Thanks for sharing this 🙏🏼! 😀 @40:02 - Chautaal bandish 'Mere mana maahee Hari naam Jina racho akhila dhaam kaam krodha Moha lobha bahyo jaata Sansaar Jina racho svarga narka aur paataal Niranjana so hee saakaar Nisa dina japale Shri moraaree' @45:48 - Sooltaal bamdish "praatah belaa Onkar vandana Veda dhvani suramaya Hari Hari hari ramate Jaga sab naad roopa Raag taal rasamaya Shruti gyaan dhyaan mein Harihar guni bhajate"
Excellent presentation 👍👍👍 👏 thanks for sharing this video. It's very rare type of concert . now a days we are not getting more programs of Vani and Veena Duet.
Dagar~ji is in fineries of karuna (lovingkindness/caritas) hued with vir (dharmic courage), as usual. Deserves a Department Chair professorship himself, somewhere. :) Sanyal-ji seems to effect something of a flooded, somatically moribund taan. The vina reminding the bird to sing and fly free from within kharraj, with a breath in fine tenor clarion. Disconcerting to see a faltered vipassana in dhrupadiya, he loses breath on phrases a few times. Out of breath on mantra is a distracted kaya. Mandam Hu Mandam... (The miking is off. For classical music singers, mike the floor and above in front of the artist (bigger spaces are accustomed to hanging them from above the stage), and channel it into the mix - classical artists 'play the room', not 'fill the booth.' The listener has to be able to hear the air around the sound. Bahauddin Dagar's mike setup displays the measured importance if not art of catching the sound well all along the instrument, but Sanyal's instrument isn't miked below the lip. Turning the mikes up from below towards the singer if they face down often, or slightly up and over (film boom placement) if they reference up often at the same distance the rudra vina is miked - would record the singer correctly and give room for gestures too.)
Too smooth for me ustads voice i was too smooth would have been better if it was rough sound and thought more energy would have made it even more beautiful
