Really beautiful rendition of Raag Gaud Sarang by Panditji. However differ with the information given in concert information. Generally he will not sing Gaud Sarang after Marwa which is evening raaga and and when I have heard Panditji he has sung this raag in the noon time.
Yes. I also wonder the same thing. Preceding raga should be Gujri todi or multani or something like that but it isn't. But I've heard the full concert. I'm assured they are from the same concert, we can easily guess it from audience reaction and overall acoustics.
In the previous uploads I did upload the full concert but I observed a lacking interest in the audience. And length : watched ratio was also increasing which is quite bad as a creator to me.
Vilambit सैय्यों मै तो रतड़ी/दतड़ी वेघडी वे जमायां । हातन मेंदी पावन मेंदी चूडा भऱ्यो कलायां ॥ Drut वेँ यार नजर नाही आवंदा तेंडे देखन मन चावंदा मेरा ढूँढत फिरत जग विच सानू सदारंग आवंदा नेड़ा - Bandish lyrics from Magriel and Perron to be checked and vetted. From his 1974 disc, Bhimsen Joshi - Enchanting Melodies, with Vasant Acharekar on tabla. What has also always intrigued me about the bandish are the lyrics - and to confound the confusion, they seem glossed differently at different places. Let's start with Swar Ganga that gives it simply as: सैंयो मै तो रतडी वे घडी वे जमायां । हातन मेंदी पावन मेंदी चूडा भऱ्यो कलायां ॥ The last two lines are clear enough: mehndii or henna on the hands and feet and bangles on the wrists. But I wasn't quite clear about the first two lines: What might रतडी mean? Could it just be रतड़ी? So I turned to Sangeet ke Jawaharaat, which not only provides the bandish lyrics rather differently but also offers an odd gloss: सैयों मैं तो रचनी धरीये वेज़मानी हाथन मेहँदी भीन वस्त्र चूरे भरी वे कलाईयाँ It goes beyond providing the lyrics and says (I am choosing not to translate to ensure nothing is lost or gained there): // नायिका से मेहंदी कहती है कि मैं तो रचने वाली हूँ. हाथ पर मुझे लगते ही रंग लग जाता है. तेरे हाथों पर मेहंदी रची है. तुमने अच्छे अच्छे वस्त्र पहने हैं और तुम्हारी कलाईयाँ चूड़ियों से भरी हैं. उस से तुम्हारी सुंदरता खिल गयी है. // Improbable as the above seems, it offers a further long gloss. //
नायिका खूब बन ठन कर तैयार हुई है. जब वह अपने हाथों को देखती है तो बस देखती ही रह जाती है. फिर उसे ख़याल आता है की मेहंदी उस से बातें कर रही है और उसकी भी तारीफ़ कर रही है. नायिका के ख्याल में मेहंदी उस से कहती है की मैं बहुत रचती हूँ. जैसे ही तू अपने हाथों में मुझे लगाती है, मेरा रंग खिल उठता है. देख, तेरे हाथों में मेंहदी लगी है. तूने अच्छे वस्त्र पहन रखे हैं. तेरी कलाईयाँ चूड़ियों से भरी है. इन सब सबसे तेरी सुंदरता और खिल गयी है. इस भौतिक अर्थ केअलावा इस रचना का एक आध्यात्मिक अर्थ भी है की सच्चे प्रेम को पाने के लिए श्रृंगार या किसी अन्य साधन की जरूरत नहीं होती। उसके लिए आत्मा का निर्मल और सुन्दर होना ही काफी है. // Let me be clear: I can easily imagine the word रचनी in the bandish, and in the 1937 Mansur recording especially it could well be the word one hears. But I do have a problem with the henna's point of view. I just for the life of me can't understand why this totally imagined conversation has been introduced in this explanation when the bandish, regardless of what the words are, simply does not offer any such reading. But I guess this must be driven by the modern reader response theory and the death of the author. *** But this is not all. Magriel and Perron offer an added spin. If Sangeet ke Jawaharaat changed ratDii/ratRii रतडी/रतड़ी to रचनी, and introduced the utterly meaningless point of view of the henna, Magriel and Perron take it somewhere else. The lyrics, they tell us, are: सैयों मैनू दतडी दडी वे जमाइया हाथन मेंदी पावूं मेंदी चूड़ी भयो वे कलाइयां They also helpfully offer us an English translation: [One friend says to another]: My lips and teeth are red. Henna on my hands, henna on my feet, bangles on my wrist. *** Phew. Who'd've thunk? The word, to my mind, is Punjabi: रतड़ी and because of the transliteration and script issues, and because of Marathi's own orthography, it becomes रतडी and then रचनी and then दतडी above. In Punjabi, रतड़ी could just mean "coloured, red, steeped, imbued, permeated" which, to my mind is clear enough, given the context. Still, it would be good to trace it in different performances and also in different texts, where available. As a first port of call, I ended up on a Bhimsen Joshi performance where the Bharat Ratna, not otherwise known to be a believer in fealty to the bandish texts, actually recites the vilambit bandish first, and, despite some differences, here it becomes mainuuN मैनूँ, but the contentious word is very clear: रतड़ी (though in this rendition he very clearly pronounces it as दतड़ी with a d sound.
