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Ustad Zia Mohiuddin Dagar & Ustad Zia Fariduddin Dagar - Dhrupad - 2018

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Ustad Zia Mohiuddin Dagar & Ustad Zia Fariduddin Dagar - Dhrupad - 2018
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Ustad Zia Mohiuddin Dagar & Ustad Zia Fariduddin Dagar / Dhrupad

Жанр: Hindustani Classical, Rudra Veena & Vocal, Dhrupad
Носитель: WEB
Страна-производитель диска (релиза): Sweden
Год издания: 2018
Страна исполнителя (группы): India
Аудиокодек: FLAC (*.flac)
Тип рипа: tracks
Битрейт аудио: (lossy + lossless)
Продолжительность: 02:01:07
: да (digital-booklet)
Треклист:

01 Alap, Jor, Jhala in Multani (38:20)

02 Bhimpalasi - Chautal (16:13)

03 Suha - Dhammar (11:34)

04 Lalit - Dhammar (1:46)

05 Kedar - Dhammar (2:46)

06 Chayanat Dhammar (1:58)

07 Gaud-Sarang - Dhammar (2:13)

08 Lachasa - Jhaptal (2:13)

09 Rageshvarey - Jhaptal (2:58)

10 Madhmand Sarang - Jhaptal (4:03)

11 Shyam Malhar - Jhaptal (3:28)

12 Suha - Jhaptal (3:53)

13 Desi - Dhammar (3:58)

14 Jog/Natai/Chaalnat - Rupak (5:09)

15 Suha - Dhammar (6:16)

16 Lalit - Dhammar (0:57)

17 Kedar - Dhammar (3:11)

18 Suha - Dhammar (1:10)

19 Adana - Jhaptal (1:57)

20 Bhairavi - Rupak/Tivra (5:45)

21 Bhairavi - Dhammar (1:40)

Развернутый треклист с комментариями | Full Tracklist

Ustad’s son, today’s upholder of this great tradition, rudra veena exponent Ustad Bahauddin Dagar has graciously assisted with titles and comments on the music in the booklet. All lyrics are in Brij Basha, an early Hindi language used in most Dhrupad lyrics:

01 Alap, Jor, Jhala in Multani 38:20
The opening piece has Z.M. Dagar on Rudra Veena and Z.F. Dagar, vocal with K. Sridhar playing the tanpura all thru this album. Time of sunset. Ustad demonstrates how you can use 4 different Pa, 2 different Ma and 4 different Re

02 Bhimpalasi - Chautal 16:13
Kunjana Mein Racho Raas
Now the singing starts, Ustad asks me to put tal. Sarodist Subash Naringrekar starts playing tabla but there is a break as Sudhir Naringrekar arrives and takes over the tablas.

03 Suha - Dhammar 11:34
Airey Aaj Piya Apaney So Khelu Bana Bana Hori
Poetry after Amir Kushru that Bahauddin had not heard before.

04 Lalit - Dhammar 1:46
Morey Jiya Barajo, Main Toh Dekhungee, Aaj Piya To Dekh Daras Hain
Bahauddin had not heard before.

05 Kedar - Dhammar 2:46
Chori Chori Maarat Hain Kum Kuma
Old Bandish (composition)

06 Chayanat Dhammar 1:58
Lachaka Aavey Ho Gori, Abeer Gulaal Ki Bhar Kay Jori Pyarey

07 Gaud-Sarang - Dhammar 2:13
A Kanha Bina Muraliya Ki Nain Bajayee, Mori Suda Bisaraee
Bahauddin had not heard before.

08 Lachasa - Jhaptal 2:13
Pratham Taal Suratay Saadhay Ratay Naaam Johi Guney Gaavey

09 Rageshvarey - Jhaptal 2:58
Pratham Sur Saadhay, Ratay Naam Jo Lo Rahey
Old version of Rageshvarey with ”the old way of applying the pancham”.

10 Madhmand Sarang - Jhaptal 4:06
Dina Aur Duniya Ko, Dekha Palakha Mahi, Aisay Rachay Peer Moinudeen Khwaja

11 Shyam Malhar - Jhaptal 3:28
Piya Mohey Paas Nahi, Barasey Megharava

12 Suha - Jhaptal 3:53
Shubh Mahurat Shubh Ghadi Deen
Baitho Takhat Aaj Delhi Pati Nar Rey
Khanda Pramanda Hiralal Naga Moti
Motiyan Ko Chatra Seesa Dharon Hain
Composition by Tansen. Ustad tells the story:
The king Akbar fondly uses the word ”arey” for Tansen which is used for a friend. Tansen realises that he cannot be summoned a friend in the darbar (the court) and to remind the emperor he makes this compositon where towards the end he uses the word ”Re” to bring to his attention the mistake he had made.

