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Ustad Allauddin Khan - Sursringar - Raga Nat
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- Опубліковано 7 тра 2014
- Ustad Allauddin Khan learned Sursringar from Ustad Wazir Khan beenkar and the baj passed through him to Smt Annapurna Devi, Pt Ravi Shankar and Ud Ali Akbar Khan. Usually the Senia beenkar gharana was very strict and they did not teach the Veena to outsiders but later Ud Wazir Khan told Allauddin Khan to start learning Rudra Veena from him but out of fear of getting cursed he politely refused but then he learned the been baj in Sursringar.
I was amazed at all he posts on Allauddin Khan. I came here after listening to my vinyl Lp of him. Should not have been surprised as UA-cam is beyond comprehension with amazing music!
My thousands of Pranam ; humble bow to saintly Baba.😔🙏🎶😔🙏🎼😔🙏🎵🕉️
I have a very nice 3D photo of baba at my home where I practice sitar ; Looking at his photo I always feel he is blessing me from Heven😔🙏🕉️😔🙏
I am very very fortunate to see and play sitar in आकाशगंगा the house of Maa Annapoorna devi ji and get her appreciation and blessings; in Aug 1990 when I was 20 years young girl. 😔🙏🕉️
How can I get 3D photo of baba
Just wonderful!
This is absolutely sublime, scratches and all. As only he can do the Ustad had me in tears over and over throughout the raga. Many, many thanks for posting.
+Haclil Kumar Thank you ... best wishes :-)
Haclil Kumar 👍
Such a bliss ...speechless ..Thanks a ton for sharing
As echoed throughout these comments, 'sublime' seems a fitting description for the Great Ustad Allauddin Khan's masterful performance. His musicianship transcends notions of 'virtuosity' and 'technique', in which the instrument is a borrowed vessel for his devotion. A devotion so profound, that only a lifetime of dedication and service can render such expressions of praise into existence. Ustad Khan's blessed touch closes the gap between the heavens and the stars, pulling the listener deeper into the inner world of the immaterial divine.
Here I am, bathed in tears yet again by this Nat, and realizing that you have probed and understood Babaji far deeper than I have. Your comment has enriched my appreciation of him immensely and finally explained to me his unique nature and genius. Simply put, he far transcended the common definition of the artiste. He was a holy man. Thank you so much!
Thank you for your comment. Much of my appraisal was gleaned while watching the documentary titled “Ustad Allauddin Khan (Documentary, 1957)”. As I see you have a taste for fine music, I would highly recommend it. It really is wonderful. You can view it here on UA-cam. It describes how by focusing his attention on the inner world, the so called spiritual dimension, he is able to channel a creative energy that emanates from a deeper source. An experience that is only revealed to those with the fortitude, will and daring enough to dedicate a lifetime in devotion to the ineffable. As you quite rightly say, he was a Holy Man and through the pursuit of music he rendered his services to the Supreme.
His pupil and Sitar maestro Nikhil Banerjee is quoted once saying “My Music is based on spiritualism and was practised to know the Supreme Truth. A musician must lift the souls of the listener.”. It is from this perspective that we understand that his role as the artiste is to not only receive the vision but to relay it back to the audience. To allow us to glimpse for ourselves the depth of our ignorance, in light of the unspeakable reality we exist within.
In my personal opinion, not just Ustad Khan but the whole of the musical tradition that runs through the subcontinent, sets a high water mark across geography and time in exemplifying the outer bounds of human expression. Music is a conduit to a world beyond words. A world that for thousands of years has permeated through the generations. A world in which Ustad Khan was the vanguard and exponent to this adored tradition that continues on today.
There is metalic sound, its so amusing to hear low tune and short-time sound.
I know about him but never enjoyed any classical music played by him. I listen to Indian classical music every day & night. I love it. Very meditative, uplifting. I guess he's related to Ali Akbar Khan (son), Ravi Shankar (son-in-law). Added to a playlist: Ragg ~ Indian classical music. Thanks for sharing from Great Britain.
(Tue 19 Oct 2021 13h17)
I found this beautiful piece on UA-cam and thought of you. I don’t know if you have heard it before.
a lovely interpretation of raag nat, indeed, like a great master
This is a beautiful interpretation of raga Nat.
Thank you so much!
Sublime..! Tks 4 sharing!
Plz. Upload more Sursringer playing.
Heavenly 🙏
so glad i found this. bab allauddin on sursringar. amen. the 2 dislikes i see....uh...why on this earth would someone feel compelled to punch that button. i simply don't understand people at times.
Dislikes don't matter but when one get to know that Baba Allauddin Khan's museum (along with his instruments, belongings and letters) is vandalised and destroyed (twice) it really hurts..
SobersChatterjee really? vandalized? where is this? in or near Maihar?
@@sssnacksss The incident happened in Brahmanberia, Bangladesh. Reason: They don't want Hindu music to prevail in an Islamic state as they want to abolish their Hindu roots.. and they did it twice; once in 2016 and again in 2021.
