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- Oum Kaltsoum - Nûr Min Ash-sharq - Lumière sur le désert
Oum Kaltsoum - Nûr Min Ash-sharq - Lumière sur le désert
"During the 1950s and 1960s Umm Kulthum expanded her role in Egyptian public life. She granted more interviews during which she spoke about her life, repeatedly identifying herself as a villager, a fallahah or peasant, who shared a cultural background and essential values with the majority of the Egyptian populace. Her interviews were full of stories of her family, her neighbors, and the familial qualities of village life.
She cultivated the position of spokeswoman for various causes. She advocated governmental support of Arabic music and musicians, she endowed a charitable foundation and, most importantly, after the Egyptian defeat in the 1967 war, she began a series of domestic and international concerts for Egypt. She travelled throughout Egypt and the Arab world, collecting contributions and donating the proceeds of her performances to the government of Egypt. These concerts were much publicized and took on the character of state visits. Umm Kulthum was entertained by heads of state, she toured cultural monuments, and, in interviews, repeated her views concerning the importance of support for indigenous Arab culture. More than a musician, she became 'the voice and face of Egypt'."
[01]. Oulida Elhouda (Ahmed Shawqi - Riad el Soumbati)(Mode: Rast)(1946)
[02]. Rimun 'ala al-qa (Nahj al-Burdah) (Ahmed Shawqi - Riad el Soumbati) (Mode: Huzam) (1946)
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Переслать - Radhika Budhkar - Musician's Guild Presents Radhika Budhkar
Radhika Budhkar - Musician's Guild Presents Radhika Budhkar
If it had been an animal, the vichitra veena would have been a threatened species by now. And if women vichitra veena artistes are not an extinct breed today, it is thanks to 28-year-old Radhika Budhkar.
It is not difficult to see why the vichitra veena is played so rarely and then too only by men. It is a huge instrument, with two voluminous gourds and an unwieldy shape that does not allow it to be rested on the body. It is laid flat on the ground and played with the artiste's arms bent in the air, and this means using considerable bicep power to pull off a long concert. It has no frets to guide the player and the notes have to be wrung out with a large glass pebble slid along the strings. Predictably, it needs rigorous riyaaz and a very practised ear to master the vichitra veena.
This petite Maharashtrian, who grew up in Gwalior, does not seem a likely candidate to carry the bulky burden of this heritage. But she has tremendous love for the art that she took six years to master. "Leave aside women, there are less than half a dozen male artistes playing the instrument today," says Budhkar, who opened the Veenapani Institute of Music in Navi Mumbai last month, when she moved to the city with her husband and daughter.
Budhkar comes from a family of versatile musicians who migrated to Gwalior several generations ago. Her grandfather Balabhau Umdekar was a court musician and her father played the rudra veena. Their home was like a small museum, stacked with rare and antique instruments. It was in this collection, as a child of six, that Budhkar stumbled on the vichitra veena. She was by then already learning the sitar and vocal music. "I could have chosen to stick to the safe path with sitar or singing, but I told my father I wanted to master an art that few people do. My father suggested that I try the rare vichitra veena lying at home," recalls Budhkar. Through her teens she would wake up at 3:30 am and work hard at the instrument. "Through school and college I made do with three or four hours of sleep. This is a tough art to master because you can easily go wrong with no frets to keep your notes in place," she says.
Though she plays a fairly archaic instrument, Budhkar's musical sensibilities are modern. She had a new instrument crafted and modified to her specifications by the famous Mangala Prasad Sharma of Kolkata. She had the pitch of her veena raised closer to the sound produced by the sitar which the audiences are more familiar with. Instead of the clunky glass pebble that tends to erode the strings, she uses a shaligram stone.
These changes made it possible for her to wring out faster taans from the vichitra veena, a very tough feat to pull off. "People have this dull image of a veena concert. They see it as an intimidating, somber, obtuse instrument.Why not adapt it to make it more audience friendly? Audiences are now used to musical showmanship at concerts: fast-paced layakari, interactive sawal jawab, fusion work... Of course I play in the alaap and jod in the traditional format, but if I say that I will only stick to the dhrupad form traditionally followed by veena players, I will lose the GenNext audiences," she says.
Budhkar is passionate about the need to connect with the youth. She is among the few classical musicians to run her own blog: vaniveenapani.blogspot.com -- "What better way to draw the youth back into classical music," she points out. - Malini Nair
1. Shri - Alap & Vilambit Trital & Drut Trital
2. Jog - Vilambit Trital & Drut Ektal
3. Kirwani - Rupaktal
Radhika Budhkar - vichitra vina
Akhilesh Gundecha - pakhawaj
Hemant Joshi - tabla
320 kbps including full scans
Part One
Part Two
Переслать - Rasiklal Andharia - Nirmal
Rasiklal Andharia
Nirmal, 2004
A Kirana gharana singer. Couldn't find much info, except that he studied with his father (or elder brother?) Babulal Andharia, then largely self-taught, and influenced by the style of Amir Khan.
