Ustad Asad Ali Khan - Raga Shri - Rudra Veena - Rudra Vina - Dhrupad, Amsterdam 27th April 2003
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- čas přidán 15. 09. 2013
- Dear Friends, Music Lovers & Musicians,
as promised in the last publishing, we continue this time with the second half of the concert at the Royal Tropical Institute (KIT) in Amsterdam on 27th April 2003.
After warming up with an intensely Raga Multani in the first half, Ustadji excelled himself with playing Raga Shri in the later round.
I always felt that Ragas like Shri, Multani or Marva with their mystical twilight mood are like tailor-made for Khan Sahibs style of Vina playing. See for yourself!
Enjoy also Ustadjis way of getting 'permission for playing without time stress' from the audience (after the organizer had requested in the intermission to keep the second half of the concert somewhat brief) ... and the warm response of the audience in the final applause.
Zaki Haider and Martin Spaink are accompanying on Tanpura and finally Mohan Shyam Ji gets also the chance for a Pakhawaj Solo.
What do you want more - enjoy,
Carsten
********************************
Liebe Freunde, Musikliebhaber & Musiker,
wie in der letzten Veröffentlichung angekündigt, geht es dieses Mal mit der zweiten Hälfte des Konzerts vom 27th April 2003 im Royal Tropical Institute (KIT) in Amsterdam weiter.
Nach einem bereits intensiven Raga Multani im ersten Teil des Konzerts, übertraf sich Ustadjis mit der Interpretation des Ragas Shri in der zweiten Hälfte nochmals.
Ragas wie Shri, Multani oder Marva mit ihrer mystischen Dämmerungsstimmung sind einfach wie geschaffen für den Stil von Khan Sahibs Vinaspiel. Aber hört selbst!
Genießt auch Ustadjis Art sich vom Publikum die ‚Erlaubnis ohne Zeitdruck spielen zu können' einzuholen (nachdem der Veranstalter in der Pause darum gebeten hatte, die zweite Hälfte des Konzerts kürzer zu halten)... und die herzliche Reaktion des Publikums beim finalen Applaus.
Zaki Haider und Martin Spaink begleiten auf der Tanpura und endlich bekommt auch Mohan Shyam Ji die Möglichkeit zu einem Pakhawaj Solo.
Was will man mehr - viel Freude wünscht,
Carsten - Hudba
This is master piece. Mohan Shyam Sharma ji is a gem and taught us Pakhawaj for few days in Delhi. Miss those days....
28:30 beginning of raag Shri composition
36:14 the magnificence of pakhwaj
Jhala is exemplary. Noone can do this today. Sitting in bajrasan position and playing that heavy instrument for over an hour in itself is an extraordinary achievement. And playing that jhala gave goosebumps every second. Rest in peace Ustadji
Khansahib was the USTAD of Ustads in the traditional Rudra Veena no doubt. He brought his playing to such a aesthetic refined, well structured and yet technical amazing height that it is difficult to surpass it...
But to be fair one has to know that the instrument he played had a weight of 4 kg only, was smaller, even it looks bigger, because of his smaller height, the gauge of his strings were much lesser and the pitch lower than those instruments that most Rudra Veena players play today. These are all important factors to be able to play the instrument in the traditional vajra asana, holding it on the shoulder.
For the extraordinary jhala techniques especially the uta or sidha jhala one has also to take in account that this Veena has only 2 right side chikari strings, opposite to the modern 3 right side chikaris. Its much easier to play fast when you have to pass only the shorter way of 2 strings. Besides he used 2 metal mizrabs on the right hand fingers, resulting in clearer bols even in high speed, though the overall sound becomes more sharp and metallic in this way.
The modern Veenas often shaped in the style of what Ustad Zia Mohiuddin Dagar developed 60 years ago in collaboration with the Veena maker Murari Mohan Adhikar from the Kolkata Kanailal and Brother workshop. They have an average weight of 10kg, use 3 right side chikari and the instruments are tuned one to one and a half notes higher with much heavier gauge of strings being used. The result is the typical richer tone of the instruments in terms of bass and a much longer sustain, which is most suitable for a deep exploration of the Alap. The Jor and Jhala allows a comfortable playing in slow and medium speed. You can go even with these instruments to a higher speed, as i do, but its of course not the same to ride an elephant or a horse.
Whatever preference a player has, is up to his choice of sound, tone as well up to his musical tradition and playing style.
