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Irfan Zuberi
India
Приєднався 21 бер 2008
I have been working in the domain of the arts and cultural heritage for more than 20 years as researcher, audiovisual archivist, cultural consultant, editor, festival & exhibition curator. Since its inception, I have been the Project Manager, National Cultural Audiovisual Archives, Indira Gandhi National Centre for the Arts, Ministry of Culture, Government of India in New Delhi. Prior to this, I have successfully completed archival projects at Ravi Shankar Institute for Music and Performing Arts, Aga Khan Trust for Culture and NaadSaagar Archives and Documentation Society for South Asian Music.
On this channel, I would be uploading archival recordings of Hindustani music, with an emphasis on Dhrupad, Khayal & Qawwali, taking care to ensure integrity of complete performances. The Shorts I upload would be a reflection of my day-to-day experiences of attending events such as exhibitions, festivals and performances.
Disclaimer: No copyright infringement, of any kind, is intended.
On this channel, I would be uploading archival recordings of Hindustani music, with an emphasis on Dhrupad, Khayal & Qawwali, taking care to ensure integrity of complete performances. The Shorts I upload would be a reflection of my day-to-day experiences of attending events such as exhibitions, festivals and performances.
Disclaimer: No copyright infringement, of any kind, is intended.
10 Pandit Mallikarjun Mansur - Karagisi Enna Manada ಕರಗಿಸಿ ಎನ್ನ ಮನದ - Channabasavanna Samadhi
Pandit Mallikarjun Mansur (31 December 1910 - 12 September 1992) hailed from Dharwad, Karnataka, and was an exponent of khayal gayaki, having been trained in the Gwalior and Atrauli gharana traditions. He learnt from Pandit Nilakanthbua Alurmath of Miraj, who had, in turn, received ta’lim from Pandit Balakrishnabua Ichalkaranjikar. Subsequently, Mansur ji became the gandabandh shagird of Ustad Badruddin ‘Manjhi’ Khan sahib, the son of Ustad Ghulam Ahmed 'Allahdiya' Khan sahib, one of the progenitors of the Atrauli gharana tradition. Following the untimely demise of Ustad Manjhi Khan sahib, Mansur ji subsequently learnt from Ustad Shamsuddin ‘Bhurji’ Khan sahib, the younger son of Ustad Allahdiya Khan sahib. Through his eclectic ta’lim and meticulous riyaz, Mansur ji was able to craft a gayaki which was instrumental in popularising the Atrauli gharana repertoire, along with several other representatives of the gharana tradition.
Anyone who knows anything about Pandit Mallikarjun Mansur knows that he was extremely devoted to the saints of the Lingayat tradition and counted on their blessings and guidance in his life tremendously. Among the places that he frequented through the part of his life from the late 1950s and early 1960s was the Samadhi of Channabasavanna in Ulavi. Other important places included the Murugha Math in Dharwad, Gachhin Math in Athani and Duradundishwar Siddhasamsthan Math in Murgod. During the month of Shravan, Mansur ji would make journeys to these important places and offer musical service for the saints, consisting of ragas and primarily vachana-s by Basavanna, Akka Mahadevi, Allama Prabhu and other noted Shiva Sharanas. In this period, he would often go to the extent of declining concert engagements and festivals of Indian classical music that were being held in Bombay, Calcutta and Delhi.
This is a unique recording in several ways. Firstly, it is the only recording we have of Mansur ji’s singing at the Samadhi of Channabasavanna in Ulavi, that gives us an insight into the repertoire he performed on these occasions. Secondly, at a total length of a little over 45 minutes, I am given to understand that it is not a complete recording but is still the closest thing we have to understand this particular dimension of Mansur ji’s life. Thirdly, while his Vachana renditions that formed a part of his concerts, as well as the recordings he made for commercial record companies as well as All India Radio might be of better audio quality, this recording informs us about the context Vachana-s are intended for. Lastly, Mansur ji’s choice of opening with “Mahadev Vishwambhar…” in raga Jhinjhoti and then proceeding onwards to sing 9 Vachana-s in quick succession are reflective of the way he thought about these presentations and used them as an opportunity to further expand his Vachana repertoire.
On this particular trip to Ulavi, Mansur ji was accompanied by his grandson Mahantesh, disciple Pandit Panchakshariswami Mattigatti, long-time accompanist Pandit Basavaraj Bendigiri, and Shri Raman Bharadwaj, the son of Mansur ji’s disciple Pandit Shripad Venkatesh Bhirdikar. It was Raman who had carried a Bush tape recorder with him and recorded this important occasion for posterity. When I spoke to him, he said it was either in 1982/1983 that this recording had been made and shared with me that it was during this trip that he started learning Tabla from Pandit Basavaraj Bendigiri, with Mansur ji looking on and encouraging the proceedings.
