The comments Pdtji has made in the beginning are very interesting. Pdt Nityanand is the other name of profound and deep understanding of core of Hindustani Classical Music.
I am a great fan of Ustad Rashid Khan's 'Gorakh Kalyān' and I had no idea that there could be a different treatment ...absolutely amazing! Stunning rendition from a maestro! It is truly impossible to hear such music these days. Outstanding! Who is on the Tablā?
@@shanepesanka6292 He learnt from Pt. Pannalal Gosh only for a brief period. The he learnt from Pt Devendra Murudeshwar. Later he was learning from Ma Annapurna Devi. This has been narrated by himself in an interview which is available on youtube
@@shanepesanka6292 yes he was married to panna da's daughter. He even composed a raag on her daughter, with exactly the same notes of raag hansadhwani, just with the exception of komal ga instead of shuddh ga. He named it nupurdhwani, after his daughter's name "nupur". Panna da was great in building the intuition of possibility of ragas in bamboo flute.
Thank you for listening, Matt. He says: "The next raga is Gorakh Kalyan. This raga too finds no mention in the ancient texts. It is said that this raga has been composed in the memory of Sant Gorakhnath. [There are differing views about the correct grammatical form of this raga.] Some are of the view that since this raga is known as 'Gorakh Kalyan', it is essential to demonstrate the Kalyan ang (theme) and play pancham (i.e., 'Pa') while rendering this raga. Others are of the view that pancham should be skipped over entirely. If you were to listen to this raga as rendered by singers such as Pt. Basavaraj [Rajguru], you will notice a strong presence of pancham. Even Senia gharana musicians give pancham a fair share of prominence while rendering this raga. But in our Maihar gharana, the use of pancham is judicious and only to the extent necessary for embellishment. The striking melodic phrase of this raga is Dha-Sa-Re-Ma-Re-Sa-Ni--- Dha-Sa. Some artists also go along the route of Dha-Ni-Sa besides Dha-Sa. Since the shastras do not elaborate on the rules of this raga, it's perhaps best to accept all the views as legitimate in their own right and avoid controversy." Later he says, "The vilambit composition that I'm about to play is, in a sense, atypical. Usually the compositions in this raga are woven around dhaivat ('Dha'). However, the composition I will be playing has a strong Bageshree-ang."
Highly melodious very soft flute !!
Thank you for sharing this gem 🙏🏽🎶
I AM VERY PRODULY SAYING THAT, PANDIT NITYANANDJI IS MY BE LOVED GURU. I AM ALWYAS FELLING PANDIT PANNA BABU WITH GURUJI'S FLUTE.
Thank you SO much for posting this exceptionally rare recording of the greatest bansuri player living today.
The comments Pdtji has made in the beginning are very interesting. Pdt Nityanand is the other name of profound and deep understanding of core of Hindustani Classical Music.
Thank you very much. Panditji's recordings are very difficult to find and he is in a completely different league by himself.
Very very Nice
Aap mahan hain, itna sundar gayki aang, sometimes like pannalal ghosh.
I am a great fan of Ustad Rashid Khan's 'Gorakh Kalyān' and I had no idea that there could be a different treatment ...absolutely amazing! Stunning rendition from a maestro! It is truly impossible to hear such music these days. Outstanding! Who is on the Tablā?
I suggest you to go through Gorakh Kalyan by Dr. N. Rajam with Zakir Hussain, that would be a great experience 😊
I tried to enjoy this, but with ads interrupting every 2-3 minutes, it was impossible. What a shame.
That’s not on the uploader.
Sri Gurdev Naman
Very very Nice 🙏🏻🙏🏻🙏🏻
A true desciple of Annapurna Devi.
I didnt know he learned under her actually. But I always knew he was a disciple of the great "Pannanal Ghosh."
@@shanepesanka6292 He learnt from Pt. Pannalal Gosh only for a brief period. The he learnt from Pt Devendra Murudeshwar. Later he was learning from Ma Annapurna Devi. This has been narrated by himself in an interview which is available on youtube
@@hari-hamsa Beautiful! And Pt. Devendra Murudeshwar was married to Pannalal Ghosh's daughter, correct?
@@shanepesanka6292 yes he was married to panna da's daughter. He even composed a raag on her daughter, with exactly the same notes of raag hansadhwani, just with the exception of komal ga instead of shuddh ga. He named it nupurdhwani, after his daughter's name "nupur". Panna da was great in building the intuition of possibility of ragas in bamboo flute.
Divine. Ehat is he saying in he beginning? Matt in California
Thank you for listening, Matt.
He says: "The next raga is Gorakh Kalyan. This raga too finds no mention in the ancient texts. It is said that this raga has been composed in the memory of Sant Gorakhnath. [There are differing views about the correct grammatical form of this raga.] Some are of the view that since this raga is known as 'Gorakh Kalyan', it is essential to demonstrate the Kalyan ang (theme) and play pancham (i.e., 'Pa') while rendering this raga. Others are of the view that pancham should be skipped over entirely.
If you were to listen to this raga as rendered by singers such as Pt. Basavaraj [Rajguru], you will notice a strong presence of pancham. Even Senia gharana musicians give pancham a fair share of prominence while rendering this raga. But in our Maihar gharana, the use of pancham is judicious and only to the extent necessary for embellishment. The striking melodic phrase of this raga is Dha-Sa-Re-Ma-Re-Sa-Ni--- Dha-Sa. Some artists also go along the route of Dha-Ni-Sa besides Dha-Sa. Since the shastras do not elaborate on the rules of this raga, it's perhaps best to accept all the views as legitimate in their own right and avoid controversy."
Later he says, "The vilambit composition that I'm about to play is, in a sense, atypical. Usually the compositions in this raga are woven around dhaivat ('Dha'). However, the composition I will be playing has a strong Bageshree-ang."
Wow. Thank you so much!
@@theblaseone Thank you for this informative note.