtitles to this video so it can reach worldwide and not remain limited to certain people.
Wow, what an incredible performance! Smt KishoriTai Amonkar's mastery of classical music is truly awe-inspiring. Her voice is like a soothing balm for the soul, and every note she sings carries so much emotion and depth. Thank you for sharing this beautiful Baithak session with us. It's a precious glimpse into the world of classical music, and I'm grateful for the opportunity to experience it. 🙏🎶
This is like the Bhagavad geeta for musicians.... Yes, the more we listen , some insights will keep coming in ..
It's a treasure, truly. Thanks so much for uploading this video.
I do not understand the language but I must say Kishori Tayi is a blessed soul and she has found the pathway via Raga's and there is something present in her that activate the depth of ragas - she do not sing ragas to activate the powerful but powerful is allowing her soul to touch the depths of ragas and the output carrys the particles that touch to the powerful and spread the beautiful presence to the listeners. Beautiful - Simply Beautiful.
Never got to hear about such detailed explanation about Hindustani Classical by any one. You are great and very thoughtful Vidushi Kishori Amonkar.
नतमस्तक 🙏🏼🙏🏼🙏🏼 The deepest, most profound thought about music is expounded here. May every student of music get to listen to this and grasp the crux of Kishori Tai’s core message!
Genuineness and authenticity embodied... music applied in life for its true purpose!! Full potential of music has been explained .. needs a few hearings to internalise....
Sublime....the best vocalist and the best flautist together without the formality of a formal performance. Probably one of her last performances. Truly wonderful to listen to this.
She is the best there ever was and ever will. Sublime and divine 🙏🏻❤️. Thanks for sharing this absolutely precious gem of wisdom. Mindblowing depth
wow,wow,wow...धीर गंभीरता के बीच बालपन का उत्साह।अद्भुत व्यक्तित्व।
Truly a master class from a legend 🙏🏽🙏🏽🙏🏽
Amazing,its eye opening,the way she describe the indian classic music is really thoughtful
स्वयम् सरस्वती मा द्वारा संगीत का विश्व रूप दर्शन
This is pure gold. Jai Shri Kishori Amonkar ji. Thank you for uploading this. Wonderful! Wonderful! Beyond words.
मनःपूर्वक धन्यवाद ! 💐🙏🙏🙏🙏💐
दिल्ली के सिरी फ़ोर्ट ऑडिटोरियम में कभी किशोरी जी और हरी जी की जुगलबंदी सुनी थी। वही आनंद आज दोनों को साथ देखकर आ रहा है।
Excellent 'ANUBHAV'!!🙏🙏😍🤗🥰🥰
It has been 5 years and i still keep coming back to this upload to try to understand it bit more. I don't know Marathi but still trying (and able) to pick context and words at high level. But there are still many nuances that i am unable to pick due to language gap. Thus, It is my humble request to Vrindaban Gurukul to please add subtitles
Yes, please, please, add English subtitle to spread this knowledge globally. Thank you.
In a humble request, I would want this to be re-uploaded with subtitles.
IndianClassical97 आर्या अंबेकर
It's unfair to translate someone's soul ....no one in this planet who can justifiably translate this.. plz try to understand only she has a write to touch that words.
IndianClassical97 has
I want it translated in english
Music is nothing but Samadhi, the last one of the eight elements of Yoga! That is what Kishoritai is telling us!
Very true.. we can feel she has tried to traverse that path...all her life! An legendary master... I keep listening to this talk several times...
ವಾಹ್ ನಾನೂ ಇದನ್ನು ಕೇಳುತ್ತಾ ಇದ್ದೇನೆ.. 👍👍🌹🌹🙏🙏
She is saying that Raag should sing by itself, not she singing the raag. If she keeps herself concious that "she" is singing then the raag will not come out fully. Only when she steps aside the raag comes out in full form. Also stresses on swaras more than raag. Should master the swaras more. Vadi samvadi chalan etc are not raagas. Practice one raag more and more and more and then you can get the essence of the raaga.
There are people with lot of degrees in music PhD etc. But only if you sing from anubhav that's the true music.
There is no reason to sing for 10 hours daily. Sing a raag till you get the perfection on a daily basis. Not more.
All forms of art meets music in the end.
Practice gamaks and alankars in aakar. Then the medium gets prepared.
Her mother taught her bhairav raag first. And taught her the dignity of raaga. Like bhairav raag would be taught with picture of Shiva.