1. Gurjari Todi - Vilambit & Drut
2. Gyankali
320 kbps including full scans
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Переслать - World Of The Gypsies Vol.[1-3]Much has been said and written about the origins and first appearances of the Gypsies.Their first documented existence in Europe dates to the early 15th century and most scholars agree that they originally came from Northern India. This is based on the resemblance of their Romany language to certain languages in Northern India (Hindi,Penjabi etc). Apparently the Gypsies migrated into Persia in the 11th century and further into South East Europe around the beginning of the 14th century and from there into Western Europe (15thcentury). Nowadays Gypsies can be found all over the world, including North and South America and even Australia. Gypsies, first considered to be "Egyptians" or "Gyptians" (hence the name Gypsies) were known for their nomadic lifestyle. The inclination to wander,ignoring national bundaries furthered discrimination, social rejection,systematic exile and deportation. As in many cases these "different" people were frowned upon by the settled, orderly citizens. Almost all nations in Western Europe sooner or later banned the travelling Gypsies or tried to forcefully settle them.However, as freedom of spirit and movement are very strong amongst the Roma, they widely resisted assimilation, staying true to their traditions and clannish structures. Due to their bats, horse traders, tinkers, fortune tellers, entertainers, musicians, dancers and singers. Today most Romea have more or less settled in communities throughout Europe and amongst those Roma who still migrate at least seasonally, the colourful and Romantic horse drawn wagon has been replaced by caravans, trucks and trailers.
the Largest Gypsy population today can be found in Romania.
Gypsis refer themselves as Rom or Roma. Most of them speak the Romany language as well as the language of the country they live in. There is no tradition of writing in Romany, but a rich oral tradition. As many Gypsies worked as musicians or entertainers, they had a considerable impact on the music of the countries they lived in - their ownparticular country, thus preserving the traditions over centuries. The so-called Gypsy repertoire can be described as a blend of Russian, Hungarian and Romanian influences but on the other hand the Roma have contributed their own style to many areas of music and influenced other artists in their music like Bizet, Brahms and Dvorak, to name but a few. There is also music and dance of pure Gypsy origin, like the Flamenco in Spain.
Many Gypsy musicians became famous, such as the great Django Reinhardt, the king of "Gypsy Swing" or Manitas de Plata the Gypsy guitaist, who became a world star and more recently, the Gypsy Kings.
In this compilation we have tried to show the full variety of Gypsy music, from purely traditional to modern, including soloists who excel with their instruments, purely traditional to modern, including soloists who excel with their instruments, small Gypsy ensemles, large Gypsy brass bands, some of the greatest Gypsy singers and composers as well as travelling Egyptian Gypsies, recorded on location.
Saban Bajramovic
It is widely known that even well informed connoisseurs of Romany culture and Gypsy music are unable to provide accurate information about Saban Bajramovic. It is belived practically on the street. As an army deserter (out of love for a girl) he was sentenced to several years in prison on the island Goli otok. There he forced his way into the prison orchestra where he played jazz music as Spanish and Mexican music. After Goli otok,his intensive music career began. He made his first record in 1964and since then has made 15-20 LPs and about 50 singles; he is believed to have composed 650 pieces of music. For 20 years he had his own group, called "Black Mamba" which toured half the world. He was invited to India by Nehru and Indira
Roby Lakatos, the "Devil's Fiddler"
Roby laktos was born in 1965 and made his first public appearance as violinist in a Gipsy band at the age of nine. He is a member of a legendary family of Gypsy violinists and also trained at the Bela Bartok Conservatory in Budapest. From 1986 to 1996 he played with his ensemble at a Brussels Club; after that international concerts have taken up most of his time. He has performed with the Dresden Philharmonic Orchestra and the Orchestre National de Radio France, at many prestigious music festivals as well as in New Yourks Central Park. The other members of his ensemble are Kalman Cseki (piano), Laszlo Boni (second violin) Ernest Bango (cimbalom and guitar) and Oszkar Nemeth (double bass). "On the Waves of the Balaton" is an excellent example of his versatile violin play.
Esma Redzepova
Esma Redzepova was born in Skopje, Macedonia as the daughter of a street shoe cleaner. Her extraordinary voice was noticed at an early age as well as her talent as a dancer and actress. At 14 Years of age she was discovered by the famous musician and bland leader Stevo Teodosievski, who furthered her talent and educated her voice. The Stevo and Esma Ensemble soon became one of the most successful ensembles in the whole Balkan region. Esma performed in the world's most prestigious concert halls all over the world, and won numerous awards and was nominated the Queen of Gipsy music with over 400 recordings in total. Esma, her husband Stevo and the ensemble have travelled widely, filling stadiums, halls and squares to the last seat. Sharing her music gift, Esma and the esnsemble Teodosievki performed thousands of charity concerts. Esma conquered the hearts of millions, not only by her songs but also by her tenderness, Esma's home was always wide open to all musical talents, especially parentless children whose talent was the gift of music. the ambassador of Macedonian music, culture and art is joined by the Teodosievski Ensemble with Medo Cun on clarinet and Bazhe Moratov on bass.
MP3 192 kbps including scans for 1&2.
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Переслать - Ross Daly - Microkosmos
Crete's master of the Lyra returns in 2004 with a remarkable and criticaly acclaimed recording that brings together a global cast of musicians including Balake Sissoko (kora), Kelly Thomas (lyra), Bijan Chemirani (percussion - zarb and daf) and Pedro Estevan (bendir).
