I had no idea patdeep could sound sooo good on cello..... :o She is genius.....the way she presents that raga especially her approach while progressing in alap was just awesome......
Beautiful exposition of guru-shishya parampara. Thanks so much for posting Arvind Bhai Sahib so we can all enjoy. I live in Virginia USA and consider myself fortunate to have been able to listen to these baithaks.
The cello sounds so incredibly different yet goes so well with the piece presented. The sound is so haunting and so resonant and deep, I would not have imagined that this was possible.
Surprisingly, nobody - none, ever mentions the name of Late Prof Rabin Ghosh (of Rabindra Bharati Univ), the one and the only one violinist who was directly trained by Baba. In fact, he was made the principal of Maihar music college by Baba himself. Had an excellent relation with gurubhai Ustad Ali Akbar, Pt Ravi Shankar, and also Smt Annapurna Devi. Never got his due recognition - though he was undoubtedly the No#1 violinist in India - much above the so called reputed violin players of our country. And, true to the tradition of Ustad Allahuddin Khan, he was a down to earth person...
Pandit Nikhil Banerjee's genius and precision were only second to those of Ustad Vilayat Khan. If he had lived a decade or so more with us, his name would've been even more well known and he'd have had the time to train more students to carry his style forward.
Pandit Arvind Parikh sahab is a legend himself and doing immortal work by inviting and interviewing legends for the benefit of learners and masses. God bless you sir. This is becoming history for our coming generations.
The artist is completely driven inside the ocean of music.The enjoyment of music and sound,on his face is completely visible.Long live every artist of the world.
Fantastic use of right hand , very prominent ! Is it possible to call more representatives of maihar gharana like pt Hariprasad Chauasia (or vidhushi Annapurna devi herself) or pt Nityanand Haldipur or Ut Ashish khan or Pt Kushal Das or Pt Tejendra Narayan Majumdar at the baithak ? All of them are from Maihar gharana. The artistry of this gharana is very unique and unusual and complicated as well. I am very curious to know about them. As we know there is no recording of Annapurna devi not even a single interview ! We have very few opportunities to know about the Legends. Also there is a gharana called Vishnupur (or Bishnupur) gharana of Sitar , the persons who are holding the torches are Pt Manilal Nag and his daughter Mita Nag. A very few information about vishnupur is available on the internet !
We have already featured Nityanandji and Tejendra Narayan. Manilal Nagji lives in Kolkata. We invite artists if and when they visit Mumbai to save costs, especially as Baithaks are a monthly event.
We request artists to assist us to organise their Baithak when they visit Mumbai for their concerts. It is too expensive to invite an artist solely for our Baithak. I assume same remarks apply to Anoushka’s Baithak.
Shubhendraji came out with admirable candour, affection, respect on various questions around Panditji. I greatly appreciate Guruji (Arvindji) for demonstrating openness and generosity for calling a musician from Maihar Gharana . From my little knowledge, I know that Guruji has always been inquisitive , analytical, exploring and therefore, it is logical that he may be happy engaging with a Maihar musician. I am not sure, however, if a good part of the audience (presumably brought up on the regular doses of greatness of Ustadji and Itawa Gharana) were comfortable in Panditji being referred to as a musical Genius, creative, etc. I am not sure how much Shubendraji was clued in on this.
@@82indranil Dear Sir, I am a student just trying to learn Sitar. Seriously chota muh badi baat hogi. With this preamble, sir, I venture to say, I experience, Ustadji's complete musicianship when I hear him. I am a great admirer of Panditji's music too! No offence meant!
At 50:00 when Pt. Nayan Da asked Mr. Shubhendra a question on the Kharaj strings, it seems like he needs to do his homework before making such an absurd statement that Pt. Ravi Shankar felt the absence of bass element and got inspired through the surbahar. Kindly go and listen to Sitar Ratna Rahimat Khansaheb, the doyen of Indore-Dharwad Gharana, there are 6 HMV recordings to his credit and it was discussed in the seminar as to who was the man behind the Kharaj Pancham Sitar. Stop taking credit for someone else's work, something we indians are always good at. There is documented evidence by HMV on CZcams, spend 30 good minutes and probably enlighten yourself! I'm pretty sure Pt. Nayan Da knows about this that's why he intentionally asked that question.