The following is the repertoire which had been recorded on the occasion in Ulavi:
01 Raga Jhinjhoti -ua-cam.com/video/l0s9nZsjpAo/v-deo.html
02 Kalabeda Kolabeda ಕಳಬೇಡ ಕೊಲಬೇಡ - ua-cam.com/video/dznunAlr9zc/v-deo.html
03 Neenolidare Koradu ನೀನೊಲಿದರೆ ಕೊರಡು - ua-cam.com/video/Fqw7EQB7ino/v-deo.html
04 Surara Bedidadilla ಸುರರ ಬೇಡಿದಡಿಲ್ಲ - ua-cam.com/video/IGjRUYTkcpU/v-deo.html
05 Kanutta Kanutta ಕಾಣುತ್ತಾ ಕಾಣುತ್ತಾ - ua-cam.com/video/TvvnbrHbwNc/v-deo.html
06 Akka Kelavva ಅಕ್ಕ ಕೇಳವ್ವ - ua-cam.com/video/VZPjREbmXkQ/v-deo.html
07 Nudidare Mutthina Haara ನುಡಿದರೆ ಮುತ್ತಿನ ಹಾರದಂತಿರಬೇಕು - ua-cam.com/video/LwLjfLoO9gM/v-deo.html
08 Nodalaagade ನೋಡಲಾಗದೆ ದೇವನೇ - ua-cam.com/video/D3MjNk1UGtM/v-deo.html
09 Appanu Namma ಅಪ್ಪನು ನಮ್ಮ ಮಾದರ ಚೆನ್ನಯ್ಯ - ua-cam.com/video/hpnQP5VSlPQ/v-deo.html
10 Karagisi Enna Manada ಕರಗಿಸಿ ಎನ್ನ ಮನದ - ua-cam.com/video/otx1WTqjxts/v-deo.html
The complete playlist available at ua-cam.com/play/PLAmsAU2DOhq7QwquLgaLRlKecK5ErZZUf.html
Recordist: Shri Raman Bharadwaj, disciple of Pandit Basavaraj Bendigiri & son of Shri Shripad Venkatesh Bhirdikar, disciple of Pandit Mallikarjun Mansur
Anyone who knows anything about Pandit Mallikarjun Mansur knows that he was extremely devoted to the saints of the Lingayat tradition and counted on their blessings and guidance in his life tremendously. Among the places that he frequented through the part of his life from the late 1950s and early 1960s was the Samadhi of Channabasavanna in Ulavi. Other important places included the Murugha Math in Dharwad, Gachhin Math in Athani and Duradundishwar Siddhasamsthan Math in Murgod. During the month of Shravan, Mansur ji would make journeys to these important places and offer musical service for the saints, consisting of ragas and primarily vachana-s by Basavanna, Akka Mahadevi, Allama Prabhu and other noted Shiva Sharanas. In this period, he would often go to the extent of declining concert engagements and festivals of Indian classical music that were being held in Bombay, Calcutta and Delhi.
This is a unique recording in several ways. Firstly, it is the only recording we have of Mansur ji’s singing at the Samadhi of Channabasavanna in Ulavi, that gives us an insight into the repertoire he performed on these occasions. Secondly, at a total length of a little over 45 minutes, I am given to understand that it is not a complete recording but is still the closest thing we have to understand this particular dimension of Mansur ji’s life. Thirdly, while his Vachana renditions that formed a part of his concerts, as well as the recordings he made for commercial record companies as well as All India Radio might be of better audio quality, this recording informs us about the context Vachana-s are intended for. Lastly, Mansur ji’s choice of opening with “Mahadev Vishwambhar…” in raga Jhinjhoti and then proceeding onwards to sing 9 Vachana-s in quick succession are reflective of the way he thought about these presentations and used them as an opportunity to further expand his Vachana repertoire.
On this particular trip to Ulavi, Mansur ji was accompanied by his grandson Mahantesh, disciple Pandit Panchakshariswami Mattigatti, long-time accompanist Pandit Basavaraj Bendigiri, and Shri Raman Bharadwaj, the son of Mansur ji’s disciple Pandit Shripad Venkatesh Bhirdikar. It was Raman who had carried a Bush tape recorder with him and recorded this important occasion for posterity. When I spoke to him, he said it was either in 1982/1983 that this recording had been made and shared with me that it was during this trip that he started learning Tabla from Pandit Basavaraj Bendigiri, with Mansur ji looking on and encouraging the proceedings.
