Raag Devgiri Bilawal ~ Kishori Amonkar
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- čas přidán 6. 04. 2019
- Kishoritai sings the beautiful traditional vilambit bandish - Ya Banaa Byaahana Bana, accompanied by Nandini Bedekar and Tejashree Amonkar on the vocals, Pt. Milind Raikar on the violin, Suyog Kundalkar on the harmonium, and Bharat Kamat on the tabla.
Disclaimer: This upload is being shared for non-commercial, educative purposes, as an example of Indian Classical Vocal Music. No copyrights were meant to be infringed intentionally. - Hudba
I think her idea of singing Bada khyal in Devgiri and Chota Khyal in Alhaiyya has a more scientific and temporal rationale. She did so sometimes for Behag as well. She would sing Bada Khyal in Bihag and then sing chota khyal in Bihagda/Pat Bihag/Hem Bihag. Maybe she respects the time frame(prahar) in which she is singing. Maybe prahar changes after she has sung 40-50 minutes of a particular raga. She was a genius.
Answer for ur question is in dis link czcams.com/video/lywQBb1NzpE/video.html read comment by Arun Dravidji in comment box
@@findingnemo1112 Vedarth, it was not a question but a mere contemplation keeping in mind the genius that she was.
Generating & recreating new Aalap in bada khayal is the main skill in any concert where the performing artist unfolds the different layers of Raag & its a process like a seed is sown and slowly the plant starts growing, its been taken care, nurchured, handled with care & later it becomes a giant tree. This process needs a lot of potential, patience & stability which Kishoritai always proved & done wonders on live stage.
Further the flowers & fruits are like chhota khayal, Tarana etc, Taana is the way the leaves of plant pulsate in different mood with frequency of the wind, which is like a creative aproch of an Artist. Thats why Kishoritai is GanaSaraswati 🙏🙏
The reason for that is that the Jaipur Gharana has a wide repertoire of vilambit and madhya laya bandishes but drut bandishes are relatively a bit less in number. Therefore, after singing any variety of Bilawal, Kishoritai used to always follow it up with 'Kavan Batariya' which is a drut bandish of Raag Alhaiya Bilawal.
I heard this raga in shanmukhanand
Hall.I yet remember memories of
that concert.So beautiful it was.
All viewers should try to like this video. Very sad to see there r very very less
Likes ..!
Second after Devagiri Bilawal, Kavan Badariya is d Bandish in Raag Alahya Bilawal..! This is one of d awesome gems by Kishoritai...! Each & every performance is like a brand new version of Alahya Bilawal. This version is taking my soul to the feets of Lord Krishna..! 🙏🙏🙏
Any kind of serious esoteric discussion on Smt. Kishori Amonkarji or any of her creations is simply beyond me for I am uninitiated. My journey through Classical Hindustani Music is out of curiosity and search for its intrinsic underlain beauty.
For me, Smt. Kishoriji is an abode also one of the bearings of my life. Whenever I could connect her rendition the divinity blessed me. Without her, I would have been little less human.
Absolutely Wonderful Abhishek ! The Raga , Tai's rendition and the clarity of the recording are just par excellence. The immense joy I feel in hearing this exceptional recording is only equal to the gratitude I feel towards you for sharing this with us. Thank you ! The sequence of visuals are so nice to see as well.
Beautiful rendition. Her singing is miraculous.
Eternal Devine presentation pranam
Majestic. Thank you.
Peaceful...❤
Divine 🙏🙏🙏
Great great ... peace
Thank you so much for sharing this amazing recording. Made my day!
Thanks so much for putting this here 🙏❤
Superb
Also love nandini didi'd voice ❤
Excellent👍💯
Violin instrumental by Dr. N. Rajam also gives a great insight into the beauty of this beautiful Raag that Kishiri ji performed🙏
Agreed.
Hello ,if u r talking about the violin accomplishment ,it's been Is accompanied by me. I was very fortunate to be with her for almost 21 years since 1996
No sir, not talking about accompaniment here.
I am talking about this great raag which is also played on violin by Dr Rajam. I am an admirer of you and your son as well, Sir.
I love the violin instrument.
Thanx for ur appreciation!
अप्रतिम
A very non-argumentative opinion about this recording. I believe it is one of the sweetest renditions I have heard and really it does not matter in the least as to where and at what instance it was recorded. However delving deeper into this I have come across two instances of Devgiri Bilawal sung by Kishori; in the public domain. The first was "Live at NCPA). This was released in 2007 and has Bilaskhani Todi 1:16:11 / Lalit Vibhas 13:06 / Devgiri Bilawal 50:34 . She used the swarmandal in that recording as well but it does not have the sharp strung as is present in the beginning of second instance ( which I believe is where this You Tube posting is from . ) And that is from a double DVD release : " Amol Palekar presents - Blessings : Badhaawa ( in Hindi ) - Live Concert of Morning Ragas by Kishori Amonkar . " This release consists of Devgiri Bilawal 65 minutes and then Hussaini Todi 40 minutes. Released in 2011.