Mansoor Khan, In case you have not come across already, I think I can point you to a reference. Pt Ravi Shankar himself said that he started using kharaj strings prominently although they were used earlier as well. I remember to have read it in his autobiography as well (published in Marathi translation as Raag Anuraag). I am not saying whether he is right or wrong, but I think that is source of Mr. Shubhendras statement.
I think Pt. Shubhendra ji has said that the use of kharaj strings was started prity earlier but Pt. Ravi Sankar ji started using it because he was missing the depth of surbahar. Probably you missed that line. Please go and watch that part attentively.
Also, for everyone's info, students of Pt. Ravi Shankar (as well as his biography) say that he invented Raga Yaman Manjh, whereas it was originally made by Baba Alauddin Khan... He/his students have a pretty long history of taking someone else's credit...
Pt. Ji , can u arrange for a baithak of ustad ali akbar khan sahab's son , aalam khan sahab , after ustad ji he is the one who plays totally like him , it would be wonderfull !😊
Brahmanbaria (Bangladesh) has a rich tradition of nurturing art, education and culture. Ustad Allauddin Khan, the great musical talent of the subcontinent and the father of 'Maihar Gharana' of classical Indian music, was born in this district in 1862.
For those who are more interested to know about days of Allauddin Khan Sahib and early days of Ali Akbar Khan Sahib, do read this very long interview: digitalassets.lib.berkeley.edu/roho/ucb/text/khan_ali_akbar.pdf.
Wow. Some very big artists in the audience - Pt Yogesh Samsi and Pt Nayan Ghosh... 🙏 Will all due respect to Maihar gharana, I have to say I ultimately prefer the aesthetics of the Imdadkhani gharana
you have adopted a wrong way to listen to music then..tell me if you are right who is better..Ustad Amir Khan or Bade Ghulam Ali Khan.....between Ustad Amjad ali kahn and Ustad Ali Akbar khan..between Pandit Mallikarjun mansur and Pandit Omkarnatha thakur...tell me ..there can be no comparison because it is art..
@@82indranil I reckon he just mentioned about his preference which is wholly his own, it would be wrong of you to say he does not have the right to have a favourite or choice amongst all of the Gharanas.
It was a complete fiasco as far as the "Maihar gharana" is concerned. No mention of the naad bhed techniques which Maihar gharana employs in aalap, no mention of the techniques used in mastering the layakari or the structures of tihais. There wasn't any coordination in the flow of the session. If somebody was star of the evening that day, it was Mrs. Rao. It was playing worth comparing with Mrs. Nancy lesh Kulkarni. In the end the conversation went off track completely. It is giving a very wrong and superficial impression of Maihar gharana. It is real torture to hear this when the actual gems like Vidushi Sandhya phadke apte, Vidushi Saswati Saha, Pandit Pradeep Barot are in the field.
I completely agree with you, Yash. All of this seemed like a sham and the discussions were pretty inconclusive. I think even Nayan realised this and I am sorry to say, but Panditji's hand seems to be a bit out of practice as evident in his tihais. Also, he was only talking about Raviji and not the techniques behind the layakari, Raga structure, alaap and taans of Maihar gharana.
This gathering has ended on a sombre note of decline in demand for classical music. Well, who is really to blame for this? The world is rapidly changing and most musicians are just copying what has already been done. There is nothing new offered. Perhaps, the golden era has gone.
Pandit Hariprasad Chourasiyaji is also from Maihar Gharana.
I had no idea patdeep could sound sooo good on cello..... :o
She is genius.....the way she presents that raga especially her approach while progressing in alap was just awesome......
Beautiful exposition of guru-shishya parampara. Thanks so much for posting Arvind Bhai Sahib so we can all enjoy. I live in Virginia USA and consider myself fortunate to have been able to listen to these baithaks.
The cello sounds so incredibly different yet goes so well with the piece presented. The sound is so haunting and so resonant and deep, I would not have imagined that this was possible.
No mention of Pandit Nikhil Banerjee who shone so brilliantly
Absolutely
Surprisingly, nobody - none, ever mentions the name of Late Prof Rabin Ghosh (of Rabindra Bharati Univ), the one and the only one violinist who was directly trained by Baba. In fact, he was made the principal of Maihar music college by Baba himself. Had an excellent relation with gurubhai Ustad Ali Akbar, Pt Ravi Shankar, and also Smt Annapurna Devi.
Never got his due recognition - though he was undoubtedly the No#1 violinist in India - much above the so called reputed violin players of our country. And, true to the tradition of Ustad Allahuddin Khan, he was a down to earth person...