The following is the repertoire which had been recorded on the occasion in Ulavi:
01 Raga Jhinjhoti -ua-cam.com/video/l0s9nZsjpAo/v-deo.html
02 Kalabeda Kolabeda ಕಳಬೇಡ ಕೊಲಬೇಡ - ua-cam.com/video/dznunAlr9zc/v-deo.html
03 Neenolidare Koradu ನೀನೊಲಿದರೆ ಕೊರಡು - ua-cam.com/video/Fqw7EQB7ino/v-deo.html
04 Surara Bedidadilla ಸುರರ ಬೇಡಿದಡಿಲ್ಲ - ua-cam.com/video/IGjRUYTkcpU/v-deo.html
05 Kanutta Kanutta ಕಾಣುತ್ತಾ ಕಾಣುತ್ತಾ - ua-cam.com/video/TvvnbrHbwNc/v-deo.html
06 Akka Kelavva ಅಕ್ಕ ಕೇಳವ್ವ - ua-cam.com/video/VZPjREbmXkQ/v-deo.html
07 Nudidare Mutthina Haara ನುಡಿದರೆ ಮುತ್ತಿನ ಹಾರದಂತಿರಬೇಕು - ua-cam.com/video/LwLjfLoO9gM/v-deo.html
08 Nodalaagade ನೋಡಲಾಗದೆ ದೇವನೇ - ua-cam.com/video/D3MjNk1UGtM/v-deo.html
09 Appanu Namma ಅಪ್ಪನು ನಮ್ಮ ಮಾದರ ಚೆನ್ನಯ್ಯ - ua-cam.com/video/hpnQP5VSlPQ/v-deo.html
10 Karagisi Enna Manada ಕರಗಿಸಿ ಎನ್ನ ಮನದ - ua-cam.com/video/otx1WTqjxts/v-deo.html
The complete playlist available at ua-cam.com/play/PLAmsAU2DOhq7QwquLgaLRlKecK5ErZZUf.html
Recordist: Shri Raman Bharadwaj, disciple of Pandit Basavaraj Bendigiri & son of Shri Shripad Venkatesh Bhirdikar, disciple of Pandit Mallikarjun Mansur
Переглядів: 153
Відео
09 Pandit Mallikarjun Mansur - Appanu Namma ಅಪ್ಪನು ನಮ್ಮ ಮಾದರ ಚೆನ್ನಯ್ಯ - Channabasavanna Samadhi
Переглядів 1014 місяці тому
Pandit Mallikarjun Mansur (31 December 1910 - 12 September 1992) hailed from Dharwad, Karnataka, and was an exponent of khayal gayaki, having been trained in the Gwalior and Atrauli gharana traditions. He learnt from Pandit Nilakanthbua Alurmath of Miraj, who had, in turn, received ta’lim from Pandit Balakrishnabua Ichalkaranjikar. Subsequently, Mansur ji became the gandabandh shagird of Ustad ...
08 Pandit Mallikarjun Mansur - Nodalaagade ನೋಡಲಾಗದೆ ದೇವನೇ - Channabasavanna Samadhi
Переглядів 1164 місяці тому
Pandit Mallikarjun Mansur (31 December 1910 - 12 September 1992) hailed from Dharwad, Karnataka, and was an exponent of khayal gayaki, having been trained in the Gwalior and Atrauli gharana traditions. He learnt from Pandit Nilakanthbua Alurmath of Miraj, who had, in turn, received ta’lim from Pandit Balakrishnabua Ichalkaranjikar. Subsequently, Mansur ji became the gandabandh shagird of Ustad ...
07 Pandit Mallikarjun Mansur - Nudidare Mutthina ನುಡಿದರೆ ಮುತ್ತಿನ - Channabasavanna Samadhi
Переглядів 1254 місяці тому
Pandit Mallikarjun Mansur (31 December 1910 - 12 September 1992) hailed from Dharwad, Karnataka, and was an exponent of khayal gayaki, having been trained in the Gwalior and Atrauli gharana traditions. He learnt from Pandit Nilakanthbua Alurmath of Miraj, who had, in turn, received ta’lim from Pandit Balakrishnabua Ichalkaranjikar. Subsequently, Mansur ji became the gandabandh shagird of Ustad ...
06 Pandit Mallikarjun Mansur - Akka Kelavva (Fragment) ಅಕ್ಕ ಕೇಳವ್ವ - Channabasavanna Samadhi
Переглядів 1234 місяці тому
Pandit Mallikarjun Mansur (31 December 1910 - 12 September 1992) hailed from Dharwad, Karnataka, and was an exponent of khayal gayaki, having been trained in the Gwalior and Atrauli gharana traditions. He learnt from Pandit Nilakanthbua Alurmath of Miraj, who had, in turn, received ta’lim from Pandit Balakrishnabua Ichalkaranjikar. Subsequently, Mansur ji became the gandabandh shagird of Ustad ...