Microkosmos means literally 'Small World', and this CD represents an attempt to explore the possibilities of a small group of musicians rather than the larger orchestra Daly has favoured of late. In such a project the personalities of the musicians are of paramount importance and there is no mistaking the distinctive stamp of Bijan Chemirani (percussion), Kelly Thoma (lyra), Dimitris Psonis (santur), Haris Lambrakis (ney), Balake Sissoko (kora) and Daly himself. As befits the overall concept, Microkosmos contains nine short pieces, and each of these artists has contributed not just to the performance, which includes extensive improvisation, but also to the composition and identity of these pieces.
An especially interesting contribution is that of the Malian musician, Balake Sissoko. His kora playing is a delight, but he seems in addition to have brought out something fresh and creative in Daly and the others. Track three, Balake, is a Daly composition dedicated to Sissoko and on which Sissoko plays. The piece opens with a passage on the rabab (a fretless lute from Afghanistan) that recalls - in both spirit and some of its detail - the optimistic sense of limitless possibility that characterised the Ross Daly album. Balake is formed around a series of short, simple tunes whose pentatonic aspect acknowledges Sissoko's repertoire. To these tunes Sissoko, Daly and Thoma add a delightful sequence of intricate improvisations on the kora, lyra and rabab; this piece, essentially a miniature, is as attractive as anything that Daly has done, and is indeed a microcosm of his work. The same freshness also characterises the simple but unforgettable melody of the closing track, tellingly entitled Epistrophi (Return). - Chris Williams
1. Soireci
2. Ussaz saz semaisi
3. Kadi
4. Momentus
5. Balake
6. Abacus
7. Huseyni
8. Massalou cisse
9. Epistrofi
Ross Daly: lyra tarhu, lyra, saz, rebab
Balake Sissoko: cora
Kelly Thomas: lyra
Haris Lambrakis: ney
Pedro Estevan: bendir
Dimitris Psonis: santur iranien
Michalis Nikoloudis: mandole
Bijan Chemirani: zarb, daff
FLAC (EAC Rip): 420 MB | MP3 - 320 kbs: 140 MB | Booklet Scans
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Переслать - Bhimsen Joshi - Gaurav
Bhimsen Joshi
Gaurav, 2004
1. Megh - Vilambit Jhaptal
2. Suha Kanada - Madhyalaya Tintal
Live Recording from the 1950's
all in one track
320 kbps including full scans
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Part Two
Переслать - Musician's Guild Presents Prof. B.R. Deodhar
B.R. Deodhar
Musician's Guild Presents Prof. B.R. Deodhar
Born in 1901, Prof. B.R.Deodhar was a disciple of the celebrated missionary-musician, Pandit Vishnu Digambar Paluskar. Later, he vastly broadened his insights and repertoire through discussions with various leading musicians belonging to different schools, and in the process, amassed a fabulous collection of rare compositions from practically all the gharanas.
It is as a teacher and musicologist that Prof. Deodhar is better known and venerated as a guide and mentor to scores of pupils. A fellow of the Sangeet Natak Academy since 1964, he was the receipient of the Padmashree Award (1976) and the Tansen award (1983). He was Founder Principal of the Deodhar School of Music in Mumbai.
Prof. Deodhar, who died in 1990, was a prolific, scholarly writer. He has authored several books, biographies and articles on music. He has contributed significantly to the enrichment and appreciation of the finer points of music.
1. Gandhari - Vilambit Trital: Jiyara Manva Sagun Vicharo & Drut Trital: Jiyara Larje
2. Palasi - Vilambit Trital: He Jo Naad Dariya & Drut Trital: Sakhi Manat Nahin Langarwa
My Friend Professor B.R. Deodhar: A Versatile Musicologist
This was way back in 1926-27. 1 had just started visiting the Trinity Club of Music. On one occasion I was surprised to see a person at the Club fully clad in Western dress. In those days one did not normally see a singer dressed like an Englishman. So I inquired in an undertone of a person sitting next to me, "Who is he?" He -whispered back sarcastically, "Oh! He is Deodhar. A disciple of Pandit Vishnu Digambar. He also calls himself 'Professor !"
In those days Gandharva Mahavidyalaya, those who had been trained in that institution and their style of singing had generally become objects of ridicule. There was a lot of prejudice against Pandit Vishnu Digambar Paluskar himself. On top of this, all his half-baked disciples had also started calling themselves professors'. They were all referred to with contempt and ridicule as 'Professor Log'-'those Professor chaps.'
The man dressed in up-to-date Western clothes soon started singing and that gave me another shock. Whatever may have been told to me about this singer by my neighbour, I found that his singing was free from what was commonly described as Gwalior's Babashahi gayaki or simplistic style. On the contrary, I discovered that his singing was pleasing and contained a spark of originality. I really liked his performance and while returning from the club I deliberately sought his company and said, "You sang well." Apparently such praise was a bit of novelty to him. He looked at me in a friendly manner. I remember this incident as I look back on our close friendship of over half a century. I also remember that his inadequately developed performance on that occasion was a little away from the conventional rutted grooves. As our association and friendship grew I was able to see the various facets of his life, and career; and now I have no hesitation in saying that we have not seen in any other person of recent times an all-round and versatile musicologist of Deodhar's stature.