Never practice raaga with stress on the words of the Bandish. The emotion and swara of the raaga is more important.
People say for playback singing in films etc it's important to learn classical music first. But as per her this is not possible. If anyone learns classical music first they would never be able to leave it and go to light music.
Classical music is not used for competition between singers. It's the raag which is important. Which will give peace. Not silence but peace.
She never goes abroad to sing. She is surprised how gurus are allowing singers to sing abroad. The Audience there only look for excitement. Not peace. They are only thinking about how many different instruments you can play. But Indian classical music is focused on peace. Express raagas through one medium only. One instrument etc. So only practice on swaras. Performance is ok where you need tabla etc. But a raagas rythym is set by its emotion, bhav. Example if it's a karuna raag then teental will not go with it.
I tried to translate most of first half. But not all. Appology if anything is wrong.
Thank you!!
Thanks a lot
Do you think she was drunk!!
A lot of thanks for guiding us in her thoughts. I love it feel sorry to know she thought that abroad we just search fo excitement....NO ! No not every one. Music can be understood the same way as peaceful as a deep fusion with the sacred world of sound, which requires peace and respect, not a show of or excitement. I'm classical musician who love Indian Classical music FOR this reason... I'm in deep respect for the way she's singing since so long ... I will not change. I know that today she's on peace in the after life and I'm extremely happy for her though I will miss the chance to meet her once, as I could have done few years ago...
Mrs. N.Giri: Thank you so much for the translation though not completely as you claim. I could follow to some extent but your work here highly appreciated.
it's always a divine experience to listen to kishoritai....
long live!
दिव्यत्वाची जेथ प्रचिती तेथे कर माझे जुळती🙏🙏🙏
विठ्ठलमय जगात आम्ही जगतो , हे आमुचे भाग्य |
तुमच्या काळात आम्ही ही जगलो हे परम भाग्य ||
गाणं सरस्वतिस प्रणाम ||
Khup chan kishori tainche khup vichar aykayla milale thanks
Naman Kishori Tai 🙏🙏🙏🙏💚💚💚 ~ Vocalist Sri Adrish Mukherjee.. Mera Shrodhanjali Aapko Mere Sur Se... MAA
I wish they had subtitles ❤️
1:32:25 & 2:01:01 lol they fight like two innocent children......
She is so articulative and knowledgeable. Its a pleasure to hear her speak. Of course she is in such a playful and talkative mood here. Hariji should take up her offer to come a give more lectures, especially how to train in alankars.
Lovely work 👏 and appreciable. My favorite.
still looking for someone who can translate this.
kishori jee or pandit Hariprasad chourasia ji ke bhopali Raag mein jo tarana.. great program hai..
She was in a mood to talk and express her thoughts on music. Sadly it seemed they compelled her to sing more. We would have liked her to speak more on this rare occasion. Now that too not possible. :( Anyways.. Many thanks to the organizers for this wonderful interaction. May her soul attain Sadgati.
Yes yes exactly
A very insightful video. Kishoriji's candid views appreciative. Hariprasadji's WINK at 1:12:23 confusing. Who is it directed at and for what?
he did not emphasise the sam ...so he winked 😊
Very frustrating that this was not in Hindi not even subtitled/narrated. She spoke from her heart - she gave her opinion - lessons etc. Unfortunately, hardly a few could understand it. Let her do that, but the publisher might have presented in English/Hindi. Namaskar/Pranam to Kishori-ji. I listened her so many time, particularly, in Malkosh Sandya in Kolkata. She is truly legend.
It will be difficult to translate it so easily. However some one should do it.
Psyche1954 probably you have no idea that Marathi is very prosperous and rich language in the world since ancient times. Super rich with huge collection of literature, abhangvani, sant sampraday, art, culture, Naatya-Sangeet sanskriti has been deeply rooted more than 500 yrs ago for minimum I say, might be more than that. Maharashtra had been in the past, been today and tomorrow's the place of wide range of musical genre's, say it classical music, sugam sangeet, bhav-geet, devotional abhanga vaani, sant-vaani, folk music like powada, shahir, gazal, koli-geet, etc. Etc..many more to mention here for example. Legendary maestros Sawai Gandharva & Pandit Bhimsen Joshi other legends in recent times Shankar Mahadevan etc. as well has resorted in Maharashtra because here maharashtrian people provide firm platform for art performances & appreciate it by heart and soul.