Pandit Nikhil Banerjee's genius and precision were only second to those of Ustad Vilayat Khan. If he had lived a decade or so more with us, his name would've been even more well known and he'd have had the time to train more students to carry his style forward.
@@rishthefish7781 he has his own place in our mind...
This is a blessing for thousand of years of great indian classic music.
Pandit Arvind Parikh sahab is a legend himself and doing immortal work by inviting and interviewing legends for the benefit of learners and masses. God bless you sir. This is becoming history for our coming generations.
It is an awesome feeling to listen indian classical music over some western instruments. Nice cello.
The artist is completely driven inside the ocean of music.The enjoyment of music and sound,on his face is completely visible.Long live every artist of the world.
29:29 #sitar🎵 #music 🎶
Fantastic use of right hand , very prominent ! Is it possible to call more representatives of maihar gharana like pt Hariprasad Chauasia (or vidhushi Annapurna devi herself) or pt Nityanand Haldipur or Ut Ashish khan or Pt Kushal Das or Pt Tejendra Narayan Majumdar at the baithak ? All of them are from Maihar gharana. The artistry of this gharana is very unique and unusual and complicated as well. I am very curious to know about them. As we know there is no recording of Annapurna devi not even a single interview ! We have very few opportunities to know about the Legends. Also there is a gharana called Vishnupur (or Bishnupur) gharana of Sitar , the persons who are holding the torches are Pt Manilal Nag and his daughter Mita Nag. A very few information about vishnupur is available on the internet !
There are recordings of Annapurna Devi (albeit exceedingly few) right here on youtube. Is it that hard to type her name in youtube's search bar
We have already featured Nityanandji and Tejendra Narayan. Manilal Nagji lives in Kolkata. We invite artists if and when they visit Mumbai to save costs, especially as Baithaks are a monthly event.
We request artists to assist us to organise their Baithak when they visit Mumbai for their concerts. It is too expensive to invite an artist solely for our Baithak. I assume same remarks apply to Anoushka’s Baithak.
pandit ji please invite sanjeev abhyankar ji
Requesting your team to monetize your channel also.
Dear Pt. Arvind Parekh Ji,
Good evening from Bangalore. I enjoy your bhaitak sessions.
Shubhendraji came out with admirable candour, affection, respect on various questions around Panditji. I greatly appreciate Guruji (Arvindji) for demonstrating openness and generosity for calling a musician from Maihar Gharana . From my little knowledge, I know that Guruji has always been inquisitive , analytical, exploring and therefore, it is logical that he may be happy engaging with a Maihar musician. I am not sure, however, if a good part of the audience (presumably brought up on the regular doses of greatness of Ustadji and Itawa Gharana) were comfortable in Panditji being referred to as a musical Genius, creative, etc. I am not sure how much Shubendraji was clued in on this.
Ustad Vilayat khan was a better sitar player technically..but Panditji was a complete musician..his canvas was much bigger...
@@82indranil Dear Sir, I am a student just trying to learn Sitar. Seriously chota muh badi baat hogi. With this preamble, sir, I venture to say, I experience, Ustadji's complete musicianship when I hear him. I am a great admirer of Panditji's music too! No offence meant!
Wow! So impressed by Saskia Rao. Incredible playing. Was very surprised by what I heard. Enjoyed it all.
Waaaah lovely insights how these stalwarts have worked and we are reaping the fruits
This is a blessing for classical music students!....You inspire us to follow our passion!...With warmest regards, Sabyasachi
Wah! Great! This is really special!
At 50:00 when Pt. Nayan Da asked Mr. Shubhendra a question on the Kharaj strings, it seems like he needs to do his homework before making such an absurd statement that Pt. Ravi Shankar felt the absence of bass element and got inspired through the surbahar. Kindly go and listen to Sitar Ratna Rahimat Khansaheb, the doyen of Indore-Dharwad Gharana, there are 6 HMV recordings to his credit and it was discussed in the seminar as to who was the man behind the Kharaj Pancham Sitar. Stop taking credit for someone else's work, something we indians are always good at. There is documented evidence by HMV on CZcams, spend 30 good minutes and probably enlighten yourself! I'm pretty sure Pt. Nayan Da knows about this that's why he intentionally asked that question.
Mansoor Khan, In case you have not come across already, I think I can point you to a reference. Pt Ravi Shankar himself said that he started using kharaj strings prominently although they were used earlier as well. I remember to have read it in his autobiography as well (published in Marathi translation as Raag Anuraag). I am not saying whether he is right or wrong, but I think that is source of Mr. Shubhendras statement.