অসাধারণ বাজনা ❤🙏
Shudh Vani 🙏🙏🙏🙏🙏🙏
nat is derived from the popular carnatic raaga Nattai. its use in hindustani sangeet is rare. a truely amazing rendition by the legend himself.
+cmcjss Nat has absolutely no resemblance to the similarly named Carnatic raga and there is no evidence it is derived from the Carnatic tradition. It is uncommon in hindustani music now as the raga has instead been incorporated into many new jod ragas like Nat Bihag, Nat Kamod etc. One can find a number of pure Nat performances by the old masters, including Faiyaz Khan and Omkarnath Thakur. The related raga Shuddh Nat is performed widely by Jaipur-Atrauli gharana artists. Please correct me if you have some evidence for the Carnatic derivation of Nat.
+autobotftwww One major reason Nat is rare is Chhayanat, into which Nat has been subsumed to the extent that some Nat jod ragas have Chhayanat elements instead of Nat. For example, Sharafat hussain Khansahabs performance of Nat Kamod.
@@autobotftwww going by the references of olden treatises and analysis of great masters nat is due to SR RG GM~R SRS-- and RGMnDP P---GMR-- S-- in SRGMPDnS* which seems to be derivative of raag karnaata or karnaati, a folk tune/ dhun/ melody of laata pradesh, ancient karnataka and gujaraat. carnatic music do not place much importance to the phrase/ swar sangati (that gives rise to unique melodies/ shaastriya taana or alankaaraa) but the scale of ascent and descent, thus their varieties of nat is quite arbitrary as they rarely follow recommendations of bharat, matanga and shaarngadev whereas hindustani traditional musicians follow more of the three greats. many hindustani masters while making compositions forgot using nat ang properly, e g jhan jhan paayal baje in nat bihaag, and others.
I simply want to know which time of day or time of night is the appropriate time to hear this raga...
It is so beautiful. But I try to hear the right raga at the right time. I guess I'm super particular? Don't know about that, but I heard Ustad Ali Akbar Khan in a live concert he gave in California when I was 17. I was influenced by him, as per Indian sarod playing. I just only listen to his music. So sad he is not with us personally, so but we have great recordings THANK KRISHNA. well it's late night as I listen to his great father, and let my heart take me to Rādhā. I beg and pray there is no offense in regards to time. It's Kaliyuga, the age of quarell. I feel that if one is meditating on Rādhā Kṛṣṇa, and there is no influence of time in the spiritual world, that may be acceptable in this rotton world in this terrible age. Who really knows except the Supreme Personality of Godhead. Hare Krishna 😍
God Bless you Sobers for this kind service that you have done. I am experiencing divinity with this piece. Can you upload any collection of Annapurna Devi. I would be grateful to you.
+Rahul Joshi Thank you for your comment... I am touched by your emotion and taste of music... and I've already uploaded some rare recordings of Smt Annapurna Devi here ua-cam.com/video/Ll1vjqdMcqQ/v-deo.html stay in touch and best wishes to you...
Hello Sobers, Do you have anymore sursringar recordings? I am learning the instrument so more clips from the masters would be helpful.
+DIPAYAN BAIRAGI, I don't have any video, if I get one I'll surely upload. About audios, more coming. Best wishes on your pursuit.
Thank You so much!! Audios will be more than enough.
Please add some more recordings of Annapurna ji, and Baba.
The Ustad is holding the instrument in the correct way not like modern players who play it like a sarod
Actually he is holding it in the traditional way. Traditionally instruments were played in temple where you had to hide your feet and bow your head to show respect so the postures of holding the instruments formed according to that. Later, in the courts of the Maharajas something similar tradition maintained so the traditional positions are like a form of humility, putting the musician behind the instrument. But there is nothing wrong in playing the way you play better or comfortably as long as one can play.
Its usually on the left shoulder you place the instrument. He was a lefty so.. :)
@@SobersChatterjee partially agree, this posture facilitate playing with fingertips and not using a jaba. Playing it with nails and jaba changes the sound . So there are reasons not liking the modified posture. It inspires diluting the effect.
Sur SHADHAK..
Sir Your Collection Is Amazing, Thankyou For Providing This Treasure 🙏🏻
Can You Please Tell Me Who Are Good Dhrupad Vocal Artists Of Banis Other Than Dagarvani? And Who Are Good Beenkar And Surbahar Gurus?
Honestly (as I have discussed many times in here and in Facebook) a specific Vani or Gharana does not matter to an artist, a learner or even to a listener. These are several ways to reach a same goal i.e. Spiritual enlightenment through Classical music.. But to answer your question again honestly not many old Gurus exist; I say this after both of my instrumental Gurus passed in their 80s. But again one can learn the Vocal music (which is the basis of our music) and apply the knowledge to an instrument be it Sitar or Surbahar.
