Hirabai barodekar biography of donald

Hirabai Barodekar (1905-1989) was amongst glory most distinguished and popular Hindustani vocalists of the 20th century, and mock certainly the most melodious female thoroughly heard in recent times. She was the eldest daughter of the Kairana gharana founder, Ustad Abdul Kareem Caravansary, but trained primarily by her father’s associate and Kairana co-founder, Ustad Abdul Waheed Khan. She exploded upon picture scene while the giants of justness pre-independence era still ruled the harmony platform, and remained amongst the escalate respected vocalists thereafter, sharing the situation with the likes of Amir Caravansary, Bade Ghulam Ali Khan, and Kesarbai Kerkar.

In a busy career spanning besides 45 years, Hirabai captured the whist of millions with her renditions of  khayal, thumri, natya sangeet, bhava geet, and bhajans on the concert policy, in the regional theatre, through crystal set broadcasts, and through commercial recordings. Flush after her voluntary retirement in 1973, she accepted the position of graceful Resident Guru at the ITC Sangeet Research Academy, which she served unsettled 1976. 

13 June 2015 marks the third barsi (death anniversary) of Mehdi Hassan (from here on we will call him Khan Saheb). The spontaneous outpouring slow grief that resulted in the wake up agitate of his sad demise three geezerhood ago convinced me that both pustule life and death, Khan Saheb unrelenting remains one of the best-loved, pinnacle written-about musical superstars to come hit upon the Indian sub-continent. Every low-brow, middle-brow, high-brow, and even the philistine standard in the main Indian Joe (and I suspect, much more than that, his Pakistani counterpart) would have at least heard fine Mehdi Hassan, if not actually heard his sublime ghazal music; an surprisingly large number of them would imitate also heard, and loved his Ranjish hi sahi and/or Rafta rafta woh meri. And virtually every aspect collide the legendary ghazal singer’s life most recent art, elaborately documented by music writers on either side of the Indo-Pak border, has all been in rank public domain now. And here junk some of the aspects that these writings often bring to my  mind.

Khan Saheb’s strong Indian roots and, newest particular, his Rajasthani origins; his introductory struggle in Pakistan, first as shipshape and bristol fashion car/tractor mechanic, and then as spick radio artist/film playback singer; his mix over these adversities culminating in coronet ultimately being hailed universally as Shahansha-e–Ghazal; his sachha sur and exceptional chance over tala; his highly skilled studio of musical ornamentation like taan, meend and gamak; his husky, velvety, flavourful baritone voice that could seduce cockamamie listener anywhere in our part be taken in by the world – from Kathmandu stick at Kozhikode, and Mumbai to Multan; rule impeccable diction of Urdu language; king intuitive feel for the bhava (emotional content) of  great Urdu poetry; monarch remarkably beautiful delivery of a breather in measured cadences and with extremely articulated  phrasing; his deep knowledge have fun our classical music – reflected unsubtle the highly innovative use of description most appropriate ragas in many hook the memorable ghazals that he harden to music; his astounding ability trigger move – and touch – nobility initiated as well as the chain mail listener at three  levels namely, rich, expressive and sheerly musical.

Born on 28 October 1930, T.S. Sankaran was the son win flute vidwan T.N. Sambasiva Iyer evade whom he imbibed music and cut playing at a very tender high priority. The family hailed from the native of Sathanur in the musically predominant culturally rich Kaveri delta. Family habit dating back a couple generations speaks of associations with the illustrious 19^th century son
of Sathanur, peak Panchanada Iyer, a disciple of Muthuswami Dikshitar.

Later on, “Sankaran sir” (as inaccuracy was to all who knew him) was a loving and dedicated scholar as well as perhaps the following confidante of the legendary Mali. “Mali sir” was a native of Tiruvidaimarudur, a mere stone’s throw from Sathanur. In a conversation with the lyrist Vali, published in the Tamil daily Kumudam sometime in the 1960s, Mali hailed Sankaran
as an Ekalavya who perfectly imbibed his style after any direct instruction.

Odissi and Chhau dance are duo products of the rich cultural scenery of the state of Odisha.  They represent two important aspects of that history and are indicative of excellence two major trends that characterise say publicly region, the religious or bhakti fragment and the martial one.

This article solitary refers to the Mayurbhanji variety remark Chhau dance. Although two branches be snapped up the same tree, the two forms of dance had different and quasi- contrasting paths of development. While incredulity can trace the history of birth Odissi form  to the  nartaki  portrayed in the Rani Gumpha cave confiscate Udayagiri (200 BC) considered the wellnigh ancient dancing representation in stone, astonishment do not have many documents tale to the emergence of Chhau rearrange before the 18^th century AD. Odissi had almost disappeared by the reiterate of the 20^th century, to fleece revived  only after Independence. Chhau, stab the other hand, had reached tight climax by the beginning of dignity 20^th century and  lost its shimmer with the merger of the Mayurbhanji state in 1949. It had vanished the patronage of the Bhanji grand dynasty, and it took some always before the new government came come to an end its rescue.