Monday, November 12, 2007

Pt Bhimsen Joshi - some rare collection + Other Artists

Pt Bhimsen Joshi & Dr Balamurali Krishna Yaman Kalyan



Pt Bhimsen Joshi & Dr Balamurali Krishna - Bhairavi


Pt. Bhimsen Joshi - Boley Na Wo Humsey Piya - Raag Bhairavi


Pt Bhimsen Joshi - Mian ki Todi


Pt Bhimsen Joshi@ his residence

Monday, April 30, 2007

।। प्रार्थना ।।

नमस्ते सदा वत्सले मातृभूमे
त्वया हिन्दुभूमे सुखं वर्धितोहम् ।
महामङ्गले पुण्यभूमे त्वदर्थे
पतत्वेष कायो नमस्ते नमस्ते ।।१।।

प्रभो शक्तिमन् हिन्दुराष्ट्राङ्गभूता
इमे सादरं त्वां नमामो वयम्
त्वदीयाय कार्याय बध्दा कटीयं
शुभामाशिषं देहि तत्पूर्तये ।
अजय्यां च विश्वस्य देहीश शक्तिं
सुशीलं जगद्येन नम्रं भवेत्
श्रुतं चैव यत्कण्टकाकीर्ण मार्गं
स्वयं स्वीकृतं नः सुगं कारयेत् ।।२।।

समुत्कर्षनिःश्रेयस्यैकमुग्रं
परं साधनं नाम वीरव्रतम्
तदन्तः स्फुरत्वक्षया ध्येयनिष्ठा
हृदन्तः प्रजागर्तु तीव्रानिशम् ।
विजेत्री च नः संहता कार्यशक्तिर्
विधायास्य धर्मस्य संरक्षणम् ।
परं वैभवं नेतुमेतत् स्वराष्ट्रं
समर्था भवत्वाशिषा ते भृशम् ।।३।।

।। भारत माता की जय ।।
=======================================================================
Meaning Of The RSS Prarthana (Prayer) - In Shri Guruji's words

Forever I bow to thee, O Loving Motherland! O Motherland of us Hindus, Thou hast brought me up in happiness. May my life, O great and blessed Holy Land, be laid down in Thy Cause. I bow to Thee again and again.

We the children of the Hindu Nation bow to Thee in reverence, O Almighty God. We have girded up our loins to carry on Thy work. Give us Thy holy blessings for its fulfillment. O Lord! Grant us such might as no power on earth can ever challenge, such purity of character as would command the respect of the whole world and such knowledge as would make easy the thorny path that we have voluntarily chosen.

May we be inspired with the spirit of stern heroism, that is sole and ultimate means of attaining the highest spiritual bliss with the greatest temporal prosperity. May intense and everlasting devotion to our ideal ever enthuse our hearts. May our victorious organised power of action, by Thy Grace, be wholly capable of protecting our dharma and leading this nation of ours to the highest pinnacle of glory.
।। भारत माता की जय ।।
=======================================================================
प्रार्थनेचा अर्थ

हे वत्सल मातृभूमे, मी तुला सदैव नमस्कार करतो. हे हिन्दुभूमे, तू माझे सुखाने पालनपोषण केलेले आहेस. हे महामंगलमयी पुण्यभूमे, तुझ्यासाठी माझा हा देह समर्पण होवो. मी तुला पुनःपुन्हा वंदन करतो.

हे सर्व शक्तिमान परमेश्वरा, हिंदुराष्ट्राचे आम्ही पुत्र तुला सादर प्रणाम करतो. तुझ्याच कार्यासाठी आम्ही कटिबध्द झालो आहोत. त्या कार्याच्या पूर्ततेसाठी आम्हाला तू शुभाशीर्वाद दे. हे प्रभू, आम्हाला अशी शक्ती दे की, जिला आव्हान देण्याचे धैर्य जगातील अन्य कुणा शक्तीला व्हावयाचे नाही. असे शुध्द चारित्र्य दे की, ज्या चारित्र्यामुळे संपूर्ण विश्व नतमस्तक होईल आणि असे ज्ञान दे की, ज्यामुळे आम्ही स्वतः होऊन पत्करलेला हा काट्याकुट्यांनी भरलेला मार्ग सुगम होईल.

उच्च असे आध्यात्मिक सुख आणि महानतम अशी ऐहिक समृध्दी प्राप्त करण्याचे एकमेव श्रेष्ठतम असे साधन असलेली उग्र अशी वीरव्रताची भावना आमच्यात सदैव उत्स्फूर्त होत राहो. तीव्र आणि अखंड अशी ध्येयनिष्ठा आमच्या अंतःकरणात सदैव जागती राहो. तुझ्या कृपेने आमची ही विजयशालिनी संघटीत कार्यशक्ती आमच्या धर्माचे संरक्षण करून या राष्ट्राला वैभवाच्या उच्चतम शिखरावर पोहोचविण्यास समर्थ होवो.