05 Pandit Mallikarjun Mansur - Kanutta Kanutta ಕಾಣುತ್ತಾ ಕಾಣುತ್ತಾ - Channabasavanna Samadhi
Переглядів 1694 місяці тому
Pandit Mallikarjun Mansur (31 December 1910 - 12 September 1992) hailed from Dharwad, Karnataka, and was an exponent of khayal gayaki, having been trained in the Gwalior and Atrauli gharana traditions. He learnt from Pandit Nilakanthbua Alurmath of Miraj, who had, in turn, received ta’lim from Pandit Balakrishnabua Ichalkaranjikar. Subsequently, Mansur ji became the gandabandh shagird of Ustad ...
04 Pandit Mallikarjun Mansur - Surara Bedidadilla ಸುರರ ಬೇಡಿದಡಿಲ್ಲ - Channabasavanna Samadhi
Переглядів 3284 місяці тому
Pandit Mallikarjun Mansur (31 December 1910 - 12 September 1992) hailed from Dharwad, Karnataka, and was an exponent of khayal gayaki, having been trained in the Gwalior and Atrauli gharana traditions. He learnt from Pandit Nilakanthbua Alurmath of Miraj, who had, in turn, received ta’lim from Pandit Balakrishnabua Ichalkaranjikar. Subsequently, Mansur ji became the gandabandh shagird of Ustad ...
03 Pandit Mallikarjun Mansur - Neenolidare Koradu ನೀನೊಲಿದರೆ ಕೊರಡು - Channabasavanna Samadhi
Переглядів 2644 місяці тому
Pandit Mallikarjun Mansur (31 December 1910 - 12 September 1992) hailed from Dharwad, Karnataka, and was an exponent of khayal gayaki, having been trained in the Gwalior and Atrauli gharana traditions. He learnt from Pandit Nilakanthbua Alurmath of Miraj, who had, in turn, received ta’lim from Pandit Balakrishnabua Ichalkaranjikar. Subsequently, Mansur ji became the gandabandh shagird of Ustad ...
02 Pandit Mallikarjun Mansur - Kalabeda Kolabeda ಕಳಬೇಡ ಕೊಲಬೇಡ - Channabasavanna Samadhi
Переглядів 1284 місяці тому
Pandit Mallikarjun Mansur (31 December 1910 - 12 September 1992) hailed from Dharwad, Karnataka, and was an exponent of khayal gayaki, having been trained in the Gwalior and Atrauli gharana traditions. He learnt from Pandit Nilakanthbua Alurmath of Miraj, who had, in turn, received ta’lim from Pandit Balakrishnabua Ichalkaranjikar. Subsequently, Mansur ji became the gandabandh shagird of Ustad ...
01 Pandit Mallikarjun Mansur - Raga Jhinjhoti - Channabasavanna Samadhi
Переглядів 5864 місяці тому
Pandit Mallikarjun Mansur (31 December 1910 - 12 September 1992) hailed from Dharwad, Karnataka, and was an exponent of khayal gayaki, having been trained in the Gwalior and Atrauli gharana traditions. He learnt from Pandit Nilakanthbua Alurmath of Miraj, who had, in turn, received ta’lim from Pandit Balakrishnabua Ichalkaranjikar. Subsequently, Mansur ji became the gandabandh shagird of Ustad ...
Pandit Mallikarjun Mansur - 22b Tattvapada "Teraneleyuthare Thangi..." "ೇರನೆಳೆಯುತಾರೆ ತಂಗಿ..."
Переглядів 2564 місяці тому
Pandit Mallikarjun Mansur (31 December 1910 - 12 September 1992) hailed from Dharwad, Karnataka, and was an exponent of khayal gayaki, having been trained in the Gwalior and Atrauli gharana traditions. He learnt from Pandit Nilakanthbua Alurmath of Miraj, who had, in turn, received ta’lim from Pandit Balakrishnabua Ichalkaranjikar. Subsequently, Mansur ji became the gandabandh shagird of Ustad ...
Pandit Mallikarjun Mansur - 22a Vachana "Neenolidare Koradu..." "ನೀನೊಲಿದರೆ ಕೊರಡು ಕೊನರುವುದಯ್ಯ..."
Переглядів 2024 місяці тому
Pandit Mallikarjun Mansur (31 December 1910 - 12 September 1992) hailed from Dharwad, Karnataka, and was an exponent of khayal gayaki, having been trained in the Gwalior and Atrauli gharana traditions. He learnt from Pandit Nilakanthbua Alurmath of Miraj, who had, in turn, received ta’lim from Pandit Balakrishnabua Ichalkaranjikar. Subsequently, Mansur ji became the gandabandh shagird of Ustad ...
Pandit Mallikarjun Mansur - 21b Geet "Sada Viharati..."
