Kishori Amonkar
Rashid Khan (YouTube links)
Raag Gorakh Kalyan (YouTube link)
[youtube]http://www.youtube.com/watch?v=d6QphAKmbmc[/youtube]
Raag Marwa (YouTube link)
[youtube]http://www.youtube.com/watch?v=CZ_xrSEJoDc[/youtube]
Raag Kirwani (YouTube link)
[youtube]http://www.youtube.com/watch?v=5yZvt02W28w[/youtube]
Raag Gorakh Kalyan (YouTube link)
[youtube]http://www.youtube.com/watch?v=d6QphAKmbmc[/youtube]
Raag Marwa (YouTube link)
[youtube]http://www.youtube.com/watch?v=CZ_xrSEJoDc[/youtube]
Raag Kirwani (YouTube link)
[youtube]http://www.youtube.com/watch?v=5yZvt02W28w[/youtube]
Kishori Amonkar (YouTube links)
Drut Yaman (YouTube link)
[youtube]http://www.youtube.com/watch?v=LmFtnGPbAzA[/youtube]
"Rang So Rang Milaaye," - drut khyal composition in Raag Bhimpalasi and Taal Ektaal (YouTube link)
[youtube]http://www.youtube.com/watch?v=jI1mzbtzl4g[/youtube]
Raag Alhaiya Bilawal (YouTube link)
[youtube]http://www.youtube.com/watch?v=d6QphAKmbmc[/youtube]
Drut Yaman (YouTube link)
[youtube]http://www.youtube.com/watch?v=LmFtnGPbAzA[/youtube]
"Rang So Rang Milaaye," - drut khyal composition in Raag Bhimpalasi and Taal Ektaal (YouTube link)
[youtube]http://www.youtube.com/watch?v=jI1mzbtzl4g[/youtube]
Raag Alhaiya Bilawal (YouTube link)
[youtube]http://www.youtube.com/watch?v=d6QphAKmbmc[/youtube]
Last edited by thanjavur on 10 Jun 2007, 00:07, edited 1 time in total.
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both links are invalidcoolkarni wrote:A DD Trivandrum Video , in two parts-Yaman
http://www.sendspace.com/file/m0819q
http://www.sendspace.com/file/901kcp
This is one of my most prized possessions.
The atmosphere is unbelievable.
The intensity , Electric.
kindly quote new link
i sincerely look forwrd
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Starts off with a noble concept of which I am a votary: a pan-Indian bharatiya shastriya sangeet. But Kishori, brilliant though she is, is prone to making random comments in public. Indian music (at least that of the highest quality) is far more than a one-dimensional "world of notes".jayaram wrote:Interesting article on her music:
http://www.hinduonnet.com/folio/fo0012/00120100.htm
What about the North and South Indian systems of music... is there a meeting point, I ask. "I do not believe in these bifurcations. The sruthis are the same, the ragas are almost the same. I want you to blend it into a whole, you should think of it as a world of notes. We should not put too many words, too many rhythmical acrobatics into our singing.
For a more thoughtful perspective, I might quote Pt. V.N. Bhatkhande:
"...In my opinion a happy fusion between the two great music systems of the country is most desirable. When it comes on, the Hindustani system will be considerably enriched. Hundreds of beautiful ragas can be reintroduced here into our system...The southern system will again have have an opportunity of adopting our northern graces in the vadi/samvadi rules and thereby of making its music much more interesting...By a study of the works pertaining to the southern system, we can compose songs for the northern musicians in the ragas which are sung there but which have not found a place in the northern system, and thus introduce, at some date, a fusion of the two sister systems of music."
Although Bhatkhande's vision is apparently limited to adaptation of ragas, I think he makes strong points. I don't think changing the structure of a kriti or a varnam or khayal or dhrupad is advisable. I think these compositional forms should remain well-defined, but there should be an underlying integration of theory and raga concepts that are used in creating these various musical forms.
I hope this post does not stir its own "hornet's nest" !!
SR
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OTOH, it is heartening to note such an eminent departure from the norm of North Indian musicians taking digs at Carnatic Music. I certainly would like to see more HM ragas taken up in CM concerts - especially in pallavis.
TNS and Neyveli Santhanagopalan are among those who do this often...Sanjay sang a fine piece in Madhuvanthi (I think) at NGS today - I am sure he is more than capable of presenting it as a Pallavi item...
Maru Behag, Multani, Darbari, Basant, Lalit, Ramkali are among the ragas I would like to hear on the CM platform. Some rasikas may ask - why not listen to these in Hindustani concerts? My response would be - HM does not offer the same kind of rhythmic initricacies as a CM Pallavi...