I played the traditional instruments in Ustadjis style for 15 years, and later changed to the bigger instruments playing them even for a while on the shoulder before changing the position also. Every of those styles has its advantages and short comings. Its up to the player to find his way within all these possibilities. But whatever this might be it needs of course disciplined riyaz and talim for many years to master it.
Carsten Wick
@@RudraVeena thank you for sharing this wonderful recording.
I remember khansaheb once saying that the veena in this style has to be fitted to the player’s body, and therefore the player could not afford to gain or lose weight. I’m not sure whether he was joking.
@@som2601 9
Despite the often mentioned ‘shortcomings’ of the older beens, Khan Saab is testimony to musical genius and aesthetics superseding any instrument of ‘superior’ make. No matter the tone of the instrument, if your well is shallow, there is only as much water one can drink from. Even despite a deep musical expertise, Khan Saabs been sounds so very complete and rounded. I wish more understood and followed the grand philosophy of his music.
When Ustadji said he will perform in Raag Shree, he didn’t say he will perform THE Raag Shree, he simply meant he will become Raag Shree! He unfolded the Raag profoundly and you can see from the sheer amount of energy he was radiating, painting Raag Shree in all majestic form! This is only one of a kind!!! Only Rudra Veena can handle such energy!
This is in my playlist and my companion during my evening walks this will get me going
No this performance, the music, the tabla accompaniment, nothing, belongs to this world.🕉️🙏It belongs to the Higher World. And takes us There
Pakahavaj accompaniment...
It's heavenly experience ❤❤
Kya baat hai Ustaad ji Pranaam pranaam pranaam. You are a hero.
From a higher dimension, to the hearts and souls. Outstanding!
Gratitude for this experience......
this is the fourth or fifth time i have been listening to this. i don't know whether i respect the great ustadji or his music more = what a great man, so gentle, straightforward, kind, the way he encouraged the young player of the pakhavaj. and his sense of humour. and of course the music. i got the feeling that when held and played this way, the rudraveena sounds deeper, and the tans follow faster - the response of the instrument to the thoughts and feelings of the player seem organic, and the veena lives and breathes with him.
These are the blessings of the traditional Rudra Veena in the hand of a real Ustad...
very fascinating saviour of our culture
Shree is sacred . It brings out all of he sanctity of life here and hereafter. This amazing performance does the sacred Raag full justice
That's how it is 🙏🏼
Indian classical music is pure and divine a ladder to conect soul to god .
Did you mean connect?
Tears flowed down my eyes listening to this. It is a masterpiece. Thank u for sharing.
I also like how he subsides and let the Pakhwaj take a walk alone and joins again in a while! This is beautifully spiritual and indeed divine!!!!!!
A rarest gem in indian music , the sweetest of dhrupad . Love the rudraveena and dhrupad because of him only 🙏🙏🙏 . Hats off , truely the ustad . Even the longest applause is insufficient to thank for the divine melody .
Yes
Ravan who was ardent devote of Shiva, took out all his intestines made them as string and played Veena when he was struck below the mountain due to pressing of Shiva Angusta... Lord Shiva blessed him after pleased with his Veena playing as ND pleased before Rudra, came name as RUDRA VEENA
It is heartening to see Europe taking a note of Indian Classical music, particularly the Rudra Veena. An Indian mind associates Rudra Veena with Lord Shiva, a grave, serious and simulteneously pure as well as absolute principle, associated with destruction of Universe with intention to creat a new one. It embodies destruction of anything that has become redundant. (Pls do not imagin Shiva as something in a human form as is done normally, but a shapeless principle to be perceived by just feel) Rudra Veena is the only instrument which gives a similar 'feel'. The Compositions presented by the Ustad Shri, Marwa have this particular 'feel'. It is the only instrument that can be seen as a 'philosopher's Instrument'
I am an Indian- an amateur sarodist and a keen listener of Indian classical music. My Indian mind does not associate Indian music/instruments with mythology or mysticism. Rudra Veena is a beautiful instrument and you are welcome to your associations. However, allow me to point out that Shiva=Rudra has nothing to do the first word rudra of 'Rudra Veena'. The root word, in this case, is 'rud' meaning 'string' in Avestan and Vedic (not panini Sanskrit). The veena itself was called Rudri-Veena in old texts which through later corruption became Rudra-Veena and got associated with Shiva through the word Rudra.