🙏 This is a lovely rendition. Thanks for sharing. 🙏 I do have some that I need to revisit and upload at some point. This Gaud Sarang bandish has always fascinated me. I just love all the versions, and while it is difficult to pick favourites and all are absolutely outstanding, Mallikarjun Mansur's rendition of this moves me in ways that are totally unique. ruclips.net/p/PLMYQ2DE1_Ldbd2Ks5f3JNivxGAth7DI25 I also made a playlist for the drut separately, as there are variations in renditions over the years: ruclips.net/p/PLMYQ2DE1_LdY9YKyJByom3oFq0mQRjczz🙏 And thanks to you, I think I am going to be listening to just this for the whole day, if not more. The magic of Gangubai's version is just washing over me now, and I think I will have to stop listing Mansur Anna's rendition as my favourite. I think all three sing it in their own distinctive and superlative styles and move me in their own way.
Bhimsen Ji weaves magic!!! ❤❤
Vasantrao Achrekar on Tabla and स्वतः Kumarji in the audience! 🥹
Devansh Phadke is back :D
@@Bhimmanna 🤣sir
Brilliant taans. A phenomenon.
Thank you for appreciating 🙏
Really beautiful rendition of Raag Gaud Sarang by Panditji. However differ with the information given in concert information. Generally he will not sing Gaud Sarang after Marwa which is evening raaga and and when I have heard Panditji he has sung this raag in the noon time.
Yes. I also wonder the same thing. Preceding raga should be Gujri todi or multani or something like that but it isn't.
But I've heard the full concert. I'm assured they are from the same concert, we can easily guess it from audience reaction and overall acoustics.
Panditji very rarely compromised on the timing of raga. Maybe this is one of those, who knows?
I think Pt. Kumar Gandharv ji in the audiance. His occasional "wah " sounds so unique.
Kya baat hai. Indeed it adds a lot of value to this recording.
ruclips.net/p/PLF-RMsqB6o6fL15DDfxxMNULijZ47wL-6&si=JUZnLdytky01roN_
Very nice 👍
Thank you 👍
Sarwottam simply superb 22 5 2024 bengluru
Thank you Ji 🙏
तबला वसंत आचरेकर
क्या बात
माहिती साठी धन्यवाद 🙏
@@manojlonkar8873🙏🙏🙏
श्रोत्यांमध्ये कुमारजी असावेत असे वाटतय
@@rajendradatar9580hoy. Kumarji pn baithakit aahet.
❤️🙏❤️
🙏🙏🙏
Thank you very much. Can we please have the first and last parts of this concert?
In the previous uploads I did upload the full concert but I observed a lacking interest in the audience. And length : watched ratio was also increasing which is quite bad as a creator to me.
But I'll surely upload the "Bhairavi part ie. अवघाचि संसार and जो भजे हरी को सदा"
Thanks a lot what is the year of this recording
Must be around the 70s. Or even earlier! Don't have the exact date.
Where can i find meaning of the bandhish sir
Wait I'll send it to you when I'm free.
Vilambit
सैय्यों मै तो रतड़ी/दतड़ी
वेघडी वे जमायां ।
हातन मेंदी पावन मेंदी
चूडा भऱ्यो कलायां ॥
Drut
वेँ यार नजर नाही आवंदा
तेंडे देखन मन चावंदा मेरा
ढूँढत फिरत जग विच सानू
सदारंग आवंदा नेड़ा
- Bandish lyrics from Magriel and Perron
to be checked and vetted.
From his 1974 disc, Bhimsen Joshi - Enchanting Melodies, with Vasant Acharekar on tabla.
What has also always intrigued me about the bandish are the lyrics - and to confound the confusion, they seem glossed differently at different places.
Let's start with Swar Ganga that gives it simply as:
सैंयो मै तो रतडी वे
घडी वे जमायां ।
हातन मेंदी पावन मेंदी
चूडा भऱ्यो कलायां ॥
The last two lines are clear enough: mehndii or henna on the hands and feet and bangles on the wrists. But I wasn't quite clear about the first two lines: What might रतडी mean? Could it just be रतड़ी?