Переглядів 864 місяці тому
Pandit Mallikarjun Mansur (31 December 1910 - 12 September 1992) hailed from Dharwad, Karnataka, and was an exponent of khayal gayaki, having been trained in the Gwalior and Atrauli gharana traditions. He learnt from Pandit Nilakanthbua Alurmath of Miraj, who had, in turn, received ta’lim from Pandit Balakrishnabua Ichalkaranjikar. Subsequently, Mansur ji became the gandabandh shagird of Ustad ...
Pandit Mallikarjun Mansur - 21a Bhajan "Shree Ramana..."
Переглядів 1164 місяці тому
Pandit Mallikarjun Mansur (31 December 1910 - 12 September 1992) hailed from Dharwad, Karnataka, and was an exponent of khayal gayaki, having been trained in the Gwalior and Atrauli gharana traditions. He learnt from Pandit Nilakanthbua Alurmath of Miraj, who had, in turn, received ta’lim from Pandit Balakrishnabua Ichalkaranjikar. Subsequently, Mansur ji became the gandabandh shagird of Ustad ...
Pandit Mallikarjun Mansur - 20b Raga Yamani Bilawal "Aali Ri Kit Ve Gaye..."
Переглядів 1354 місяці тому
Pandit Mallikarjun Mansur (31 December 1910 - 12 September 1992) hailed from Dharwad, Karnataka, and was an exponent of khayal gayaki, having been trained in the Gwalior and Atrauli gharana traditions. He learnt from Pandit Nilakanthbua Alurmath of Miraj, who had, in turn, received ta’lim from Pandit Balakrishnabua Ichalkaranjikar. Subsequently, Mansur ji became the gandabandh shagird of Ustad ...
Pandit Mallikarjun Mansur - 20a Raga Nayaki Kanhra "Mero Piya Rasiya..."
Переглядів 1954 місяці тому
Pandit Mallikarjun Mansur - 20a Raga Nayaki Kanhra "Mero Piya Rasiya..."
Pandit Mallikarjun Mansur - 19b Raga Miyan ki Todi "Daiyya Baat Dubhar..."
Переглядів 934 місяці тому
Pandit Mallikarjun Mansur - 19b Raga Miyan ki Todi "Daiyya Baat Dubhar..."
Pandit Mallikarjun Mansur - 19a Raga Ek Nishad Bihagda "Bairan Bin..."
Переглядів 994 місяці тому
Pandit Mallikarjun Mansur - 19a Raga Ek Nishad Bihagda "Bairan Bin..."
Pandit Mallikarjun Mansur - 18b Raga Bhairav Bahar "Jobana Re..."
Переглядів 1684 місяці тому
Pandit Mallikarjun Mansur - 18b Raga Bhairav Bahar "Jobana Re..."
Pandit Mallikarjun Mansur - 18a Bandish ki Thumri in Raga Mishra Mand "Mann Har Lino..."
Переглядів 834 місяці тому
Pandit Mallikarjun Mansur - 18a Bandish ki Thumri in Raga Mishra Mand "Mann Har Lino..."
Pandit Mallikarjun Mansur - 17b Dadra in Raga Kafi "Barkatwa Liyo..."
Переглядів 674 місяці тому
Pandit Mallikarjun Mansur - 17b Dadra in Raga Kafi "Barkatwa Liyo..."
Pandit Mallikarjun Mansur - 17a Raga Gaud Malhar "Surang Chunariya..."
Переглядів 1254 місяці тому
Pandit Mallikarjun Mansur - 17a Raga Gaud Malhar "Surang Chunariya..."
Pandit Mallikarjun Mansur - 16b Tarana in Raga Malkauns
Переглядів 814 місяці тому
Pandit Mallikarjun Mansur - 16b Tarana in Raga Malkauns
Pandit Mallikarjun Mansur - 16a Raga Puriya "Piya Mere Mann..."
Переглядів 604 місяці тому
Pandit Mallikarjun Mansur - 16a Raga Puriya "Piya Mere Mann..."
Pandit Mallikarjun Mansur - 15b Raga Durga "Chatar Sughar..."
Переглядів 844 місяці тому
Pandit Mallikarjun Mansur - 15b Raga Durga "Chatar Sughar..."
Pandit Mallikarjun Mansur - 15a Raga Todi "Been Been Bajaayi..."
Переглядів 864 місяці тому
Pandit Mallikarjun Mansur - 15a Raga Todi "Been Been Bajaayi..."
Pandit Mallikarjun Mansur - 14b Raga Brindabani Sarang "Eri Main Jaagi..."
Переглядів 684 місяці тому
Pandit Mallikarjun Mansur - 14b Raga Brindabani Sarang "Eri Main Jaagi..."
Pandit Mallikarjun Mansur - 14a Raga Basant "Aisi Mundhata..."