My mind hears this as blissful rebirth through recycling of what has been achieved into something, yet again, new. But that's me.
Divine divine Shree
Great Ustad of Veena ! We really miss him now !
I can only imagine what it sounds like with that huge resonating gourd next to your head! I myself play a surbahar that has a pick up installed and I enjoy using amplification with reverb tremelo,, very unearthly,
I'm hooked to this performance of UstadJi!
तन्त्र्यादि-वाद्य-शब्देषु दीर्घेषु क्रमसंस्थितेः ।
अनन्य-चेताः प्रत्यन्ते पर-व्योम-वपुर् भवेत् ॥
tantryādi-vādya-śabdēṣu dīrghēṣu kramasaṁsthitēḥ /
ananya-cētāḥ pratyantē para-vyōma-vapur bhavēt //
If we focus our consciousness on the prolonged and harmoniously produced sounds of string instruments and other musical devices, and if we can keep the mind from losing concentration, then at the end of it (the meditative attentiveness), we will transform ourselves into the Transcendental Space (Para-VyOmam).
Vijn^Ana-bhairavam 41
its the ultimate beautiful destruction i ever heard.most powerfull rudraveena i have ever listen
Thanks a million tonnes Carsten for sharing this priceless gem with us! Waakayi me jama diya Shree
The Jimmy Hendrix of India Ustad Assad Ali Khan!
Sorry but he is Ustad Assad Ali Khan, and he is one of a kind.
Wrong comparison. Ustad =Ustad.
Fantastic performance. The Adi Raag Shree was brought out in all its splendour, seriousness and depth, to envelop you and show you your inner light.
lucky few heard ustad ji live
Love you love you love you!!!!
Beautiful!
Wonderful. Thank you. This is the first Shree I am hearing played on the been. Have heard Ustad's extraordinary Marwa, Poorvi and Puriya. This completes the cycle of sandhi-prakash ragas.
It was a rare and great opportunity that Ustadji himself offered me to become his disciple! 🙏🙏
A honor and blessing indeed.
🙏
It indeed builds character, I felt relaxation around my 3rd eye area... Savouring these days requires patience, instant gratification is rampant.
Dear sir i too join with those people who share their gratitude with you for this ever Great concert. No one match to USTAD ASAD ALI KHAN.....ofcourse i am far from south India...
What a beautiful rendition by the great Ustad and an equally apt explanation of Soolfak taal. I can keep listening to this again and again.
priceless... much thanks!
beautiful!!!!
Beautiful.
Thanks for sharing this treasure with all of us.
Many thanks for continuing this treasure series. Looking forward to many more in the near future.
Thank you so so so much!
Divine bliss from Ustadji
Hearing it after 20 years
Ammazing rendition 🙏🏾❤️💐
Incredible 🎉
An exceptionally crisp rendering of Raag Shree! You are lucky to hear this live! Thank you for sharing your experience.
Master piece. Joy maha Rudra. Joy mahakal.
Very b eatifull
Many many thanks for this upload. I am an Alap fan by nature and have high expectation of sensitivity from percussioinists. This gentleman on pakhawaj (i don't know who this is) is simply amazing. The way his pakhawaj has been tuned to perfection with the mood of Raag Shree, and the deep resonant ambience created by Khab saab on rudra veena. What I liked most was he just played the basic bols beautifully, with utmost concern for the overall mood and without trying to show off...! Great accompaniment!
+Seshadri S namastE, The pakhvaajiya is SRee Mohan Shyam Sharma. In 1996 or 7, the two masters came to the Johns Hopkins University in Baltimore, MD. Luckily the amplification system broke down, so we were treated to pure tones of the two majestic instruments for two hours. Periodically, Khan Sahib would address a couple in the small audience -- he a Sitar player and she a Surbahar player -- and ask them whether they could do special gamaka-s that he was creating on the Rudra VeeNa on their instruments (jokingly of course.) Of course there are cardinal differences between the harmonic resonances of the two kinds of instruments as well.
