Madam, I recollected meera bhajan of Latha garu sung decades back in LP gramophone, when u sung this raga now. Thank u for ur presentation of the raga.
This raag in particular is a masterful synthesis of supreme imagination. Lots of respect to the composer and the brilliant performers like Manjiriji who have carried it forward so delicately with dedication. ❤
Wonderful explanation of structural elements about rag .we can imagine the how analitically guru kanetkar must have received the talim .how he must have thought over it.salute to guru kanetkar and manjireetai both.i can imagine the treasure of manjireetai.
Husseini todi and particularly this bandish naranjan kijiye is used as a base for giving music to pad song ,ahankar Maza vidhit ase,in femous Marathi play vidyaharan written by kakasaheb khadilkar.
What a spiritual composition, when heard through Tai’s singing here. Is the 'Ahmad' here Ahmedpiya aka Khansaheb Alladiya? Is 'Partap' a reference to (a) god or someone else?
Madam, I recollected meera bhajan of Latha garu sung decades back in LP gramophone, when u sung this raga now. Thank u for ur presentation of the raga.
Madam, ur presentation is very apt, as compared to carnatic raga performances so far heard in my life till today.
This raag in particular is a masterful synthesis of supreme imagination. Lots of respect to the composer and the brilliant performers like Manjiriji who have carried it forward so delicately with dedication. ❤
Madam, alap is very clearly explained.
Wonderful explanation of structural elements about rag .we can imagine the how analitically guru kanetkar must have received the talim .how he must have thought over it.salute to guru kanetkar and manjireetai both.i can imagine the treasure of manjireetai.
वा..वा, मंजिरी !
In the first two minutes only, the introduction is such as to elicit much awe and interest! Thanks to TH-cam for recommending this.
खूपच छान🙏
Very Nice tai😊🙏❤️
Khup sunder
वा ..मंजिरीताईं खूप छान ...धन्यवाद ...
वा, फार सुन्दर! दुसरा प्रकार केव्हा सांगणार
Husseini todi and particularly this bandish naranjan kijiye is used as a base for giving music to pad song ,ahankar Maza vidhit ase,in femous Marathi play vidyaharan written by kakasaheb khadilkar.
डिंडौन बाजे ..... आहे बहुतेक
Do you know the full bol of the sthai? (something like:) niranjan kijie malamukta mere parta tohe mata jo ke ????
That natyasangeet is based on a traditional bandish in Raag Desi- Didaam daana baaje
niraMjana keeje
malamukta mere parataapa so ahamada jooke |
toohee noora toohee bhoopa terohee guna gaaUM
sevaa kare saba jeeva jaMtu tere
parataapa so ahamada jooke ||
ekanako dinhe maala mulukha takhta
ekanako dinhee maayaa ghaneree ||
darasa daasa tose yahee maaMgata hai
meree mukata meM kara naahee deree
parataapa so ahamada jooke ||
What a spiritual composition, when heard through Tai’s singing here. Is the 'Ahmad' here Ahmedpiya aka Khansaheb Alladiya? Is 'Partap' a reference to (a) god or someone else?
Nishad of Huseni phrase is of some another kind I guess...
Please may I get a help🙏
To my ears, it seems like it is in between komal and shuddh ni, somewhat like how ni comes in Desi and Adana.
This bandish is in fact given in Bhatkhande's Kramik Pustak Malika under Raag Desi.
Theuse of two nishads are not very clear. Slight use of suddha gandhar which is not very clear. More clarity is required.