Humble suggestions, please do not point out anything without facts and figures.
Although, you can request for subtitles for any language barrier..however that doesn't mean you should knockout other cultures. We are Indian before we separate ourselves in state wise. Hopefully this clarifies. Thanks.
Ajit - Make the effort to understand what she is saying. Marathi is not all that difficult plus it's rooted in the tradition and culture of our country. We may not be able to speak or converse but there is no excuse to make the effort to understand. I am from UP but by paying attention to what she is saying and piecing it with her body language. I can confidently say I have been able to grasp 90% of what she is saying.
Listen to her once again peacefully...... language will not be a great barrier.
It does not matter. i can somwhat understand marathi, by watching many youtube videos. And i kind of get the hang of what kishori tai is saying even though Marathi is not my mother tongue. If you listen closely and carefully i am sure you can understand it.
On the question of Pt.Kishori Ji's opinion on Karnatak Sangit, Kishori Ji said that 'sound' and 'layakari' base is of Karnatak Sangit and not based on 'Svar-Sur', which are the major differences between both the system. Kishori Ji's opinion was based only on her observation on the practice by the practitioners. It's not based on the lakshya and lakshana treatise of Karnatak Sangit. We need events/program to educate both the practitioners and rasikas of both the systems of Indian Classical Music to make the knowledge and experience of ICM. Karnataka Sangita edifice is built on laksha and lakshana with the objective of Manodharma-Manas, sense of mind in imagination; ideation; innovation; discovery (existing, either unknown or making it known, more, afresh) and creativity (not in existence, manifestation anew) and Dharma, sense of righteousness to the art form in conformance to the parampara-tradition; spiritual; culture; bani (school of music) and lakshana, theory of art form. Modes in manodharma are :1.Raga-alapana; 2. Tana; 3. Pallavi; 4. Kruthi, Keertana; 5.Niraval; 6. Svara prastara, kalpana; 7. Devotional-Classical-pada; sloka; ugabhoga; vachana; viruttam. Highest state is for Raga-alapana, celebration of Svara, Svara sanchari, bhava, aesthetic unaided by sahithya bhava and tala, rhythmic bhava. Laya gets embedded in Svara sanchari-movement. Raga alapana is to present and create experience of abstract beauty, aesthetic of Suddha Svara-pure note; Anu Svara-micro note; Nyasa Svara; Jiva Svara; Moorchana-a set of Svaras. Unfortunately, due to AIR's and Sabha short duration time concert have lead to the present practice of one or two sub-main raga alapana of 3-5 minutes and main raga alapana of 8-15 minutes of duration. To win the support and patronage by the causal of 'novelties', 'surprises' and 'excitement' by over emphasis on madhya laya based compositions and svara prastara (though it is said to be kalpana svaras, but in truth it is Kalpita-premeditated). Important aspects of 'Ati Vilamba' and 'Vilamba' has gone out of choice, favor and memories.
श्रवण करून मंत्रमुग्ध झालो. प्रणाम !!!
Can we have English Subtitle.....
To listen & enhance knowledge about Hindustani Classical Singing from Kishoritie is experience by itself
Such a deep thinking no wards 🙏🙏🙏👌👌👌
Maharashtra - Mahan Rashtram, this land has preserved the Samvedic Sangeet
Ajoy pohnakar is really great artist. I love his vocal range.
कार्यक्रमाचे नाव अगदी सार्थक, "अनुभव"
It feels very sad to see when Kishori ji’s student was trying to stop her by saying “Bas zala” (meaning lets wrap up) again and again when she herself is so much involved in the interaction. Afte hearing it frequently Kishori Ji said “Aga thamb ga” (meaning please stop, wait !). Being a music student I would never interrupt my Guru
Someone should translate this valueable masterpieice discourse to satisfy not knowing marathi
Khupach chan.....🙏🙏🙏no words....
Pranaams to the organisers,and a humble request,can you invite Vidushi Girija Devi here..it would be awesone for classical music lovers.
yashwant charan ab to girija ji bhi nhi rahi.
She was Devine vocalist 🙏
Offering Bharat Ratna to Kishori tai would be disrespecting her saadhana.
🙏🙏🙏🙏🙏 Maharo Pranaams to Sakhshiyaat Saraswati....RIP
Gaan Saerswati baneli Vagyadevta sangulagali gayan leela dhanya Zalo Aamhi,akuni aapale swer,kay vernu mahima ya Gan Sersaticha.
