Скачать с ютуб Pandit Mallikarjun Mansur in conversation with Pandit K. G. Ginde in Mumbai on 8 January 1988 в хорошем качестве

Pandit Mallikarjun Mansur in conversation with Pandit K. G. Ginde in Mumbai on 8 January 1988

This is a unique recording, one in which we see two luminaries of Indian classical music in conversation each other. What comes across is not just the immense camaraderie they share but the enormous respect they have for each other. Mansur ji was elder by nearly 15 years and that’s why Ginde ji refers to him as Anna, a term used for elder brother. Knowing Mansur ji’s rather reticent nature, especially when it came to talking about music, Ginde ji took the lead and has spoken a lot more, including some of it on behalf of Mansur ji. It appears from the references in the conversation that in attendance were Ganatapaswini Mogubai Kurdikar and Baba Azizuddin Khan, themselves legendary figures in the lineage of Ustad Ghulam Ahmed 'Allahdiya' Khan sahib of Atrauli gharana. The following is a brief gist/highlights of what transpires during the conversation: Pandit K. G. Ginde recalls first having heard Pandit Mallikarjun Mansur sing ragas Gaud Malhar & Malkauns almost 50 years ago, while he was working in the theatre company and still learning from Pandit Nilakanthabua Alurmath. Interestingly, from during his time in Lucknow under the discipleship of Pandit S. N. Ratanjankar, Ginde ji recalls having heard Ustad Badruddin ‘Manjhi’ Khan in 1936. Apparently, Khan sahib sang “Baare saiyyan…” in raga Nand and the laya-baddh nature of his gayaki made a deep impression in the mind of Ginde ji. Using this anecdote, Ginde ji requests Mansur ji to demonstrate the unique nature of Khan sahib’s gayaki through an illustrative rendition of raga Pat Bihag, highlighting the phirat which used to be Khan sahib’s specialty. Mansur ji talks about both his gurus – Ustad Badruddin ‘Manjhi’ Khan and Ustad Shamsuddin ‘Bhurji’ Khan – and the fact that they were both steeped in musical knowledge. Despite being as absorbed as Mansur ji was, in his own assessment, he was able to take a small percentage of the knowledge of his gurus. He reminisces that learning from Ustad Manjhi Khan sahib used to be like a kind of an intoxication because of how beautifully he used to sing and the unlimited creative imagination he possessed. On one occasion, during which Ustad Azmat Hussain Khan was also present, he recalls both weeping at the luminous nature of the taar shadja and the haunting quality of komal rishabh used by Khan sahib in raga Bhairav. After the untimely demise of Ustad Manjhi Khan sahib, Mansur ji went to Ustad Bhurji Khan sahib at the suggestion of Sangeet Ratna Ustad Allahdiya Khan sahib. On his first visit, Mansur ji recalls singing raga Gaud Sarang with the Tanpura in one hand and the Dagga in the other hand for Ustad Bhurji Khan sahib and Baba Aziduddin Khan, both of whom wept because of the way in which Mansur ji’s gayaki reminded them of Ustad Manji Khan sahib. Both Mansur ji and Ginde ji talk about the importance of the bandish in khayal gayaki and insist that the bandish represents the kernel of the raga and shows the way for raga vistar. Though this might be debatable from the perspective of other gharanas, it’s important to be able to see that they are both insisting upon doing justice to the bandish as the one thing that gives direction for the elaboration of the raga in a particular rendition. Mansur ji talks about the fact that he was able to receive the gift of music through tremendous sacrifice, hardship and effort and that’s what has made him value it so much more. He recalls how he would often miss being with his family during the period of his ta’lim or the travels during his professional career but pursued it with a kind of a passion that is necessary for an artist to flower.