+D.K.M. Kartha : Thank you, Sir!! Amazing story!!
namastE, I am also an Alaap fan. In fact, my maanasa guru, PaNDit MaNik Bua THAkuRdAs of Gwalior, Agra, and Jaipur gharanas, used to say that as soon as tAn-s are introduced the Rasa feeling becomes very diminished. Also, some of the Dagar brothers -- singers and Beenkaars - play only AlAp and Jod and nothing more to preserve the Raga's Rasaabhivyakti. But, to touch everyone, musicians have to resort to rhythm and to faster tempos. Chaatruya pRadaRSanam always chops off the raaga bhaavam in any form of music through the entry of the demonic power of egoism aroused by applause. DKM Kartha
+D.K.M. Kartha ; What an amazing thing to say, Sir! I have been struggling to say this and you put it out so very well. How i wish, our music just had not tala!! Alap, Jor is what I relish- even jhala can be noisy and irritating!!
@@DKMKartha108 Amazing.
I was present at concert as well as one of the student organizers. I remember my mortification as the sound systems conked off. But both artists, especially Ustad-ji, were very supportive. And it turned out to be a memorable concert.
I know this reply is 4 years late, but hope you do chance upon it, as I did on your comment.
I want to cry
Lovely Packwaj player.
Godlike
thats a strong and powerful one
Shri is a remarkable melody. Even though it is evocative of trepidation of something ominous, I have seen some kids who actually prefer this to the sweetness of Rageshree. I think Shri has a lot of "action" in it, as do Todi and Puravi.
🙏🏾❤️💐
❤❤❤❤
where have gone the Ustad like Asad Ali Khan?
I love your videos and above all the sound quality of the recordings. You capture the rudra's sound much better than anyone else I've heard yet on youtube. Until I came across your videos I had written off the rudra veena as a completely inferior predecessor of the sitar.
thanks Noel, glad to hear that. in fact i wished i would have had better equipment those times. most often i also had to record the sound (like here too) from the hall itself. but than you have to work with what is available. and i'm thankful for having the chance to record the priceless music of Ustadji anyway.
Carsten Wicke If there is one sincere wish from my heart I have, its that in these times of amazing technological advancements, that individuals with the technology advance their techniques for sound capture as far as mastery of the instruments by their exponents have. It pains me sometimes to listen to recordings of both any kind of music from the great rainbow that is south asian classical tradition and know that the music I'm hearing is but a pale, indistinct shadow of the magnificent forms that the masters of past generations have constructed for their audiences.
Noel shackelford
thou i’m afraid this is a to big subject for u-tube discussion - a few thoughts:
at least today most musicians care and use advantage of modern equipment. also there is lack of special equipment designed to meet the specific demand of the indian instruments and performance settings.
and as much i’m a man of old days music - i think nostalgia for the ‘real’ music of past times can easily become an alluring mirage. i had some beneficial experiences with old recordings I was hunting for long and the disillusioning effect while finally be able listen to them…
let’s enjoy the possibility of modern times to listen so much great music - more than any maharaja could have 100 years ago. 8-)
Carsten Wicke See www.soundonsound.com/forum/showflat.php?Cat=0&Number=250335&Main=247491 for a discussion of recording (I'd say in the first case, it always comes down to the choice of mic).
Also, I'd ask Bengt over at Country & Eastern, as his recordings are very good
a treasure!
🙏🙏🙏
Can you take me to divine senses.
metal
Sounds like he's just noodling on this thing. Kind of instrument that no matter what you play it's going to sound epic.
What did Ustad say at 1:40? I could not make it out.
Rasa Rishi
Can anyone please mention the names of the 6 Big Ragas Ustadji had mentioned?
Khansahib refers here to the six male ragas of the ancient raga-ragini system which are Bhairav, Malkaus, Hindol, Deepak, Megh and Shri raga.
Thanks a lot!
@@RudraVeena malkauns, hindolam aren't they same?
Is this a question or a statement, @@diushyant ?
@@RudraVeena question 😋
It seems because of your utmost dedication to Dhrupad Parampara of Gayan discipline you have been keeping it alive with purity for 20 generations which is not a joke.
Reputed Gundecha Brothers are utterly lost by being caught in immoral acts....hence bring ill fame to Hindu Pholosophy.
God bless you.
Sat Sat Naman.
🙏🙏🙏🙏🕉🙏🙏🙏🙏
It is maybe our mistake to assume that someone who has mastered Ragadari music would have necessarily also fully mastered his body and mind. Of course the goal of this music is not only creating master musicians but human beings with a character that do not even need moral codes as a guide of their behavior. Raising human consciousness, transforming musicians as well as the listeners is the most divine possibility of this music. But in between the present and the ideal are we humans that are beings in the making.