It happened a year or two after our first meeting. By this time three Deshpandes and one Deodhar had formed an intimate group. Rangrao Deshpande, a law graduate and a singer-actor, used to play various roles in the plays staged by Hirabai Badodekar. A witty person with a sweet and sharp voice, well-versed in Urdu and Persian, Rangrao used to sing stage-songs, ghazals and kavvalis extremely well. The second Deshpande, Shankarrao (father of Suhasini Mulgaonkar) was M.A. and LL.B. and had received systematic training in music from Abdul Karim Khan. The third Deshpande was none other than myself and the fourth member of the group was Deodhar. All the four of us were singers, well-educated, and ambitious. While we were discussing things in general, Deodhar once said, "If I am to suffer from any disease, let it be so novel that it puzzles every physician." Here young Deodhar was indicating an important trait in his character which was to influence his entire later life.
It should be noted that every one of us was well-educated and yet every one was wondering whether music should be accepted as a profession. In those days educated persons rarely entered the field of music. Rangrao, who was partly a lawyer, partly a singer and partly an actor, died in 1940 without making a final choice. Shankarrao was a teacher of music and although he continued his study of music, he started practicing as a lawyer at the Bombay High Court. After some years he gave up legal practice and started working as a broker on the stock exchange. Now he has completely withdrawn himself from music and is deeply involved in philosophy and spiritual pursuits. I became an Accountant and continue to be such. Deodhar alone, of our foursome, stuck to music and devoted himself to it. I now recall the name of one more person who was both educated and interested in music-Dr. Shrikrishna Ratanjankar. He was sent out by Pandit Bhatkhande to Lucknow to be the Principal of Marris College of Music, which Pandit Bhatkhande was instrumental in founding' Later, he became the Vice-Chancellor of Music University at Khiragarh. Dr. Ratanjankar's musical activities remained practically confined to Uttar Pradesh and Madhya Pradesh. Later, he became the Vice-Chancellor of Music University at Khairagarh.
It has been Deodhar's determination to attempt something which normally nobody would dare to touch. Deodhar was the only one from amongst Pandit Paluskar's disciples who was per- mitted to matriculate while continuing his music education. Deo- dhar alone was selected to learn Western music in addition to Hindustani music. Deodhar was the sole recipient of a scholarship of Rs. 100/- per month awarded to him by Dr. Skrinzi, the Italian Musicologist, then in Bombay. In the meantime, Deodhar manag- ed to secure his B.A. degree. It was again Deodhar who was bent upon absorbing the influences of other styles of music; leaving aside his traditional Babashahi gayaki. (The word Babashahi is used by the followers of Gwalior gayaki themselves to describe their own gayaki. Babashahi means I old and unsophisticated). I used to tease Deodhar by saying that he changed his gurus every six months as one changed one's sandals. Before joining Panditji's Gandharva Mahavidyalaya Deodhar had received some training from Neelakanthbuwa Jangam, Abdul Karim Khansaheb and Vinayakrao Patwardhan. After being trained by Panditji Deodhar was also influenced by many more artists. These included vocalists of Agra gharana, Mohanrao Palekar of Jaipur gharana, Majeed Khan (the sarangi-player), Inayat Khan, Ganapatrao Dewaskar, Sadashivbuwa of Gokhale gharana, Shinde Khan of Gwalior gharana, sitarist Murad Khan and many more. But the lasting influence on Deodhar was that of Khansaheb Bade Gulam Ali Khan. Deodhar was deeply devoted to Bade Gulam Ali Khan and this devotion lasted till Deodhar's declining years. Deodhar is the only singer who, without receiving any systematic and regular instruction from any gharana or artist, was influenced by so many different traditions and collected musical compositions from them. If his performance is full of erudition and virtuosity today it is because he stands in the shadow of a long line of great singers. While learning from various eminent artists, Deodhar has amassed a large collection of musical compositions in various obscure ragas-compositions which are most attractive and beautifully put together. He will probably publish these compositions when the stars are favourable for their publication. I am sure Deodhar will ever remain a frontline artist in presenting different variants of ragas like Kanada or Todi or Nat one after the other in a concert. Deodhar alone can unravel and explain in an easy manner any unfamiliar and intricate raga.
Although Deodhar has obtained musical compositions from various masters, he has done it without adopting their respective gayakis or styles. For inwardly he was a devotee of the style of Bade Gulam Ali Khan-that too without receiving any formal instruction from him. In Deodhar's singing of the bandish one can discern the influence of Shinde Khan but the style or gayaki would be that of Bade Gulam Ali Khan. Deodhar has, in effect, prepared his own style which is both novel and attractive. If you want to put my statement to test just ask him to sing a bandish-it will be distinctly of Shinde Khan style. But when Deodhar begins to unfold and develop the same bandish you will clearly see the influence of Bade Gulam Ali Khan. Since Deodhar never did become a professional concert-performer his independent style of singing failed to exert sufficient influence.
Deodhar did not bother to master the concerts but his scholarship must be considered a birth characteristic. His grandfather, the famous Vishnu Shastri Deodhar was the guru of Narayan Shastri Marathe of Prajnya Pathashala of Wai. He was well versed in the ancient lore of Nyaya, Mimamsa and Vedanta. His father, two uncles and grandfather died in the plague epidemic when Deodhar was not more than 2-3 years old. It is indeed a miracle that Deodhar escaped death though he too was afflicted with the disease. While still a child Deodhar had the good fortune of listening to Abdul Karim Khan through the grace of Sakhdev brothers. He started singing through the streets of the town imitating Khansabeb's voice and gestures. In three successive years he met Pandit Vishnu Digambar Paluskar and every time Panditji asked him to stay with him and learn music. Deodhar was indeed lucky. From the age of seventeen till twenty-two Deodhar had the good fortune to stay with Panditji and the latter became the centre of Deodhar's devotion.
