Search found 128 matches

Author Message

Vi$itReal

Post 11-Oct-2019 14:15

[Quote]

Gundecha Brothers (Umakant & Ramakant Gundecha wih Manik Munde) / Raga Kedar
Жанр: Indian Classical, Hindustani Vocals, Dhrupad
Страна исполнителя (группы): India
Год издания: 2008
Издатель (лейбл): Sundaram Records
Аудиокодек: MP3
Тип рипа: tracks
Битрейт аудио: 320 kbps
Продолжительность: 01:48:24
Наличие сканов в содержимом раздачи: да (front+back)
Треклист:
1 Alap / Raga Kedar (58:20)
2 Chori Chori / Dhamar / Raga Kedar (15:12)
3 Radhika Aaj Anand Me / Sadara / Raka Kedar (11:21)
4 Chitrakoot Ativichitra / Jalad Chautal / Raga Kedar (06:00)
5 Jhini Jhini Bini Chadariya / Sool Fakhta / Raga Charukeshi (16:40)
Доп. информация: http://dhrupad.org/

Об исполнителях (рус.) | About Artists (ru)

Братья Умакант и Рамакант Гундеча – известные во всем мире как вокальный дуэт Gundecha Brothers – являются учениками классического вокалиста Зии Фариддудина Дагара и его брата, бинкара (исполнителя на рудра-вине) Зии Мохиуддина Дагара, признанных мастеров дхрупада. Дхрупад считается одним из самых древних стилей в индийской классической музыке. Он был известен как дхрувапад (на санскрите «дхрува» – фиксированная, «пада» – песня), что означает «песню фиксированного состояния ума». С целью популяризации этого уникального жанра Умакант и Рамакант организовали в Бхопале Институт дхрупада, где и преподают вокальное искусство и композицию. Братья практически всегда выступают вместе. Также вместе в 2012 году они были награждены одной из высших гражданских государственных наград Индии – Падма Шри в области искусства, а в 2017-ом – престижнейшей премией от Государственной академии музыкальной драмы (Sangeet Natak Akademi Award).
Другие награды:
M.P. Govt. Scholarship – 1981 to 1985
National Fellowship – 1987 to 89,
Ustad Allauddin Khan Fellowship, 1993
Sanskriti Award, 1994
Kumar Gandharva Award by Govt. of Madhaya Pradesh, 1998
Dagar Gharana Award by Mewar Foundation,2001
Rajat Kamal – National Film Award for the Best Music Direction , 2006
Puttaraj Gawai Award from Puttaraj Gawai Pratishthan, Dharwad, 2010
Tehzeeb Award from Tehzeeb Foundation ,Karachi, Pakistan, 2014
Lifetime Achievement Award from Union Bank of India ,2017
Madhya Pradesh Gaurav Puraskar by Govt. of Madhya Pradesh ,2017
Spandan Lalit Kala Samman, 2017
Vatsala Bai Joshi Award by Sawai Gandharva Festival, Pune 2017
Swati Tirunal Award – Dhrupad Mela 2018
Dhrupad Sadharani Geeti Alankaran by
Rajasthan Vidyapeeth, Udaipur 2018
Pandit Siyaram Tiwari Birth Centenary Award 2019
https://en.wikipedia.org/wiki/Gundecha_Brothers

Об исполнителях (англ.) | About Artists (en)

Umakant and Ramakant Gundecha are the leading exponents of the Dhrupad style of music. They are among the most active performers in Indian and international circuits.
For their contribution to the field of Dhrupad and Indian Classical Music, they were conferred the “Padmashri” in 2012 and the “Sangeet Natak Akademi Award, 2017” by the Govt. of India.
Born in Ujjain in Central India, the brothers were initiated into music by their parents. The Gundecha Brothers received conventional university education and learned the Dhrupad vocal art under the renowned Dhrupad vocalist Ustad Zia Fariduddin Dagar and also with Ustad Zia Mohiuddin Dagar (the distinguished performer of Rudra Veena) under guru shishya paramapara in Dhrupad Kendra Bhopal.
The Gundecha Brothers have sung great Hindi poetry by Tulsidas, Kabir, Padmakar, Nirala in Dhrupad style . They have recorded about 50 cassettes and CDs by H.M.V, Music Today, Rhythm House, Times Music, Sony, Senseworld Music, Sundaram Records, IPPNW Concerts Berlin, Navras and Audio Rec London. They have also sung for many television channels in India and have been broadcasted on British, U.S., German and French, Japan and Australian Radio as well. As well as being an integral part of all of India’s prestigious music festivals, the Brothers have also performed and conducted workshops at many important international music festivals and institutions in about 25 countries in Europe, U.S.A, Australia, Japan, Egypt, Singapore, Bangladesh, U.A.E and Hongkong.
Other awards and honours:
M.P. Govt. Scholarship – 1981 to 1985
National Fellowship – 1987 to 89,
Ustad Allauddin Khan Fellowship, 1993
Sanskriti Award, 1994
Kumar Gandharva Award by Govt. of Madhaya Pradesh, 1998
Dagar Gharana Award by Mewar Foundation,2001
Rajat Kamal – National Film Award for the Best Music Direction , 2006
Puttaraj Gawai Award from Puttaraj Gawai Pratishthan, Dharwad, 2010
Tehzeeb Award from Tehzeeb Foundation ,Karachi, Pakistan, 2014
Lifetime Achievement Award from Union Bank of India ,2017
Madhya Pradesh Gaurav Puraskar by Govt. of Madhya Pradesh ,2017
Spandan Lalit Kala Samman, 2017
Vatsala Bai Joshi Award by Sawai Gandharva Festival, Pune 2017
Swati Tirunal Award – Dhrupad Mela 2018
Dhrupad Sadharani Geeti Alankaran by
Rajasthan Vidyapeeth, Udaipur 2018
Pandit Siyaram Tiwari Birth Centenary Award 2019
http://dhrupad.org/gundecha-brothers/

Об альбоме (англ.) | About Album (en)

A true exposure to Raga Kedar. Kedar is a serious and contemplative raga.
Kedar, also known as Kedara, is a Hindustani classical raga. Named after Lord Shiva, the raga is placed a high pedestal in the realms of Indian classical music. It is characterised by a lot of complex turns, which are brilliantly melodious but difficult to express in words.
The raga is to be sung in the night. It is sung in the first prahar of night.
http://sundaramrecords.com/albums/raga-kedar/

Состав | Artist

Umakant and Ramakant Gundecha – Vocals
Manik Munde – Pakhawaj
Anant Gundecha, Mukesh Saxena – Tanpuras

Vi$itReal

Post 20-Apr-2019 13:10

[Quote]

Полицейский с Рублёвки. Новогодний беспредел
Информация о фильме
Название: Полицейский с Рублёвки. Новогодний беспредел
Оригинальное название: Полицейский с Рублёвки. Новогодний беспредел
Год выхода: 2018-Жанр: комедия
Режиссер: Илья Куликов
В ролях: Александр Петров, Сергей Бурунов, Александра Бортич, Роман Попов, Татьяна Бабенкова, София Каштанова, Рина Гришина, Ирина Вилкова, Никита Легостев, Александр Буянов-О фильме: В канун нового года отделение полиции «Барвиха Северное» оказывается под угрозой закрытия. Чтобы спасти родной отдел, полицейский с Рублевки Гриша Измайлов вынужден пойти на крайние меры и вместе с оперативниками решает ограбить банк. Он рассчитывает на то, что его коллеги вместе с начальником отдела - Яковлевым легко раскроют это дело, деньги вернут обратно, и все сохранят работу в следующем году. Но все идет не так, как задумал Гриша...-Выпущено: Россия / LEGIO FELIX, ТНТ
Продолжительность: 01:30:22
Озвучивание: Оригинальное [Лицензия]-Файл
Формат: AVI (XviD)
Качество: WEB-DLRip [Рип с WEB-DL 1080p]
Видео: 1945 kb/s, 720x304
Аудио: AC3, 448 kb/s (6 ch)
-Фаил заменен на рип с лицензии! Просьба перекачать торрент-фаил!-Если раздачу закроют правообладатели - этот фильм можно скачать Отсюда-

Скриншоты из фильма





Vi$itReal

Post 18-Apr-2019 12:30

[Quote]

Капитан Марвел / Captain Marvel
Информация о фильме
Название: Капитан Марвел
Оригинальное название: Captain Marvel
Год выхода: 2019
Жанр: фантастика, боевик, приключения
Режиссер: Анна Боден, Райан Флек
В ролях: Бри Ларсон, Сэмюэл Л. Джексон, Бен Мендельсон, Джуд Лоу, Аннетт Бенинг, Лашана Линч, Кларк Грегг, Рюн Темт, Джемма Чан, Альхенис Перес Сото-О фильме:
После столкновения с враждующими инопланетными расами пилот военно-воздушных сил Кэрол Дэнверс обретает суперсилу и становится неуязвимой. Героине предстоит совладать со своими новыми способностями, чтобы противостоять могущественному врагу.-Выпущено: США / Marvel Studios Inc.
Продолжительность: 02:03:36
Озвучивание: Дублированное [Лицензия]-Файл
Формат: AVI (XviD)
Качество: WEB-DLRip [Рип с WEB-DL 1080p]
Видео: 1528 kb/s, 720x304
Аудио: AC3, 448 kb/s (6 ch)
-Фаил заменен на рип с лицензии! Просьба перекачать торрент-фаил!-Если раздачу закроют правообладатели - этот фильм можно скачать Отсюда-

Скриншоты из фильма





Vi$itReal

Post 03-Mar-2019 01:55

[Quote]


Жанр:world, ethnic, shakuhachi
Издатель (лейбл):
Формат: FLAC (tracks)
Битрейт аудио: lossless
Источник: www
Страна исполнителя (группы): UK