।। भारत माता की जय ।।
=======================================================================

Transliteration
Namaste sadaa vatsale matru bhoome
twayaa hindu bhoome sukham vardhitoham
mahaa mangale punya bhoome twadarthe
patatwesha kaayo namaste namaste

prabho shaktiman hindu raastraanga bhoota
ime saadaram twaam namaamo vayam
twadeeyaaya kaaryaaya baddhaa kateeeyam
shubhaam aashisham dehi tatpoortaye

ajyaan cha vishwasya deheesha shaktim
susheelam jagadyena namram bhaveth
shrutam chaiva yat kantakaa keerna maargam
swayam sweekritham na sukham kaarayet

samutkarsha nishreyasasyaika mugram
param saadhanam naama veeravratam
tadantah sphuratwakshayaa dheya nishtaa
hridantah prajaa gartuteevraanisham

vijetri chana samhataa kaarya shaktir
vidhaayaasya dharmasya samrakshanam
param vaibhavam netum etat swaraashtram
samrthaa bhavatwaashishaa tebhrusham

Bharat Mata Ki Jay

Monday, February 12, 2007

INDIA POISED !! Really??

"Double Sundae" shouts the frontpage headline on todays TOI. After Tata's acquired Corus it's Birla's to acquire Novelis in Canada.(http://timesofindia.indiatimes.com/After_Tata_its_Birla_Magic_of_metal/articleshow/1593535.cms)

Well we all know how TOI is going ga-ga over "India Poised" funda. I never paid much attention to it except for the beautiful song composed by Shankar-Ehsaan-Loy & Gulzar. Listen to it Click Here

However, after reading it again I started wondering is this REAL !!
I mean all this really big acquisitions, announcement of Wal-Mart entry into India, big software companies lining up to enter India etc etc. Do these things really mean we are growing, transitioning from developing country to developed country? If the answer to all this is YES, then at what cost?????

Just yesterday there was a beautiful Marathi movie on cable.
How a foreign company wants to start a soft drink company in some village in Maharashtra, how they bribe the government. How the government happily on receiving the money start grabbing farmers land. How one particular farmer tries to resist it and ultimately gets killed.

Some pondering over one interesting shot in the movie:

One day the director of this company comes to this farmer’s house to know why this farmer is resisting this soft drink company setup on his land.

The director asks why he is resisting the village development.
The farmer replies, "Who is going to benefit from this project?
What are we farmers going to gain from this?
Farmers will be losing their bread and butter (their lands) in return to under valued compensation. They will have to search for new jobs, relocate to unknown areas, and break their entire present setup. Now why should they do this? Should they do this for the soft drink unit or should they do this for the few greedy politicians?"
The director has no answers to this.
Further the farmer says, "I am happy because whatever I grow, I eat it. Remaining I sell in market, I have bought few jewellery for my wife, we wear sufficiently good clothes, my kid goes to school, we have villagers who participate in each other happiness and sorrow. Tomorrow due to this company new big housing project will come up; few 5 star hotels will come up. Off course we farmers won’t be able to afford it
Then why should I leave my village. Who is going to benefit from this, obviously your Company and politicians. "

After hearing this, I really started thinking isn't this what's happening in India right now. I do believe we should develop, grow, but at what cost?
We need to decide in which areas we have to develop and what to develop. Right now we are blindly following the western world. In this entire process we are forgetting what we are, who we are, what's our culture, our roots.

Why we need the western world to tell us how great is our vedic mathematics is?
How great is our Yoga Abhyas is?
How superb Sanskrit language is?
We are running after careers, fast food, nuclear families so much that we are forgetting how we ourselves were brought up. How we enjoyed playing with our friends after school; how we listened to stories from our grand parents; how we ate good healthy food.

There are some positives aspects to be seen from this new globalisation phase. Like accessibility to information, plethora of career options, easy money, well to do lifestyle; but what about the negatives. We still have pathetic roads, electricity problems, growing divide between haves and have nots, increasing crime rate, corruption ........and list goes on.
Shouldn't we try to address these problems? I know these problems won't be solved in few days, but atleast we should start in that direction.

Does success in Software, attracting few big names like Walmart in India, acquiring big companies overseas means we can challenge the world?
Do you really feel India is POISED?