13 Desi - Dhammar 3:48
Sakhi Thado Savaro Dhoda Kahat Nand Kishoree

14 Jog/Natai/Chaalnat - Rupak 5:09
Nad Bhed So Nyaro, Kara Dekhalavey Jo Koi Guni
Taba Hum Jaaney Maanoo Naad
Naad Ke Ashtaadi Kahiya, Naad Bhed Dohi Bheda
Naad Bhed Arta Kahiye Chaar Bheda Guni Gaavey
Ashtavanga Pancha Gandhar Madham
Saa saa saa re re ga ga ma ma ma pa ni pa ma
pa pa pa ma pa ga ma ga sa
In the last part he sings the names of the notes in the raga.

15 Suha - Dhammar 6:16
Airey Aaj Piya Apaney So Khelu Bana Bana Hori
Poetry after Amir Kushru that Bahauddin had not heard before.
Same composition as track 3

16 Lalit - Dhammar 0:57
Morey Jiya Barajo, Main Toh Dekhungee, Aaj Piya To Dekh Daras Hain
Bahauddin had not heard before
Same composition as track 4

17 Kedar - Dhammar 3:11
Chori Chori Maarat Hain Kum Kuma
Old Bandish, same composition as track 05
At 0:35 a few seconds are erased on Ustad’s wish as he cracked a joke that he felt was inappropriate.

18 Suha - Dhammar 1:10
Airey Aaj Piya Apaney So Khelu Bana Bana Hori
Poetry after Amir Kushru that Bahauddin had not heard before.
Same composition as track 3 and 15

19 Adana - Jhaptal 1:57
Dharat Lanka be Lanka
Daak Dud Danka
Shahey Aurangzeb
Chadhata Hai Ghodey
Composition by 17th century Mughal ruler Aurangzeb

20 Bhairavi - Rupak/Tivra 5:45
Jagata Janai Jwala Mukhi
Saraswati Sharada Vidya Deni Dayani Dukh Harani
Newly arrived pakhawaj expert Arjun Sejwal on tabla is not familiar with this composition but mistakes it for Dhammar for some time in the beginning until Ustad points him in the right direction, Rupak tal. Toward the end the brothers sing it in Tivra in a higher speed.

21 Bhairavi - Dhammar 1:40
Maa Janani Khelata Faguna Naval Kishori
In keeping with tradition, Ustad concludes this visit to the past world of Dhrupad performed before royalty in court with a rare composition in Bhairavi raga.
countryandeastern.se/records/zia-mohiuddin-dagar-fariduddin-dagar-dhrupad/

Релизы Зиа Мохиуддина Дагара в лосслесс:
Доп. информация: countryandeastern.se/records/zia-mohiuddin-dagar-fariduddin-dagar-dhrupad/

Об исполнителе (рус.) | About Artist (ru)

//soloneba/bahauddin-dagar-musical-rapture/

Об исполнителе (англ.) | About Artist (en)

The honorific Dagar is synonymous with dhrupad, one of the world’s oldest classical vocal genres. Zia Mohiuddin, who died in 1990, was a foremost player of the rudra veena (or been) - one of India’s oldest lutes, which is closely related to the vocal tradition. His brother Zia Fariduddin (born in 1932 and one of dhrupad’s oldest living exponents) performed this rare duet in Bombay, as Mumbai was then known, way back in 1968. This is truly a priceless recording, not only in that it takes place in the intimate surroundings of the maestros’ home but alo because one gets that delicious feeling of eavesdropping on what is strictly a private and intimate early morning affair between the performers and their recordists. Representing the 20th generation of dhrupad performers from a family that has almost singlehandedly preserved and nurtured the tradition, the two Dagars perform an exquisite “Miyan ki Todi”, an early morning raga, composed by the legendary court musician Tansen, who was a favourite of the 16th century Mughal emperor Akbar. Needless to say, this is an absolute must for dhrupad fans and is best heard at sunrise, when the vina and vocals seem to merge, becoming one and the same sound - almost as though the musicians themselves had ceased to exist.
//countryandeastern.se/records/zia-mohiuddin-dagar-zia-fariduddin-dagar-2/

Об альбоме (англ.) | About Album (en)

100 years ago the Maharaja of Udaipur, H.H Maharaja Bhupal Singh, whom you see on the cover, was most likely calling his finest court musician Ustad Ziauddin Dagar to sing before him as he usually did. Ziauddin’s sons were not born yet but later on they would often join their father in performance before the king. 50 years later, on April 12 1968, Ustad Zia Mohiuddin Dagar received a visit from H.H. Laxman Singh Bahadur, the Maharaja of Dungarpur in his apartment in Chembur. Something very special happened that day. It felt like Ustad was transported back to the time when his father was playing before his Maharaja in Udaipur.
Ustad and his brother Fariduddin started with a vocal and rudra veena duet in raga Multani and after that they sang v
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