Home
Categories
African
1036
Arabic
738
Asian
298
Blues
495
Brazilian
226
European
1720
Folk
714
Funk
49
Hip Hop
262
Island
662
Israeli
15
Jazz
1655
Judaica
263
Judeo-Arabic
161
Latino
1619
Pop
292
Rai
64
Rap
218
Reggae
1450
Rhythm & Blues
188
Rock
690
Ska
93
Spiritual
1136
World Beat
2098
World Fusion
3879
GIFT CERTIFICATES ...
3
New Products ...
All Products ...
New Products [more]
So What...
When Sufferings Stop
Credo
Reviews [more]
Write a review on this product.
Information
Shipping & Returns
Privacy Notice
Conditions of Use
Contact Us
Site Map
Gift Certificate FAQ
Discount Coupons
Newsletter Unsubscribe
More Information
Page 2
Page 3
Page 4
Sponsors
Home
World Fusion
Chandrakaush Alap
larger image
Chandrakaush Alap
“My approach to music is very deep. I do not compromise with anybody or anything else in the world. I do not care. I want to really go beyond this materialistic world...not for the sake of enjoyment, entertainment, no. A musician must lift up the souls of the listeners, and take them towards Space.†--Nikhil Banerjee
Padmabhushan Nikhil Banerjee (1931-1986) was one of the greatest sitarists of this century. His music earned deep respect among India's classical music aficionados as well as gaining him a devoted international following. He was the disciple of the two greatest forces in 20th Century Indian classical instrumental music, Padmavibhushan Allauddin Khan and his son Maestro Ali Akbar Khan. Though he recorded many LPs, few were of live concerts, in which his leisurely, majestic raga development was unsurpassed. Mr. Banerjee disliked being recorded, feeling that the process distracted and somewhat compromised the inner meditative quality of his music, and high fidelity live recordings are rare.
To preserve Mr. Banerjee’s legacy and show the full scope of his musical vision, Raga Records is releasing a series of full-length concert recordings. Other Raga releases have articles by and about and interviews with Mr. Banerjee. These texts are available online at http://www.raga.com including ‘My Maestro and Myself’ about Allauddin Khan (Raga-211) and ‘Indian Classical Music in the Western World’ (Raga-214), both by Nikhil Banerjee, and a 32-page interview by Ira Landgarten (Raga-207).
Pandit Mahapurush Misra (1931-1987), a disciple of Pandit Anokhelal, was renowned for the clarity and sweetness of his tabla solos and accompaniment. He has performed and recorded with many of India's foremost musicians.
Rag Chandrakaush belongs to the deep of the night. Closely related to Rag Malkaush, Chandra-kaush has a pentatonic structure, completely omitting the second and fifth notes of the scale, and using a flattened third, natural fourth and flat sixth. Its scale differs from Malkaush in using a natural seventh. Chandrakaush shares with Malkaush a mood of devotion and peace, with added elements of the romantic and the heroic. Ali Akbar Khansahib has said that there's also a feeling like that of a monkey that can't keep still. Indian classical instumental music is derived from vocal music, and the design of the sitar has evolved to allow it to mimic this age old style with a range extending over five octaves, with the musician playing notes that can slide through the best part of an octave by bending the string sideways. Sympathetic strings tuned to the notes of the raga being played ring out when those notes are struck on the playing strings. There are also many strings tuned to the tonic. This performance begins with the alap proper, a floating, freeform solo exploration of the tonal materials and structure of the raga, including one of Mr. Banerjee's signature kharaj sections, going into the lowest notes of the register. The jor (counter 11:50) begins with the introduction of a beat. From here on, the tempo steadily builds toward a climactic jhalla (18:10).
Mr. Banerjee often played rag Khamaj after intermission at his concerts. After a short introductory alap, the tabla joins in, with a gat in rupak tal, a rhythm cycle in seven beats (2:43). During the sitar solos, Mahapurush keeps track of the tal by playing theka, a characteristic series of drum strokes that define the tal: “tin tin na, dhin na, dhin na;†with a flat sound from the bass drum for the first three beats, and a deep whoomp sound under the fourth and sixth beats. A fast gat in 16-beat tintal follows (23:26).
Contact Us
Artist: Nikhil Banerjee
100000
Track 660/3879
Previous
Return to the Product List
Next
Write Review
This track was added to our catalog on Friday 02 May, 2008.
Music Genres
Please Select
ALBUMS
Arabic
Fusion
Israeli
Jazz
Latin
Rai
Rock
Salsa
Search
Advanced Search
Have you seen ...
Notifications
Notify me of updates to
Chandrakaush Alap
Languages
Currencies
US Dollar
Euro
GB Pound
Canadian Dollar
Australian Dollar
Who's Online
There currently are 204 guests online.
Home
Copyright © 2024
Mouzika
. Powered by
Zen Cart