I think Pt. Shubhendra ji has said that the use of kharaj strings was started prity earlier but Pt. Ravi Sankar ji started using it because he was missing the depth of surbahar. Probably you missed that line. Please go and watch that part attentively.
Also, for everyone's info, students of Pt. Ravi Shankar (as well as his biography) say that he invented Raga Yaman Manjh, whereas it was originally made by Baba Alauddin Khan... He/his students have a pretty long history of taking someone else's credit...
Great educational project. Abhinandan.
Pt. Ji , can u arrange for a baithak of ustad ali akbar khan sahab's son , aalam khan sahab , after ustad ji he is the one who plays totally like him , it would be wonderfull !😊
Pt Arvindji, can you please arrange for a baithak of Pandit Rvi Shankarji's honourary daughter, Anoushka Shankar?
thanks for sharing this with us Pandit ji
Superb episode ,thanks for sharing with us
This episode is superb
Waiting for the books to be available online..
Beautiful pat deep.
Thanks jaiho
wonderful
Great presentations and great conversation ...really very important for young musicians
Are these books or course now more widely available? To ordinary parents? On line?
I envy you all sitting there.
please invite Pandit Prateek Chaudhary Ji..
Sitar sounds like sparrow ,,,👍👍👍👍
Brahmanbaria (Bangladesh) has a rich tradition of nurturing art, education and culture. Ustad Allauddin Khan, the great musical talent of the subcontinent and the father of 'Maihar Gharana' of classical Indian music, was born in this district in 1862.
For those who are more interested to know about days of Allauddin Khan Sahib and early days of Ali Akbar Khan Sahib, do read this very long interview: digitalassets.lib.berkeley.edu/roho/ucb/text/khan_ali_akbar.pdf.
Please call ustad amjad ali khan🙏
Pension, free health schemes, free travel at least by AC2 , flight , a decent house where they wish to stay in life are must do by government .
Guru next session on flute
Wow. Some very big artists in the audience - Pt Yogesh Samsi and Pt Nayan Ghosh... 🙏
Will all due respect to Maihar gharana, I have to say I ultimately prefer the aesthetics of the Imdadkhani gharana
you have adopted a wrong way to listen to music then..tell me if you are right who is better..Ustad Amir Khan or Bade Ghulam Ali Khan.....between Ustad Amjad ali kahn and Ustad Ali Akbar khan..between Pandit Mallikarjun mansur and Pandit Omkarnatha thakur...tell me ..there can be no comparison because it is art..
@@82indranil I reckon he just mentioned about his preference which is wholly his own, it would be wrong of you to say he does not have the right to have a favourite or choice amongst all of the Gharanas.
v.nice
The slips in play are regrettable for a sitarist of the Maihar Gharana and betray a lack of disciplined practice after the initial years of tutelage.
when you will call Pt Hari Prasad and Rakesh chaurasiya...
Government can give tax rebates to corporates for supporting Indian Classical Music and upcoming artists.
There could be other ways of course.
It was a complete fiasco as far as the "Maihar gharana" is concerned. No mention of the naad bhed techniques which Maihar gharana employs in aalap, no mention of the techniques used in mastering the layakari or the structures of tihais. There wasn't any coordination in the flow of the session. If somebody was star of the evening that day, it was Mrs. Rao. It was playing worth comparing with Mrs. Nancy lesh Kulkarni. In the end the conversation went off track completely. It is giving a very wrong and superficial impression of Maihar gharana. It is real torture to hear this when the actual gems like Vidushi Sandhya phadke apte, Vidushi Saswati Saha, Pandit Pradeep Barot are in the field.
I completely agree with you, Yash. All of this seemed like a sham and the discussions were pretty inconclusive. I think even Nayan realised this and I am sorry to say, but Panditji's hand seems to be a bit out of practice as evident in his tihais. Also, he was only talking about Raviji and not the techniques behind the layakari, Raga structure, alaap and taans of Maihar gharana.
This gathering has ended on a sombre note of decline in demand for classical music. Well, who is really to blame for this?
The world is rapidly changing and most musicians are just copying what has already been done. There is nothing new offered. Perhaps, the golden era has gone.
Imdadkhanis are such snobs. Look at the expression on their face. They think the khayal style of playing the sitar is the only way to play.
Poor sitar player. Pity on him. Disgrace to maihar senia gharana.