Tabla Solo| Supreet Deshpande | Music of India
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- Опубліковано 8 вер 2024
- #supreetdeshpande #tabla #indianclassicalmusic #musicofindia
In this brilliant solo performance from Darbar Festival 2017, tabla exponent Supreet Deshpande provides glimpses of a motley styles of tabla playing through age-old compositions and his own brainstorming and ‘taleem’ (learning) in a rhythmic cycle of 16 beats or Teental. He is accompanied by Milind Kulkarni on the harmonium, who adds striking melody to the solo with a rich nagma exploding with notes from folksy Indian ragas.
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Learn more about the music:
Deshpande allows Kulkarni to take the lead with a long and evocative alap on the harmonium. He launches his performance in the Farrukhabad style with a peshkar. Thereafter, with fresh energy and vibrance, he doles out compositions of tabla doyens of the yesteryears. Deshpande has learned from his father, Pandit Kiran Deshpande and also Pandit Suresh Talwalkar. The first ‘qayda’ he plays is from the Delhi gharana and was composed by one of its founding fathers, Ustad Amir Hussain Khan (1899-1969). Citing this as one of his gurus’ favourites, he plays the composition and then improvises it with striking power and clarity.
A Benares gharana composition by Pandit Kishen Maharaj follows, where he blends elements of the Farrukhabad gharana (his maiden style) into its vistaar that lends a unique tonality and glow to the piece. Deshpande also offers interesting narratives before some of the pieces. He plays a ‘challan’ from the Lucknow gharana, describing it as one with a special movement or gait. He muses that just as the movement of a person gives clues of his/her personality, so does a challan of the gharana. He correlates the grace, sophistication and etiquette of the Persian culture that is inherent of the north Indian city of Lucknow to the personality of this challan. Interestingly, to this day, Lucknow city retains the elegance of the Mughal era from the 16th century when the dynasty ruled India for over 300 years.
Deshpande plays an unconventional composition of Ustad Habibuddin Khan (1899-1972), another stalwart of the Ajrada gharana which follows odd clusters of 3 ½ and 4 ½ beats in a cycle of Teental. Projecting his knowledge of some rarer compositions of his gurus, he performs a number of ‘anaghat’ that have a peculiar way of returning just before the first beat of the Teental.
In a hypnotic presentation of a ‘vedam kamaali chakardar’ composed by Ustad Zakir Hussain, he captures the imagination of his listeners with crisp delivery with unwavering energy till the end. An exceptionally played composition of Kanthe Maharaj from Benares gharana sums up his recital after which, he takes a bow following a resounding applause.
Musicians
Supreet Deshpande (tabla)
Milind Kulkarni (harmonium)
Tabla solo in Teental
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his voice seems much louder and fuller than tabla audio
Music, art, linguistic and emotions
All in one
No words to describe the beauty of this masterpiece
Beautiful 😻….
Such soothing and profound tabla! It’s very clear what’s his hard work and his guru’s blessings…. Thank you so much 🙏🏽
Outstanding performance ❤, pleasure for ears
Superb start of My sunday😊
I like this tabla solo..good sound..
Hypnotis(z)ing performance 😮
Kya kehne!!!🙏🙏 Amazing clarity
Outstanding
Who are you ? Why he give you like ?
Splendid.❤❤
Amazing Supreet ji 🔥😊🙏🏽
❤❤ 1 of my favourite tabla player , pandit supreet deshpande🙏♥️
Excellent Energy ❤
Wonderful!😊
No words ❤
Wow......
❤❤❤
Indonesia
मंत्रमुग्धं प्रदर्शनम् 😊😊
उत्कृष्ट ❤
Supreet Dada🙏🙏🙏💙
Very nice.
🙏❤️
Can anyone please explain Why he said I can't play dhir dhir with this microphone
ಸುಪ್ರೀತ್ ದೇಶಪಾಂಡೆ ಸೂಪರ್
❤😊 सुंदर छान मस्त वा . 😊❤❤❤
🙏☺️♥️💐
I saw one video Supreet Deshpande played called Dhige Dina.... On Darbar, that was fabulous. Now This is the second Video, this is more than Fabulous.
Makes mistake and restarts tukda at 1:58. Then messes the same tukda up again at 2:13 🤦♂Still no bayan expressiveness after his merciless butchering of Dhige Dhina 7 years ago. Then he continues into a composition by Ustad Firoz Khan which he presented so poorly that nobody understood/cared when he reached sum. Then makes another mistake at 4:13. Then he refers to Ustad Sheikh Dawood, one of my favourite tabla players as "Ustad Sheikh Dawood from Hyderabad". He was from Solapur. He passed away in Hyderabad. Then makes YET ANOTHER blunder at 5:50. He tried again and this time people clapped at 6:44 because he raised his hand like an accomplishment. At 7:05 he starts playing Dha Tirakita GiraDhireDhire Kitataka at a super high laya, realizes what he's getting himself into, makes a bad face and then gives up that composition entirely! I've never seen even a beginner do that. Then he continues to botch Dhige Dhina again. Playing same basic paltas from last Darbar video. Suddenly stops and goes into some tukda at 8:05. Makes yet another mistake at 8:10, this time confusing the poor Harmonium player. At 8:38, starts a new kayda Dha TeTe Dhe TeTe Ge Na which is such a beautiful kayda but again develops in such an odd way. Now at 9:15 he starts adding DhereDhere bols to this kaida which is quite inappropriate since these bols aren't part of the original composition. Sure, some poetic liberty is allowed, but transition extremely improper. He ends with a weak tihai and again raises his arm on sum which is why audience reacted. Then blames the mic for not being able to play Dhere Dhere. I wonder how Pt. Anokhelal Ji managed back in 1944. After all this, he tries to increase laya and play the most soul-less Na Dhin Dhin Na I heard in my entire life. Why upload this, Darbar Festival?
❤🙏