Clive Bell - Shakuhachi-The Japanese Bamboo Flute 1995



tracks

Reiho 7:36
Komoro Bushi 4:25
Kumoijishi 8:34
Sansashigure 3:30
Karibushi Kiriuta 3:29
Honshirabe 4:37
Monkeys And Smoke 5:10
Sanya Sugagaki 9:30
Shika No Tone 9:30

auCDtect.txt

-----------------------
DON'T MODIFY THIS FILE
-----------------------
PERFORMER: auCDtect Task Manager, ver. 1.6.0 RC1 build 1.6.0.1Copyright (c) 2008-2010 y-soft. All rights reservedhttp://y-soft.org
ANALYZER: auCDtect: CD records authenticity detector, version 0.8.2Copyright (c) 2004 Oleg Berngardt. All rights reserved.Copyright (c) 2004 Alexander Djourik. All rights reserved.
FILE: 9 - Shika No Tone (Call of the Deer).flac Size: 44101725 Hash: 89951D456FE8255EB6E603CD635FAB65 Accuracy: -m0 Conclusion: CDDA 100% Signature: 35EACD6652785B38CEB0ACD29131D243B0D698ACFILE: 8 - Sanya Sugagaki.flac Size: 45752631 Hash: A9C2CC05ABEF53D50F55F871CC1279A1 Accuracy: -m0 Conclusion: CDDA 100% Signature: D8CA616C741DA00700B132089DF3B69949FCE4E4FILE: 7 - Monkeys and Smoke.flac Size: 19926138 Hash: B88196E35F4CDDD46571BE69E52E9EF2 Accuracy: -m0 Conclusion: CDDA 100% Signature: 468EC61EA6E17DA5DAC3CF86C9E848AAD8632356FILE: 6 - Honshirabe.flac Size: 20134249 Hash: 876ACEAA15720D1B4DA516721941EDF3 Accuracy: -m0 Conclusion: CDDA 99% Signature: E5BBE995F825E7D28EEE3CFD31D6D1D3F005AD5AFILE: 5 - Karibushi Kiriuta.flac Size: 17532349 Hash: D3AEEAAA029E1D58722CC8DE6A0ADD45 Accuracy: -m0 Conclusion: CDDA 100% Signature: E07C9144CC5B4624E055DE916A1D45B09D68E8A2FILE: 4 - Sansashigure.flac Size: 16335831 Hash: 335F78588741315266F9DB14354161F5 Accuracy: -m0 Conclusion: CDDA 100% Signature: 6899FBC50A4A7B4B5AB416AE8928ECDB0BCAB941FILE: 3 - Kumoijishi (The Cloud and the Lion).flac Size: 39386366 Hash: 19F5811CCC7B4FE68711932CFF14F446 Accuracy: -m0 Conclusion: CDDA 100% Signature: E90C411278A949937F234B3B52CA6DF3FE91B094FILE: 2 - Komoro Bushi, _The Pack-horse Driver's Song of Komoro_.flac Size: 23458757 Hash: BC84B93E2FD62F6D054BDE71A753D003 Accuracy: -m0 Conclusion: CDDA 100% Signature: 2DA79B077CD4175927C4FD0BE38269674D7B071CFILE: 1 - Reiho.flac Size: 33651352 Hash: 142D2396811B8D4C6E349A992F7DB63C Accuracy: -m0 Conclusion: CDDA 99% Signature: 8D2BCB19F6966D741EFF37A3DC48A92735AF1A2C

Clive Bell & David Ross - Mystery Lights & Nightflower 2005



tracks

1 Mystery Lights 1 2:28
2 Mystery Lights 2 1:42
3 Mystery Lights 3 1:33
4 Mystery Lights 4 5:06
5 Mystery Lights 5 1:03
6 Mystery Lights 6 3:42
7 Mystery Lights 7 2:34
8 Mystery Lights 8 2:34
9 Mystery Lights 9 1:17
10 Mystery Lights 10 1:40
11 Mystery Lights 11 1:55
12 Mystery Lights 12 2:17
-
13 Nightflower 31:50

auCDtect.txt

-----------------------
DON'T MODIFY THIS FILE
-----------------------
PERFORMER: auCDtect Task Manager, ver. 1.6.0 RC1 build 1.6.0.1Copyright (c) 2008-2010 y-soft. All rights reservedhttp://y-soft.org
ANALYZER: auCDtect: CD records authenticity detector, version 0.8.2Copyright (c) 2004 Oleg Berngardt. All rights reserved.Copyright (c) 2004 Alexander Djourik. All rights reserved.
FILE: 13 - Nightflower.flac Size: 130008258 Hash: 36AD33E20332922D521E12C5AC6D40F6 Accuracy: -m0 Conclusion: MPEG 80% Signature: 95CED2704B3F991ECE77496F9FF4BCD276495BFFFILE: 12 - Part 12- —.flac Size: 11112262 Hash: FC49D0AD82B1383F198E22A6911E6C44 Accuracy: -m0 Conclusion: CDDA 100% Signature: 9435DEE0A45E82BCE93249856536B604B796B231FILE: 11 - Part 11- —.flac Size: 9289682 Hash: 727AF322A572E8386086557D813088CF Accuracy: -m0 Conclusion: CDDA 100% Signature: 18B603238C23EB41F0C0203EE0F683D6C73C25AEFILE: 10 - Part 10- —.flac Size: 9202579 Hash: 462BE1B4DA7EC9107FE8875B18CD5BCE Accuracy: -m0 Conclusion: CDDA 86% Signature: 8D8125799581B88E92E9E78E333A12B8D1EB49EBFILE: 09 - Part 9- —.flac Size: 5736007 Hash: EE1F8417AD4CC75B30821ABC2014BC17 Accuracy: -m0 Conclusion: CDDA 100% Signature: 64C3210CFB521FD9DEBAED918F5C1A682C190DFCFILE: 08 - Part 8- —.flac Size: 13482047 Hash: 152E810A4536B3215AD765D37F0769F1 Accuracy: -m0 Conclusion: CDDA 99% Signature: D72BE519F350C121C6929A3B9AC60917EB3FA507FILE: 07 - Part 7- —.flac Size: 12459162 Hash: 97100D775BF073EB821037109F4D177A Accuracy: -m0 Conclusion: CDDA 100% Signature: 60D12755D9743CB9A639E6165C7BD7B87A3B77A3FILE: 06 - Part 6- —.flac Size: 16403776 Hash: 95BB7F4A93F7C6B595E55694EFF0E28D Accuracy: -m0 Conclusion: CDDA 86% Signature: EE5579D24755F2334C11CAC17CE9792F69BB39B6FILE: 05 - Part 5- —.flac Size: 4707069 Hash: B2196CBDBDB210EB5FF50184C2FD6111 Accuracy: -m0 Conclusion: CDDA 100% Signature: B65F3B53F8BA496AA6DC08370D527F840011482BFILE: 04 - Part 4- —.flac Size: 26069158 Hash: B2F41859707CE56063DB8540A9DC889D Accuracy: -m0 Conclusion: CDDA 99% Signature: 3F2407151ABE15B1EF9653B4087ED430BA9209AFFILE: 03 - Part 3- —.flac Size: 6369878 Hash: 2B400FA3C2E9F992643805F0F950506E Accuracy: -m0 Conclusion: CDDA 100% Signature: 3D6B2D95ACFC3E1D145BB53EFD14E25B0F95DA56FILE: 02 - Part 2- —.flac Size: 7815340 Hash: 5BF6F65C76D42203F108B4216279E346 Accuracy: -m0 Conclusion: CDDA 100% Signature: 494587480C470FE718E471755876FD4963D0E8CBFILE: 01 - Part 1- —.flac Size: 11307403 Hash: D1460849B0F7DC2EC3E440F965CDC358 Accuracy: -m0 Conclusion: CDDA 100% Signature: F64E9E4422C1A1032E25F17D9070FE279FF879AE

spectrum



Vi$itReal

Post 27-Feb-2019 14:25

[Quote]

Wasifuddin Dagar (with Mohan Shyam Sharma) / Rag Bihag - New York, 2000
Жанр: Dagarvani Dhrupad, Indian Classical, Hindustani
Страна исполнителя (группы): India
Год издания: 2001
Издатель (лейбл): Raga Records
Аудиокодек: MP3
Тип рипа: tracks
Битрейт аудио: 320 kbps
Продолжительность: 01:14:08
Наличие сканов в содержимом раздачи: да (pdf-booklet)
Треклист:
Rag BIHAG
[1] alap 30:25
[2] jor 19:42
[3] chautal 23:59
Релизы Васифуддина Дагара в лосслесс:
N. Zahiruddin Dagar & F. Wasifuddin Dagar - Maestro's Choice: Raga Lalit & Raga Kamboji (2002) [FLAC]
Ustad Faiyaz Wasifuddin Dagar - The Art of Dagarvani Dhrupad (9 Ragas Of Night And Day) (1999, re-2016) [FLAC]
Ustad F. Wasifuddin Dagar - A Tribute to Baiju Bawra - Raga Miyan Ki Todi, Raga Multani, Raga Durga, Raga Bhairavi (2013) [FLAC]
Ustad Wasifuddin Dagar - Dagar The Pathway - Raag Bhimpalasi, Raag Adana, Raag Bengal Bhairav (2009) [FLAC]
Wasifuddin Dagar & Bahauddin Dagar (with Pravin Kumar Arya) - Vedanta - Raga Malkauns (2CD) (2007) [FLAC]
Wasifuddin Dagar - Raga Ahir Bhairav and Raga Bageshree (1996) [FLAC]
Доп. информация: https://en.wikipedia.org/wiki/Wasifuddin_Dagar