My Goddess 🙏🏼🙏🏼🙏🏼🙏🏼
Many people who don't understand Marathi are asking for subtitles. I request the channel owner to create subtitle formation for this video where Marathi speaking people like me can contribute in subtitles. This feature is present in youtube. Or please get it translated and upload. Let all get the knowledge sharing.
Eager to hear the subtitles,pls do not deprive the classical music lovers, students .....kishoritai's blessings!!!
It would be so helpful..
Her mother Late Shri Mogubai Kurdikar was from remote village in Goa, was from poor family. But in those era without any economic help she migrated outside Goa only for her music passion devotion.
Plz add sub titles .
GODDESS is speaking.
Amazing how she rips off Jasrangi at 1:01:00 and welcomes Pt. Jasraj with a smile at 1:31:02 😂
Please put a subtitle in english please this is very important session
Great Artist!😍😍😇😇😇🙏🙏🙏🙏🙏🙏🙏
Can any1 provide hindi subtitles... This video looks like full of most valuable information related to Indian classical music.. It's a request if any1 can take this initiative to provide hindi or English subtitles?
I would be happy to do this.....not sure how though. This is truly precious and i feel blessed i understand Marathi
@@Bhatmuley thanks a lot. You can either record your audio or can write down the translations and share. Anything will work.. I have seen this video. 3 to 4 times and I don't understand marathi.. So for me anything will work.. I m OK with whichever way you are comfortable writing or recording. Again thanks a lot.
@@Bhatmuley I have used Amara online for creating subtitles for TH-cam videos like this one. If workload is too much for an individual it also allows for collaborative editing. Basically you add TH-cam video link and start adding text using its interface which can help to sync it with time.
@@Ohhsin thanks so much
still looking for someone who can translate this master class
GAANASARASWATI Kishoritai amonkar hyana majha namaskar.
माननीय किशोरी जी आमोणकर ह्यांना गानतपस्वी का म्हणतात ते थोडेसे उमगले आज
ज्या वेळेस बाकी कलाकार आणि त्यांचं गाणं ऐकाल त्या वेळेस पूर्ण समजेल.. 😅
अतिशय सुंदर कार्यक्रम
Khup khup barober ahe😊
Indeed very knowledgeable. Pls invite pt channulal mishra also if possible
Fortunate to have her 'Transcendental Experience' shared
all a out annapurna devi
Kishori Tai was 82 years old back then? Wow. she looked more like 60ish.
प्रश्नोत्तर आशा पद्धतीने ही बैठक झाली. याला पंडित हरिप्रसाद चोरसिया उपस्थित होते. स्वरार्थ रमणी हे पुस्तक किशोरीताईनी मराठीत प्रसिद्ध केले आहे . त्याचे अजुनी हिन्दी किवा इंग्रजीमध्ये भाषान्तर झाले नाही. राग संगीत हे प्रामुख्याने भाव संगीत आहे असे हे पुस्तक वाचल्यावरून वाटेल. राग संगीत शब्दाच्या किवा नाटयाच्या माध्यमातून नाही तर स्वरांच्या माध्यमातून भाव आणि रस या हृदयातून त्या हृदयात घालते. संगीताचा अभ्यास विषय म्हणून किशोरीताईनी केला; मनोरंजन या भूमिकेतून केला नाही. ते आत्मरंजन असले पाहिजे हे आपल्या हिंदू संस्कृतीला धरून आहे. त्यामुळे मनःशांती हे ध्येय आहे त्यामुळे कुठे तारेवरची कसरत किवा अकरोबाईट याचा अंतर्भाव नाही. . माध्यमाची चौकट म्हणजे माध्यमाचा हेतू नव्हे. राग किवा सूर म्हणजे भारतीय संगीत नव्हे. सूर तर जगात पसरलेले आहेत त्यातून आपल्याला काय व्यक्त करायचे ते समजणे आवश्यक आहे. रंजयती इति रागः !