Shuklas :Pt.Hariprasad Chaurasia Bageshwari & Other Ragas-Flute Recitles
Posted 09 January 2012 - 12:33 AM
Pandit Shivkumar Sharma was born in January 13, 1938, Jammu India. He is the master instrumentalist of the Santoor and is credited with single handedly making the Santoor a popular classical instrument.
He has composed music for many Hindi Films in collaboration with Pandit Hariprasad Chaurasia starting with Silsila (1980). They came to be known as the Shiv Hari music Duo.
Pandit Shivkumar Sharma is the recipient of national and international awards including an honorary citizenship of the city of Baltimore, USA in 1985 the Sangeet Natak Akademi Award in 1986 the Padma Shri in 1991 and the position of a popular classical instrument.
Pandit Hariprasad Chaurasia The Internationally acclaimed Bansuri player. Pandit Hariprasad Chaurasia was born on July 1, 1938 in Allahabad. He had an early love of music and by the age of 15 was taking his first steps toward a lifetime as a performer by studying classical vocal with Pandit Raja Ram of Benares.
He is one of India’s most respected classical Musicians. He has earned several awards such as the Padma Bhushan (1992) and Padma Vibhushan (2000) to name of few.
He is one of the busiest and most sought after contemporary musicians in the in the world today also considered as a rare combination of innovator and traditionalist.
This unique album features a live Recording of a JugalBandi by two of the greatest maestros of Indian classical Music – Pandit Shivkumar Sharma and Pandit Hariprasad Chaurasia. A rare musical treat for music lovers.
1. Raga Madhuwanti (With Pandit Bhavani Shankar On Pakhawaj)
2. Raga Maru Bihag (With Pandit Vijay Ghate On Tabla)
1. Raga Mishra Khamaj (With Pandit Bhavani Shankar On Pakhawaj & Pandit Vijay Ghate On Tabla)
Santoor – Pt. Shivkumar Sharma
Flute – Pt. Hariprasad Chaurasia
Tabla – Pt. Vijay Ghate
Pakhawaj – Pt. Bhawani Shankar
Posted 19 December 2012 - 11:31 PM
The combined talents of these three maestros create musical magic. The range, versatility, power and beauty of the singing of Pandit Jasraj, who has one of the silkiest-voices, is an aural delight as is the playing of the bamboo flute by Pandit Hari Prasad Chaurasia, one of the most amazing flutist. They are joined after the first movement by Ustad Zakir Hussain, an absolute wizard on the tabla. The dynamic interplay between the three is simply amazing, especially when they ‘dialogue’ with each other. And they are obviously having great fun performing together at this concert. Recorded live In Vancouver.
2-01 Raga Jaijaiwanti - Alap
2-02 Raga Jaijaiwanti - Rupak Taal
2-03 Raga Jaijaiwanti - Sitarkhani Taal
2-04 Raga Jaijaiwanti - Teen Taal
Posted 19 December 2012 - 11:37 PM
Three of India’s greatest musicians: Zakir Hussain, Pandit Jasraj, and Hariprasad Chaurasia, come together here for a unique performance & collaboration recorded live in Vancouver, BC.
1-01 Raga Behag - Alap
1-02 Raga Behag - Gat
1-03 Raga Kafi - ‘Kaha Karun Vaikunth’
1-04 Raga Bhairavi
Posted 13 June 2013 - 03:29 PM
Hariprasad Chaurasia (b. 1st July 1938) is known internationally as the greatest living master of the bansuri, the North Indian bamboo flute. Chaurasia is among the small but growing number of classicists who have made a conscious effort to reach out and expand the audience for classical music. He is probably the most accessible Hindustani musician, and has done much to popularise the bansuri and classical music.
Hariprasad Chaurasia was born into a non musical family in Allahabad. His father was a wrestler. His mother died when he was very young. Hariprasad had to learn music almost in secret, scared of the father who wanted him to become a wrestler. First he started learning vocal music from Pt. Rajaram at the age of 15. Later, he switched to playing the flute under the tutelage of Pt. Bholanath of Varanasi. Much later, while working for All India Radio, he received guidance from the reclusive Smt. Annapurna Devi (daughter of Baba Allaudin Khan).
Chaurasia is a rare combination of innovator and traditionalist. He has significantly expanded the expressive possibilities of the bansuri through his masterful blowing technique. He is one of the busiest North Indian classical musicians, regularly travelling and performing throughout the world.