Sunday, February 04, 2007

माझे आराध्य दैवत पंडित भीमसेन जोशी यांचे ८६ व्या वर्षात पदार्पण



काय योगायोग आहे. आजच सकाळी अनेक दिवसांनी पंडितजीनचे "मिया की तोडी" ऐकले आणि आजच स्वर भास्कर पंडीत भिमसेन जोशी ह्यानी ८६ वर्षात पदार्पण केले. मला आज ही ठलक पणे आठवत आहे. मी पंडीतजींना सर्व प्रथम पुण्यातल्या राघवेन्द्रस्वामी मठ मधे पाहिले/ऐकले होते. तेव्हा कधी माझ्या मनाने पंडीतजींना माझे गान दैवत बनावले कळालेच नाही.
त्या नंतर मी त्यांचे अनेक मेह्फ़िलि ऐक्ल्या, अनेक ध्वनी फ़ीत विकत घेत ल्या . पण अजुन ही सर्व कमीच वाटते.हे फ़क्त मलच नव्हे तर सर्व रसिक श्रोत्यां असेच वाटत असणार. ह्यची प्रचिति सवाई गंधर्व मधे येते. शेवट च्या दिवशी कोणी पण पंडीतजीनचे बुलंद गायकीचा अस्वाद घेतल्या शिवाय जात नाही. उलट त्या वेळी मांडव तुदुंब भरुन जातो.अपना सर्वानकरीता ही सकाळ मधली बातमी कॉपी करत अहे.
हा माझा मराठी मधला पहिलाच ब्लॉग आहे. तेव्हा अनेक चुका झाल्या आहेत. हळु हळु सुधार होइल :).

-अमित


पुणे, ता. ४ - ""रसिकांची सेवा करण्याची संधी आजवर मिळाली; पण आता शरीर साथ देत नाही. मलाही लवकरात लवकर गाण्याची इच्छा आहे. डॉक्‍टरांनी "हो' म्हटले की रसिकांची सेवा पुन्हा सुरू करीन,'' ...ज्यांच्या बुलंद गायकीची मोहिनी रसिकांवर आजही आहे ते स्वरभास्कर पंडित भीमसेन जोशी सांगत होते. ......पंडितजींनी आज ८६ व्या वर्षात पदार्पण केले. सकाळपासून त्यांना शुभेच्छा देणारे दूरध्वनी खणखणत होते. हिरव्या काठांची किनार असणारी लुंगी, रेशमी शर्ट आणि शाल अशा पोशाखात पंडितजी अतिशय प्रसन्न मुद्रेने प्रत्येकाचे स्वागत करत होते. त्यांचे शिष्य, कलाकार, चाहते, रसिक... साऱ्यांची चौकशी ते जातीने करत होते. जुने संदर्भ सांगत होते. युवा गायिका मंजूषा कुलकर्णी मूळची सांगलीची आणि काणेबुवांची शिष्या, हा तपशीलही त्यांना आठवत होता. माध्यमांच्या प्रतिनिधींचेही स्वागत ते "या पत्रकार' असे म्हणत करत होते. "चांगले संगीत ऐकून मी झोपायचो; पण अलीकडचे संगीत ऐकून झोप उडते,' अशी मिस्कील टिप्पणी करत ते म्हणाले, ""हल्ली सुधारणा दिसतात; पण त्यामुळे "गडबडी' वाढत चालल्या आहेत. रसिकांना तृप्त करण्याची माझी आजही मनापासून इच्छा आहे. ईश्‍वराने मला ती संधी द्यावी.'' आर्य संगीत प्रसारक मंडळाचे सहसचिव आणि प्रसिद्ध गायक श्रीकांत देशपांडे, खजिनदार गोविंद बेडेकर, उपेंद्र भट, मुकुंद गद्रे, मोहन दरेकर, राजेंद्र कंदलगावकर, रघुनंदन पणशीकर, हेमा उपासनी, मंजूषा कुलकर्णी-पाटील, तबलावादक भरत कामत अशा अनेकांनी त्यांचे वाढदिवसानिमित्त अभीष्टचिंतन केले.

Monday, December 04, 2006

Ravi Shankar - sitar and indian music introduction

a brief introduction to the sitar and indian music by ravi shankar

Hindustani Classical Instrumental Video's

Some good Video's I found ...

1. Ustad Ali Akbar Khan



2. Ustad Amjad Ali Khan


3. Bangaladesh Benefit Concert
- Part I


- Part II


4. Anoushka Shankar

Wednesday, August 24, 2005

S A R O D



I was fascinated by this beautiful instrument called SAROD !.
I took to this beautiful instrument for its superb tonal quality.
Sarod is one of the difficult instrument to play because as you can see there are no frets, so you are required to have a very refined ear which can catch the right notes while playing ( yeah, i know it sounds scary :) ).
Secondly, due to the accessibility problem you face while playing.
But as they say no gain without pain ( but the pain over here is sweet one ;) )
Sarod has a very interesting history which i would like to share with you all.