प्रत्येक राग चैतण्यापूर्ण आहे म्हणजे त्याला त्याचे अस्तित्व आहे. राग माझ्यातून गातो ही अभ्यासाची पहिली पायरी आहे. भारतीय संगीत म्हणजे स्वरांनी सिद्ध केलेला म्यूझिकल भाव आहे. पूर्वी ६ राग आणि ३६ रागिण्या होत्या. भारतीय संगीत पाश्चात्य पद्धतीने शिकवणे हे चुकीचे आहे . किशोरी ताईनी आपल्या गुरु म्हणजे त्यांच्या आई मोगुबाई कुरडीकर यांना विचारले की मला एका अमुक रागाचे चलन शिकवाल का . त्यांनी चालनाचे बोल सांगितले आणि सांगितले की यापलीकडे जायचे नाही. तुला चलन पाहिजे की राग पाहिजे असा परखड प्रश्न त्यांनी किशोरीताईना विचारला . सरगम शिकून राग म्हणत येत नाही . राग गाऊन त्यातील स्वर समजावून घ्यायला लागतात आणि उत्तम गुरूच्या सान्निध्यात राहून शिकावा लागतो.संगीताचा रियाज हा स्वरांचा रियाज आहे. स्वर काबूत नसतील तर राग गाता येणार नाही. कोमल, अति कोमल असे स्वरांचे बारकावे आहेत ते समाजाने आवश्यक आहे. सगळ्या कला शेवटी संगीताला मिळतात . असे म्हणणे सोपे आहे , पण तसे अनुभवणे कठीण आहे. किशोरीताई पहिल्यांदा भैरव रागाने शिकून सुरुवात केली , त्यामुळे एका दिव्य आणि भव्य संस्काराने वाढ झाली. रियाज करताना बंदिश म्हणजे भाषेचा अभ्यास अभिप्रेत नाही. स्वरांचा अभ्यास अपेक्षित आहे. अलंकार शिकले पाहिजेत. सुरेल अंतःकरणापासून येणारा सुर शब्दांची वाट पाहत नाही. शास्त्रीय संगीत हे स्वरांचे संगीत आहे हे समजणे गरजेचे आहे. अंतःकरणापासून येणारा सूर शब्दांची वाट पाहत नाही. क्लासिकल संगीत म्हणजे स्वरांचे प्रधानत्व . भारताचे संगीत शांत करणारे संगीत आहे . ज्या राष्ट्रांमध्ये ललित कलांचा उत्कर्ष किवा सांभाळ होत नाही , त्या राष्ट्रात शांती निवास करणार नाही . राग तबल्या शिवाय गाता आला पाहिजे. रागातील लय म्हणजे झपताल किवा तीन ताल नव्हे. रागाची लय ही त्या भावाची लय आहे. प्रत्येक कलाकाराचा एक संच असतो त्याचा तब्बलजी असतो, गाण्याची साथ देणार असतो , तानपुरा वाला असतो , पेटीची संगत करणारा . या सर्वांचा प्रमुख गायकाच्या लयीशी सुसंवाद असतो. कला ही भावनेशी जुडलेली पाहिजे . त्यामध्ये बुद्धिमतेचा वरचष्मा असता कामा नये असे किशोरीताई म्हणतात म्हणून त्यांना फ्यूजन अजिबात पसंत नाही कारण ते ऐकल्यानंतर मनाची शांती ढळते. जगाच्या पडद्यावर तंतुवाद्याचे चाहते जास्ती आहेत असे दिसते. त्याप्रमाणात गायनाकडे ओढ कमी दिसते, पॅरिसला जेव्हा किशोरीताई गेल्या त्यावेळी एका जिज्ञासूने त्यांना विचारले की रागाची वृद्धी आणि त्याची लय आणि त्याची अनफोल्डमेन्ट किवा रागामध्ये उर्जितावस्था कशी तुम्ही निर्माण करता. त्या उत्तरल्या की मी शब्द विसरून जाते , केवळ भाव लक्षात घेते. त्या अमूर्ततेला मी स्वरांचे स्वरूप देत गाते . शब्दाच्या ऐवजी स्वरांच्या रूपात विस्तार सादर झाला तर शास्त्रीय संगीत प्रसिद्धी पावेल. तेथे जाऊन स्वरांची सिद्धता दाखवा . शुद्ध कल्याण आणि भूपामधील गंधाराचा फरक विषद करा .नुसती शाब्दिक चर्चा करू नका भारतीय संगीत साधकाचे संगीत आहे ; ४ दिवस थातुर मातुर करून ते प्राप्त होत नाही. . २२ श्रुतीन्चा शरीराच्या निरनिराळ्या भागांतील नसांशी संबंध आहे. सुर हा बिंदु म्हणजे गोलाकार असतो. कलात्मक आकारात्मक गाणे हे महत्वाचे आहे. मनाच्या नैसर्गिक अवस्थेला अनुसरून सूर आहेत. त्यामुळे ६ राग ऋतूनशी निगडीत आणि ३६ रागीण्या आहेत. निसर्ग कसा वाढेल या दृष्टीने सूरान्ची योजना केली आहे.