Negotiating his way through difficult terrain Deodhar has had an almost obsessing urge to attempt something which no one has dared to do. During the last 18-20 years, he has absorbed himself in the subject of voice-culture, a subject which has not so for received any serious attention from any singer. And be has been experimenting voice-cultivation on himself and on any one else he can lay his hands on. It started this way. Deodhar once took Prof. Skrinzi to concert of Ramkrishnabuwa Vaze. The Professor did not like his voice and he showed his displeasure by remarking, "What kind of an artist is he? He does not even,know the primary voice-production. The one singer who can use his voice reasonably well is your Panditji." Dr. Skrinzi gifted a book on voice-culture to Deodhar and asked him to read it carefully. Deodhar happened to remember this book when he had already crossed fifty-five and started studying it. In order to pursue this subject further Deodhar went to America and studied this subject over a period of several months under the guidance of Prof. Ingam, who is an expert in voice-culture. (I call him 'Ingam Guruji'). I once said to Deodhar, in a lighter vein, "I will accept voice-culture as a science if you can improve the voice of my friend Prabhakar Padhye." Deodhar accepted the challenge and said, "I will certainly improve his voice. You may convey this to Padhye." In fact the two did really meet and fell in love with each -other. But Padhye did not find time to take lessons in voice-culture from Deodhar and consequently, so far as I was concerned, Deodhar had not established voice-culture as a science. But that was ten years ago. During the last ten years and especially in the last five years Deodhar's voice-culture technique has made considerable progress. A science is established through experimentation and this experimentation has to take place on a sufficiently large scale so that the conclusions drawn from it are accepted as valid by all. During the first ten years no one was interested in learning how one should use one's voice-apparatus. Deodhar had become a target of ridicule. Afterwards a woman singer learned voice-culture under Deodhar's directions but gave up the attempt after a few days. Thus discrediting poor Deodhar again I Then Ashok Ranade made a determined effort to cultivate his voice according to the science of voice-culture and under Deodhar's directions. There was a sea-change in Ranade's voice. This was a sign of hope for Deodhar and his science. Even today, those who know how Ranade previously regulated his voice will be able to see the improvement in his voice. Deodhar believes that Ranade should have continued the training a little longer. The third and the most important experiment is now in progress. This is with reference to Nirmala Gogat-e. It is only during the last five or six months that she has been receiving the training in voice-culture; but her faith in Deodhar and his science is unshakable. She is making efforts on her voice strictly according to Deodhar instructions. As a result there is considerable improvement in her voice and she gave ample evidence of this improvement in her performance in March, 1977 and again at Pune in November, 1977 -when she gave a concert at the Sawai Gandharva Music Festival. Since Nirmala Gogate is a performing artist there 'are many, who have heard her earlier performances. From their point of view, therefore, this noticeable improvement in her voice is a miracle. This is indeed an important landmark in the history of Hindustani classical music. Nirmalabai's attempts, though laudable, are still in the experimental stage. She should continue her training under Deodhar for a further period of six to twelve months. Deodhar himself believes that more such experiments need to be conducted. His mind is not Yet at peace. Any one who tries to do something novel, or attempts to break new ground is destined to face ridicule. After a period of some years, ridicule and sarcasm may subside and people may be prepared to consider these efforts dispassionately although doubts may linger in their minds. Then someone may come forward to submit himself to the experiment and when such experiments are repeated several times and with success, people might finally accept the technique as reliable. No innovator can escape this tortuous process. Deodhar has gone through and withstood the earlier phases. He is now definitely on the way to success in the 77th year of his life.
There is one more thing of some importance. The main reason why Deodhar-'s voice-culture became a subject of common ridicule was Deodhar's own defective voice. He had decided to try voice culture on himself in the beginning till he could get some disciple willing to submit himself to the experiment. He would sit in front of a mirror, place the tanpura horizontally on his lap, place Ingam Guruji's book by his side and start the experiment. This funny sight was to be seen every day in the morning. I suggested to him, in a lighter vein, that a photograph of his in this posture might well be printed on the cover page of his autobiography! While training others in voice-culture, Deodhar has considerably improved his own voice and Mogubai Kurdikar once told me that she was pleased with Deodhar's transformed voice which she considered tuneful and without any blemish.
This has led to one welcome development. There is now a realization among vocalists that there is a scientific way of cultivating one's voice. And as a result of this realization Deodhar has written a book on voice-culture. Publication of this book (The book was published in the year of 1979) will be an addition of an allied sub-science to the main body of the science of music. This will indeed be an unprecedented development in the world of music.