Об исполнителях (англ.) | About Artists (en)

Ustad Faiyaz Wasifuddin Dagar is an Indian classical singer of the dhrupad genre. He is the son & Nephew of the illustrious Dagar Brothers and he represents Dagarvani.
Ustad F. Wasifuddin Dagar represents the 20th generation of dedicated dagarvani dhrupad singers in the Dagar family. He is the nephew of Ustad N. Zahiruddin Dagar and son of Ustad N. Faiyazuddin Dagar, the legendary younger "Dagar Brothers" (डागर बन्धु). Wasif (shortened name) successfully presents the dynamic of the duet of his gurus his father and uncle in his solo performance by maintaining their distinct musical approaches and styles.
Wasif's early training was with his uncle Ustad N. Zahiruddin Dagar, and his father Ustad N. Faiyazuddin Dagar the world traveled Dagar Brothers.
The untimely demise of his father in February 1989 paired Wasif with his uncle and teacher Ustad N. Zahiruddin Dagar, who taught him the crucial aspects of jugalbandi (duet) a specialty of the Dagar family. As the Dagar duo they toured extensively. Their concerts and music was the subject of the French television documentary Dagarvani in 1992. They also recorded in Switzerland, India, and America with major recording labels.
Since the demise of his uncle Ustad N. Zahiruddin Dagar in 1994, Wasif has been carrying on the tradition of Dagarvani solo. His rendition of dhrupad is a unique blend of his uncle's training, his father's quality of voice and temperament, and his in-depth knowledge of dhrupad tradition. His innovative alap notes are spacious and colorful, ranging across the three octaves delineating the personality of the raga in great clarity. His gamaks are fast and sonorous yet retain the softness and sweetness of the raga inherent in dhrupad renditions.
Over the years he has developed subtle variations and improvisations by modulation of volume and sound application to present many shades of the same musical phrase. The composite effect of his dhrupad rendition remains traditional, merging techniques and styles of both his teachers. He is very popular with young listeners for his lively lecture demonstrations illustrating old Vedic technicalities through metaphors from daily life.
Ethereal Sounds - Dagar Brothers Wasif performs regularly and extensively on Indian television and radio, at music festivals, and concerts. He performed for the UNESCO in France, and also toured the Netherlands, Belgium, Switzerland, Hungary in 1998, in America for the United Nations Peace Summit, and the World Festival of Sacred Music of the Dalai Lama in 2001.
In several very successful concert tours, he has performed extensively in the United States including at the Smithsonian Institution in Washington DC, at Harvard University, and several other prestigious venues. He has also toured Japan and Europe. For example, the 2003 Europe concert tour included France, Switzerland, the Netherlands, and Finland.
Similarly recent US tours have included over a dozen cities in the US including Washington DC, San Francisco, New York, and Albuquerque, New Mexico.
His performances have received rave reviews in The Washington Post, The New York Times, most major Indian publications, as well as other world press. Despite his active concert schedule, Wasif still finds time to teach many talented youngsters grooming the next generation of torchbearers for this ancient august tradition. He has performing students in India and abroad.
Ustad Wasifuddin Dagar was honored by the President of India with the Padma Shri award in 2010. The Padma Shri is the fourth highest civilian award in India.
A book on is family features him extensively was released on 5th August 2015. "Dagars and Dhrupad: a divine legacy" by Humra Qureshi published by NIYOGI BOOKS India.
https://www.facebook.com/pg/wasifuddindagar/about/
Mohan Shyam Sharma is one of the leading Pakhawaj players of India. He hails from bharatpur district from Rajasthan. He learnt the pakhawaj from Pandit Tota Ram Sharma of Mathura. He also had the opportunity of learning pakhawaj from Pandit Prem Vallabh of delhi.
Mohan Shyam Sharma is ‘A’ grade artist of All India Radio . He started his career as an accompanist with the Dagar brothers and toured with them, and with Ustad Asad Ali Khan and Zia Mohiuddin Dagar extensively in India and abroad. He is a much sought-after accompanist for all the most eminent exponents of dhrupad, vocal and instrumental indian classical music. He also accompanied darbhanga gharana exponents- Pandit Vidhur Malika and Pandit Siya Ram Tiwari and accompanied world famous musicians of other styles as well including Pandit Ravi Shankar, Pandit Hari Prasad Chaurasia, and Kishori Amonkar. He has also performed solo in abroad countries like France, Italy, Belgium, Japan , Singapore, Switzerland, Portugal, Austria, Russia, United Kingdom, U.S.A and some neighbouring countries like Bangladesh, Pakistan, and Honkong.
The specificity of his playing lies in his handling of the techniques of accompaniment. It is marked by his imaginative variations anticipating on the singers variations while keeping up the required coordination and respecting the mood of the raga. He has a personality of his own and yet blends in the performance. He has given workshops and solo performances. He has been recorded in solo by India Archive Music Limited. He has also made a name for himself as a very talented teacher in the guru-shishya parampara style of teaching and has many students, Indian and foreigners. He has appeared on a number of CD recordings in India, Europe, England, and the USA. At present he is associated with Cambridge school in Noida (Uttar pardesh) as a pakhawaj teacher.
https://mohanshyamsharma.com/about

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

Экстраординарный индийский певец Васифуддин Дагар (род. 22 апреля 1968 года) приходится сыном известному северо-индийскому музыканту Устаду Насиру Фаязуддину Дагару (1934-1989), который был его наставником и гуру вплоть до скоропостижной кончины. После смерти отца Васифуддин продолжил обучение у своего дяди – Захируддина Дагара, который на пару с Фаязуддином был известен во всем мире как дуэт Dagar Brothers (точнее – Younger Dagar Brothers). С 1989 по 1994 год Васифуддин гастролировал по всему миру со своим дядей, выступая на самых престижных концертных площадках. Будучи музыкантом в 20-м поколении, Устад Фаяз Васифуддин Дагар является мастером одного из высочайших жанров классического индийского музыкального наследия – глубокого и спокойного стиля дхрупад. В 2010 году Васифуддин Дагар был награжден одной из высших гражданских государственных наград Индии – Падма Шри.
http://soloneba.com/bahauddin-dagar-musical-rapture/

Об альбоме (англ.) | About Album (en)

Ustad F. Wasifuddin Dagar is the son and nephew of the Younger Dagar Brothers, Ustad N. Faiyazuddin and N. Zahiruddin Dagar, his father and uncle respectively; and nephew of the Senior Dagar Brothers, Moinuddin and Aminuddin Dagar. He started his career at an early age as a soloist and also performed with his uncle in jugalbandi until 1994, and in solo later on, after the latter's passing away. He is the only heir and direct descendant in the Dagar family to perpetuate, in the twentieth generation, the family vocal style of Dhrupad singing. He took over the responsibility of preserving and disseminating dhrupad as the President of the Dhrupad Society of Delhi.
This CD was recorded at a World Music Institute concert in Washington Square Church, New York City, during Wasifuddin's first North American tour in the spring of 2000.
From the booklet interview, about Rag Bihag: It's one of the prachalit raags, which are commonly performed by almost everyone. This is an evening raag, you can say a late evening raag, sung sometime between evening and night. The rasa [mood] of this raag is towards pathos a little bit, but it has its different way of presentation which brings it later to a joyous mood. Its combination of both romance and yearning; it's the viewpoints which make it different. The raag has a big capacity; every note has a good area to discover because in some raags you have to repeat a few notes again and again. Of course, in every raag we repeat the notes again and again but there are some raags whose notes have so much depth that you can stay there like you are going on a big steamer. You are going on a big ship and Wrst you have a halt, like you embarked from somewhere then you had a halt in Mauritius and then in Saudi Arabia, and then you reached here. There are two madhyams which makes it more special -- tivra [sharp] and shuddh [natural] -- which makes for a floating way of coming down.
Bihag Bandish: Chautal
Sunder hon gayee birakh bhanu ke bilok aayee bairan ko baadhoo vyethaa birhe bali aayee kee
In the love of Krishna, Sunder, myself, have become such that I don't know when the sun rises and the light looks like my enemy in the separation of Krishna
Bhool jaat khaan paan roop rang aan baan manas ko chetnan hoat chith chaayee kee
In separation of Krishna, I have forgotten eating, drinking, my own beauty and complexion and all pride, even my senseswhat they remember is the love for my beloved Krishna
http://www.raga.com/cds/223/223wordings.html

Об альбоме (рус.) | About Album (ru)

Уважаемый yes-1970 писал:
Raga Bihag.
Время исполнения: поздний вечер и ночь.
Раса: шрингар (страстное желание в сочетании с мечтательностью и нежной заботливостью).
Полагают, что это одна из старейших раг, известных ещё до Тансена, однако её совершенствование продолжалось до конца XVII века.

Состав | Artists

Wasifuddin Dagar dhrupad vocal
Mohan Shyam Sharma pakhawaj
Tambouras: Qamar Dagar, Laurence Bastit
Recorded at a World Music Institute concert in Washington Square Church, New York City, May 17 2000.
Support from The Lalit Foundation, Inc. is gratefully acknowledged.
Special thanks to World Music Institute, Hear No Evil, Subrata Chowdhury and Ted Morano. Associate Producer: Ira Landgarten. Produced by John Wilton.
All photos © Ira Landgarten.
Copyright ©, (P) 2001 by Raga Records, P.O. Box 635 Village Stn., New York, NY 10014.