किशोरीताईंच्या स्मृतीला नम्र अभिवादन !
उरलेले काही शब्द: ४ दिवस थातुर मातुर करून ते प्राप्त होत नाही. . २२ श्रुतीन्चा शरीराच्या निरनिराळ्या भागांतील नसांशी संबंध आहे. सुर हा बिंदु म्हणजे गोलाकार असतो. कलात्मक आकारात्मक गाणे हे महत्वाचे आहे. मनाच्या नैसर्गिक अवस्थेला अनुसरून सूर आहेत. त्यामुळे ६ राग ऋतूनशी निगडीत आणि ३६ रागीण्या आहेत. निसर्ग कसा वाढेल या दृष्टीने सूरान्ची योजना केली आहे.
सुराला जात आहे , काळ आहे , राहण्याचे ठिकाण आहे. भारतीय संगीत आणि कर्नाटकी संगीत यात मुख्य फरक म्हणजे कर्नाटक संगीत हे संतांनी केलेल्या वाणीचे सांगितिक रूपांतर आहे. भारतीय संगीत स्वरसिद्ध आहे. प्रत्येक स्वराच्या दैवी अस्तित्वाला धरून संगीत केल्यामुळे ते जास्ती स्वरप्रधान आहे. स्वराला पूर्ण महत्व देऊन आलापी केली राग गाताना श्रुतीनचे दर्शन झाले पाहिजे. कर्नाटक संगीत शब्दप्रधान आहे त्यात लयकारी जास्ती आहे. जाते. ध्रुपद गायकीत लयकारी आहे स्वरांना प्राधान्य नाही
Itni acchi batein bata rahi hai kishori amonkar ji.....kuch smjh me aarahi hai bhtt kuch ni qki har kisiko marathi nahi aati....har music ka student marathi nahi hota...isiliye english subtitle ya hindi me kijiye...
Can we get the English/Hindi subtitles of this lecture somehow? It's a very very useful lecture for future generations of music students. Subtitles would help non-Marathi listeners to understand Tai's divine thoughts.
shat shat pranam Anubhav
would it be in hindi , I would have understood more...
अनुभव आले अंगा तेया जगा दे तसे
RIP from all singers n musicians of ABC @Bharati classes.
jai ho... great program
Pls i beg the person who uploaded this to translate.....pls pls pls
I wish this was in Hindi OR had english subtitles ☹
who is the poet...by the name of Narayan...his full name ?
plz invite begum parveen sultana ji too
anmol Bali
c
Suddenly realized the scale of loss for Indian classical music with passing away of the renowned artist n original thinker that Kishoritai has been.
New generations will replace her.
Pls add Lyrics of Bandish she sung ......
Subtitles please...
just listen and take anubhav
💕💕💕💕💕💕 So amazing and lovely
Can anyone translate this? I do understand a little but struggling badly
Pt.Kishori Ji said 'never practice raga with stress on the words of the Bandish' and Pt.Jasraj Ji in Anubhav-Baithak says the lyric with words are also critical need for practice. What is the truth? Word is frozen emotion of lyricist with potency for svara, the latency for chaitanyatva-movement and in movement the raga svaroopa, the form. The akshara-svara- raga form is potency for bhava, emotion. Bhava is potency for aesthetic and aesthetic is latency for anubhava, the experience of santosha, joy; sowkhya, pleasure; ananda, bliss. Akshara inspires union with svara; svara inspires union with bhava; bhava inspires union with raga; raga inspires union with santosha or sowkhya or ananda, the ultimate in anubhava.
Can Someone please help to understand which raaga she sung ..after Intermission ....
Bhairavi
35:43 pritam da?
Ek bat ki samne sunane wale pandit hariprasad chaurasiya ji , pandit jasraj, Suresh wadkar, etc bade bade aur jo mukhy vyakti hai unki level kaha hogi unka gyan kitna hoga ek ek shabd bramh gyan Es taraha ke program 50 ,100 Sal me ek bar aata hai
Have you seen ashwini tai there
Hindi me covert kare
Missing you a lot...
It is a great initiative and thanks very much for the upload.....Can Vidushi Girija Devi be brought for lec dem as well?....