Let's discuss the development of the modern sarod and its ancestry -
(taken from interview of the great sarod maestro Pt Buddhadev Das Gupta)

Let us start right from the beginning: we have all our researches and explorations pointing to primitive man's bow and arrow as the first stringed instrument. Then bows sometimes had 2 strings, sometimes different bows of different sizes emitted different sounds which triggered the science of pitch, octave, the difference in notes, and all that. The next important discovery was that the stem of the instrument was in 2 parts basically: One was a piece of wood, strong enough to hold the tension of the string, and the other was the string itself. When this frame, or yoke, or the stem of the instrument accidentally was a hollow one, or was placed on some hollow object, the vibrations of the strings were magnified, the sound increased in volume. From here started the science of the air chamber of the instrument. Sometimes the stem itself was hollow, which itself was the air chamber; sometimes a specially big air chamber was introduced at the end of the hollow stem which gives you the sitar, tanpura and this family. And sometimes the air chamber was extended partially down the stem or right down the length of the stem, being the biggest and broadest at the base and tapering away; this gives you the sarod, the guitar, the lute also to some extent and a few other instruments. Quite a few instruments all over the world have similar shapes and sizes with minor variations. Now coming to the Indian instruments, all stringed instruments, whatever their shapes and sizes, were generally termed as veenas. Depending on the shapes, sizes and other things they acquired different names: Saraswati veena, Rudra veena, this veena, that veena, Tritantri veena. Two or three names stand-out in particular which have relevance to the sarod: one was the Sharadiya veena, the other was the Rudra veena. I have some slides of these instruments taken from the Calcutta Museum; I do not know the actual age of the specimens shown there but some of them might have been made up from descriptions received from old books and other things. However, the Sharadiya veena and the Rudra veena were much alike and nearly three or four hundred years ago, or even earlier, they had travelled to Afghanistan and been adapted for their own special purpose. Side by side, there was an evolution of the Indian rabab. The Indian rabab was somewhat like the Afghan rabab but much larger in size. Instead of steel strings there were cat-guts; instead of a steel plate there was a polished wooden fingerboard. This rabab also had its limitation in the same way as the Afghan rabab-it could not have long glides, but it had some glide which was utilized to the best advantage. Tansen's descendents streamed out into two basic branches of rababiya plus dhrupadiya, and beenkar plus dhrupadiya. Tansen's daughter, Saraswati, was married-off to one beenkar named Misri Singh, or Nabat Khan-their descendents played veena, and of course, sang dhrupad. Tansen's son, Bilas Khan, and his descendents were rababiyas plus dhrupadiyas. Dhrupad was common to each. Now come over to Afghanistan; the Rudra veena, Sharadiya veena or whatever it was, or even the Indian rabab-there were frequent exchanges of these instruments across the boarder-the derivative in Afghanistan was the small Afghan rabab, and it was played in the martial way. Martial tunes or compositions were played on it while marching into battle. We had three or four of these Afghan equestrians coming over and settling down in India. One was Ghulam Bandegi Khan Banghash; his grandson was Ghulam Ali Khan. Ghulam Ali Khan had three sons: Hussain Ali, Murad Ali and Nanhe Khan. Hussain Ali's son was Asgar Ali Khan. Murad Ali's son was Mohammed Abdullah Khan; and his sons were Ameer Khan and Wazir Khan. From Nanhe Khan descended Hafiz Ali, Amjad and his brothers. Likewise there were two others, one settled in Shahjehanpur and the other settled somewhere near Lucknow. The earlier rabab players in each of these families were inducted into Tansen's musical training particularly through their discipleships with two or three important Ustads of Tansen's family-Zaffar Khan, Barsat Khan, Chhaddu Khan, and so on and so forth. They were rababiyas, beenkars, and when these people learned dhrupad, they naturally wanted to translate dhrupad into their instrument but the instrument was not obliging, which was what lead to the exploration for a better instrument. Eventually, the sarod evolved from here, not merely the sarod but through another channel the sursringar also evolved; before that the rabab was there. Do you know how the sursringar was invented? Either Barsat Khan or Zaffar Khan, he played rabab, and because the rabab drum has got a hide on it-and is a very big drum-during the rainy season the hide got damp and the vibrations were shorter lived. He replaced the hide with the top of a sitar or surbahar, and replaced the wooden fingerboard with a steel plate. This instrument was no longer vulnerable to the rains or damp. Sarod was likewise developed in all these three families; each family claims that they were the originators of the modern sarod but the latest finishing touches to the sarod were given by somebody belonging to a totally different gharana, Ustad Allauddin Khan. He made the drum bigger and rounder, and added four extra strings, which were called tanpura strings. The tonality of the instrument improved, and the mirs, the glides were longer sustained and all that.

Checkout more on http://en.wikipedia.org/wiki/Sarod