Vi$itReal

Post 04-Jan-2019 22:10

[Quote]

Comarana / Traveler
Жанр: World, Ambient, Meditative
Страна исполнителя (группы): Russia
Год издания: 2016
Аудиокодек: MP3
Тип рипа: tracks
Битрейт аудио: 320 kbps
Продолжительность: 46:48
Наличие сканов в содержимом раздачи: да
Треклист:
1. Bharat
2. Suwandai
3. Taal
4. Hamuwee
5. Silk
6. Traveler
7. Raghupati Raghav Raja Ram
8. Malare
9. Main Rahoon Ya Na Rahoon
Есть диск, могу сделать lossless. Пишите, если интересует.

Vi$itReal

Post 04-Oct-2018 15:55

[Quote]

Жанр: World, Ethnic, International
Лейбл: ARC
Год издания: 2018
Аудиокодек: MP3
Тип рипа: tracks
Битрейт аудио: 320 kbps
Продолжительность: 01:07:10

01. Kammo Khan – Satara
02. Dhoad Gypsies – Jindagi Guzari Intazari Mai
03. Shrimati Gupta – Mira’s Bhajan
04. Baluji Shrivastav – Raag Shobhavari
05. Srdjan Beronja – Raga Mishra Khamaj
06. Baluji Shrivastav – Rendezvous with Rama
07. Bapi Das Baul – Kali Kal Bhai
08. Deben Bhattacharya – Heila korey beila geilo boiya
09. Khiyo – Amar protibaader bhasha
10. Hari Ram Mirdha – Jhatori Phule Gela
11. Razia Aziz – Mera Laung Gawacha
12. Kiran Ahluwalia – Hayat
13. Rang Puhar Carnatic Group – Ae Mere Dil-e-nadan
14. Khiyo – Nishi raat
15. Hari Paudwal – Pahari Dhun (Live)
16. Gondwana Dawn – Narayani “Go!”

Скриншот проверки качества материала

info:

VA - Indian Vistas (2018) | 154,52 MB | Folder Total 1 | 01:07:10 hrs
Folder 001 | VA - Indian Vistas (2018) | Album - Indian Vistas | 154,52 MB | 16 Files | 01:07:10 hrs
001 | 02:49min | 320kbps CBR | 44100 Hz | Joint Stereo | MP3 | 6,50 MB | 01. Kammo Khan - Satara | Satara
002 | 06:22min | 320kbps CBR | 44100 Hz | Joint Stereo | MP3 | 14,60 MB | 02. Dhoad Gypsies - Jindagi Guzari Intazari Mai | Jindagi Guzari Intazari Mai
003 | 02:54min | 320kbps CBR | 44100 Hz | Joint Stereo | MP3 | 6,69 MB | 03. Shrimati Gupta - Mira's Bhajan | Mira's Bhajan
004 | 08:40min | 320kbps CBR | 44100 Hz | Joint Stereo | MP3 | 19,87 MB | 04. Baluji Shrivastav - Raag Shobhavari | Raag Shobhavari
005 | 03:01min | 320kbps CBR | 44100 Hz | Joint Stereo | MP3 | 6,97 MB | 05. Srdjan Beronja - Raga Mishra Khamaj | Raga Mishra Khamaj
006 | 04:13min | 320kbps CBR | 44100 Hz | Joint Stereo | MP3 | 9,71 MB | 06. Baluji Shrivastav - Rendezvous with Rama | Rendezvous with Rama
007 | 03:42min | 320kbps CBR | 44100 Hz | Joint Stereo | MP3 | 8,52 MB | 07. Bapi Das Baul - Kali Kal Bhai | Kali Kal Bhai
008 | 04:54min | 320kbps CBR | 44100 Hz | Joint Stereo | MP3 | 11,26 MB | 08. Deben Bhattacharya - Heila korey beila geilo boiya | Heila korey beila geilo boiya
009 | 01:47min | 320kbps CBR | 44100 Hz | Joint Stereo | MP3 | 4,13 MB | 09. Khiyo - Amar protibaader bhasha | Amar protibaader bhasha
010 | 03:39min | 320kbps CBR | 44100 Hz | Joint Stereo | MP3 | 8,40 MB | 10. Hari Ram Mirdha - Jhatori Phule Gela | Jhatori Phule Gela
011 | 04:55min | 320kbps CBR | 44100 Hz | Joint Stereo | MP3 | 11,29 MB | 11. Razia Aziz - Mera Laung Gawacha | Mera Laung Gawacha
012 | 05:02min | 320kbps CBR | 44100 Hz | Joint Stereo | MP3 | 11,57 MB | 12. Kiran Ahluwalia - Hayat | Hayat
013 | 03:25min | 320kbps CBR | 44100 Hz | Joint Stereo | MP3 | 7,88 MB | 13. Rang Puhar Carnatic Group - Ae Mere Dil-e-nadan | Ae Mere Dil-e-nadan
014 | 02:41min | 320kbps CBR | 44100 Hz | Joint Stereo | MP3 | 6,18 MB | 14. Khiyo - Nishi raat | Nishi raat
015 | 04:54min | 320kbps CBR | 44100 Hz | Joint Stereo | MP3 | 11,27 MB | 15. Hari Paudwal - Pahari Dhun (Live) | Pahari Dhun (Live)
016 | 04:12min | 320kbps CBR | 44100 Hz | Joint Stereo | MP3 | 9,68 MB | 16. Gondwana Dawn - Narayani Go! | Narayani "Go!"

Vi$itReal

Post 20-Sep-2018 12:05

[Quote]

Ustad Zia Mohiuddin Dagar / Ragas Ahir Lalit, Panchamkauns, Marwa & Bageshree (2 CD)
Жанр: Dhrupad, Indian Classical, Hindustani, Rudra Veena
Страна исполнителя (группы): India
Год издания: 1975, 1979, 1981
Издатель (лейбл): Raga Records
Номер по каталогу: RAGA-219 | RAGA-222
Аудиокодек: MP3
Тип рипа: tracks
Битрейт аудио: 320 kbps
Продолжительность: 01:18:55 + 01:08:37
Наличие сканов в содержимом раздачи: да (front + booklet)
Треклист:
CD 1
1 Raga Todi (29:12)
2 Raga Ahir Lalit (32:26)
3 Raga Panchamkauns (16:54)
CD 2
01 Rag Marwa - Alap (17:59)
02 Raga Marwa - Jor (15:29)
03 Raga Bageshree - Alap (18:25)
04 Raga Bageshree - Jor (16:36)
Релизы Зиа Мохиуддина Дагара в лосслесс:
Ustad Zia Mohiuddin Dagar & Ustad Zia Fariduddin Dagar - Dhrupad (2018) [FLAC]
Ustad Zia Mohiuddin Dagar - Raga Yaman (1986, re-2018) [FLAC]
Ustad Zia Mohiuddin Dagar - Ragas Abhogi & Vardhani (1986, re-2018) [FLAC]
Ustad Zia Mohiuddin Dagar & Ustad Zia Fariduddin Dagar - Ragini Miyan Ki Todi (1968, re-2012) [FLAC]
Ustad Zia Mohiuddin Dagar - Raga Gangeyabushan (1968, re-2010) [FLAC]
Ustad Zia Mohiuddin Dagar - Mishra Bhairavi (1968, re-2010) [FLAC]
Ustad Zia Mohiuddin Dagar & Pandit Taranath - Live in Stockholm 1969 - Raag Chandrakauns (1969, re-2010) [FLAC]
Ustad Zia Mohiuddin Dagar - Ragas Yaman & Shuddha Todi (2000) [FLAC]
Ustad Zia Mohiuddin Dagar - Raga Aahir Bhairav. Raga Malkauns (1985) [FLAC]
Ustad Zia Mohiuddin Dagar - Art of Rudra-Veena - Ragas Pancham Kosh & Malkauns (1984) [FLAC]
Ustad Zia Mohiuddin Dagar - Rudra Veena Recital (1974) [FLAC]
Релизы Зиа Мохиуддина Дагара в mp3:
Ustad Zia Mohiuddin Dagar - Been Sitar (2009) [320]
Ustad Zia Mohiuddin Dagar - Morgonraga (1967) [256]
Ustad Zia Mohiuddin Dagar & Ustad Zia Fariduddin Dagar - Raga Malkauns (1968) [128]
Ustad Zia Mohiuddin Dagar - Ragas Ahir Lalit, Panchamkauns, Marwa & Bageshree (2 CD) (1975, 1979, 1981) [320]
Доп. информация:
http://www.raga.com/cds/219/219.html
http://www.raga.com/cds/222/222.html

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

Устад Зиа Мохиуддин Дагар (14 марта 1929 – 28 сентября 1990) – представитель 19-го поколения музыкальной династии Дагар. Зиа Мохиуддин Дагар (также известный как Устад З.М. Дагар) родился в городе Удайпуре провинции Раджастан. Он обучался музыкальным основам индийской классики у своего отца, Устада Зиауддина Хана Дагара (Ustad Ziauddin Khan Dagar), служившего придворным музыкантом у правителя Удайпура. З.М. Дагар овладевал параллельно вокальным искусством и игрой на рудра-ви́не. В то время рудра-ви́на чаще использовалась классическими музыкантами в качестве вспомогательного инструмента, дополняющего вокал. Молодой Зиа Мохиуддин решил изменить эту традицию и стал использовать рудра-вину как основной инструмент, впервые выступив с ним с сольной программой в 16 лет. Хотя при жизни отец и не рекомендовал сыну экспериментировать со структурой ви́ны, однако после его смерти Зиа Мохиуддин решил-таки видоизменить инструмент. Чтобы лучше приспособить рудра-ви́ну для индивидуальных выступлений, он существенно её преобразовал. Заручившись технической поддержкой музыкального дома Kanailal & Brother, З.М. Дагар увеличил не только длину бамбукового грифа ви́ны (для большего мелодического диапазона), но и величину и без того громоздких тыквенных резонаторов (для качественного звукоизвлечения более протяжных нот и более тонких микротональных модуляций). Из-за подобных модификаций инструмент получил название «ви́на Дагара». Кроме сольных концертов, проходивших в сопровождении тампуры (реже – пакхаваджа), Зиа Мохиуддин нередко давал концерты в дуэте с младшим братом, вокалистом Зиа Фаридуддином Дагаром (15 июня 1932, Удайпур, Индия — 8 мая 2013, Панвел, Индия), который после кончины брата стал музыкальным наставником для его сына Бахауддина Мохиуддина Дагара, ныне известного исполнителя на рудра-ви́не.
http://soloneba.com/bahauddin-dagar-musical-rapture/

