07 Pandit Mallikarjun Mansur - Raga Bhoop - Live at Bal Gandharva Sangīt Sabha, Mumbai - July 1970
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- Опубліковано 28 жов 2024
- 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.
If I were to imagine that I was shipwrecked on a desert island, apart from the essentials, the following are the first cut of recordings of Pandit Mallikarjun Mansur that I would like to carry with me:
1. Raga Miyan ki Malhar, recorded on 30 June 1992 at All India Radio, Dharwad. For this recording, vocal support was provided by Pandit Rajshekhar Mansur, Tabla accompaniment was given by Pandit Raghunath Nakod, and Pandit Vasant Kankapur accompanied on the Harmonium.
2. Raga Shivmat Bhairav, recorded in 1982 at the Cricket Club of India, Mumbai. For this concert, vocal support was provided by Pandit Rajshekhar Mansur, Tabla accompaniment was given by Ustad Nizamuddin Khan, and Pandit Baban Manjrekar accompanied on the Harmonium.
3. Raga Bibhas, recorded on 18 July 1982 at the Bal Gandharva Sangeet Sabha in Mumbai. For this concert, vocal support was provided by Pandit Rajshekhar Mansur and Tabla accompaniment was given by Pandit Balkrishna Iyer.
4. Raga Miyan ki Todi, recorded on 17 June 1978 at a mehfil held in Dharwad. For this concert, vocal support was provided by Pandit Rajshekhar Mansur, Tabla accompaniment was given by Ustad Nizamuddin Khan, and Ustad Abdul Qadir accompanied on the Sarangi.
5. Raga Bahaduri Todi, recorded on 1 May 1992 at IMG, St. Xavier’s College, Mumbai. For this concert, vocal support was provided by Vidushi Shaila Datar, Tabla accompaniment was given by Pandit Balkrishna Iyer, and Pandit Tulsidas Borkar accompanied on the Harmonium.
6. Raga Khat, recorded on 1 October 1986 at a mehfil held at the Naralkar Residence in Pune. For this concert, vocal support was provided by Vidushi Veena Sahasrabuddhe & Pandit Suhas Datar, Tabla accompaniment was given by Pandit Balkrishna Iyer, and Dr. Arawind Thatte accompanied on the Harmonium.
7. Raga Bhoop, recorded in July 1970 at the Bal Gandharva Sangeet Sabha in Mumbai. For this concert, vocal support was provided by Pandit Panchakshariswami Mattigatti and Tabla accompaniment was given by Ustad Ghulam Qadir.
8. Raga Sawani, recorded on 7 July 1980 at a mehfil held at the Bengeri Residence in Mumbai. For this concert, vocal support was provided by Pandit Rajshekhar Mansur and Tabla accompaniment was given by Ustad Nizamuddin Khan.
9. Raga Ramdasi Malhar, recorded on 12 August 1988 in Mumbai. For this concert, vocal support was provided by Pandit Rajshekhar Mansur, Tabla accompaniment was given by Pandit Balkrishna Iyer, and Pandit Baban Manjrekar accompanied on the Harmonium.
10. Raga Sampoorna Malkauns, recorded in 1978 at the Gunidas Sangeet Sammelan in Mumbai. For this concert, vocal support was provided by Pandit Rajshekhar Mansur and Tabla accompaniment was given by Pandit D. R. Nerurkar.
11. Raga Kafi Kanhra, recorded on 25 April 1984 at the residence of the Ambassador of Qatar to India in Delhi. For this concert, Tabla accompaniment was given by Ustad Faiyaz Khan and Ustad Sabri Khan accompanied on the Sarangi.
These recordings have been culled out from several private and personal collections of connoisseurs and friends to whom I am grateful. I hope that the rasikas enjoy this as much as I have enjoyed selecting them from a large pool of archival recordings.
Panditji’s voice has a magical effect as he rides the crest
Indeed! His voice possesses an almost hypnotic quality. 😊
Simply outstanding.
It really is! An incredibly involved, detailed and passionate rendering... 🙂
Great!
🙏🙏🙏 Great Offering of Divine music of Greatest Panditji
My pleasure! So glad that the rasika-s are enjoying this selection of Desert Island Recordings of Mansur ji! 🙂
@@IrfanZuberi1980 Irfan Sir, I am a musicologist -Karnataka Sangitam. Pandit Mallikarjun Mansur is one of few my venerated musicians.
@@madhvamuniraosandhyavandan7662 Glad to know this Sir! 😊🙏🏻
Pt Mallikarjun Mansur's gayaki is riveting from the first note. As Mohan Nadkarni had noted, the laser beam precision of his sur and the way he used to commence his recital, able to get into the heart of a raga without the need for any alap beforehand, are what characterised Panditji. It's nice to hear this traditional composition in Bhoop interpreted in Panditji's gharanedaar gayaki.
Your desert island collection of Pt Mallikarjun Mansur is priceless, and that rendition of Khat is beyond description. Equally wonderful is that rendition of Bhankar in the same program which must have been the first raga of that mehfil.
Just slightly surprised that no rendition of Nat Kamod by Panditji features in your desert island collection 🙂
Thanks a lot for your words of appreciation! 🙂
The mehfil with Bhankar at the beginning and the masterly Khat was the first complete mehfil of Mansur ji that I uploaded on my channel... and it's even better that it's a complete video recording of the momentous occasion... do see the whole thing - it's an amazing morning mehfil at the home of Shri Shashi Naralkar ji in Pune.
Nat Kamod by Mansur ji is one of my all-time favourites... it's just so so so difficult to make a definitive Desert Island Recordings set for him... to be fair, there can be several iterations with totally different sets of ragas! 🙂
Great rendition. Wonderful.
Good to see the desert island selection shared!!
Thanks to you Rajiv ji! The idea struck a chord and I thought it would be good to share it here with a wider community of fellow rasika-s. 😊
Sir! Ur channel is a treasure! Thanks is too little to utter in response to what you have opened up for us ❤🥹
Awww, thanks a lot for the appreciation! Rasika-s like yourself keep pushing me to curate carefully whatever I share on my channel. Glad that it's being heard and liked. 🙂
This is absolutely priceless beyond measure: what your contribution is!! Maybe profoundness is not popular, but for those who indeed value it - to all of them: your work is extremely substantial and critical (in terms of importance)!! I'm touched to able to find a recording of Mansur ajja with Mattigatti ajja, I had been looking for one since a long time - as my father happens to be the student of Pandit Panchakshari Swami Mattigatti...
Thank you so much for such warmth and appreciation! I am humbled. 🙂
Delighted to connect with you here... I've always held the opinion that Mattigatti ji was by far the best disciple Mansur ji ever moulded. Glad to hear that your father is a student of Mattigatti ji. Please offer my pranaam to him!