If nobody is coming forward to undertake a task you can safely thrust it on Deodhar and feel a sense of total relief. This has happened many a time. Some enthusiastic members of Gandharva Mahavidyalaya started a monthly magazine Sangeet Kala Vihar entirely devoted to music. Within a year, having found the task too onerous, they promptly threw it on Deodhar's shoulders and went their way. I have personal knowledge of how much Deodhar has slogged continuously for the last twenty-five years to run this magazine. Deodhar, whose pen had never touched paper except for writing private and personal letters, soon developed into a seasoned writer. Once he assumed the responsibility of conducting the magazine month after month, he started writing biographies of famous vocalists as well as instrumentalists, histories of gharanas in music, articles on musical history and analysis. His writings during the last twenty-five years have been so voluminous, so varied and so weighty that the present writer's analytical book Gharandaj Gayaki would scarcely have been possible without their support. (There is in that book grateful acknowledgement to Deodhar). Some articles were selected from Deodhar's writings and published in 1966 entitled Thor Sangeetkar. The book has been widely appreciated. Deodhar's scattered writings of the last twenty-five years, first published in Sangeet Kala Vihar, have thus been brought together in a book form. The book acquaints the readers with the artists who were born in the 19th century, domi- nated the music world in the first half of the 20th century and who in a true sense were or are the representatives of the golden period of Indian music. The book also gives a detailed account of their contributions to art along with their pen-portraits. It consti- tutes important source material and an authentic reference book on the history of Hindustani music. The published book is the first part that would be followed by one or two more parts. Deodhar continues to write even at this age. It was natural and inevitable that his important writings should receive Government recognition and appreciation. He was the recipient of the First Prize awarded by the Government of Maharashtra in 1974.
The second book of the same kind written by Deodhar in the evening of his life is the biography of Pandit Vishnu Digambar Paluskar. Although Panditji had done monumental work in the field of music there was no authoritative biography of him. This lacuna has now been removed and Deodhar has amply paid his debt of gratitude to his guru. He has not written this biography in blind faith and has not hesitated to lay bare the shortcomings as well as achievements of Panditji. It has drawn a proper and realistic picture of Panditji. The book is an important addition to biographical literature in the field of music. This is now available in Hindi translation as well.
After Pandit Bhatkhande and Pandit Paluskar, nobody except Deodhar has conducted activities for the promotion of music. It was undoubtedly Vishnu Digambar who made music prestigious and the same mission was relentlessly carried on by Deodhar through meetings, lectures and music conferences. He has vociferously advocated the introduction of music in Universities from various platforms. He has been pleading for a place of respect for music in University curriculums. To achieve this objective he enlisted the support of leading figures in political, social and cultural fields like the Hon'ble M.R. Jayakar, Tatyasaheb Kelkar, Leelavati Munshi, Maharaja of Dharampur, Kanhaiyalal Vakil, etc. He carried his mission and message up to the Governor of Bombay. Leading English newspapers like The Times of India and The Bombay Chronicle also advocated introduction of music in Universities and championed the cause of music through their editorials. Deodhar had the good fortune to see that his efforts bore fruit. But Deodhar is honest enough to realize and admit that there is failure in this success. He gave expression to his disillusionment in his address at the Conference of Gandharva Mahavidyalaya convened at Jaipur in 1964. He said, "During the last many years I have been pleading for the introduction of music in our Universities. I have enlisted the support of influential personalities in my campaign. Now I feel that it would have been far better if I had not started this campaign at all. These Universities, Music Colleges and Music Schools, with all their curricula, have not produced a single competent artist during the last 30-40 years nor have they produced a single erudite musicologist. In order to produce genuine artists of calibre we must revive the ancient guru-shishya tradition." How many, in the evening of their lives, would have the courage and honesty to publicly confess their real sense of disappointment.
In 1923 Pandit Vishnu Digambar Paluskar wound up his Gandharva Mahavidyalaya at Bombay and went to Nasik, leaving Bombay high and dry, musically. He returned to Bombay the next year and asked Deodhar, "What kind of disciples have you proved ? I thought that every disciple of mine would become a school of music! Why don't you yourself take it on ?" Panditji's message went home and inspired by it Deodhar started his School of Indian Music. The school has been working for the last fifty years. He has also turned the school into a public trust. Students who have received Deodhar's personal attention, instruction and gui- dance have been galore. He has never tried to put his pupils in the strait-jacket of his own gayaki. He has allowed his pupils to develop on the basis of their own natural endowments and he has supervised their growth after taking into account the quality of voice, attitude and potential of each pupil. In a sense, therefore, he has shown what an ideal guru ought to be. It is indeed very rare to come across a guru who allows his students full freedom to develop according to their own genius. Kumar Gandharva, who has evolved his independent gayaki, which was not even conceived by Deodhar, is a veritable living memorial to Deodhar.
It is quite natural that Deodhar's pupils have not adopted "Deodhar's gayaki" but each one of them feels beholden to him.
The fame of this versatile musicologist and great teacher transcended the boundaries of Maharashtra. The Banaras Hindu University persuaded him to accept on his own terms the Deanship of their Music Department for a period of five years, After the expiry of this period he was invited by the Banasthali University of Rajasthan to be the Principal of their Music Faculty. He stayed there for three years. Thinking that he would not be able to properly discharge these growing responsibilities at the advanced age of sixty-seven years, he returned to Bombay to settle down there. Institutions, students and accomplished artists here are all taking advantage of his return which was denied to them for eight long years of Deodhar's absence.