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

Z. M. DAGAR: A MEMOIR BY JODY STECHER
Z.M. Dagar was the slowest moving individual I've ever met. He was never interested in playing very fast music, and his mind and body seemed to be set at alap speed. He gave the impression of being continuously half asleep, but everyone who got to know him soon realized that Dagarsahib was alive and alert to subtle realities that most people never even notice. He was a keen observer of people and events, a sort of amateur psychologist, and he could speak to the innermost part of a person when he wished to - with his music of course, but also with words. English was his fourth language I think, but he got his point across splendidly.
Dagarsahib had very strong hands and fingers. I watched him make sitar mizrabs from heavy wire without any tools and of course he pulled heavy vina strings with phenomenal accuracy. Anyone who has tried to replicate Ustad's meend and sruti will know it takes not only a lot of patience and skill but steady endurance as well.
He was a splendid cook. He used black pepper as much as chilies and was fond of chicken. He made the best blackeye peas (loobia) and the best cauliflower I've ever eaten.
He felt that North Indian classical music, and Dhrupad alap especially, was a Universal Science of music and sound, of which India was the custodian. It could be learned, performed and deeply felt by non-Indians. He rejected the notions of "Hindu music," "Muslim music," "Black music" etcetera and I think he enjoyed gently annoying ethnomusicologists by his emphatic dismissal of their terminology and concepts. Of course he recognized different musical styles in different cultures and communities but he knew from experience how pure music could transcend rather than define the differences between people. He also knew that sound is vibrating air and that vibrating air in itself has no religious beliefs or cultural identity.
Dagarsahib was proud of his family and its musical traditions. He spoke to me often of his ancestors and their accomplishments and musical characteristics. It seemed to me that he had the highest respect for two in particular, his father Ziauddin Khan, and Behram Khan. He played Darbari Kannara rarely and Shri Rag virtually never, because these were, as I understand it, specialties of his father. Ziauddin died when Z. Mohiuddin was a teenager, and these rags apparently reminded him of this loss. His great great great uncle, Behram Khan, was Dagarsahib's model of the perfect musician.
I had the good fortune to be present when Ustad was teaching various students. I don't know how many dozens of lessons I witnessed. He related to each student differently but I can make some safe generalizations about his teaching methods. First of all he found a way for each student to relax and feel safe with nothing to defend or to prove. This was a prerequisite condition to both being able to learn and to achieve the fixed unwavering mind that is essential to this kind of music. Next, and equally important he would find the student's strength and affirm it. If a student was doing anything right, anything at all, he or she would hear about it from Dagarsahib, both directly and indirectly. He would usually discourage students from criticizing their own music, saying, with the greatest kindness imaginable, that if anything in the student's music needed criticism or improvement, he, the teacher, would be sure to mention it at the appropriate time. Which he did.
He would teach a student relatively few rags, but at great length and in great detail, as opposed to many rags quickly and superficially. The student eventually developed the skill and confidence to perceive the details of any rag one might hear, and to learn it without direct instruction. This of course took time and effort.
He always taught by singing, whether he was teaching vocal or instrumental music. The core of a typical lesson consisted of Dagarsahib singing a phrase and the student repeating the phrase. If the phrase was correctly sung or played, the student would be instructed to repeat it several more times. If not, Dagarsahib would sing it again and perhaps use sargam or demonstrate on the student's instrument. After the phrase was correctly repeated a number of times, Ustad sang a new phrase which was similarly repeated. Then the student would sing or play both phrases in sequence. In this way, over days, weeks, or months, 20, 30, 40 or more minutes of music would be memorized. This much was true of all of his students' lessons. But there were differences. One person would be asked to memorize something exactly. Another would be encouraged to expand or vary a phrase; or the same student would be asked to do any of the above on different occasions.
In my own case, I learned, through my mistakes, to intuit viable alternatives. When I would play something that was slightly different from what Ustad sang (although I had intended to render it perfectly) he would let me know if it was something he might have sung. In this way I learned the parameters of a rag. Over time I learned to make 'mistakes' that were coherent musical statements in the Dagar tradition. When starting a new rag he always made sure I could repeat the asthai exactly as he sang it. When we reached jor, sometimes he'd have me memorize phrases and sometimes he'd have me improvise for 10 or 15 minutes. He would nod approvingly, utter an occasional vahvah and would stop me only if I went out of tune or out of rag and I didn't realize it. I was always aware that he was always aware of what I was aware of.
My first year of study with Dagarsahib was entirely on sarod, which I had been playing for about five years. Soon after, I began to learn and concentrate on the sursringar, which has a beautiful voice for alap, akin to the vina. I also learned vocal music from Ustad for about a year. Just as he treated every student according to their 'nature' as he would put it, my lessons on each instrument had somewhat different qualities, reflecting the nature of the instrument and its effect on me. My sursringar lessons were serious and exacting, the music slow and profound. On sarod he would have me play very fast three octave tans that I wouldn't have dared to try on my own for fear of ruining the music. He would say: "You are always showing me what you can do. Show me what you can't do so I can help you." This was so disarming that I found as I would attempt 'impossible' tans that I actually could play them after all. During another sarod lesson he had me switch 'on command' between Bhairavi and Bilaskhani Todi, until I could produce, to some extent, the microtonal differences at will. In my vocal lessons he stressed an open unconstricted sound and instructed me to arise at 5AM each morning and sing SA and PA alternately on the vowel 'aa.' When I first received my sursringar (this was his personal instrument which he brought to me in California from Chembur and sold to me at cost) he gave me only sarod lessons and told me to "play whatever you feel" on the sursringar each night for a half hour or so just before going to sleep. After five or six days we began lessons on the sursringar.
Z.M. Dagar was a famous binkar and teacher, but he was also a wonderful singer. He didn't have a loud voice or (so he said) a lot of vocal stamina, but he had a mastery of nuance, sruti, and phrasing that I have never heard equaled. Listening to him sing was not unlike listening to him play. As for his playing, he put in a lot of detail, a lot of meend, more microtones then most other musicians, and he maximized the vina's ability to sustain long tones. His music was slow, majestic, and deeply spiritual.
I heard him play about sixty rags, but he had favorites that he played regularly. His concept of certain rags (Multani, Malkosh, Mian Malhar, and Todi, all come to mind immediately) was similar to that of other Dagar family members. Other rags like Abhogi, Chandrakosh, Bhairavi and Yaman, he played with facets and details never heard elsewhere. His Behag was exquisitely delicate, his Marwa hypnotic, and I am at a loss for words to describe his Bhimpalasi - it was beyond compare. His versions of Desi and Jaijaiwanti also had fascinating beautiful special features that no other contemporary North Indian musicians displayed in their renditions, but curiously he never seemed to play these two rags in public, only for friends and select rasikas, and then only for a minute or two.
He was rightly known as an alap specialist and gave a relatively short portion of public recital time to playing with pakhawaj. Yet he had an unusually firm grasp of time and tal. This was particularly evident when he was giving vocal lessons. He would sing dhrupad and dhammar in an apparently nonchalant manner and suddenly without warning land forcefully on sam. He would lead the listener away from counting beats or any kind of metered perception and then when one least expected it: BAM!, as if to say: "I was never lost..." It was like a giant whale moving gracefully on the surface of a calm sea suddenly diving with a great splash and flourish.
Credits
Cover photo: Ira Landgarten. Released by arrangement with Pramilla Dagar and Baha-Ud-Din Dagar. Two unidentified tanpura players. Recorded at University of Washington, Seattle, March 7, 1975 (Marwa) and April 20, 1979 (Bageshree). Master tape courtesy University of Washington Ethnomusicology Archives. Special thanks to Laurel Sercombe, Jeff Lewis; and Sunil Dutta and the North American Dhrupad Association. Associate Producer: Ira Landgarten. Produced by John Wilton.
Copyright ©, (P) 2001 by Raga Records, P.O. Box 635, New York, NY 10014. Fax: 212-620-5980. Please see our website http://www.raga.com for details on all titles. Write, fax or email [email protected] for mail order information. Made in USA.
DHRUPAD: AN ANCIENT TRADITION
by Sunil Dutta
The History
Dhrupad is the oldest existing form of North Indian classical music. The dhrupad tradition is a major heritage of Indian culture. The origin of this music is linked to the recitation of Sama Veda, the sacred Sanskrit text. Dhrupad is the oldest vocal and instrumental style, and the form from which Indian classical music originated. The continuity of dhrupad, a contemplative and meditative form, has been sustained by traditions of devotional music and worship. Indeed, the leading dhrupad maestros remark that rather than to entertain the audience, dhrupad's purpose is aradhana (worship). The nature of dhrupad music is spiritual, seeking not to entertain but to induce deep feelings of peace and contemplation in the listener.