Recording yeaर ?
Hey channel admin please clear this out , in the photo baba is palying a instrument called seniya rabab devloped by miyan tansen , and he was the last exponent of this instrument , and the question is that is he playing surshingar or seniya rabab in this recording
The photo you are seeing here is Sursringar NOT Seni Rabab. The audio is also of Sursringar for sure. Check the other Sursringar recording of Baba Allauddin in my channel; there you can find 2 photos of Baba holding Seni Rabab.
A Seni Rabab is made from wood (like Sarod), but wooden fingerboard with gut strings (so very short sustain of notes) and a complex headstock. A Seni Rabab also has no upper Tumba but a stand (sometimes) in its place. As opposed to that a Sursringar though made from wood has a gourd like Sitar & Surbahar (as it is larger in size), it has a metal plate like Sarod with metal strings (so long sustain of notes) and it often has an upper tumba like in this photo.
I hope this helps..
Another point which I forgot to mention is he was not the last exponent of the instrument Seni Rabab. I researched and found other players in history. Also in the last few years I found few contemporary players too. I have a playlist you can check..
V rare recording thanks for posting. Any idea about when it was recorded?
Shaili Khanna In the late 1940's or early 50's I guess
Shaili Khan
What is the difference between surbahar and surainhar. Please enlighten me. Thanks
I didn't understand the second instrument you mentioned; it's a mistaken word. Anyway I hope you are asking about the difference between Surbahar and a Sursringar. Also spelled Surshringar.
For general knowledge: A Surbahar is a larger version of Sitar and a Sursringar is a larger version of Sarod. So frets in Surbahar and metal plates in Sursringar.
If you want to go deep into it then there are other things to know that both the instruments produce deeper sound and therefore meant to be used in Dhrupad though non dhrupadi gharanas are also seen playing them with a different baaj. There are also differences between Sitar and Surbahar as well as Sarod and Sursringar which will take some study to understand..
@@SobersChatterjee . Thank you so much for your kind reply. Ya I meant Surbahar & Sursingar. The "auto correct" installed in the phone is an embarrassment at times. So kind of you for the lovely explanation.
is this SUDDHA NAT ? there are many JOD RAGA OF NAT so i think this is Suddh Nat
following olden interpretation of raag nat, i think he quite precise in interpreting of the raag nat. it is not shuddha nat, i think
s r g m p d n S n p m r s = Nat ? Is that correct ?
Chalan is like this... SGm mPm GmP S'DnP mG RGmP SRS
@@SobersChatterjee i felt that he is playing more of S SR RS N,RS S GR G-- RS PR GMRS N,N,N,-S GMRS RGMP R-- GMRS-- RGMP P-DP DnP-- PR GMRS S-- D,n,D,P, P,N, RS N,S P,S R---S--- and the likes. all shuddha swar with occasional komal ni and no tivra maadhyam..... i personally would not use niresa, it being rather the important sangati of iman; but SSR-S RS N,S. i would use no tivra madhyam at all, as that being shade/chhaya of other raags. by my perception he did not use tivra ma until the end, that i have listened to. ********pls consider the above notes correct that computer has automatically cut from the middle, why it happens that i do not know.
Not familiar with Nat . . . morning raga like Nat Bhairo?
redskywalker137 No, this is Shuddha Nat, rarely sung nowadays. Nat is more frequent in combined ragas like Chhayanat, Nat bhairon, Nat bihag, Nat malhar etc where the raganga is shown mostly in Purbanga and in some cases Uttaranga in some rare ragas like Hamir Nat, Bhoop Nat etc.
@@SobersChatterjee i think by attaching to name, the word shuddha nat it may not have komal ni it, as it happens with many raags prefixed with shuddha. many artistes do not elaborately show nat ang in nat bhairav but play just the scale, it is perhaps due to lack of knowledge of true nat. your observation of nat both in uttaraang and poorvang raises you to be a music elite.
Picture of Surbahar is given.
Do you see any frets or any tarab strings here? For starters a Surbahar is a larger version of Sitar and a Sursringar is a larger version of Sarod. I hope you can clearly see the metal plate..
The great master is playing this with the fingertips and not nails, also not using jaba.
very interesting, I assume you reference the picture in the video. Do you know if this was practiced by anyone else?
i have always found the tone generated with fingers rather than secondary "pick/mizrab/etc" to have a much warmer tone.. i like the way it sounds on sitar alap.. the sympathetic strings seem to shine more.
@@snafitzer the instrument that baba is playing in the photo used as thumbnail and in the video is called seniya rabab a instrument devloped by Miya Tansen and he was the last exponent of it
@@snafitzerand not sure that it is playing with finger or nail , there is a video dedicated to it I'll just give u a UA-cam link go and listen if u r interested
@@snafitzerua-cam.com/video/ZL11sH48AIk/v-deo.htmlsi=qrHaOSTfPyGwHJ3l