Переглядів 744 місяці тому
Pandit Mallikarjun Mansur - 14a Raga Basant "Aisi Mundhata..."
Pandit Mallikarjun Mansur - 13b Raga Jaijaiwanti "Tujhe Malarani..."
Переглядів 904 місяці тому
Pandit Mallikarjun Mansur - 13b Raga Jaijaiwanti "Tujhe Malarani..."
Pandit Mallikarjun Mansur - 13a Raga Lalita Gauri "Yaar Kataari Mhanu Prem Di..."
Переглядів 614 місяці тому
Pandit Mallikarjun Mansur - 13a Raga Lalita Gauri "Yaar Kataari Mhanu Prem Di..."
Reading your description reminds me of something I believe mansur said of his own gayaki, When he received his fame towards the end of his life, I believe he would refer to his gayaki as "retirement gayaki" You being the mansur scholar would probably be able to verify if this is correct or not!
Watching Pandit Mallikarjun Mansur perform is one of life's greatest treasures. Indescribable how much solace and joy he brings to our lives.
@@deevaan Totally agree! 😇
Celestial! Again!!
Wonderful tribute to Great son of Dharwad🙏...Proud of uniquely divine voices of my unique place in the world called #HubliDharwad .. Tq Irfanji 🙏
@@prakashkpadaki5050 Thanks for the kind words of appreciation. It’s a blessed land indeed and you’re fortunate to belong to it. 😊🙏🏻
Thanks Irfan. Amazing rendition. This is a gem.
Legend of all time ,very simple humble man.PRANAMAM 🙏🙏🙏
it's a huge huge treasure
Koti koti pranam
@@mukundkhalatkar9446 😊🙏🏻
Great Kannada Vachana Bhakti song og 12 th century by Akkamahadevi
Thanks for uploading this rare bhairavi by mansur ji Pl upload more if u have
@@bhagwanrane9053 Thanks for the appreciation. I will certainly upload many more of his recordings in the coming weeks. 😊
Wow!! This is absolutely divine. Veena Sahasrabuddhe on Tanpura
दे हात शरणागता.....
You may enjoy this rendition by panditji ua-cam.com/video/0lcAgPPjQq4/v-deo.htmlsi=6v2i7pFh4iT9JKZ7
Thank u for uploading
Great great singer. Had an opportunity to listen to his live concert in Trivandrum long time back.
@@janardh1 Thanks for your comment! It would be lovely if you can elaborate the memory of listening to his live recital - when it was, what he sang, what was the occasion, etc. - if possible. 😊
The occasion was Soorya festival in 1980s. Venue was senate hall of Kerala University. His family members , few daughters and grand children were present on the stage. In fact, one of the little child was crying and she was made to sit facing the opposite side of the mic so that the child music did not mix his with music. In the next days news paper, there was a photograph of the same . Title was back facing child music. Mallikarjun ji was not bothered about the child music. 😂. Unfortunately, I do not remember the raga he rendered on that day.
@@janardh1 Thank you sooooo much for describing the scene so vividly for us all! Hahahahaha... that does sound like it must've been quite a funny sight to see one of his grandchildren with the back facing the audience; it's quite incredible that nothing, just nothing disturbed Mansur ji's music-making! Incredible!!! 🙂
All most same as Saoni, bihag ang, and also ek nishad ki bihagra.
Well, it doesn't sound like Ek Nishad Bihagda to me and certainly not like Sawani at all! But ok, to each, his/her own!
@@IrfanZuberi1980 Please post a good compilation of Ek Nishad Ki Bihagra and Bihag Ang Ki Saoni with this one of Pandit Mansur ji, and differenciate those three ragas with notational expression and phrase...
@@ujjalsitar All the best to you for doing this yeoman task. I’m sure you’ll be able to locate plenty of recordings in the public domain for carrying out this noble experiment.
@@IrfanZuberi1980 😀😀😀
difficult to differentiate with bihagra. All most the same.
Really? Well, not at all to my ears! 🙂
Hello sir , why he used shuddha nishad in bahaduri todi ? And also the way he rested on shuddh madhyam is so different than usual bahaduri todi . Could you elaborate more about it ?
As far as my knowledge goes, this version of Bahaduri Todi is known as version 2 within the repertoire of Mansur ji's strand within Atrauli gharana... it has some affinities to Bilaskhani but is distinct from it as well. For anything more than that, it would be better to reach out to gharana practitioners like Shruti Tai, Manjiri Tai and others. Best wishes. 🙂
@@IrfanZuberi1980 thank you so much I appreciate your effort sir ❤
Irfanji what can I say? This piece is like holding me and telling me lets meet your God, there are very few recordings of this master genius, and you have documented him and his recordings, a treasure to hold and a path to follow, obliged and indebted forever that's the only thing I can say.