The word dhrupad is derived from dhruva (fixed, steadfast) and pada (word, composition). Dhrupad probably evolved from the earlier chanting of om, the sacred syllable which is claimed in Hindu canon to be the source of all creation. Om is said to have a spiritually purifying effect on the person chanting it. Later, the rhythmic chanting of the Vedic scriptures evolved into singing of chhanda and prabandha, some time in the first millennium AD. Dhrupad is said to have emerged from prabandha. One significant characteristic of dhrupad is the emphasis on maintaining purity of the ragas and the swaras (notes). According to some accounts, dhrupad was sung in temples, the singer facing the divinity. The compositions were prayers addressed to Hindu gods. Later, dhrupad evolved into a highly sophisticated and complex musical form, while still retaining its sacred character. The language of composition also changed from Sanskrit to Brijbhasha, over the period between the 12th and the 16th centuries. A major part of the compositions being sung nowadays were written in the 16th century and later. About six centuries ago, dhrupad music came to be patronized by the royal courts and its complex rendering was directed to highly sophisticated royal audiences. Among other topics, a number of compositions were written in praise of emperors. However, the sacred nature of dhrupad survived and even in the 20th century we are fortunate enough to hear this majestic form of music as performed more than 500 years ago in the royal courts of the emperors and kings of India.
The Music
Dhrupad music has two major parts (each of the two parts is further subdivided into several), alap and dhrupad. Alap is sung without words and dhrupad (also called bandeesh, the fixed composition part) is sung with the accompaniment of a pakhawaj, a two-headed barrel-shaped drum. A vocal dhrupad performance begins with a meditative alap in which the artist develops the raga, note-by-note, without any instrumental accompaniment except the drone of the tanpura. The emphasis is on developing each note with purity and clarity. To quote Ustad Zia Fariduddin Dagar: "Alap entails the search to get the most perfect pitch of every note. It takes you into a sort of meditation in which you are lost in the waves of sound and forget everything. There remains only sound."
The alap begins very slowly and the tempo gradually increases. The alap comprises the major part of the performance. It uncovers the personality of the raga. The contemplative music surrounds and absorbs the audience. The alap evokes a mood in the audience that coincides with the mood of the raga that is chosen.The singer uses certain syllables (om, num, re, ri, na, ta, tom) that have a peaceful and meditative effect. These syllables are taken from a mantra and denote various Hindu gods. The philosophy behind not using words is that words may distract and thus lessen the chance of floating in a spiritual plane. Without the distraction caused by words, what one hears in the alap is the sound of pure music, ideally leading to divine fusion. The artist concludes the alap after exploring the three octaves and the limits of the raga being sung through improvisation. Then follows the bandeesh, a traditional composition set to a Brijbhasha text followed by composed and improvised variations, accompanied by pakhawaj.
Generally the dhrupad compositions are sung in chautal (a 12 beat rhythm cycle). Other tala cycles that are used are sula tala (10) and tivra tala (7 beats), and dhamar (14 beats). The meaning of text in composition is very important and the artists must pay careful attention to the enunciation of words. Even during improvisation, care is taken not to mispronounce the words. The singer and pakhawaj player engage in a lively dialogue, but do not attempt to compete with each other.
The Guru-Shishya Parampara of Oral Teaching
The teaching of dhrupad is very closely tied to the ancient system of guru-shishya parampara (the teacher-disciple tradition). This is an oral tradition that dates back thousands of years. The students lived in the home of their guru and devoted themselves to riyaz (practice) of music. The lives of students were focused on learning music and helping with the household chores of their teacher. The teacher could supervise the students all the time and provide guidance. The music was taught orally, with teacher singing a phrase and students repeating it until they perfected it. The learning of dhrupad music does not involve transcribing the teaching. The leading dhrupad teachers strongly believe, as did their ancestors, that learning of music is not possible through text books.
Due to its strict adherence to purity, learning dhrupad is very difficult. It takes years of rigorous and painstaking practice, involving many hours (8 to 12) of singing every day, before a dhrupad student can reach a stage when he will be ready to perform competently. These early years of total devotion to learning also mean total financial dependence, as the student does not have the time to earn a living. In the past, the teacher took care of the needs of students, so that they could commit themselves completely to the study of music. The guru, in turn, was provided for by the royal court. This royal patronage led to the preservation of guru-shishya parampara for centuries, until the abolition of the princely states in India in 1947. In effect, the disappearance of the royal system also led to a decline in the support for dhrupad music. Great artists were suddenly faced with financial hardship and were left with no support. The guru-shishya parampara was severely impacted by this turn of events. The central and state governments in India are belatedly making limited efforts to revive this tradition. The Dhrupad Kendra in Bhopal, based on this ancient tradition, has produced several outstanding vocalists. However, much additional work needs to be done to ensure the survival of this ancient tradition, an intrinsic part of the culture of India. As the guru-shisya parampara depends upon oral transmission of information, if there is no one to transfer the information, the musical tradition, that is thousands of years old, might simply disappear.
The Banis
During the seventh century, five geetis (styles of singing) were mentioned by Matang. These geetis, called Shuddha, Bhinna, Gauri, Vegswara, and Sadharani were supposed to have developed later into the four banis (or vani) of dhrupad: Gauhar, Khandar, Nauhar, and Dagarvani. Historians have not bee able to resolve the questions related to the genesis or even the existence of the banis, due to a lack of documentation.
The style of singing by Darbhanga and Talwandi Gharanas is said to be derived from khandar vani. Asad Ali Khan, the rudra vina maestro, states that his family practices Khandar vani. The family of Indra Kishore Mishra claims to be the practitioner of Nauhar and Khandar vani. The Dagar family practices Dagarvani bani.
Prominent Dhrupad Gharanas Today: The Dagar Family
The Dagar family claims lineage through Swami Haridas (fifteenth century), a renowned singer of that time. Besides Swami Haridas, Behram Khan (1753-1878) was the most renowned dhrupad artist in the Dagar clan. He was associated with the royal court of Jaipur. Other famous artists were Ustad Zakiruddin Khan (1840-1926) and Allabande Khan (1845-1927), well known for their jugalbandi (duet) performances. The famous Dagar brothers are the grandsons of Allabande Khan, whereas Ustad Zia Fariduddin Dagar and Ustad Zia Mohiuddin Dagar are the grandsons of Zakiruddin Khan. The Dagarbani dhrupad rendition is characterized by meditative and leisurely development of alap. The purity of a raga is never compromised for the sake of showmanship, often observed in many other Hindustani music concerts in recent times. Even during the singing of the composition, with intricate rhythmic patterns, the music maintains its spiritual character.
The biographical details of the musicians of the past are very sketchy, partly due to the oral tradition of passing information. The available information is largely anecdotal and unauthenticated, especially when it comes to tracing the genealogy of the gharana (musical tradition) systems. The history of the Dagar family (Dagar Gharana, or tradition) can be authentically traced to the 1800s, although contemporary historians believe that Dagar family has been associated with Dhrupad for twenty unbroken generations. It is accepted universally that the Dagar family has contributed significantly to preservation and spreading of Dhrupad. They have helped keep this art alive, even though this music was losing popularity in a time of changing tastes. A unique and interesting fact about the Dagar Gharana is that unlike most of the gharanas of North Indian classical music, it claims no connection with the legendary Tansen.
Talwandi Gharana
The Talwandi tradition is associated with the western parts of India, specifically, Punjab. Presently, the tradition has very few singers, all living in Pakistan. Prominent singers of the tradition include Muhammad Hafiz Khan and Muhammad Afzal Khan. Hafiz Khan claims that the Talwandi gharana represents Khandar bani. Dilip Chandra Vedi, who learnt from Talwandi Gharana members in the 1920s, claimed that Nayak Chand Khan and Suraj Khan were the founders of Talwandi Gharana. Contrary to other opinions regarding dhrupad, Hafiz Khan places Islam at the center of dhrupad philosophy. The mantra sung by him during the alap is "nita tarana tarana Allah (Almighty in Islam) tero nam." The Talwandi Gharana appears to have similarities to the Darbhanga Gharana described below. A few recordings exist that show extremely fast concluding portions of the alap. The compositions display highly complex rhythmic variations.
Darbhanga Gharana
Darbhanga tradition is one of the two main living Dhrupad gharanas, besides the Dagar tradition. The Mallik family represents Darbhanga Gharana of dhrupad. Radha Krishna and Karta Ram, the court musicians for the Nawab of Darbhanga, are considered the founders of the tradition. A link to the musical line of Tansen is traced through Bhupat Khan, the teacher of the founders of the family. The performance of the Darbhanga Gharana of dhrupad singers can be distinguished mainly by the way compositions are sung after the alap. A major emphasis is placed on the rhythmic aspect of the singing. According to Abhaya Narayan Mallik, the Darbhanga tradition is associated with Gauhar Bani. The family has a rich stock of compositions to draw upon. Prominent singers include the late Ram Chatur Mallik, Vidur Mallik, Abhaya Narayan Mallik, and Prem Kumar Mallik.
Bettiah Gharana
According to Falguni Mitra, the main proponent of Bettiah Gharana, Bettiah Gharana has compositions available from all the Vanis, though more emphasis is placed on Khandar Vani. The ornamentations and rhythmic variations are strictly applied during the rendition of dhrupad. He states that the gharana originated in the royal state of Bettiah in Bihar. Pyar Khan of Seni Gharana and Haider Khan are considered to be the major influence on this gharana.
Dhrupad Music in the 20th Century and Beyond
During the early part of the 20th century, there was a loss of popularity for Dhrupad, and it appeared that this musical tradition and the part of Indian culture that it represents might die very soon. One of the reasons was the loss of royal patronage and the subsequent financial hardships faced by the artists. The alap singing and the improvisation involved in dhrupad requires enormous training, talent, imagination and creativity. This in turn requires dedication and focus on the part of the learner if he or she wants to become an accomplished artist. The great dhrupad singers emphasize that their arduous training lasting decades before they could master the art and its intricacies.
Dhrupad music has survived so far, due to the persistence and dedication of the masters who have not given up, despite financial hardships and adversity. This persistence seems to be coming to fruition now, as we see a new generation of dhrupad artists such as Wasifuddin Dagar, Bahauddin Dagar, Gundecha Brothers, Nancy Lesh, Uday Bhawalkar, Prem Kumar Mallik, and others. - © 1999 Sunil Dutta
