03 Pandit Mallikarjun Mansur - Raga Sarparda Bilawal - 1 October 1986 - Naralkar Residence, Pune
Vložit
- čas přidán 9. 05. 2023
- Pandit Mallikarjun Mansur (31 December 1910 - 12 September 1992) hailed from Dharwad, Karnataka, and was an exponent of khayal gayaki, having been trained in the Gwalior and Atrauli gharana traditions. He learnt from Pandit Nilakanthbua Alurmath of Miraj, who had, in turn, received ta’lim from Pandit Balakrishnabua Ichalkaranjikar. Subsequently, Mansur ji became the gandabandh shagird of Ustad Badruddin ‘Manjhi’ Khan sahib, the son of Ustad Ghulam Ahmed 'Allahdiya' Khan sahib, one of the progenitors of the Atrauli gharana tradition. Following the untimely demise of Ustad Manjhi Khan sahib, Mansur ji subsequently learnt from Ustad Shamsuddin ‘Bhurji’ Khan sahib, the younger son of Ustad Allahdiya Khan sahib. Through his eclectic ta’lim and meticulous riyaz, Mansur ji was able to craft a gayaki which was instrumental in popularising the Atrauli gharana repertoire, along with several other representatives of the gharana tradition.
Among the numerous recitals that Pandit Mallikarjun Mansur gave in Pune, the mehfil at the residence of Shri Nanda Naralkar on 1 October 1986 stands out for several reasons. Regardless of the quality of the video recording in terms of contemporary tastes, it is incredible to be able to “see” an entire mehfil of Mansur ji in an intimate setting. For students of Indian classical music, this gives a rare insight into Mansur ji’s gestural movements, use of practically all parts of the mouth for voice production and projection, as well as the way in which he has interacted with his close friends present at the mehfil. The repertoire Mansur ji chose gives a deep insight into the best of the Atrauli gharana tradition, with the following ragas presented during the mehfil:
1. Raga Bhankar: • 01 Pandit Mallikarjun ...
2. Raga Gandhari: • 02 Pandit Mallikarjun ...
3. Raga Sarparda Bilawal: • 03 Pandit Mallikarjun ...
4. Raga Bilawali: • 04 Pandit Mallikarjun ...
5. Raga Khat: • 05 Pandit Mallikarjun ...
6. Raga Shuddha Sarang: • 06 Pandit Mallikarjun ...
7. Raga Jogiya Asawari: • 07 Pandit Mallikarjun ...
8. Raga Bhairavi: • 08 Pandit Mallikarjun ...
Here is a link to the complete playlist: • 01 Pandit Mallikarjun ...
Among those who were present at the mehfil are Mansur ji’s dear friend Shri Pu. La. Deshpande, Rasikagrani Dattopant Deshpande, Pandit S. G. Devasthali, Pandit Pramod Marathe, and several other admirers of Mansur ji from Pune and Mumbai. The impact of the mehfil was such that it is still remembered fondly by those who had been present, including Dr. Urmila Bhirdikar and Mrs. Anuradha Naralkar.
The accompanying musicians deserve special mention for the way in which they have elevated Mansur ji’s mood and created an opportunity for evermore improvisations, especially in taankari, which was an important cornerstone of his gayaki. Mansur ji’s interactions with Pandit Balkrishna Iyer and Vidushi (Smt.) Veena Sahasrabuddhe are noteworthy, and special attention needs to be paid to way in which the young Veena Tai is engaging, following, and absorbing Mansur ji’s gayaki, with rapt attention. The full credits are as follows:
Tabla: Pandit Balkrishna Iyer
Harmonium: Dr. Arawind Thatte
Tanpuras & Vocal Support: Vidushi (Smt.) Veena Sahasrabuddhe & Shri Suhas Datar
I believe it was Prof. Rajeev Patke who had digitised this important recording as a friend of the Naralkar family. In so doing, he has done us all connoisseurs, admirers, and fans of Mansur ji a huge favour and we are all indebted to him for his efforts.
Recording Courtesy: The Naralkar Family, Pune - Hudba
शास्त्रीय संगीतात फार काही कळत नाही पण ऐकायला मात्र आवडते. पंडीत मन्सूरजींच गायन जेवढे गोड तेवढेच त्यांचे व्यक्तिमत्त्व लोभस.
Rare rendition of Pandit Mansoor. Really mesmerizing. Thanks & Regards.
Glorious.Unending versatility of this great genius.
Truly, and this is a raga which he did not sing too often… but the mastery! Aha! 😊
ह्या गाण्याला मी हजर होतो.फार च अप्रतिम झाले होते.मागे वीणा सहस्रबुद्धे आणि सुहास दातार आहेत.नंदा काका नारळकर हौसेने वेगवेगळी गाणी करत.एकदा वीणाताई न चे बंधू बोडस ह्यांचे ही गाणे केले होते ते आठवले.अजूनही नावे सांगता येतील.चिरंजीव प्रमोद ने ती परंपरा अजून चालू ठेवली आहे.त्या वास्तू लाच स्वराचा नित्य सहवासाचा आशीर्वाद आहे.ह्या मैफलीत मन्सूर जुनी शेवटी akelu va na monde हे वचन गायले होते,त्या शिवाय अखिया मोरी लागी राग परज ही गायलाठोटा.पुढे पू ल, नंदाकाका बसले आहेत.जुन्या आठवणीने रोमांचित झालो आणि ह्या थोर कलाकारांच्या स्मृती ने अस्वस्थ ही झालो.
प्रमोदजी तुमचे अभिनंदन करतो,धन्यवाद ही देतो.
It seems to have been a very good Mehfil. Pt. Mansur has sung with great enthusiasm in spite of his age being around 75 then.
Perhaps the ongoing debate about Alahiya and Sarpharda will never end. So many have this in their collection marked as"Alhaiyya"!
A new Raaga to a common man. Very simple but a guide to new generations/future.
It’s a very old Raga actually… one that goes back to the time of Indo-Persian synthesis within the repertoires of Qawwals and early Khayaliyas who were from Qawwal Bachche lineage. Sarparda is attributed to Amir Khusrau and finds mention in his works on music. 😊
Bua was already a scion while Bade Khan Saab was alive and often referred to as 'Arjun' of JA gharana 🙏
That's right! Ustad Alladiya Khan sahib seems to have been reminded of his son Ustad Manji Khan sahib following his untimely demise, when he heard a recording of Pandit Mallikarjun Mansur ji. And it was Ustad Alladiya Khan sahib's younger son Ustad Bhurji Khan sahib who had referred to Mansur ji as the 'Arjun' of the gharana! 🙂
वीणाताई नच गाणे ही आठवले.त्या ही ह्या वास्तूत गायल्या.आज त्या नाहीत.पण सुंदर स्मृती तर आहेत.
True! I find it quite incredible that Veena Tai has observed & absorbed Mansur ji's gayaki in this mehfil so closely! She must truly have been a shishya any guru would have loved to have and, of course, she went on to become a wonderful maestro in her own right, singing several of the compositions she imbibed from Mansur ji and others. 🙂
❤