A basant Bahar concert 3 -19-1995 in Fremont California Recorded by Haidar Adina Note: The purpose of this non-monetize upload is to preserve this great music. Please contact us if you feel it should not be shared.
I am deeply grateful to Basant Bahar and Haidar Adina who had recorded this masterpiece of Gorakh Kalyan very melodiously, energetically , extensively in all three Saptaks (3 octaves) sung by them in 1995 in Fremont California. It is really rare and treasure for ever.
Depth of naad bramho. Divine feeling.nice and extra ordinary presentation.feel depth of ocean. It really sur ,taal and laya rendered by deep heart which calls sur hi bramho.
A rare and sweet rag rendered beautifully. Wonder why it is called KALYAN because it omits every note that defines KALYAN eg sudh n g and p. Mishra duo r the best we have today.
"Gorakh Kalyan, too, is affiliated with the Khamaj that, and again, like Narayani, the gandhar is out of a job here. The “Kalyan” in its name is misleading since it contains not the slightest trace of the Kalyan raganga. Some suggest, perhaps apocryphally, that it is named in honour of Sant Gorakhnath. The origins of Gorakh Kalyan remain uncertain. Pandit Bhatkhande makes no mention of it in his published work. The popular vilambit khayal, dhana dhana bhaga, contains the “Sadarang” colophon in the antara, but one wonders if the insertion is a later emendation calculated to confer vintage and cachet on the composition. Master Krishnarao has documented three compositions including dhana dhana bhaga in his Raga Sangraha volumes. Were these handed down by his preceptor Bhaskarbuwa Bakhale? If so, we can situate the raga to at least the beginning of the 20th century? This is further strengthened by Vishnu Digambar Paluskar‘s published medley, Sangeet Ramcharitamanas of Tulsidas, where he has set a doha - sab ke dekhata bedanha binati keenhi udar - to a tune in Gorakh Kalyan. At the present time, this dulcet-toned raga is an active and popular member of the Hindustani repertory. It advertises an unambiguous swaroopa, but the doctors differ on the role and rope accorded pancham. A sensible construction sans pancham seems eminently reasonable but most performers admit of that swara, its proportion and implementation riding on the musician’s background and temperament. Let us now examine the raga-lakshanas. S, S R M, R M R S n’, n’ D’ S This tonal sentence carries the soul of Gorakh Kalyan. The madhyam is powerful, a nyasa bahutva swara. Recall Narayani, with its strong pancham, and consider how this swap decisively alters the melodic compact. The second highlight here is the quaint avarohi nyasa on mandra komal nishad: those with travel experience in Gorakh Kalyan know this culmination on komal nishad to be its idée fixe. M R M, M D, D n D M, M R n’ D’ S Once again, the madhyam dominance is evident. The dhaivat may be elongated judiciously. M D n D S”, S” n D n D S” A representative uttaranga launch. Note the arohatmaka alpatva of komal nishad which helps to widen the distance from Bageshree. D n D M, R M P M R S n’ M R M, R M P D n D, P M R D n D, n D (P) M, M R S These are only three of the several schemes if and when pancham is deployed. Some are subtle, grazing it along the D to M locus. Others seek a more deliberate and direct role for pancham. All this fuss notwithstanding, it remains a relatively minor player." (From Rajan Parrikar)
May Mata Saraswati Bless them more behind the hard work done to record , preserve and made available to all the listeners. This is such a master piece. I wish if more recording could be available of such quality. Great maestro singing in the traditional way of Bhartiya shashtriya Sangeet. I always admire. It take me to different world. This music is truly divine music. We will loose all the great singers like them soon. Only Digital media work will be available. Many thanks for the same though and thought gone behind to preserve the same. All the success to all. Jai Maa Saraswati.
superb. This is the only duo left now singing indian classical in truest form..... thank u for making this available. I have been listening to them since childhood. no sacrifice regarding the form and bhaav (mood) if the raga. no gimmick ...... thanks u million times. Pl make available such music adinaji......regards
@Debabrata Ghosh: In this raga m is very strong. Like all Indian ragas, Gorakh Kalyan should be sung (or played) using Chromatic scale (i.e. not equally tempered scale as in harmonium). In the Avaroh, ni (kimal nishad) is special, as shown below. The Aroh-Avaroh notes, considering m as the tonic becomes: .ni S R m D S. ni D (P) m R S | | | | | || | | || | || The special m* having frequency ration 16/9 w.r.t. tonic m, is very slightly lower than usual ni 9/5. In summary, in an actual presentation, the result is two superimposed melodic universes, one based on S and another based on the strong m, which as if, almost makes it up a Kalyan.
No no i disagrree as the background of tanpura or his own swar mandal or harmonium not giving full music though their music is devine but sounds v flat
