The role of TH-cam in our life is without parallel. Where else we could listen to such old gems from the masters who came, presented their art and left the world? This treasure is for generations, which was difficult to even imagine a few years ago. We should bow equally to the masters and those scientists and engineers who made all this possible. Never there was a better union of art and technology.
In those days, Pandit Ravi Shankar and practically all others including Ustad Vilayet Khan played Sitar made by famous Kanai Lal or Kanai (Lal) Das. Kanai Lal Sitar was made forJalsa Ghar (Music Room) and not for microphone. The sound is "round" & very soothing and pitched low unlike the present day higher pitch instruments that has sharp "conical" sound. It was created for natural C but later raised to C sharp by all. All the later day Sitars of Pandit Ravi Shankar were made following the model (measurements) of Kanai Lal that he himself acknowledged several times including in "Making the Sitar", available on net.
The reason is those days the raag presentation was more inclined to dhrupad which is the original form of raag sangeet.. tansen family was veenkar .. but as tansen family never taught veena anyone outside their family so others used to play sursringar or surbahar .. later came sitar.. so automatically sitar play that time had huge influence of Veenbaj…that time the purity of raag was most important unlike the present time where doing some fast taans and gimmicks became important..
Pt. Ravi Shankar played in 50s a Sitar made by Nodu Mallick. Panditji called it his Stradivarius. This is as per his biography written by Oliver Kraske.
What a God given capability Pt Ravi Shankar has playing on sitar this Rag Todi that one can keep listening to it to the depth of it and feel lost in the divine presence of Almighty. 🙏🏼🕉❤️👍
Due to tabla accompanying by Pt.Anokhelal ji,this recital is more Anokha & Yaadgar forever enjoying as dhrupad as well as vilambit khayal. I personally liked very much this rare recital.
I have heard Panditji live about 3 times in his later years. Listening this has been a revelation. The depth and expanse of this purely Kheyal aang playing is phenomenal. Wish he didn’t play the drut part at all.
The role of TH-cam in our life is without parallel. Where else we could listen to such old gems from the masters who came, presented their art and left the world? This treasure is for generations, which was difficult to even imagine a few years ago. We should bow equally to the masters and those scientists and engineers who made all this possible. Never there was a better union of art and technology.
Beautifully said, Hemant.
💯
In those days, Pandit Ravi Shankar and practically all others including Ustad Vilayet Khan played Sitar made by famous Kanai Lal or Kanai (Lal) Das. Kanai Lal Sitar was made forJalsa Ghar (Music Room) and not for microphone. The sound is "round" & very soothing and pitched low unlike the present day higher pitch instruments that has sharp "conical" sound. It was created for natural C but later raised to C sharp by all. All the later day Sitars of Pandit Ravi Shankar were made following the model (measurements) of Kanai Lal that he himself acknowledged several times including in "Making the Sitar", available on net.
That is something significant.. wonderful. A huge inclination towards the Veena can be easily seen..
The reason is those days the raag presentation was more inclined to dhrupad which is the original form of raag sangeet.. tansen family was veenkar .. but as tansen family never taught veena anyone outside their family so others used to play sursringar or surbahar .. later came sitar.. so automatically sitar play that time had huge influence of Veenbaj…that time the purity of raag was most important unlike the present time where doing some fast taans and gimmicks became important..
Pt. Ravi Shankar played in 50s a Sitar made by Nodu Mallick. Panditji called it his Stradivarius. This is as per his biography written by Oliver Kraske.
Here we sense the artist Ravi Shankar rather than the performer who made it big in the West. Has depth and expanse. Thank you for this precious piece.
Well put.
This is from a concert held at Dixon Lane residence of Guru Jnanprakash Ghosh around 1951-52
What a God given capability Pt Ravi Shankar has playing on sitar this Rag Todi that one can keep listening to it to the depth of it and feel lost in the divine presence of Almighty. 🙏🏼🕉❤️👍
epic Miyaki Todi - happy birthday guruji (100 today!)
Due to tabla accompanying by Pt.Anokhelal ji,this recital is more Anokha & Yaadgar forever enjoying as dhrupad as well as vilambit khayal. I personally liked very much this rare recital.
पंडितजी सदी के महान और अमर सितार वादक रहे है
Pt. Anokhelal Mishra on tabla...
This is exquisite. Many thanks.
This is so serene, the rhythm of the heart.
We don't have any right to either comment or criticize such great doyens or their renditions.
राग तोड़ी का ऐसा विशुद्ध रूप और वादन की ऐसी मिठास दुर्लभ है। Pt. Ji, my all time favorite. Thanks for uploading the video.
Thanks a ton for sharing this gem.
Best Todi available on record?
So much variety of patterns of todas (तोडाज्) and tihais(तिहाईज्) for the followers of Panditji like me.😊👍🎵🎶🎼❤️😔🙏😔🙏😔🙏❤️🕉️
What a performance.. PT JI brought out Todi in its true form.. Wah
The best Miyan-ki-Todi in any instrument. Balanced, sensitive but innovative.
Such an elaborate, serene vilambit - great exploration into the depths of the raga!
মন ভরে যায়। এই dhrupadanga বাজনা r শোনা যাবে না. 🙏🌹
It is one of the best demonstration perfect talim and barhat of a raga
Who was on the Tabla?
Sir it seems.. Pt. Anokhelal Mishra
Tabla sangat uttam our manmohak kya bat h
BEST mian ki todi on sitar
Pardon ignorance - what is the Taal ?
Vilambit teentaal
Pitched in B ? like Been.
the strings in those days couldn't go up to C# without snapping
2 no. String main string
Yes, B scale, unheard these days.
But has this been slowed down to this pitch?
it is Eak tal.
I have heard Panditji live about 3 times in his later years. Listening this has been a revelation. The depth and expanse of this purely Kheyal aang playing is phenomenal. Wish he didn’t play the drut part at all.
very old and rather monotonous
Beer's Best for you.
Monotonous for those who do not understand the nuances of this music. Goldmine for those who understands and knows to appreciate.
Montonous for those who lack knowledge about this type of music but a Goldmine for those who have knowledge and know to appreciate.
Senia ghar has pure essence of dhrupad style... Not for everyone.. This piece one of the best Miyan ki Todi available on internet..
Ravi shankar ji belonged to maihar@@thebengalurubong2047