(sitar sarod tabla) Shubendra Rao & Partha Sarothy (Sense World Music) - The Ancient Weave - 2002, MP3, 320 kbps

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kundyn · 29-Июн-17 20:40 (2 года назад)

The Ancient Weave- Shubendra Rao & Partha Sarothy (Sense World Music) The Ancient Weave
Жанр: sitar sarod tabla
Год издания: 2002
Аудиокодек: MP3
Тип рипа: tracks
Битрейт аудио: 320 kbps
Продолжительность: 1:08:06
1. Raga Charukauns- Alap 17.16
2. Raga Charukauns- Jor 13.47
3. Raga Charukauns- Jhalla 4.11
4. Raga Manj Khamaj - Alap 5.59
5. Raga Manj Khamaj - Gat in vilambit teental - 14.08
6. Raga Manj Khamaj - Gat in drut teental - 12.40
Об альбоме (сборнике)
The art of playing in duet, or Jugalbandi is a musical give and take; two musicians combining their individual skills, inspiring each other to create a performance that forms one seamless whole. Jugalbandi demands spontaneous musical improvisations with a high level of mutual understanding and aesthetic rapport.
The recordings of Pandit Ravi Shankar and Ustad Ali Akbar Khan together are perhaps the most well known duets in the history of Indian music. Both the maestros studied at the same time under the same teacher, Baba Allauddin Khan Saheb, and grew musically together. The bold sound of Sarod and the pleasing sound of Sitar, the genius of each artist and the perfect understanding of each other's music have made their duets legendary. In keeping with this tradition, two artists of the new generation, Partha Sarothy and Shubhendra Rao, who also studied and lived together at the same time under the same teacher, Pandit Ravi Shankar, come together for this performance, recorded as a specially prepared afternoon session with producer Derek Roberts the day after their concert at the 2002 Saptak Music Festival.
Shubhendra Rao is one of the most brilliant instrumentalists of his generation, and like many great Indian musicians was introduced to music by his father. N.R.Rama Rao, himself a noted disciple of Ravi Shankar, first initiated the young Shubhendra into the intricacies of the Sitar. At the age of eighteen, the aspiring maestro moved to Delhi to live with and learn from his Guru in the true tradition of guru-shishya. Under his own roof, Guru Ravi Shankar nurtured the young musician's talents, and gave him a deep insight into the qualities required to become a complete artiste. An important part of his learning was accompanying his teacher, sharing the stage in solo concerts and orchestras throughout the world. Music critics have universally acknowledged him as a worthy successor to his Guru's tradition. Shubhendra is also deeply involved in experimenting with new musical idioms. He has composed for dance ballets and collaborated with Chinese, Japanese and Jazz musicians.
Partha Sarothy is one of the most respected musicians in India. His virtuosity on the Sarod makes his exploration of ragas an exercise in harmony and tranquillity, and his controlled, meditative approach gives his music a rare depth and charm. Partha also started his musical training under his father who was a disciple of Pandit Radhika Mohan Moitra. Partha then took lessons for nearly a decade from Ustad Dhyanesh Khan, son and disciple of the legendary Sarod maestro Ustad Ali Akbar Khan. Since 1980, he has been under the direct guidance of Pandit Ravi Shankar, India's greatest musician. Partho is based in Calcutta, the cultural mecca of India, and has been performing for the last 30 years throughout India and all over the world.
In this recording, the two maestros have paid homage to their guru by performing one of Pandit Ravi Shankar's own creations Raga Charukauns, which is a perfect blend of two other ragas, Charukeshi from the South Indian tradition and the ancient Raga Malkauns. In a tradition that stretches back thousands of years, it has become increasingly difficult to create new ragas. The old masters have seemingly exhausted all the aesthetic possibilities. A test of whether a new raga has the staying power is whether or not it is performed by other artists, and Charukauns, with its unique charm and character, is a raga which has been accepted readily into the Indian music repertoire. The location of the recording holds special significance for the duo, as it was in Ahmedabad, the host city
for Saptak, where they were first taught Raga Charukauns by their guru almost twenty years ago.
They perform Raga Charukauns in the slow meditative style of alap, which comes in three parts. Alap is a free style elaboration of the raga without rhythmic accompaniment. It explores the individual notes and characteristic phrases of the raga in great depth. A rhythmic pulse is introduced on the chikari (drone) strings for the second part of the alap, known as jor (track 2). The tempo is increased for the lively jhalla section (track 3) in which the improvisations become more fiery and dynamic.
Raga Manj Khamaj is another favourite of the Maihar gharana, the style of playing popularised by Baba Allaudin Khan. After a short alap, a composition is introduced set to a rhythmic cycle of sixteen beats. Tabla accompaniment is provided by one of India's outstanding percussionists, Akram Khan, who represents the Ajrada School of tabla, one of the six established family styles of tabla playing. With the introduction of the main composition the tabla player is given the opportunity to play a short solo. Throughout the performance the three players freely express their individual virtuosity while remaining perfectly tuned to each others musical intentions.
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