This second instance of Devgiri Bilawal surpases magic but there is " something " just not right about the Live at NCPA. Her Bilaskhani Todi just falls flat there ( please listen to the Bilaskhani Todi posted by Aditya Kulkarni on You Tube which is exceptional ). I believe the Devgiri Bilawal in the Live at NCPA is again similar - falls significantly short of this rendition. Again , all of this is my opinion, I do not wish to over-ride what anyone thinks . Just looking forward to more Kishori Amonkar posts on You Tube.
which ncpa recording r u refering to ??is it available commercially or anywhere on utube ?? i have heard her bilaskhani in 2006 in DMCC ..that was out of world...wish it is recorded and released one day
@@anandjuvekar7742 The recording I was disappointed about was : Kishori Amonkar Live at NCPA / released 2007 / Bilaskhani Todi 1:16:11 / Lalit Vibhas 13:06 / Devgiri Bilawal 50:34 . The Bilaskhani Todi that I am besotted by is the one uploaded by Aditya Kulkarni ( on CZcams ) I cannot tire hearing that version. Do check it out. I believe that is a private recording from the sounds of the background comments. The Badhava Devgiri Bilawal is pure magic - the second part is Hussaini Todi - again wonderful ! There must be so many private recordings of Kishori - I just hope more are released on You Tube. Now to address your question " Is it commercially available ? " Quite frankly there is very little available commercially. I might suggest downloading a 7.13 GB compilation of pretty much all her commercially released material plus a bit more. Bits Torrent - you must find it .
@@anandketkar2191 can u share these recordings ??
She sang this bandish two more times, first Gaansaraswati mohotsav in Pune in Feb 2013 and once again in Mumbai on a diwali pahat occasion. In Pune, she was extremely irritated with the 🎤 system, threatening to stop midway 😅. Anyway nothing matches this rendition, this is a bolt straight from heaven.
@@varadshende4098 Good to hear . One can only hope that both the Pune and Mumbai concerts come out some time. The past few months we have not had anything fresh of Tai's music being uploaded. I absolutely agree with you - a sweet bolt from the heavens. One of my favorite recordings of Tai. And the bandish meaning is wonderful as well.
The title should also tell that chota khayal is Alhaiya Bilawal
Is it the version of Devgiri Bilawal which Tai performed in the NCPA ?? .... Thank you so much Abhishekji for this gem...!!!!!!
So nice,can you share lyrics
I think there is a video to this performance as well. How can one get that?
🙏♥️🙏
🙏🙏🙏🙏🙏
Plz post lyrics of the bandish..!
Can i have Lyrics ??
Raag Devgiri Bilawal :
Another beautiful bandish set in Madhyalaya Teentaal.
czcams.com/video/FEis5F298vo/video.html
No this recording is not the Devgiri Bilawal that Tai sang at NCPA. THIS rendition is exceptional. As strong a lover of Kishori's music I am , I have to say that the NCPA one is just not quite there - Frankly I do not listen to it. The NCPA recording is 50:32 long - this one is over an hour.
No no this is the Devgiri Bilawal she sang at NCPA for sure. :)
Nope it's the same recording which is shown in Bhinnshadja, before the interview of nandini ji in the film..... initial few minutes can tell you that.....the playful plucking of the strings of the swarmandal by Tai is same as shown in the film.
@@muh6956 I can surely guarantee that this is the NCPA rendition of Raag Devgiri Bilawal, recorded maybe 2010 end or 2011 beginning. This concert was conceptualized by Amol Palekar to celebrate Tai's 80th Birthday in 2011... If you hear this recording carefully, you shall surely hear the swarmandal part!
@@muh6956 by mistake your name got clicked. I wanted to reply to Ketkar sir
@@niranjanns2002 . Niranjan I do not mean to argue with you at all but I have just posted an independent opinion about this rendition. I have quoted the Amol Palekar presents............ DVD and unless this 2011 ,was recorded at NCPA as WELL as the Live at NCPA 2007 there possibly may be some misunderstanding. Anyway just a friendly expression of opinion. What matters is that we all are nuts about Tai's music !
Thank you so much Abhishek jee. This is a phenomenal one. Do you have any information on when was this performed?
ritvij athavale no idea :D
this was on her 80th birthday celebration.... arranged by amol palekar
@abhishek samal this is not traditional bandish you have quoted. this mostly is creation of Kishoritai
I know. We've had this discussion on Twitter. Kishoritai's bandish is definitely based on the traditional Gwalior bandish - both in terms of the words and tune. I have quoted the Gwalior bandish here.
@@AbhishekSamal yes..Very similar words..
@@AbhishekSamal This is Tai's creation. Unfortunately we couldn't hear her last Bandish which she was composing till her last day.
He Badhava aajaiyya..! part of this Original Concert ( real video clip) is included in d documentory film based on Biography of Kishoritai by Amol Palekar ( Bhinna Shadj) . Feels like we got Darshan of Saraswati Maa..!
Finding the vilambit laya a bit too fast. Somewhat distracts from the contemplative mood.
The Jaipur Gharana Gayaki's Vilambit Vistar is never overly slow. In Jaipur, Ati Vilambit is generally not sung and Vilambit itself is a bit faster than, say, a Kirana Vilambit. Kishoritai broke Gharana boundaries but one can never completely forget at least the positive aspects of one's upbringing. As for the contemplative mood, you are entitled to your opinion on that and I respect it. It is a subjective matter after all. But I feel she has elaborated the Raag quite leisurely. The tabla is a bit loud though but that's negligible enough.
दररोज ऐकला तरी नव्याने नवं काहीतरी सापडतं यात. नदीच्या विस्तीर्ण पात्राएवढा शांत आणि तेवढाच निर्मळ. ताईंच्या प्रेमात आकंठ बुडवणारा. 🥺
41:17
Namaste! What about this part you've highlighted?
@@AbhishekSamal I just liked that phrase so it's a kind of bookmark for me. Please ignore. And thanks a million for this gem!
Non