@@maheshkoli8980 Wow! Thank you so much for these extremely kind words of appreciation. I am so glad that this guided listening session has been liked by connoisseurs. 😊🙏🏻
❤️
Wahh wahh wahh❤️🙏🏼🙏🏼
Please provide some information about this raag .
This is fantastic..❤❤❤ I never heard this Raga before in vocal as mostly it is played in instrumental music. But this is outstanding.. Irfan sir you have a treasure.. ❣️❣️❣️☺️
@@yogeshb357 Thank you for the kind words of appreciation. I’m glad that you enjoyed listening to this very special recording. You’re right - there are very few exceptional recordings of vocal music in Jhinjhoti but you’ll find several from Agra & Atrauli singers as it was very much a part of their repertoire. 😊
Thanks for sharing ❤
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I happened to find a clip of this very composition by the great Laxmi bai jadhav. The admirers of the old gems of Hindustani classical must see both the renderings objectively.
@@user-uo6dm2br7w Given how few aesthetic renditions of Bhankar there are, it would be good for listeners to listen to as many as are available. 😊 Laxmibai ji’s singing is so sureela, with thehrav that at times it even feels that she’s at odds with most others of her generation from the Atrauli tradition.
Vagadeeshwari is now listed as a Karnatic raga. Interesting to know that Dhrupad and Karnatic music have certain ragas in common- the commonest being Kambhoji.
@@silverghost5752 Indeed! Dagar Bani performers of the previous generation followed the Melakarta paddhati… my own guru Ustad Rahim Fahimuddin Khan Dagar sahib taught me a dhrupad in Kanakangi.
@@IrfanZuberi1980 Very interesting. Adds strength to the theory that dhrupad is closer to certain aspects of Karnatic paddhathi than is khyal which shows the influence of Persian and Arabic music. Wonder if some serious work has been done on the similarities between dhrupad and Karnatic music (especially the Ragam-Tanam-Pallavi format). Thank you for responding. Keep up the excellent work!
This concert is special because in the audience is his friend, admirer and a connoisseur of music, Shri. P. L. Deshapande, also present is Pt. Wamanrao Deshpande, Veena Shasrabudhhe on tanpura and many other celebrities. Balkrishna Iyer has given inspired and complimentary table accompaniment. A concert to be treasured.
@@maheshdesai493 Thank you for adding the name of Wamanrao ji to the list of connoisseurs I have shared in the detailed description for the videos in this mehfil. 😊
Pandit Mansur ji has left his imprint on this Raga Khat. Unique rendition!
Great Effort about Pt Mallikarjun Mansur. Really Happy to listen it.
@@devupattar Thank you for your kind words of appreciation. 😊🙏🏻
great singing
Feeling blessed by hearing this masterpiece! How could I miss this all these years?
Glad you are enjoying these iconic renditions by Mansur ji! His oeuvre was so large that it's completely understandable you've missed out on a few pieces. 🙂
Damn!!!! That’s Veena Sahastrabuddhe ji on tanpura 😳😳😳
@@jayantapanigrahi4920 Yes!!!!!! 😊
My God!!!!! This Raga just shreds your souls to bits. Extremely poignant raaaga and when you have Mallikarjun ji sing it ….it just transports you to a completely different realm
@@jayantapanigrahi4920 Precisely!!! Glad you used the phrase about shredding the soul to bits… so deeply a Sufi concept and this bandish is just laden with layers & layers of meaning like all Bhakti poetry is! 😊
@@IrfanZuberi1980 thanks for letting us enjoy this epic of a composition
oh, this is soooooo tough one :) 2 dhaivats interspersed and the bhatiyar like use of teevra madhyam and the lalitanga meends...exquisite and flawless execution as usual by the supreme master ! :) naman
These ragas were just meant for Mansur ji! Not only did he sing them effortlessly, he brought out so much from their recesses… 😊
Thank you so much for presenting this Irfan.. was an awesome awesome listening to Mallikarjun Mansur. I had read somewhere that Dharwad became the seat of Hindustani music because Abdul Karim Khan would rest up here before proceeding to Mysore palace during his travels
Thanks for the kind words of appreciation... glad you enjoyed the presentation. 🙂 The thing about Ustad Abdul Karim Khan sahib and Dharwad is of course true... but the Atrauli Ustads Naththan Khan and Abdullah Khan had already been playing an important role spreading Hindustani music in the region... it's a rich history that needs far more thorough research than has been done so far!
lovely :)
You made wonderful presentation sir, what to say about MM
@@user-tc2xt9jh6n Thanks for the appreciation. 😊🙏🏻
Pl give some details of Gharana and period of event. Now this type of Mehefils are dream....
@@drhrshah5978 Please read the detailed description for the relevant details.
