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Raag - Rageshree | Ustad Nishat Khan | Sitar | Bazm e Khas
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- čas přidán 30. 09. 2018
- Raag Rageshree, also called Rageshwari, which is popularly considered as the Queen of all Raags and hence the name Rageshwari (Raag+Iswari) and decorously said so since it is a very euphonic and mellifluous raag of Hindustani classical music, from the Khamaj Thaat. In music literature, Raag Rageshree is said to have both Shuddha and Komal Nishads. It has evolved and become popular in the past century.
Raag Rageshree is very similar in its structure to Raag Bageshree. However, Rageshree stands apart through the use of the shuddha Ga, versus Bageshree's komal Ga.
Raag Rageshree is considered as a raag of night and, the best time to perform is advised during the second half (dwitiya prahara) of the night.
Artist
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Nishat Khan is one of India’s finest sitar player from Imdadkhani gharana. He is the son and disciple of Imrat Khan, the nephew of the late Vilayat Khan. He is also referred as the fastest sitar playing maestro in the world. Nishat Khan has mastered not only the North Indian classical idiom, but has also worked with music as diverse as Gregorian chant, Western classical music, jazz and flamenco.
Credits:
Sitar: Ustad Nishat Khan
Tabla: Shri Amjad Khan
This baithak was held at the initiative of Ved gupta as a part of Bazm e Khas foundation live concerts.
The idea behind this upload is to preserve this collection of great music for all music lovers and students of Hindustani music.
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there are sitar players and there is Ustad Nishat Khan.
I had to stop whatever I was doing in my morning chores to enjoy whatever Nishatji was doing in this alaap.
I don't know much about technicalities/grammar of sitar playing. My sensibility/musical sense has developed from listening the good stuff, thankfully introduced by my father (bless him) from a young age.
In this particular piece Nishatji seemed to have explored whatever technical facets an alaap in sitar can have to it's max. The use of meend, versatility in stroke playing (tantrakari) is of a level which only an absolute craftsman can only do.
And the imagination/exploring the raags colour....man !
I cannot even fathom how his mind/brain sees the picture of this raag (would love to have SPECT scan of his brain when he playing!) He is playful but the sensuousness never leaves. As if he is always in soft focus.
He hops, skips and jumps; he glides, swims and dives - plucking up flowers from the garden of 'shur'(notes) as he wants to dress the vase of this particular raag. 'Guldasta' I think the word is.
Sublime.
I am at peace this morning.
Thank you Ustadji.
This comment was literally poetry and I couldn't agree more... Shahidji I feel has a ragashree alap that I feel is just as much a figurehead of the gharana
Very good aalaap. Worthy disciple son of Ustad Imrat Khan
Beautiful concert
Salaams to the team
God Bless
Thanks please
an amazing rendition .. some real touches of genius long live the Gayaki ang in full spirits
Rightly said👍
Simply beautiful with detailed aalap. Pranam to Ustadji. 🙏🙏🙏👍
Wha kya baat hai
Is there another part of the raga after this?
এখনো পযর্ন্ত শুধু আলাপ শুনলাম। মাথা ঘুরে গেছে।
Are you saying: "Ēkhanō payarnta śudhu ālāpa śunalāma. Māthā ghurē gēchē"? Do you mean: "So far I have only heard the talk. The head is dizzy."?!
Khas gat.
Mashah Allah the way he play sitar no one can play samajh boojh lekari raag ko Puri tariqese khol dena wah mind blowing he is really ustad as if sitar is singing wah ustad wah something different like his father n ustad vilayat khan sahab same true copy
VILAYAT is not his father -his tathrt is IMRAT (THE BROTHER OF VILAYAT )
@@kiyoto123with that being said I would agree that he sounds an awful lot like his father anyhow😅 but let us not forget the gharana is genius and unspoken for in the way it should
Sad that the recording is weak.
Disappointing Rageshree. Ustad Nishat Khan is capable of giving far better performance