How rare to see an Indian audience at a performance of Hindustani classical music actually listening! It is a testament to Mr. Borkar's artistic integrity that he knows how to read a room and skillfully unfold a raga in a way most appropriate to that time and place. To those who second guess talent exceeding their own, the balance of the instruments could not have been better, by the way. And, no, this is not close to Maand, which is literally as basic as it gets: Bilaval Thaat, all seven notes shuddha up and down, a C major scale to reflect Rajasthani folk music, with the familiar vadi/samvadi of Sa and Pa (the tonic and dominant are the 1st and 5th, basically C and G). Hemant, on the other hand, omits Rishab and Pancham in aaroh (omits the 2nd and the 5th in the ascent) but uses all seven natural notes descending, so it's jati is audav-sampoorna. The vadi and samvadi are Madhyam and Shadaj (shifts the tonic to the 4th). I was reading a discussion on a blog for sitar players about the difficulty of playing a raga in which Pancham (the 5th) takes a backseat when we are so used to hearing it play a dominant role. It's difficult to get used to Ma (4th, F) being the major note even when listening. (Perhaps that's why some people need a longer alap.) There was a link to this video as an example of that shift in emphasis being done well. So, I think Mr. Borkar was quite conscious of every single note he played as he elaborated Raga Hemant for nearly an hour. If North Indian Classical music survives it will be due to the talent and training of professional musicians like Mr. Borkar, not complaints from people who think they know better. That's just my opinion.
Beautifully played and as well accompaniment on tabla No doubt sarod played great by Abhishek But Rhishikesh hat’s off to your perfect tabla accompaniment
Abhishek has become a fine artist at such a young age, but I have a small complaint against him. In several of his performances i noticed a tendency to eliminate the jor portion and going straight to Gat with table after a brief alap. I don't know why he does it or whether ihe is even conscious, of it but it deprives us from enjoying a very important segment of raag development. We had the same complaint against Ustad Amir Khan Sahab for avoiding antara in the Vilambit which he could very easily have done. There are some very rare occasions where hie did sing the antara and it was a divine pleasure. This is of course my personal opinion.
I agree with your observation about dropping the Jod part. Perhaps it has something to do with time constraints. I have so often heard Ravi ji do a short Alaap followed by the Gat. The Jod then becomes a part of the slow Gat same as in vocal classical music. Smt. Kishoritai's renditions are a classical example. On the other hand Ravi ji has so many recording with the Alaap, Jod and Jhala and no Gat e.g his raagas Shuddha Kalyan, Yaman and Malkauns. If you have the Gats for these raags I would certainly appreciate if you could let me know. I had known Pandit Ravi Shankar and used to be his host whenever he came to Pune for a concert.
Beautifully played Hemant made even more enjoyable in this Baithak setting with a group of cognoscenti. A great future for young Abhishek Borkar.
Beautiful! Its very rare to see young artists of our generation play a raag with so much patience and swara by swara badhat. Loved it!
How rare to see an Indian audience at a performance of Hindustani classical music actually listening! It is a testament to Mr. Borkar's artistic integrity that he knows how to read a room and skillfully unfold a raga in a way most appropriate to that time and place. To those who second guess talent exceeding their own, the balance of the instruments could not have been better, by the way.
And, no, this is not close to Maand, which is literally as basic as it gets: Bilaval Thaat, all seven notes shuddha up and down, a C major scale to reflect Rajasthani folk music, with the familiar vadi/samvadi of Sa and Pa (the tonic and dominant are the 1st and 5th, basically C and G).
Hemant, on the other hand, omits Rishab and Pancham in aaroh (omits the 2nd and the 5th in the ascent) but uses all seven natural notes descending, so it's jati is audav-sampoorna. The vadi and samvadi are Madhyam and Shadaj (shifts the tonic to the 4th). I was reading a discussion on a blog for sitar players about the difficulty of playing a raga in which Pancham (the 5th) takes a backseat when we are so used to hearing it play a dominant role. It's difficult to get used to Ma (4th, F) being the major note even when listening. (Perhaps that's why some people need a longer alap.) There was a link to this video as an example of that shift in emphasis being done well.
So, I think Mr. Borkar was quite conscious of every single note he played as he elaborated Raga Hemant for nearly an hour. If North Indian Classical music survives it will be due to the talent and training of professional musicians like Mr. Borkar, not complaints from people who think they know better. That's just my opinion.
The ठहराव in your music is so peaceful.
Beautifully played and as well accompaniment on tabla
No doubt sarod played great by Abhishek
But Rhishikesh hat’s off to your perfect tabla accompaniment
Beautiful as always! :)
Fabulous ❤❤
Whaa kya baat h table M kya sangat ke h laajawab sir apko sangatkaar ka name bhe mention krnaa chaheye. ❤
Check details.
Fluid. Meditative.
In a word UNPARALLELED.
Are you a disciple of Smt Annapurna Devi?
I reckon I'd enjoy it better if the tabla would be a bit louder compared to the sarod; and, both a bit louder compared to the tanpura.
Yet again divine. Thank you
Is this close to maand raag?
No... it is close to Kaushidhwani
Abhishek has become a fine artist at such a young age, but I have a small complaint against him. In several of his performances i noticed a tendency to eliminate the jor portion and going straight to Gat with table after a brief alap. I don't know why he does it or whether ihe is even conscious, of it but it deprives us from enjoying a very important segment of raag development. We had the same complaint against Ustad Amir Khan Sahab for avoiding antara in the Vilambit which he could very easily have done. There are some very rare occasions where hie did sing the antara and it was a divine pleasure. This is of course my personal opinion.
I agree with your observation about dropping the Jod part. Perhaps it has something to do with time constraints. I have so often heard Ravi ji do a short Alaap followed by the Gat. The Jod then becomes a part of the slow Gat same as in vocal classical music. Smt. Kishoritai's renditions are a classical example. On the other hand Ravi ji has so many recording with the Alaap, Jod and Jhala and no Gat e.g his raagas Shuddha Kalyan, Yaman and Malkauns. If you have the Gats for these raags I would certainly appreciate if you could let me know. I had known Pandit Ravi Shankar and used to be his host whenever he came to Pune for a concert.