Whenever I hear THIS particular recording, I am amazed how Pt.Shankar used the strumming pattern and the sense of interval between notes and between phrases. He used very typical Dhrupad Tantrakari ang learnt specially on the Surbahar. None of his contemporaries played this style even after learning from Baba Allauddin. It is somewhat possible to say that Maa Annapurna played this style but due to lack of recordings one cant be so sure. There is a very special style he adapted both through his strumming and Meend. This is a different style never played again after the 70's. God knows why
It's absolutely true. This style has that peculiar force that is seldom found in today's time. If you know that sitarist from Pune named late Pandit Sudhir Phadke and his sister Vidushi Sandhya Apte who are deciples of guruma Annapurna Devi, unfortunately there only 3 recordings of him on TH-cam, please I request the music community as whole that if anyone have any recordings of these artists, please upload them. This style is so rarely heard today. Just look at the systematic development of raaga, everytime I listen to this, I get goosebumps!
This is the very first time, that I am hearing over one and a half hours of just Alap, Jor and Jhala. Brilliant performance, but no surprise here. We are talking about the great Ravi Shankar.
I don’t have words to express my feelings after listening to this recording repeatedly. It’s a gem. Neither I have any word to thank you. Thank you from the bottom of my heart ❤️ for uploading Shekharji.
Beautiful. Divine - sounds more like Nikhil Banerjee performance! Many thanks for uploading this. It is very rare to find recording his performance in private parties where he was at his purest form as a performer.
This is the Ravi Shankar that I love is it fair to say that his style or play got a bit watered down after the 1970s and that’s a question not a statement for Indians here that know the music better than I do
1960 onwards actually. The style not only got watered down, but got transmogrified into one that placed a lot more emphasis on rhythm than melody, the one that valued the lay person in the audience over the connoisseur. I am not necessarily saying one is bad and the other is good. But this is a fact. I am also not suggesting that he lost the ability to play like his old self (there are examples to the contrary: th-cam.com/video/BwYCMnDq6Bs/w-d-xo.html); but he gravitated towards the other style without a doubt. It is also during this transition that his sitar 'voice' became markedly more angular and krintan-reliant than rounded and meend-reliant.
@@theblaseone Thank you Hemant Sir for clarifying; that's exactly what I thought, and from reading a little bit....his rhythm IS so beautiful at times, but overall i prefer Nikhil Bannerjee exactly for the melody and depth....I alway wonder if his background as a dancer has anything to do with his love of rhythm, or if it was just what my Indian friend calls "playing to the gallery."
He used one instrument from ~1945--1964. His meend oriented melodic performances are from that era. Then he changed instruments to improve the bass sound but that was limited in meend. He mentions this in his biography. Also the melody oriented style requires more daily practice, hard to maintain with panditji's numerous commitments and dalliances.
Many thanks for your prompt response. It's possible that the following version is same as yours and fuller. th-cam.com/video/qdT_FyQ8BEA/w-d-xo.html I found the beginnings similar.
Hmmmm music training of particular kind sometimes causes some uncanny feeling to something else but your comment remind me one saying why Sachin' drives are not so good :D
The golden years of Hindustani music. This era is gone. Alas no one plays the dhrupad style any more.
I really enjoy how the audience is very much involved in the performance. You can hear their sighs, their appreciation. It's amazing.
Whenever I hear THIS particular recording, I am amazed how Pt.Shankar used the strumming pattern and the sense of interval between notes and between phrases. He used very typical Dhrupad Tantrakari ang learnt specially on the Surbahar. None of his contemporaries played this style even after learning from Baba Allauddin. It is somewhat possible to say that Maa Annapurna played this style but due to lack of recordings one cant be so sure. There is a very special style he adapted both through his strumming and Meend. This is a different style never played again after the 70's. God knows why
It's absolutely true. This style has that peculiar force that is seldom found in today's time. If you know that sitarist from Pune named late Pandit Sudhir Phadke and his sister Vidushi Sandhya Apte who are deciples of guruma Annapurna Devi, unfortunately there only 3 recordings of him on TH-cam, please I request the music community as whole that if anyone have any recordings of these artists, please upload them. This style is so rarely heard today. Just look at the systematic development of raaga, everytime I listen to this, I get goosebumps!
this is guruma annapurna devi style
Pt r shankar style ko, sampurna sitar bhi kaha jata hai
Sir aap ji, bhi, bahut achchha sitar bajate hai,mi aap ka sitar bhi sunta hu
I don't have to say any more.You have expressed every thing.I agree with you absolutely.