After Pandit Paluskar's demise Narayanrao Khare,.Panditji's disciple and inmate of Mahatma Gandhi's Sabarmati Ashram, established the Gandharva Mahavidyalaya Mandal in 1931. During its first twenty-five years Deodhar was President of the Mandal and during this period the Mandal made remarkable progress. At an interval of every three years the Mandal has held Music Conferences of All India character, has convened Meetings of music teachers, has organized music concerts of famous artists and has honoured. eminent artists and musicologists by offering them addresses and shawls. Every sixth month the Mandal holds examinations for Visharad and Alankar degrees and diplomas and ten thousand examinees from every nook and corner of India appear at these examinations. Although the entire credit for these achievements cannot be given to Deodhar alone, it will not be denied that he has the lion's share in it.
Deodhar has witnessed many ups and downs in his life. I have seen him hopelessly repaying debts of thousands of rupees incurred by him for floating a film company, a venture he had no business to undertake. He incurred the displeasure of All India Radio authorities for leading the Satyagraha of artists. Perhaps for the same reason State honours eluded him. But his musical achievements have been massive and they are so overwhelmingly great that his presence is inevitable and inescapable in any musical event or development in India. In view of this and in view of his services to the cause of music he was awarded the title Padmashree when he was seventy-five.
With all this, utter lack of tidiness is an inseparable part of his personal life. He has a penchant for losing things and finding them again after a great deal of trouble. Family life of this uncommon musicologist has been competently managed. by his wife Champavati during this long period. Besides carrying out diligently her duties as a teacher in their school, she has also been quietly looking after the affairs of her husband. In Deodhar's absence she has looked after the management of the magazine Sangeet Kala Vihar. She had often to steer clear of her husband's lack of order and tidiness. Those who have been close to Deodhar are fully aware of the fact that Mrs. Deodhar has a very large share in her husband's achievements and success.
After having said all this, it will be superfluous to say that Deodhar's devotion to music is uncompromising and complete. Music is the aim and purpose of his life. He has devoted his entire life to the promotion of the art and science of music and literature on music and has, for this purpose, traversed the Continent of Europe-visited France, Italy, Austria, England, Communist countries like Russia, Poland, Yugoslavia, etc., and countries in the Far East like Japan, Hong Kong, Philippines, Thailand, etc. He will be seventy-seven years of age on 1lth September, 1977 and I wish him all the best on this occasion. I wish Professor Deodhar and Mrs. Deodhar long life and fervently hope that he will produce further significant works-including his autobiography.
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Переслать - Lagos - Stori Plenti. Urban Sounds from Nigeria
Lagos - Stori Plenti. Urban Sounds from Nigeria, 2006
Lagos Stori Plenti is the first internationally-released compilation that presents the new sound from Nigeria. Straight from the largest country in Africa, this release taps into the lyrical and musical expressions of a young generation that grew up on hip-hop, reggae and dancehall in one of the craziest cities in the world. It is about guys like Eedris Abdulkareem from Kano coming to Lagos with nothing in his pocket but a dream to make it as a musician, who would later tour Nigeria with 50 Cent. There is Ruggedman who took hip-hop to a new level by dissing many of the fake American-sounding rap star wannabes. JJC from London experiments with fusing traditional instruments into his productions. Cologne-based Bantu mixes fuji and Afrobeat on his award-winning album Fuji Satisfaction and created a style that blends Lagos sensibilities with the European sound. Afrobeat is heartily represented by Dede Mabiaku, who used to open shows for Fela Kuti and releases his first track internationally here. The most vibrant music comes from Lagos' neglected ghetto, Ajegunle (AJ). "Nigeria's Kingston" as some call it, lives on reggae/dancehall with its own style of pidgin and hilarious dancing. AJ is represented here by Nutty & Wharfy and African China from neighboring Orile whose song "Mr President" is huge in Lagos at the moment. Then there are the guys who rap in English: Modenine with "419 State Of Mind Pt. 2" takes up the topic of 419, the legal term for "advance fee fraud," and Terry Tha Rapman, with his politically-charged spoof on Eminem, on "I Am A Nigerian." There are also songs about love and loss, for example, Six Foot +'s song "Anwuli," with the chorus: "Anwuli, she chop (eat) my money and go." Lagos Stori Plenti represents a fresh mix of hip-hop, reggae, salsa and dancehall that truly represents the sound of youth, as they struggle to preserve their completely unique Nigerian sound while still reflecting their diverse musical influences.
"Hi, do you trust Nigerians, the kind of people who are rugged and resilient, shady like Sicilians … "? In the opening track 'I am a Nigerian' Terry tha Rapman from Lagos shares his daily life experience quoting a song by one of his favourite rappers from the US: "I buy fake designer clothes from Aba, you wanna try? Who needs Calvin Klein, when you got Oko Klien? My shoes are dead from trekking, I`m close to stealing yours and exchanging your designer boxers with my stinking drawers. So tell me, am I dead or alive? I can barely decide, so many times I contemplated suicide ...".