Apart from classical music, he has made a mark as a Hindi-language film-music director along with Shivkumar Sharma, forming a group called Shiv-Hari. He has also collaborated with various world musicians in experimental cross-cultural performances, including the famous fusion group Shakti.
2. Invocation - Aarti - 'Om Jai Jagdish Hare' Kirwani (Chapters 3 - 5)
4. Jor & Jhala
5. Gat Composition In 16 Beat Cycle
Saxophone – George Brooks
Sounds [Sound System] – Mike Madho
Tabla – Vijay Ghate
Tambora [Tanpura] – Shyamala Rajender
Posted 23 September 2013 - 02:41 PM
From Indian master flutist Hariprasad Chaurasia comes this album featuring, as one would expect, four dhuns. In essence, the dhun is an instrumental version of thumri: light, semi-classical music. The first to be performed is "Pahadi," perhaps the most popular dhun in existence. It is somewhat relaxed, with a soft tone taken throughout. Second is "Shivranjani," a close relative of "Bhupal." This one is somewhat more complex, with a sharper tone taken as well. Chaurasia also uses a couple of notes that don't belong in the scale on this one, adding a bit of variety. "Rag Pilu" presents itself as the third composition, and a tiny Bengali folk piece stands as the fourth, inviting Chaurasia to improvise thoroughly over a short four-note motif. Throughout, Chaurasia's tone is sweet, carefully alternating between passages of chipper work with more contemplative passages. In general, his ability to use the bansuri for a full raga is perhaps the most outstanding feature of his repertoire, but nonetheless the shorter dhun provides a worthwhile vehicle for his music. He is held less to the stricter rules of raga by the dhun format, and takes full advantage of the looser musical rules. It's an exciting album for fans of the underappreciated bansuri, as it provides yet another look at the legacy of the only major master of the bamboo flute in Indian classical music.
Pandit Hariprasad Chaurasia's bansuri playing is always worth the cost of a recording. I love his emotive technique, and can only speak praise of him.
Four Dhuns is an interesting album for the western listener, because indian art music typically expounds upon a select set of notes throughout a rendition of a raag. Dhuns, however, are a lighter (in spirit) type of classical tune, and they generally are played usuing more melodic variety than the raag form. This allows a musician to leave conventional note choices behind and give an strong effect to the mood of the song by seeming to change chordal harmony, in relation to the drone instrument.
If you have ever found indian art music a little dry for your tastes, this is a good album for you.
1. Pahadi Dhun
2. Shivranjani Dhun
3. Pilu Dhun
4. Bengali Folk Tune
Posted 05 October 2013 - 11:59 PM
hindusthani instrumental - Raag Manjh Khamaj by Pt Hari Prasad Chaurasia.mp3 (13.76MB)
Number of downloads: 23
Posted 11 December 2013 - 01:50 PM
Hriprasad Chaurasia is without any doubt the greatest living master of the North Indian bamboo flute - the Bansuri - and one of India's most important musicians.
The flute served through history as a folk instrument and only recently developrd into a classical instrument. Hariprasd Chaurasia, a rare combination of clasical discipline and modern innovation, significantly expands the possibilities of expression on the Bansuri flute. He developed a unique sound and style of playing that, combined with astonishing virtuosity, have become a model for imitation and admiration both in India and throughout the world. To listen to Chaurasia is pure meditation, like hearing the soundless sound, the music of silence.
This recording documents two unforgettable performances in Jerusalem.
NADA - THE SOUND BY MEANS OF WHICH THE GOD BRAHMA CREATED THE WORLD. IN HINDU MIYTHOLOGY IT IS SAID "NADA BRAHMA"
1. Raga Suddha Sarang
2. Raga Bageshri
Posted 25 March 2014 - 09:32 PM
Bamboo Flute' works through the creative mode of musical as well cinematographic elaboration suggested by the actual playing of the flute. Through parallel and other configurations, different melodic lines may position themselves in time and space to suggest that the creative act is also the comparison generated by the metaphysics of the flute. The form of the film evolves from the musicality and the specifics of its visual correspondence in architecture, dance, poetry and intersecting axes of color and narrative. A deeply meditative film, and one that challenged the established norm of documentaries, by developing a form where the visual follows and is shaped by audio/music, the film is a celebrated and acknowledged step in the search for new aesthetics of cinema.