MASTER OF THE RUDRA VINA
Article and Photographs by Ira Landgarten
USTAD ZIA MOHIUDDIN DAGAR (1929-1990) was the world's most renowned exponent of India's ancient rudra vina, the instrumental ancestor of the sitar. He was also one of the few masters of dhrupad, the slow, austere, meditative traditional music still performed as it was centuries ago by Dagar's forefathers in the Mughal courts. But Dagar was no mere historical curiosity. He had several promising students in India, and in the United States, where he performed and taught regularly since his American debut in 1968. Dagar was affiliated with the American Society for Eastern Arts in Berkeley, California, and he also taught for many years at the University of Washington, in Seattle.
A staunch traditionalist, Z. M. Dagar represented the nineteenth generation of an illustrious family whose musical traditions date as far back as the thirteenth century. Yet Dagar did break with tradition when he became the first in his family of classical vocalists to publicly perform on the vina.
"All dhrupad singers were vina players," Dagar explained, "because vina was very important for dhrupad. Sometimes a singer would play the vina to check the shrutis (microtones, of which there are 22 in the Indian octave), and by listening to them on the vina, he would learn. But the singers never performed on vina outside the home."
Dhrupad means "fixed poetry," and in fact refers to a style of classical Indian vocal music. Though it is commonly held that dhrupad was originated in the fifteenth century by Raja Man Singh Tomar of Gwalior, in north-central India, it is more probable that the raja merely revived and encouraged a musical form evolved from prabandha, a far more ancient type of classical song composition. Because of their sacred temple origins, dhrupad songs were religious or philosophical. They were majestic paeans to gods and goddesses, performed with great reverence. Gradually the object of these grand hymns shifted from divinities to nature, and to the kings and emperors who protected and patronized the musicians.
A dhrupad text, which avoids ornamentation and demands clear, firm intonation, consists of only four lines, and with these any raga or other composition can be rendered in its purest form. Each line, which forms the basis of a musical segment, has a name and an order of its own, and in Indian terms, "the musical idea stretches its wings in the asthayi (first section), soars up in the antara (second section),
goes in the sanchari (third section), and finally, with a broad sweep of notes in the abhog (fourth section), furls its wings."
It was during the reign of Akbar the Great (1542-1605) that dhrupad reached a high-water mark, and four banis - methods of improvisation or presentation - became apparent in the songs. These were the gaudahara bani, the naohara bani, the khandara bani, and the dagora bani. The last of the four literally has been synonymous with the Dagar family tradition to the present day.
Z. M. Dagar was born on March 14, 1929, in the town of Udaipur, within India's state of Rajasthan. He began his training early under the tutelage of his father, Ustad Ziauddin Khan Dagar, court musician for the Maharaja of Udaipur. "Actually I was five years old when I started singing," recalled Dagar, "and I practiced exercises until I was seven or eight, when my father started me on compositions and ragas - but no theory, because I was very small. At that time I was also given a small vina to play, but it was hard for me; so my father said, 'Start with sitar.' A couple of years later I switched to vina."
The order of strings on the vina, from bass to treble, is the reverse of that on the sitar. But the change did not seem to hinder Dagar's transition from one to the other. "It all depends on practice," Dagar insisted. "Though the vina is really strung opposite, I never felt any difficulty, because vina is a family tradition. My father was a very great singer, but in the daytime he played vina. I always watched him; I liked the instrument. My mind was all the time vina, vina, vina, vina, vina! He cautioned me, 'You want to learn, but don't play vina outside the home!'"
The young Dagar was inspired by the playing of such greats as Dabir Khan and Sadaq Ali Khan, as well as by that of certain sadhus - holy renunciates who played only according to their deep devotional moods. Finally, Dagar became so intent on devoting himself solely to vina as a means of expression that his father consented to a public recital. Z. M.'s performance career began at age 16 at the court of Udaipur, like so many of his family before him. "Practice and keep your tradition," the maharaja told him.
Dagar remembered that he was only 11 when he first began thinking seriously about improving the structure of the vina, but his father did not encourage experimentation. "So many times I changed the peacock sound chamber and decorations," Dagar said, "but my father would say, 'Wait, wait! Don't!"' In 1948, two years after his father died, Dagar resigned from the Udaipur court and began a lengthy period of research, experimentation, and practice. He traveled to Jaipur, to Calcutta, and finally, in 1951, to Bombay - where he lived for the rest of his life.
As a result of his investigations into improving the vina's sound, he decided to totally redesign his instrument. For hundreds of years, vinas had been constructed the same way: A light, hollow length of bamboo served as the neck, with nonmovable wooden frets secured to it by hard wax, and two dried gourds (tumbas) served as sound chambers. In 1959, Dagar commissioned the shop of Calcutta luthier Kanai Lal to construct a strikingly different prototype. One year later Lal's younger brother, Nitai-babu, proudly unveiled the finished product. The neck of Dagar's new vina was a hollow tube of seasoned teak, with a large, intricately carved peacock sound chamber at one end and a dragon's head at the other. The lotus-bud-design tuning pegs and the floral decorations that covered the gourds were also fashioned from teak. To further enhance the deeper sound quality he had sought, Dagar had Lal substitute two giant tumbas, specially grown in central India, for the standard-size gourds.
Dagar also began using heavier-gauge strings, and he added another chikari, an auxiliary rhythm string, to the traditional pair. He further ordered that the metal-topped wooden frets be lengthened from 2-1/4" to 3-1/2", giving him greater freedom to bend his notes. "This was good for pulling," he explained. "With the longer frets, I could pull five notes on my first (kharaj or bass) string, whereas before I could pull only half a note!"
Another innovation was in the method of fastening the frets to the neck. "Originally," Dagar explained, "the frets were fixed in place with wax, which was a lot of trouble. If the weather was very hot, the wax would melt. If the weather was very dry or cold, the wax became tight and cracked. So I liked the idea of fixing the frets as sitar frets are fastened - with thread, and movable along the neck." Though 24 frets gave Dagar all the notes, including sharps and flats, necessary for Indian classical music, the movable frets allowed the minute tuning adjustments needed for various ragas, as well as allowing compensation for seasonal or climatic changes.
In playing his new vina, Dagar dispensed with mizrabs, the wire plectrums traditionally used for vina and sitar. He found that striking the strings alternately with the nails of his right-hand first and second fingers, while occasionally striking the rhythm strings with the slightly elongated nail of his pinky, produced a "better, mellow sound."
Finally, he even altered the established north-Indian manner of holding the vina. Traditional practice had vina players resting the instrument's upper gourd over the left shoulder; instead he nestled the large gourd upon his left knee, in the way of south-Indian vina players.
Finding travel difficult with such a large, delicate instrument, Dagar kept one vina in the United States and two in India. "I'm still researching for a better sound," he reported, "and I've ordered two more vinas from Kanai Lal, so every year I go to India, spend a month at my home in Bombay, then go to Calcutta to check everything. Now each vina takes a couple of years to make."
Despite all his technical innovations, Dagar insisted that his music remained unchanged. "Many people ask why I don't play faster - though I know how to play fast, also," he said. "My father told me, 'Please keep the tradition. Your style should be slow, not fast.' Some gharanas [traditional stylistic disciplines] play with a lot of mizrab, a lot of ornaments and improvisations; each is different. But I never change my style."
Dagar's playing has been described as being "both sensual and profoundly spiritual at the same time." Capturing the subtle, unique character of each raga often depends on accentuating the sharp, flat, or very flat qualities of certain notes; and it was the perfect rendering of these subtleties that became a Dagar trademark. In a deliberate and unhurried fashion, he unfolded and revealed each note of the alap movement, the slow, serene solo exposition of a raga - hypnotically, hauntingly coaxing and stretching the most delicately shaded nuances, the notes between the notes, from the thick bronze strings. Dagar's stylistic emphasis clearly was on the alap, his vina's voice supported only by the drone of a tanpura, a plucked open-string instrument used to constantly sound the tonic and dominant notes of the scale as a guiding background for the soloist. In recitals outside India, Dagar often performed only with tanpura accompaniment, though he enjoyed the addition of a pakhawaj - a large, sonorous, double-headed wooden drum - when available, to round out a performance by bringing it to a stately conclusion.
Dagar's theoretical knowledge, much of which was handed down to him by his family, was voluminous; yet he seemed to prefer limiting his concert repertoire to a few favorite ragas. These are profound, sober, mysterious pieces, tinged with pathos, longing, and majesty, and he explored them anew at each recital. To maintain the intimate quality of his music, Dagar tended to avoid large halls or outdoor performances. He said that "a small hall, a good amplifier, sensitive microphones, and a good audience" were the elements most conducive to enjoying his transcendental Indian chamber music.
Today both the rudra vina and the dhrupad style are rare in India. Times have changed, and audiences have been won over by the faster, more exuberant improvisational khyal techniques of the sarod and the sitar. "Twenty years ago there were a lot of vina players," lamented Dagar, "and now only a couple are left in India. Dhrupad is very, very difficult. It requires much practice, patience, and a lot of time before a teacher will allow a student to perform. Khyal is a little easier than dhrupad; but I like the sound of vina. It makes me relax!"-Adapted from article in Frets Magazine, May 1981
Dagar's Tuning:
3 Chickari strings: High sa (G#), #2 steel; Sa (G#), #4 steel (two)
4 Main playing strings: Low ma (C#), #7 steel; Low sa (G#), #22 bronze; Very low pa (D#), #20 bronze; Very low sa (G#), #18 bronze
Laraj (occasionally struck with left-hand pinky): Low sa (G#), #24 bronze

