Saptak Podcast | Episode - 18 | Ek Bandish, Anek Khayal - Part 2
(Register on https://www.saptak.org/Subscribe/ to get updates) Saptak Podcast Episode 18 Title: Ek Bandish, Anek Khayal Part 2 (Raag Miya Malhar - Pt. Kumar Gandharva) Presenter: Shri Smit Dharia Sponsor: Dr. Prakash Mody, Trustee, SAPTAK. About the Presenter: Smit Dharia is a student of Hindustani music. He is a disciple of Pt. Satysheel Deshpande. He has a keen interest in exploring social, cultural and musical contexts to archival recordings and has received the Museum and Archival fellowship from the India Foundation for the Arts as well the 2017 Sahapedia-UNESCO fellowship. He also has a Masters in English Literature from the University of Mumbai. Details of the Recording: · Artist: Pt. Kumar Gandharva · Accompanist: Shri Vasant Achrekar (Tabla), Shri P. Madhukar (Harmonium) · Genre: Vocal Indian (Hindustani) Classical Music · Raag: Miya Malhar · Type of Composition: Bada Khayal, Chota Khayal · Bandish: “Karim Naam Tero….” (Bada Khayal), "Bole re ...." (Chota Khayal) · Taal - Vilambit Ektaal, Drut Teentaal · Occassion: Pre-recorded · Date: 1972 · Source: Samvaad Foundation, Mumbai About the Artists: - Born on 8th April 1924, Shivaputra Siddharamayya Komkali in Sulebhavi near Belgaum, Kumar Gandharva was an undisputed child prodigy, whose musical genius was recognised long before he’d even entered his teens or had given a public performance. By the age of eight, he was flawlessly reproducing the khyal records of reigning maestros such as Ramkrishnabuva Vaze, Abdul Karim Khan, Faiyaz Khan and Kesarbai Kerkar. But it was at a music conference in 1936 in Bombay at the age of 12 that he truly mesmerised the discerning stalwarts of the Hindustani classical scene who sat rapt in attendance. His half hour rendition of Yaman Kalyan and Bhairavi sent the press into a wild tizzy and also led the eminent musicologist B. R. Deodhar to take him under his tutelage. This fortuitous association, which lasted 14 years, would dramatically alter the course of Kumarji’s life. “Kumar’s young and impressionable age and Deodhar’s scholarship and unconventional thinking were a fruitful combination,” writes noted critic Vamanrao Deshpande, in his book, Between Two Tanpuras. Under Pt. Deodhar’s eye, Kumarji’s raw talent metamorphosed into a fiercely idiosyncratic style, which, even a quarter century after his death, remains a matter of searing debate in music circles. It won him both, a cult-like following and equally ferocious criticism. As a man concerned with wholes, his music was in many ways a confluence of Gharanas. It created a whole new idiom that baffled listeners and critics alike. Excerpted from an article by Nikhil Inamdar. Read the entire piece here https://thewire.in/culture/remembering-kumar-gandharva-brought-hindustani-classical-music-back-original-ethos
(Register on https://www.saptak.org/Subscribe/ to get updates) Saptak Podcast Episode 18 Title: Ek Bandish, Anek Khayal Part 2 (Raag Miya Malhar - Pt. Kumar Gandharva) Presenter: Shri Smit Dharia Sponsor: Dr. Prakash Mody, Trustee, SAPTAK. About the Presenter: Smit Dharia is a student of Hindustani music. He is a disciple of Pt. Satysheel Deshpande. He has a keen interest in exploring social, cultural and musical contexts to archival recordings and has received the Museum and Archival fellowship from the India Foundation for the Arts as well the 2017 Sahapedia-UNESCO fellowship. He also has a Masters in English Literature from the University of Mumbai. Details of the Recording: · Artist: Pt. Kumar Gandharva · Accompanist: Shri Vasant Achrekar (Tabla), Shri P. Madhukar (Harmonium) · Genre: Vocal Indian (Hindustani) Classical Music · Raag: Miya Malhar · Type of Composition: Bada Khayal, Chota Khayal · Bandish: “Karim Naam Tero….” (Bada Khayal), "Bole re ...." (Chota Khayal) · Taal - Vilambit Ektaal, Drut Teentaal · Occassion: Pre-recorded · Date: 1972 · Source: Samvaad Foundation, Mumbai About the Artists: - Born on 8th April 1924, Shivaputra Siddharamayya Komkali in Sulebhavi near Belgaum, Kumar Gandharva was an undisputed child prodigy, whose musical genius was recognised long before he’d even entered his teens or had given a public performance. By the age of eight, he was flawlessly reproducing the khyal records of reigning maestros such as Ramkrishnabuva Vaze, Abdul Karim Khan, Faiyaz Khan and Kesarbai Kerkar. But it was at a music conference in 1936 in Bombay at the age of 12 that he truly mesmerised the discerning stalwarts of the Hindustani classical scene who sat rapt in attendance. His half hour rendition of Yaman Kalyan and Bhairavi sent the press into a wild tizzy and also led the eminent musicologist B. R. Deodhar to take him under his tutelage. This fortuitous association, which lasted 14 years, would dramatically alter the course of Kumarji’s life. “Kumar’s young and impressionable age and Deodhar’s scholarship and unconventional thinking were a fruitful combination,” writes noted critic Vamanrao Deshpande, in his book, Between Two Tanpuras. Under Pt. Deodhar’s eye, Kumarji’s raw talent metamorphosed into a fiercely idiosyncratic style, which, even a quarter century after his death, remains a matter of searing debate in music circles. It won him both, a cult-like following and equally ferocious criticism. As a man concerned with wholes, his music was in many ways a confluence of Gharanas. It created a whole new idiom that baffled listeners and critics alike. Excerpted from an article by Nikhil Inamdar. Read the entire piece here https://thewire.in/culture/remembering-kumar-gandharva-brought-hindustani-classical-music-back-original-ethos