What a bliss to listen Panditji ! I've listened many artist's singing same raga and composition (were Marathi though) but very few artists were able to bringout the soul in this geet, Pt. Mansur hits that list. This is raag Arabhi, a variation of raag durga with shuddha gandhar. They say that original geet was in kannada in taal dadra. In marathi this is translated as ‘ Chandrika hi janu ’ - natyapad from ‘ Manapaman ’ (drama). Many artists have sung it in different taala, Master Dinanath used to sing it in rupak, Bhimsenji used to sing in addha teentaal. Among many artists my favourite was of Master Dinanath's recording, Ustad Abdul Karim Khansaheb's recording, Chotta Gandharva's recording, Pt. Bhimsen Joshi's recording from 2001 (his old recordings were also good but still the completeness was still missing until now), Pt. Kumar Gandharva (he presented this in Marathi but in Dadra and his style of presentation was completely different from usual artist's, pure melody) and obviously Pt. Mansurji's piece. Ustad Abdul Karim Khansaheb has sung this natyageet in Raag Devgandhari(almost similar to Raag Arabhi). Unlike old days, latest recordings get more time for presentation but they still fail to bring out that sweetness which these old days artist's used to bring in few minutes. Pt. Mansur really used to sing every style (in early days) with his melodious voice and used to bring soul in his presentations. Also later on, reflected his brilliance in khayal gayaki. Mr. Zuberiji, you are doing really great work for us rasikaas by uploading his recordings. Hearing to every masterpiece of Mansurappa on your channel has become my daily schedule. Looking forward to more recordings of this maestro. Please upload more khayal gayaki of Pt. Rajshekhar Mansur if available.
Aha, thanks a lot for this detailed comment and an assessment of the various yesteryear maestros who have sung this piece. I must say that I got to learn a lot reading through your comment. It's my pleasure & delight to share these recordings with connoisseurs such as yourself because it leads to such engaging discussions in which we all get to learn so much! 🙂 As far as Pandit Rajshekhar Mansur ji's recordings are concerned, all others in my collection are already available on UA-cam in one form or another, so I thought it wouldn't be a good idea to replicate the same. I will, however, be uploading several more recordings of Pandit Mallikarjun Mansur over the coming weeks. 🙂
@@IrfanZuberi1980 Thanks for replying 🙏 Eagerly waiting for upcoming recordings.
Remain silent and bask in the sunshine of this celestial singing!
Irfan Bhai , your love for classical music is so vivid. The efforts you have put in presenting Mansur Sahab so systematically is phenomenal.Its truly said musicians have family all over the globe. Last week only I visited his home turned museum in Dharwad, it was like a pilgrimage for me. I could feel the vibes very much there. Thanks for presenting our heritage so beautifully. May God bless you and give you the strength to do more for music. 🌸🌸🌸🙏
Thanks a lot for the kind words of appreciation. 🙂 I do feel that recordings tend to get presented in a fragmented way, tearing apart concerts/mehfils and such kind of documentation sessions quite often. When they get presented in a sequential form with proper context, it does add to their level of appreciation for sure. Glad you enjoyed your visit to Shri Mrityunjaya in Dharwad... I first went there over 20 years ago and have visited it 4-5 times since. It does have an aura of simplicity and humility that we associate with Mansur ji. 🙂
Great!
Does anyone know the composer of the vilambit Nayaki bandish? It’s such a beautiful take on the more popular and equally beautiful Mero Piya. And no recital of Jayshree Tai seems to be complete without Yahi Gali Mat Jaana. Her playfulness and cute mispronunciations just add to the effect she creates.
Thanks for uploading this! She’s such a wonderful artiste. The vidvat and that voice at this age leave one at a loss for words. The meditative Poorvi, the meandering Nayaki, and the Jaijaiwanti sandwiched between them just made my day!
Wow, what singing! Any idea what Panditji is saying at 1:38?
@@gajamukhu I think he’s saying something about the quantum of andolan usually deployed by other musicians in Darbari.
@@IrfanZuberi1980 Thanks. That’s what I guessed; just wanted to make sure.
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Vintage Mansoor ! 🙏👌 Thanks a lot for uploading !!
Glad you enjoyed it! Thanks for the appreciation. 🙂
Captivating.
This is highest show of Pt. Mallikarjun Mansur's scholarship. The short association with Ustad Manji Khan Saheb must have been one of the most intense guru-shishya association in the world of Hindustani classical music. Mansur never forgot this and always gave due credit to Manji Khan saheb. I even saw a photograph of Manji khan saheb at the "Devghar" of Mruntyunjaya (his residence) for worshiping,. I visited the residence of Pt. Mallikarjun Mansur in Dharwad couple of years ago. It was a pilgrimage for me.