TNS and Neyveli Santhanagopalan are among those who do this often...Sanjay sang a fine piece in Madhuvanthi (I think) at NGS today - I am sure he is more than capable of presenting it as a Pallavi item...
Maru Behag, Multani, Darbari, Basant, Lalit, Ramkali are among the ragas I would like to hear on the CM platform. Some rasikas may ask - why not listen to these in Hindustani concerts? My response would be - HM does not offer the same kind of rhythmic initricacies as a CM Pallavi...
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The scope that a CM format allows the performers to build swiftly on rAgA delienation, expand their rendering on the weight of a kriti and end it with cascading swarAs is another asset.
Please note that I say 'CM FORMAT allows' all this. I am NOT putting down HM (I adore it as well).
Vijay,
What did Sanjay sing in madhuvanthi? No reviews?
Please note that I say 'CM FORMAT allows' all this. I am NOT putting down HM (I adore it as well).
Vijay,
What did Sanjay sing in madhuvanthi? No reviews?
Last edited by arasi on 09 Jul 2007, 02:10, edited 1 time in total.
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a lovely Todi from Kishori-tai:
http://www.youtube.com/watch?v=Yrja6lXemmY
http://www.youtube.com/watch?v=Yrja6lXemmY
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Gaud Malhar
http://www.youtube.com/watch?v=9bCCmMH0EDQ
http://www.last.fm/music/Kishori+Amonka ... aud+Malhar
Album - Anand Malhar
http://music.pz10.com/album/17787/Anand ... onkar.html
Megha Jhar Jhar Barasat Re
http://www.youtube.com/watch?v=tepT3nl7 ... re=related
http://www.youtube.com/watch?v=9bCCmMH0EDQ
http://www.last.fm/music/Kishori+Amonka ... aud+Malhar
Album - Anand Malhar
http://music.pz10.com/album/17787/Anand ... onkar.html
Megha Jhar Jhar Barasat Re
http://www.youtube.com/watch?v=tepT3nl7 ... re=related
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Could not agree with you more. Kishoritai has a habit of making rash statements and everybody and his brother shake their head in agreement because of who she is. In one of her Marathi interviews on youtube she says that in music words do not matter it is just swar that matter. So in one fell swoop, she denigrates all the great Marathi saint-poets like Dyneshwar, Tukram, Eknath, Namdev, Janabai, Bahinabai and many others.Sangeet Rasik wrote:Starts off with a noble concept of which I am a votary: a pan-Indian bharatiya shastriya sangeet. But Kishori, brilliant though she is, is prone to making random comments in public. Indian music (at least that of the highest quality) is far more than a one-dimensional "world of notes".jayaram wrote:Interesting article on her music:
http://www.hinduonnet.com/folio/fo0012/00120100.htm
What about the North and South Indian systems of music... is there a meeting point, I ask. "I do not believe in these bifurcations. The sruthis are the same, the ragas are almost the same. I want you to blend it into a whole, you should think of it as a world of notes. We should not put too many words, too many rhythmical acrobatics into our singing.
For a more thoughtful perspective, I might quote Pt. V.N. Bhatkhande:
"...In my opinion a happy fusion between the two great music systems of the country is most desirable. When it comes on, the Hindustani system will be considerably enriched. Hundreds of beautiful ragas can be reintroduced here into our system...The southern system will again have have an opportunity of adopting our northern graces in the vadi/samvadi rules and thereby of making its music much more interesting...By a study of the works pertaining to the southern system, we can compose songs for the northern musicians in the ragas which are sung there but which have not found a place in the northern system, and thus introduce, at some date, a fusion of the two sister systems of music."
Although Bhatkhande's vision is apparently limited to adaptation of ragas, I think he makes strong points. I don't think changing the structure of a kriti or a varnam or khayal or dhrupad is advisable. I think these compositional forms should remain well-defined, but there should be an underlying integration of theory and raga concepts that are used in creating these various musical forms.
I hope this post does not stir its own "hornet's nest" !!
SR
To be perfectly honest as good a shastriya sangeet gayika that she is, her compositions are awful. As an example, listen to her Marathi composition Sundar te dhyan with Lata's version (composition by great Marathi composer Shriniwas Khale or listen to her Koi Kahiyo Re Prabhu Awan Ki with the anybody elses (e.g. Shaila Hattangadi). No comparison. Amonkar compositions are lackllustre. Her opinion that words mean nothing and only swars matter is utter nonsense.
Last edited by expatobserver on 22 Dec 2009, 21:35, edited 1 time in total.
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Some live concerts of Kishori Amonkar are uploaded to www.sangeethamshare.org/murthy Nos. 231, 248, 257