Sitar Samrat Nikhil Banerjee: Raga Jogkauns: Tabla Jnan Prakash Ghosh: Live Perfromance 1975
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- čas přidán 10. 09. 2024
- Raag Description: This is a relatively new Raag created by Pt. Jagannath Bua Purohit 'Gunidas'. This Raag is a combination of Raag Jog and Raag Chandrakauns.
The Poorvang of this Raag shows a Jog like character like S G m P m ; G m G g S or G m g S, Uttarang displays Raag Chandrakauns like: m d N S' ; S' g' S' ; N d then a special feature of this Raag P d n d P m is added. Shuddha Nishad is used both in Aaroh and Avroh while the Komal Nishad is only used in Avroh in the phrases like - P d n d P m or d n d p m or n d p m, these are the signature notes of this Raag and enhances its beauty. One may note that, Pancham is used in Aaroh only in these special feature (P d n d P m.)
The note Madhyam is very strong. This Raag can be rendered freely in all the three Octaves. Following combinations are illustrative of the Raag Jogkauns:
S G m (S)g S ; S G m P m ; G m N d ; d N S' ; S' g' S' N d ; P d n d P m ; m P m G m g S ; m d N S' ; g' S' N d ; d n d p m ; G m P m G m (S)g S ;
The aroha-awroha of raag Jogkauns are
Aaroh : सा ग म ध् नी सां ।
Awaroh : सां नी ध् मप म, प ध् नी् ध् प म, ग म ग् सा।
Chalan : सानीं sध्s, नींsसाsग्s सा , सा ग ग म, मग् सानींs सा ग म, ग म ध् s मपs म, प ध् नी् ध प s म, गमध् नी, सा’ नी ध् पम s ध् नी् ध् पम ग म ग् सा।
( some clarification about notation : here नीं is mandra निषाद and सा’ is tar षड्ज )
Waadi Swar : म
Samwaadi Swar : सा
Time : midnight
Thaat: Bhairavi
Raga Jog is in purvang and Raga Chandrakauns in uttarang. Komal nishad is also taken in specific swar-sangati प ध् नी् ध् प म or ध् नी् ध् प म. Komal nishad can be taken in this particular way only.
shrutiswarsang...
The raga was conceived in the late 1940s by Jagannathbuwa Purohit “Gunidas”. It made a splash on the concert platform in 1951 when Kumar Gandharva signed on as an active protagonist. Gunidas originally referred to his inspiration as simply ‘Kaunshi’ but a subsequent discussion with B.R. Deodhar lead him to re-baptize it “Jogkauns” given its harmonious blend of Jog with the Kauns-anga.
Gunidas’s key insight was to base his melody in Malkauns but with a twist - he advanced shuddha nishad and assigned a cameo to komal nishad. Modern rasikas will say that the melody is based in Chandrakauns but recall that in those days what we now refer to as Chandrakauns was a novelty.
Jogkauns is a masterpiece of musical thought, all the pieces conforming to one another and to an organic whole. Gunidas has been justly credited with fathering one of the greatest melodies of the 20th century.
The core of Jogkauns may be encapsulated in the following prayogas:
Notice the powerful role of madhyam. Komal nishad comes along occasionally, bringing a frisson of delight, in a phrase of the type: P d n d P^M. Shuddha rishab is alpa and may appear as a grace swara as in S G R^G M.
This is a live 1975 recording of Nikhil Banerjee in California in1975.
When will people understand the deepness and profound subtleties of Indian music culture ? You just have to watch their refine instruments they created ... Sitar, tanpura, and their so sophisticated bridges to help harmonics to be heard, Tabla and their amazing pasted gab which give them this wonderful capacity to be tune perfectly.... Their way to master shruties but knowing to come to the perfect note while singing or playing any string instruments... When you enter to this knowledge then you are simply blown away buy this so refine world. I was so privileged to be accepted as a music lover by some of the greatest Gurus, starting in the year of 1972 meeting Pendit Nikhil Banerjee at his home speaking to me about his feeling on stage while playing, accepted and appreciated by Shushil Banja ,unknown to most of the music lovers today, but who was a direct disciple of Ustad Allaudin Khan and sent by him in Shantiniketan to teach in Rabindranath Tagor's school, then later being a direct disciple of Ustad Ahmed Husain Khan from Achpal garana, passing by Ustad Ali Akbar Khan, Ustad Jamaluddin Bharatya, first disciple of Ravi Shankar but great friend of Ustad Vilayat Khan, to finally become close friend of Pandit Nayan Ghosh since today... not to mention my dear relationship with Sanhita Nandi ...Yes, I'm an old man today but what a beautiful musical life God has given to me. And today to me it's a must to pay fervent homage to this musical world, so precious, so deep, so beautiful, so rich and carrying such great values, that it is able to nourish and elevate the human soul to the most beautiful feelings, which are those to love, respect, recognition, gratitude an to stay humble. Because don't believe that I'm trying to brag about this journey, I have nothing to do with it, it's life that led me and guided my steps, not my pride, or my ego in order to be able to strut my stuff one day.... That would be to betray and deceive. No, I sincerely wanted to honor this magical and marvelous world which generously opened its doors and its heart to me.
Wonderful
❤❤
Loved Pilu Murchana in the aalap section..adds to the melancholy
“A GRACE of The Infinite☝🏻 - To Have Heard Such a Wondrous Master of Sound…
This is Musical PRANA…”
The sound has been considerably improved through various techniques, trials and errors.
A great upload & equally informative note on the "Raag"-rendered. Thanks a lot.
As per my opinion, tabla of sri ghosh is not matching with sitar.Although he is a legend.