'Lagos stori plenti' is about tapping into the lyrical and musical expressions of a young generation from the largest country in Africa. A generation that grew up on hip-hop, reggae and dancehall in one of the craziest cities in the world. This is the first internationally released compilation that presents this new sound from Nigeria. It is about guys like Eedris Abdulkareem from Kano coming to Lagos with nothing in his pocket but a dream to make it as a musician. Eight years later he tours Nigeria with 50 Cent, but gets into a fight with 50 Cent's bodyguards, feeling Nigerian artists on the tour are not getting the respect they deserve. There is Ruggedman who took hip-hop to a new level by dissing many of the fake American sounding rap star wannabees. Another voice comes from the Nigerian Diaspora. It is the innovative force in terms of sound. JJC from London experiments with fusing traditional instruments into his productions. Bantu living in Cologne just came up with a new mix of fuji and afrobeat on his Kora award-winning album 'Fuji Satisfaction' and created a style that could not have come out of Lagos. Afrobeat is represented by Dede Mabiaku, who used to open shows for the late Fela and releases his first track internationally here. The most vibrant music comes from Lagos' neglected ghetto Ajegunle (AJ). Nigeria's Kingston as some call it, lives on reggae/dancehall with an own style of Pidgin and hilarious dancing. AJ is represented here by Nutty & Wharfy and African China from neighbouring Orile whose song 'Mr President' is huge in Lagos at the moment. Then there are the guys who rap in English: Modenine and Terry tha Rapman. Check out Modenine's '419 state of mind pt. 2' that takes up the topic of 419, the legal term for the so-called 'advance fee fraud', a form of crime the country has become notorious for. Six Foot + with his song 'Anwuli', about a girl he loved an trusted, with the chorus: "Anwuli, she chop (eat) my money and go…" or Terry tha Rapman in 'I am a Nigerian' whose girlfriend feels that: "Nigerian men are not romantic, they don't buy expensive gifts". Fed up with his situation, he sums up his feelings: "…I`m a very angry man, arrgh, so don't tempt me man. Just for letting you live, you oughta thank me man, cuz we live in a country, where nothin` works and it drives me beserk to face another day wit an empty purse."
01. Terry Da Rapman - I Am Nigerian
02. JJC & 419 Squad/TID - Demu Gani
03. Eedris Abdulkarim - Letter To The President
04. Weird MC - Ijoya
05. Azadus & Bantu/Modenine/Dede - Odolaye
06. Modenine & OD - 419 State Of Mind
07. Nutty & Wharfy - Give Me A Chance
08. African China & Efe - Mr President
09. Ruggedman - Baraje
10. Faze - Faze Alone
11. D'Banj - Tongolo
12. Bantu & Ayuba - Oya
13. Dede - Niger Delta Jam
14. Six Foot Plus - Anwuli
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Переслать - Unforgettable ClassicalTRACK LISTINGS
[01]. Vivaldi - Four Seasons
[02]. Beethoven - Symphony No 5
[03]. JS Bach - Minuet In D Mirror
[04]. Mozart - Serenade In G
[05]. Beethoven - Fur Elise
[06]. Saint Seans - Carnival Of The Animal
[07]. Baccheri - Menuet
[08]. Tchaikousky - Swan Lake Ballet Music
[09]. Mendelssohn - Song Without Words
[10]. Mozart - Turkish March
[11]. Vivaldi - Winter
[12]. Strauss - Voice Of Spring
Classical | MP3 VBRkbps | 2007
HERE
Переслать - Ross Daly & Chemirani Trio – Archives at Theatre de la VilleRoss Daly, the master of cretan lyra, performs here with the Trio Chemirani and four other musicians. A unique concert with musical roots in Crete, Greece and Transcaucasia.
Born in England in 1952, of Irish origin, Ross Daly began his travels at a very early age. His first instrument was the cello which he began when his family lived in America, which was followed by studies of classical guitar which began in Japan. He later encountered Indian music, which immediately drew his interest. He subsequently studied the Indian sitar, the Afghan rabab, the Turkish saz and oud.
In 1975 he moved to Crete where he studied the lyra with its great master Kostas Moudakis.
«I did not chose Crete, I have more of an impression that the lyra 'chose' me. When I arrived, the lyra was not taught in music schools. I followed the teaching of its greatest living virtuoso for sixteen years. I have always believed that, in the case of traditional instruments, you must first learn the instrument and its repertoire in the traditional manner before you start to work as an innovator».
In 1982 Ross Daly founded the group Labyrinth, which initially was dedicated to experimental work on Cretan music. Labyrinth gradually developed into a musical workshop which involved a large number of diverse participants and, in 1987 it moved to Athens, where its interests broadened considerably to include a wide variety of different musical traditions from the Balkans, the Middle East and Asia. Ross Daly's music has its roots in the music of Greece, Turkey, Transcaucasia, the Middle East and North India. He performs numerous concerts all over the world, playing with musicians coming from all corners of the world.
He played for the third time at the Theatre de la Ville, Paris in 2003, with Chemirani Trio. Djamchid Chemirani, the father, was born in Iran in 1942. He moved to France at the age of nineteen. He was initiated to the zarb by the Iranian great master Hossein Teherani. Djamchid Chemirani is considered one of the best players of the zarb.
His sons Keyvan and Bijan, who learnt the zarb from their father, first developed their own musical projects. Only recently have they decided to perform as a trio.
Ross Daly lyra, rabab, saz, tarhu
Djamchid Chemiran zarb
Keyvan Chemirani zarb, bender, udu
Bijan Chemirani zarb, daf, bender
Stelios Petrakis lyra, saz, kopuz, laouto
Pericles Papapetropoulos saz, laouto
Kelly Thoma lyra
Angelina Tkatcheva tsimbal (santur)
1. Earpigon, Jurjuna, Houdetsanes kontylies, Pentozalis
2. Synavgeia
3. Abacus
4. Makrinitsa
FLAC (EAC Rip): 360 MB | MP3 - 256 kbs: 120 MB | Booklet Scans
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