Buddhadev Das Gupta | Nayak Ki Kanra

Go To Artist Page

Recommended if You Like
Ali Akbar Khan Khan Mohan

Album Links
Raga Records Tradebit MusicIsHere PayPlay GreatIndieMusic

More Artists From
India

Other Genres You Will Love
Classical: New Age World: Indian Classical Moods: Type: Acoustic
There are no items in your wishlist.

Nayak Ki Kanra

by Buddhadev Das Gupta

Live sarod concert with tabla, North Indian classical music
Genre: Classical: New Age
Release Date: 

We'll ship when it's back in stock

Order now and we'll ship when it's back in stock, or enter your email below to be notified when it's back in stock.
Sign up for the CD Baby Newsletter
Your email address will not be sold for any reason.
Continue Shopping
just a few left.
order now!
Buy 2 or more of this title and get 30% off
Share to Google +1

Tracks

Available as MP3, MP3 320, and FLAC files.

To listen to tracks you will need to either update your browser to a recent version or update your Flash plugin.

Sorry, there has been a problem playing the clip.

  song title
share
time
download
1. Alap
Share this song!
X
14:31 $0.99
2. Jor
Share this song!
X
13:23 $0.99
3. Slow tintal
Share this song!
X
31:00 $0.99
4. Fast tintal
Share this song!
X
9:47 $0.99
preview all songs

ABOUT THIS ALBUM


Album Notes
There is no doubt that both Ustad Allauddin Khan and Ustad Hafiz Ali Khan, as well as their illustrious sons Ustad Ali Akbar Khan and Ustad Amjad Ali Khan, have dominated the world of sarod for most of this century. Their genius and innovative stylistic contributions have set the standard for modern sarod playing. Yet one should not overlook an extraordinary, though perhaps less famous, artist whose intense dedication and talent keep alive another distinct and important sarod tradition.

Sri Buddhadev Das Gupta belongs to a rare category of musician—though fully steeped in tradition he is a genuine Twentieth Century artist. Born in Bihar in 1933, he began his music training at age 11 with the renowned sarod purist Sri Radhika Mohan Maitra. Through his passionate devotion and uncompromising hard work, Buddhadev has emerged as the foremost exponent of the distinctive, complex style his guru created. It is a style distinguished by its wit, its unusual and unpredictable tans, and its masterful incorporation of the bol patterns and vocabulary of the ancient rabab. Buddhadev’s powerful virtuoso playing, as well as his vast scholarship of sarod history, repertoire and technique, has earned his place among today’s leading sarod masters. He has performed at all of India’s major music conferences, broadcasts regularly on All-India Radio and is a member of the Sangeet Research Academy’s Empirical Research Wing and Committee of Experts.

Buddhadev’s musical achievements are all the more amazing when one considers that he also had a brilliant academic career and served for more than 20 years as a thermal power engineer for the Calcutta Electric Supply Corporation. He retired from that highly responsible position in May 1988 in order to focus his energy even more intently into his music.

I first met Buddhadev in the fall of 1985 when he was invited to perform for the Festival of India, and then again in 1989 while he toured with musicians from Calcutta’s Sangeet Research Academy. Both times I was fortunate to attend every single performance and lecture-demonstration he gave in the New York-New Jersey area. An impeccable gentleman, tall and majestic, Buddhadev is remarkably intelligent, articulate, down-to-earth, eloquent and cultured—all qualities that he has translated perfectly into his music. --Ira Landgarten

Buddhadev Das Gupta was born in Bihar in 1933. He began his music training at eleven with the renowned purist, Sri Radhika Mohan Maitra. Buddhadev has emerged as the foremost exponent of the distinctive, complex style his guru created. It is a style distinguished by its wit, its unusual and unpredictable tans (cascades of notes), and its masterful incorporation of the bol (rhythmic stroke) patterns and vocabulary of the ancient rabab. Buddhadev's powerful virtuoso playing, as well as his vast scholarship of sarod history, repertoire and technique, has earned his place among today's leading sarod masters.

Anand Gopal Bandopadhyay is from a family of musicians of the Vishnupur Gharana of West Bengal. Receiving his initial training from his father, he became the disciple of Pandit Mahadeo Prasad Mishra of the Benares Gharana.

Rag Nayak ki Kanra is an old rag of the Kanra family. Rags of this type are related to the Sarang scale types, and have a flat third (komal ga) and seventh (komal ni). Most of them show the common cadential movement ga-ma-re-sa. In Nayak Ki Kanra, the note motion re-pa is a further Identifiable characteristic, as is the ascending figure, re-ma-pa-ni-pa. The recording begins with a masterfully-measured alap and jor, in which the tonal color and phrases of the rag are Individually introduced and developed. The gat in tintal (where the drummer enters) brings in the important phrase re-pa in its approach to the downbeat, and features virtuosic tans (melodic patterns) in the further development of the rag. These are brought to rhythmic life through the use of intricate tight-hand plucking patterns (bols). This performance Is a tour-de-force by one of the India’s greatest modem sarod players, who brings out the rich lustre of the tradition of his gharana.


Reviews


to write a review