Об альбомах (англ.) | About Albums (en)

Zia Mohiuddin Dagar · Rudra Vina · Live · Seattle 1981
Released by arrangement with Pramilla Dagar and Baha-Ud-Din Dagar. Two unidentified tanpura players. Recorded at University of Washington, Seattle, February 27, 1981. Master tape courtesy University of Washington Ethnomusicology Archives. Special thanks to Laurel Sercombe, Jeff Lewis and Sunil Dutta. Research Consultant: Ira Landgarten. Produced by John Wilton.
Produced in conjunction with North American Dhrupad Association. NADA advances knowledge of Dhrupad in North America. Info: NADA, PO Box 361, Agoura, CA 91376
UPC: 7044820-219-2-7
http://www.raga.com/cds/219/219.html
USTAD ZIA MOHIUDDIN DAGAR (1929-1990) was the world's most renowned exponent of India's ancient rudra vina, the instrumental ancestor of the sitar. He was also one of the few masters of dhrupad, the slow, austere, meditative traditional music still performed as it was centuries ago by Dagar's forefathers in the Mughal courts. He had several promising students in India, and in the United States, where he performed and taught regularly since his American debut in 1968. Dagar was affiliated with the American Society for Eastern Arts in Berkeley, California, and he also taught for many years at the University of Washington, in Seattle, where these concert performances were recorded in 1975 (Marwa) and 1979 (Bageshree). -- Ira Landgarten
Credits
Recorded 1975 (marwa); 1979 (bageshree).
from the University of Washington Ethnomusicology Archive
http://www.raga.com/cds/222/222.html

Состав | Artists

Zia Mohiuddin Dagar - Rudra Vina (Rudra-Veena)
Два альбома венценосного бинкара, маэстро рудра-вины Устада Зиа Мохиуддина Дагара. Оба диска увидели свет на культовом лейбле Raga Records. Все раги записаны в вашингтонском университете в Сиэтле в 1975 (рага Марва), 1979 (рага Багешри) и в 1981 (раги Тоди, Ахир Лалит и Панчамкаунс) году соответственно. Релизы к изданию подготовлены искусной ситаристкой, верной спутницей жизни и супругой Зиа Мохиуддина Дагара – шримати Прамиллой Дагар, а также их сыном, ныне тоже глубоко почитаемым бинкаром Бахауддином Дагаром.

Vi$itReal

Post 05-Aug-2018 22:35

[Quote]

[Sangeet Kendra] (India) (Baithak Series) Nasir Zahiruddin Dagar & Nasir Faiyazuddin Dagar - Dhrupad 6-volume box set

Жанр: ethnic
Год выпуска диска: 2004
Производитель диска: India
Аудио кодек: MP3
Тип рипа: tracks
Битрейт аудио: 320 kbps

Volume 01, 2004, 320 kbps


Продолжительность: 72:26
Трэклист:
1. Raga: Bhatiyaar - Alap (Vilambit) (41:10)
2. Raga: Bhatiyaar - Alap (Madhyalaya) (10:05)
3. Raga: Bhatiyaar - Alap (Drut) (2:36)
4. Raga: Bhatiyaar Dhrupad (18:35)

Volume 02, 2004, 320 kbps


Продолжительность: 63:35
Трэклист:
1. Raga: Hindol - Alap (20:22)
2. Tala: Chautala - Bandish (2:44)
3. Raga: Lalit - Alap (18:29)
4. Tala: Chautala - Bandish (2:17)
5. Raga: Bilaskhani Todi - Alap (16:24)
6. Tala: Chautala - Bandish (3:19)

Volume 03, 2004, 320 kbps


Продолжительность: 57:50
Трэклист:
1. Raga: Suddha Saarang - Alap (16:13)
2. Raga: Suddha Saarang - Dhrupad (3:47)
3. Raga: Kedaar - Alap (11:26)
4. Raga: Kedaar - Dhrupad (4:04)
5. Raga: Des - Alap (18:28)
6. Raga: Des - Dhrupad (3:52)

Volume 04, 2004, 320 kbps


Продолжительность: 70:02
Трэклист:
1. Raga: Lalita Gauri - Alap (Vilambit) (38:14)
2. Raga: Lalita Gauri - Alap (Madhyalaya) (11:01)
3. Raga: Lalita Gauri - Alap (Drut) (8:13)
4. Raga: Lalita Gauri - Bandish (Tala: Chautala) (12:34)

Volume 05, 2004, 320 kbps


Продолжительность: 71:47
Трэклист:
1. Raga: Deshi - Alap (Vilambit) (49:34)
2. Raga: Deshi - Alap (Madhyalaya) (18:37)
3. Raga: Deshi - Alap (Drut) (3:36)

Volume 06, 2004, 320 kbps


Продолжительность: 77:11
Трэклист:
1. Raga: Deshi - Bandish (Tala: Dhamar) (20:02)
2. Raga: Sohini - Alap (44:01)
3. Raga: Sohini - Bandish (Tala: Chautala) (3:08)

Vi$itReal

Post 05-Aug-2018 19:20

[Quote]

[Smithsonian Folkways] (India) Pandit Kamalesh Maitra, Trilok Gurtu - Tabla Tarang. Melody on Drums

Жанр: ethnic
Год выпуска диска: 1996
Производитель диска: USA
Аудио кодек: MP3
Тип рипа: tracks
Битрейт аудио: 320 kbps
Продолжительность: 76:53
Трэклист:
1. Raag Deen Todi (9:23)
2. Raag Bilaskhani Todi (12:17)
3. Raag Bhupal Todi (9:48)
4. Raag Mia Ki Todi (45:25)
Доп. информация:
Pandit Kamalesh Maitra - tabla tarang
Trilok Gurtu - tabla

Vi$itReal

Post 05-Aug-2018 05:15

[Quote]

L. Subramaniam-In praise of Ganesh
Жанр: Ethnic/ Indian
Год выпуска диска: 1992
Аудио кодек: MP3
Тип рипа: tracks
Битрейт аудио: 224 kbps
Продолжительность: 63.19
Трэклист:
1 - In praise of Ganesh
Доп. информация: Трек в этом альбоме один.Кроме обложки больше информации не нашел.

Vi$itReal

Post 31-Jul-2018 13:40

[Quote]

L. Subramaniam - Indian Classical Masters Three Ragas for Solo Violin
Жанр: Ethnic/ Indian
Год выпуска диска: 1992
Аудио кодек: MP3
Тип рипа: tracks
Битрейт аудио: 192 kbps
Продолжительность: 1:05
Трэклист:
1. Raga Sarasvatipriya
2. Raga Vasantapriya
3. Raga Sivapriya

Vi$itReal

Post 31-Jul-2018 12:30

[Quote]

Chitti Babu - The Art of Vina
Жанр: Carnatic Classical Music
Год выпуска диска: 1994
Производитель диска: Japan
Аудио кодек: MP3
Тип рипа: tracks
Битрейт аудио: VBR V2 (~190 kbps)
Продолжительность: 00:51:42
Трэклист:
Raga Rasikapriya:
01 Ragam - Tanam
02 Pallavi
Chitti Babu, Veena
K. Veerbhadra Rao, Mridangam
Umayalapuram K. Narayanaswamy, Ghatam
C. Ranga Sayee, Tanpura
-
Наряду с Сундарамом Балачандером, Читти Бабу считается величайшим исполнителем на вине.

Vi$itReal

Post 30-May-2018 20:35

[Quote]

[Makar Records] (India) The Tradition of Dhrupad on Been - Ustad Shamsuddin Faridi - Khandarbani
Исполнитель: Shamsuddin Faridi
Альбом: The Tradition of Dhrupad on Been
Дата выпуска: 2002
Производитель диска: Austria
Жанр: ethnic
Формат: MP3
Битрейт: 320 kbps
Продолжительность: 01:01:37
ID3-теги: альбом, исполнитель, дата выпуска, названия треков, номера треков
Треклист:
01. Rag Yaman - Alap [00:16:47]
02. Rag Yaman - Jor [00:10:31]
03. Rag Yaman - Jhala [00:05:08]
04. Rag Komal Rishabh Asavari - Alap [00:24:40]
05. Rag Komal Rishabh Asavari - Jor & Jhala [00:04:29]

Vi$itReal

Post 18-May-2018 02:10

[Quote]

[VDE-GALLO] (Central India) Inde Centrale: Traditions musicales des Gond

Жанр: ethnic
Год выпуска диска: 1990
Производитель диска: Switzerland
Аудио кодек: MP3
Тип рипа: tracks
Продолжительность: 01:07:16
01 - Danse de la pluie [00:06:54]
02 - Danse des cornes de bison [00:08:14]
03 - Cérémonie de chasse [00:09:40]
04 - Retour des chasseurs [00:05:22]
05 - L’escorte de la mariée [00:04:59]
06 - Les conseils de la mariée [00:00:59]
07 - Affection [00:01:44]
08 - Mari Rosana [00:01:24]
09 - Conseils pour la vie conjugale [00:02:20]
10 - Fleurs pour Sarie [00:01:28]
11 - Ghor Saheb [00:00:29]
12 - Chant de récolte [00:01:42]
13 - Chanson comique [00:01:19]
14 - Des poissons à vendre [00:01:18]
15 - Improvisation relo [00:03:32]
16 - Danse instrumentale [00:02:16]
17 - Musique de fête instrumentale [00:03:05]
18 - Ode au Bastar [00:02:12]
19 - Pani mali gala jai [00:03:31]
20 - Jhaliana, jhalipora [00:02:28]
21 - Ye jolire [00:02:14]
 

Current time is: 10-Dec 22:05

All times are UTC + 3