I was told by my guruji, Pandit Ravi Shankar, that the Seni Maihar understanding is that Brindavani Sarang has only komal ni, while Madhumad Sarang has both komal and shuddh ni. He recognized that this is exactly the opposite of the common understanding among Hindustani musicians and, for that reason, calls the raga with both ni-s simply Sarang. Khansaheb appears to be playing the Maihar gharana version of Brinavani Sarang in this selection.
I sat in a class Khansahib taught in this Raag. Yes it is Brindabani, but apparently the ni is used and not Ni, and I was confused, but he does as he likes anyway, when you are on top you can do that.
I must agree with @question613, I find the denigration of Ravi-ji unbecoming of so-called devotees of Indian Music. For one thing, the debt owed by any lover of this music to Ravi is immense, simply for making it known outside India. But it cannot be denied he is also a fine musician. You must admit that Ustad Khansahib held him in high regard!! Ravi-ji's devotion to his music is spiritual. As for Ustad Khansahib, he was truly a treasure and his renditions touch magical things as well.
@operadood Ravi-ji was an immensely capable musician technically, in the sense that he could output anything in his head into his instrument. For that, he deserves a great deal of respect. Its just that Ravi was a showman, and true Hindustani music fans often did not like what he thought up in his head to begin with! It was often more to impress than to evoke the true mood of the raga, but that said, he has played many a divine performance aswell.
@@1kedar Yes Now Virnabon is that place where Lord Krishna and Godess Radha had been spreading their divine love life , this raga celebrates that divine love .
@questions613 if the music was truly important to you, you would be content with enjoying it instead of feeling like you have something to prove to people.
Hi! For the 1st minute, here are the seconds where the Sam of this Jhaptaal falls on: 0:090:180:260:360:450:54 (9 seconds for each avartan). Notice that on 0:26, the tabla player is slightely too early, but quickly corrects the speed for the next rounds. At slow speed(vilambit), it's quite hard to keep the counting, because there is an alternation of unfilled and filled gaps with softer bols that interfere with the counting. With regular pratice keeping track of slow thekas becomes easy.
Why does this sound more beautiful every time I listen to it?!?
It's beauty of Raag (Classical music)...the more you listen...more you understand Raag...and then more you fall in love with Raag
Wonderful sound and recording. 💐🌹🌷⚘🌺🦋
I was told by my guruji, Pandit Ravi Shankar, that the Seni Maihar understanding is that Brindavani Sarang has only komal ni, while Madhumad Sarang has both komal and shuddh ni. He recognized that this is exactly the opposite of the common understanding among Hindustani musicians and, for that reason, calls the raga with both ni-s simply Sarang. Khansaheb appears to be playing the Maihar gharana version of Brinavani Sarang in this selection.
He is no more. But his incomparable music will speak of his greatness.
I sat in a class Khansahib taught in this Raag. Yes it is Brindabani, but apparently the ni is used and not Ni, and I was confused, but he does as he likes anyway, when you are on top you can do that.
Two descriptions come to mind: mastery and soul of India.
god bless ustadji,
such a great life of sweet gifts.
thanks for sharing
wah wah, thanks for posting this excellent performance
❤
Nice .Ustadji.
I must agree with @question613, I find the denigration of Ravi-ji unbecoming of so-called devotees of Indian Music. For one thing, the debt owed by any lover of this music to Ravi is immense, simply for making it known outside India. But it cannot be denied he is also a fine musician. You must admit that Ustad Khansahib held him in high regard!! Ravi-ji's devotion to his music is spiritual. As for Ustad Khansahib, he was truly a treasure and his renditions touch magical things as well.
@operadood Ravi-ji was an immensely capable musician technically, in the sense that he could output anything in his head into his instrument. For that, he deserves a great deal of respect. Its just that Ravi was a showman, and true Hindustani music fans often did not like what he thought up in his head to begin with! It was often more to impress than to evoke the true mood of the raga, but that said, he has played many a divine performance aswell.
superb,thanks for upload.
It looks like the concert is at the Hari Krishna Temple in Berkeley and not at the College.
beautiful
Sheer genius!
Wonderful concert but not at the college. It's in Berkeley at the Hari Krishna temple I believe.
great playing by ustadji but this is raga Madhmad Sarang not brindabani
True
R.I.P
Wahhhhhh wahhhhhhhhh!
It's Raag Vrindaboni Sarang.
@@chayanbosu3293 It's Raag Vrindavani Sarang.
@@1kedar Yes Now Virnabon is that place where Lord Krishna and Godess Radha had been spreading their divine love life , this raga celebrates that divine love .
can anyone post khanshab's recording in mali gaura
Indeed, it sounds more like Samant Sarang, not sure. Could someone please confirm ?
@piklusamanta and didnt he mean sarod?
Madhmad Sarang would not have the sam on Re as this rendition does. Do I dare suggest it's Megh Sarang?
tis madmad sarang, not brindabani sarang. no teevra nishad anywhere. not megh either.
@questions613 if the music was truly important to you, you would be content with enjoying it instead of feeling like you have something to prove to people.
Hi! For the 1st minute, here are the seconds where the Sam of this Jhaptaal falls on: 0:09 0:18 0:26 0:36 0:45 0:54 (9 seconds for each avartan).
Notice that on 0:26, the tabla player is slightely too early, but quickly corrects the speed for the next rounds.
At slow speed(vilambit), it's quite hard to keep the counting, because there is an alternation of unfilled and filled gaps with softer bols that interfere with the counting.
With regular pratice keeping track of slow thekas becomes easy.