Wanderful Crores of Pranams to Varatratna Pandit Rabisankar Ji
Gratitude and Blessings ~ Sounding that speaks the heart and sings the soul.
This is the very first time, that I am hearing over one and a half hours of just Alap, Jor and Jhala. Brilliant performance, but no surprise here. We are talking about the great Ravi Shankar.
Me too
Oóo000000⁰00lppppk
I don’t have words to express my feelings after listening to this recording repeatedly. It’s a gem. Neither I have any word to thank you. Thank you from the bottom of my heart ❤️ for uploading Shekharji.
unparallel. Truly played Darbari kanhra .
This made me cry. So beautiful. So very beautiful. Love to Ravi Shankar!
सतार वादनातील कमालीचे प्रभुत्व असलेले एकमेव कलाकार... पं.रविशंकर.
Lucky to get to listen to this heartful rendering by the master. Must have had deep craving in previous lives to offer his salutations through music.
I am not sure why these commentators can’t just enjoy this divine music! Why try to be wise guys showing off?
one of the fews which i wish to hear from pt. ji
Best Regards To Bharat Ratna Pandit ji
Beautiful. Divine - sounds more like Nikhil Banerjee performance! Many thanks for uploading this. It is very rare to find recording his performance in private parties where he was at his purest form as a performer.
You will be blessed for mentioning a Musical Priest's name
This is more of dhrupad style. Nikhil Banerjee was leaned more towards Khayal style.
Greatness 🙏🙏
Very very Nice
Very high class
🙏🏻🙏🏻🙏🏻🙏🏻🙏🏻🙏🏻
This is the Ravi Shankar that I love is it fair to say that his style or play got a bit watered down after the 1970s and that’s a question not a statement for Indians here that know the music better than I do
1960 onwards actually. The style not only got watered down, but got transmogrified into one that placed a lot more emphasis on rhythm than melody, the one that valued the lay person in the audience over the connoisseur. I am not necessarily saying one is bad and the other is good. But this is a fact. I am also not suggesting that he lost the ability to play like his old self (there are examples to the contrary: th-cam.com/video/BwYCMnDq6Bs/w-d-xo.html); but he gravitated towards the other style without a doubt. It is also during this transition that his sitar 'voice' became markedly more angular and krintan-reliant than rounded and meend-reliant.
@@theblaseone Thank you Hemant Sir for clarifying; that's exactly what I thought, and from reading a little bit....his rhythm IS so beautiful at times, but overall i prefer Nikhil Bannerjee exactly for the melody and depth....I alway wonder if his background as a dancer has anything to do with his love of rhythm, or if it was just what my Indian friend calls "playing to the gallery."
He used one instrument from ~1945--1964. His meend oriented melodic performances are from that era. Then he changed instruments to improve the bass sound but that was limited in meend. He mentions this in his biography. Also the melody oriented style requires more daily practice, hard to maintain with panditji's numerous commitments and dalliances.
What an amazing piece! Any chance you have the remainder of the performance? Thanks a tonne for this!
Best of Indian Railways There is a Bhatiyar played immediately after the Darbari. You will find it on TH-cam.
But, the Bhatiyar available on your channel is unfortunately incomplete. Doesn't a fuller version exist?
Prithviraj Guha : unfortunately, I do not have the complete version.
Many thanks for your prompt response. It's possible that the following version is same as yours and fuller. th-cam.com/video/qdT_FyQ8BEA/w-d-xo.html I found the beginnings similar.
Prithviraj Guha : The Bhatiyar version you have kindly sent is from a different program. Both versions are of course divinely beautiful!
His work in the mandra saptak and atimandra saptak is rarely seen now.adays.
True!
Yes.Indeed, you never listen this type of rendition in ati mandra work.
It trnansandces you in a different world.
,
who played tabla here?
Treatments of g and DH is not satisfactory which are heart of the raga.
are you deaf?
Like you? Not.
I agree. Ravi's treatment of Ga/Dha in this performance lacks the heaviness of other performers of this raga.
Hmmmm music training of particular kind sometimes causes some uncanny feeling to something else but your comment remind me one saying why Sachin' drives are not so good :D
Need proper talim to understand what panditji used to play this raag. otherwise, better to use hearing aid...