So I turned to Sangeet ke Jawaharaat, which not only provides the bandish lyrics rather differently but also offers an odd gloss:
सैयों मैं तो रचनी धरीये वेज़मानी
हाथन मेहँदी भीन वस्त्र
चूरे भरी वे कलाईयाँ
It goes beyond providing the lyrics and says (I am choosing not to translate to ensure nothing is lost or gained there):
//
नायिका से मेहंदी कहती है कि मैं तो रचने वाली हूँ. हाथ पर मुझे लगते ही रंग लग जाता है. तेरे हाथों पर मेहंदी रची है. तुमने अच्छे अच्छे वस्त्र पहने हैं और तुम्हारी कलाईयाँ चूड़ियों से भरी हैं. उस से तुम्हारी सुंदरता खिल गयी है.
//
Improbable as the above seems, it offers a further long gloss.
//
नायिका खूब बन ठन कर तैयार हुई है. जब वह अपने हाथों को देखती है तो बस देखती ही रह जाती है. फिर उसे ख़याल आता है की मेहंदी उस से बातें कर रही है और उसकी भी तारीफ़ कर रही है. नायिका के ख्याल में मेहंदी उस से कहती है की मैं बहुत रचती हूँ. जैसे ही तू अपने हाथों में मुझे लगाती है, मेरा रंग खिल उठता है. देख, तेरे हाथों में मेंहदी लगी है. तूने अच्छे वस्त्र पहन रखे हैं. तेरी कलाईयाँ चूड़ियों से भरी है. इन सब सबसे तेरी सुंदरता और खिल गयी है. इस भौतिक अर्थ केअलावा इस रचना का एक आध्यात्मिक अर्थ भी है की सच्चे प्रेम को पाने के लिए श्रृंगार या किसी अन्य साधन की जरूरत नहीं होती। उसके लिए आत्मा का निर्मल और सुन्दर होना ही काफी है.
//
Let me be clear: I can easily imagine the word रचनी in the bandish, and in the 1937 Mansur recording especially it could well be the word one hears. But I do have a problem with the henna's point of view. I just for the life of me can't understand why this totally imagined conversation has been introduced in this explanation when the bandish, regardless of what the words are, simply does not offer any such reading. But I guess this must be driven by the modern reader response theory and the death of the author.
***
But this is not all. Magriel and Perron offer an added spin. If Sangeet ke Jawaharaat changed ratDii/ratRii रतडी/रतड़ी to रचनी, and introduced the utterly meaningless point of view of the henna, Magriel and Perron take it somewhere else. The lyrics, they tell us, are:
सैयों मैनू दतडी दडी वे जमाइया
हाथन मेंदी पावूं मेंदी चूड़ी भयो वे कलाइयां
They also helpfully offer us an English translation:
[One friend says to another]: My lips and teeth are red.
Henna on my hands, henna on my feet, bangles on my wrist.
***
Phew. Who'd've thunk?
The word, to my mind, is Punjabi: रतड़ी and because of the transliteration and script issues, and because of Marathi's own orthography, it becomes रतडी and then रचनी and then दतडी above.
In Punjabi, रतड़ी could just mean "coloured, red, steeped, imbued, permeated" which, to my mind is clear enough, given the context.
Still, it would be good to trace it in different performances and also in different texts, where available.
As a first port of call, I ended up on a Bhimsen Joshi performance where the Bharat Ratna, not otherwise known to be a believer in fealty to the bandish texts, actually recites the vilambit bandish first, and, despite some differences, here it becomes mainuuN मैनूँ, but the contentious word is very clear: रतड़ी (though in this rendition he very clearly pronounces it as दतड़ी with a d sound.
@@Bhimmanna thank you very much sir
🙏 This is a lovely rendition. Thanks for sharing. 🙏 I do have some that I need to revisit and upload at some point.
This Gaud Sarang bandish has always fascinated me. I just love all the versions, and while it is difficult to pick favourites and all are absolutely outstanding, Mallikarjun Mansur's rendition of this moves me in ways that are totally unique.
ruclips.net/p/PLMYQ2DE1_Ldbd2Ks5f3JNivxGAth7DI25
I also made a playlist for the drut separately, as there are variations in renditions over the years:
ruclips.net/p/PLMYQ2DE1_LdY9YKyJByom3oFq0mQRjczz🙏
And thanks to you, I think I am going to be listening to just this for the whole day, if not more. The magic of Gangubai's version is just washing over me now, and I think I will have to stop listing Mansur Anna's rendition as my favourite. I think all three sing it in their own distinctive and superlative styles and move me in their own way.
Thank you Sundeep Ji. Your review means a lot to me.
🙏
Isa.gayak😅abhi😅desh.me😅kaha😅😅great😅😅