SAROD
SHENNAI
TABLA
Showing posts with label carnatic musicians. Show all posts
Showing posts with label carnatic musicians. Show all posts
MADHUP MUDGAL
212 Deen Dayal Upadhyay Marg
New Delhi 110 002, Te: +2323-3791
The distinctive feature of the India International Centre's annual festival, The IIC Experience, is the range it presents in music, dance, theatre, films, exhibitions of books, art and sculpture, et al.
The musical fare offered a sumptuous variety from a jazz concert and Flamenco on the piano to Hindustani vocal, instrumental and Carnatic music concerts.
Madhup Mudgal is an unusual student of the maverick Kumar Gandharva. You would not expect the student of such a master to be anything other than a classical singer. Or can we actually do given Kumar Gandharva's unconventional genius? Whatever the case, Madhup is a classical singer receptive to music also from very different genres — he has done classical singing for the Brazilian samba dance, plays the bass and guitar, conducts choirs and loves qawwalis. All this when the great Kumar Gandharva was still around.
The morning concert of Hindustani music by Madhup Mudgal this past Saturday was specially conceived for morning ragas, which are normally not rendered in the routine evening programmes of music. The sprawling fountain lawns echoed with the serenity of Madhup's meditative Bilaskhani Todi with which he opened his concert.
The tuneful ambiance was created by the accurately tuned tanpuras played by three of his able students in the background. The introductory alapchari was a pencil sketch of the raga, which got detailed treatment in the following bara khayal, a famous bandish (composition) of Sadarang, "Neeke bol" set to slow Teen tala, like a painter putting various shades of colour by his deft brush strokes.
The subsequent chhota khayal "Neeke neeke shobha dekhat" was chosen thoughtfully to match the lyrics of the slow khayal. The lilting gate of the composition had a playful quality in the hide-and-seek of bols and laya around the sam. The main raga concluded with a captivating tarana set to drut Ek tala that had the unmistakable signature of Kumar Gandharva.
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New Delhi 110 002, Te: +2323-3791
The distinctive feature of the India International Centre's annual festival, The IIC Experience, is the range it presents in music, dance, theatre, films, exhibitions of books, art and sculpture, et al.
The musical fare offered a sumptuous variety from a jazz concert and Flamenco on the piano to Hindustani vocal, instrumental and Carnatic music concerts.
Madhup Mudgal is an unusual student of the maverick Kumar Gandharva. You would not expect the student of such a master to be anything other than a classical singer. Or can we actually do given Kumar Gandharva's unconventional genius? Whatever the case, Madhup is a classical singer receptive to music also from very different genres — he has done classical singing for the Brazilian samba dance, plays the bass and guitar, conducts choirs and loves qawwalis. All this when the great Kumar Gandharva was still around.
The morning concert of Hindustani music by Madhup Mudgal this past Saturday was specially conceived for morning ragas, which are normally not rendered in the routine evening programmes of music. The sprawling fountain lawns echoed with the serenity of Madhup's meditative Bilaskhani Todi with which he opened his concert.
The tuneful ambiance was created by the accurately tuned tanpuras played by three of his able students in the background. The introductory alapchari was a pencil sketch of the raga, which got detailed treatment in the following bara khayal, a famous bandish (composition) of Sadarang, "Neeke bol" set to slow Teen tala, like a painter putting various shades of colour by his deft brush strokes.
The subsequent chhota khayal "Neeke neeke shobha dekhat" was chosen thoughtfully to match the lyrics of the slow khayal. The lilting gate of the composition had a playful quality in the hide-and-seek of bols and laya around the sam. The main raga concluded with a captivating tarana set to drut Ek tala that had the unmistakable signature of Kumar Gandharva.
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GANGUBAI HANGAL
9160/18, Deshpande Nagar, Hubli
Dharwar, Karnataka 580 020.
Take Gangubai Hangal, in her 90s and ailing, who took the gayaki of the famed Kirana gharana to great heights. After the death of her daughter Krishna Hangal, there is no musical successor in sight. Her unique musical tradition, perfected through years of rigorous riyaaz, could be lost forever.
A woman of extraordinary talent and courage, Gangubai Hangal has kept her place in the male-dominated world of Hindustani music for almost a century, writes LAKSHMI VISWANATHAN.
ON March 5, Gangubai Hangal, the renowned Hindustani vocalist, celebrated her 93rd birthday. A news item informed her rasikas that her grandson planned to open a cultural centre, designating the Hangal home as a museum for music as a tribute to this grand lady.
Gangubai is one of the four Kannadiga celebrities of Hindustani music. The others are Mallikarjun Mansur, Kumar Gandharva and Bhimsen Joshi. She may not have a high profile like the men in this pantheon. Nevertheless she has held her own and has dedicated her life to the arduous cultivation of her style of expression. Her followers know her emotional involvement with music and appreciate her personal commitment to creative endeavour.
These qualities have earned her a pride of place among the great musicians of our time. She always did justice to the Khayal in all its intricacy, taking her time over the alaap in slow tempo, and thundering her way through the fast swaras. She gave new dimensions to raga Khamaj. Durbari Kanada, which Gangubai usually began in the lower octaves, was also a raga suited to her majestic style.
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Dharwar, Karnataka 580 020.
Take Gangubai Hangal, in her 90s and ailing, who took the gayaki of the famed Kirana gharana to great heights. After the death of her daughter Krishna Hangal, there is no musical successor in sight. Her unique musical tradition, perfected through years of rigorous riyaaz, could be lost forever.
A woman of extraordinary talent and courage, Gangubai Hangal has kept her place in the male-dominated world of Hindustani music for almost a century, writes LAKSHMI VISWANATHAN.
ON March 5, Gangubai Hangal, the renowned Hindustani vocalist, celebrated her 93rd birthday. A news item informed her rasikas that her grandson planned to open a cultural centre, designating the Hangal home as a museum for music as a tribute to this grand lady.
Gangubai is one of the four Kannadiga celebrities of Hindustani music. The others are Mallikarjun Mansur, Kumar Gandharva and Bhimsen Joshi. She may not have a high profile like the men in this pantheon. Nevertheless she has held her own and has dedicated her life to the arduous cultivation of her style of expression. Her followers know her emotional involvement with music and appreciate her personal commitment to creative endeavour.
These qualities have earned her a pride of place among the great musicians of our time. She always did justice to the Khayal in all its intricacy, taking her time over the alaap in slow tempo, and thundering her way through the fast swaras. She gave new dimensions to raga Khamaj. Durbari Kanada, which Gangubai usually began in the lower octaves, was also a raga suited to her majestic style.
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