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Oriental cutie porn. Mark, for example, the laser-beam precision of his swara; the crushing trenchancy of his taal; or the tremendous force and animation he imparts to his creative process; or the sculpturesque dignity, poise and balance that distinguish his melodies. These are all still here. Especially to his old-time listeners like this writerwho have savoured his music for four decades, each of his latter-day mehfils comes as a stark reminder of a great era that is fast coming to an end.
His is, indeed, the voice of tradition — a tradition which looks almost doomed to be at the mercy of the man in the street sooner than later. Not for nothing has a multinational recording company managed to coax the maestro to cut a series of long play discs barely a few weeks ago! I still cherish the nostalgic memories of those three-minute discs of Goud-Malhar, Adana, Todi and Yamani Bilaval for their racing, sprightly musical lines, intricate rhythms and complex, odd-shaped taans.
They had a stately quality which his tenor yet vibrant voice conveyed with a naturalness all its own. So abiding was their impact on my ears that I seldom missed an opportunity to listen to his radio recitals. Public concerts were not so much in vogue then as they are today. It was a four-hour recital, comprising a rich and varied repertoire of popular as well as rare ragas. To my surprise and admiration. I also heard him render a couple of Marathi songs and Kannada devotionals in LP.
The maestro was so sure of his touch that he totally dispensed with the preliminary alapi in the presentation of his individual ragas. Yet he established immediate rapport with his listeners by the very opening swara of his chosen raga. It was as though his musical thought was in tune with some high ideal of beauty and he was striving to communicate to us with the fire and fervour of an impassioned utterance. Few, indeed, are great musicians like Mansur — who unfailingly share their pure, sensuous joy with their listeners from start to finish.
And that is what makes a Mansur concert an Tavil-Solo - Tavil-Nadasvaram-Group - Music From South-India (Vinyl, LP, Album) always to look forward to even today. He had his initiation into the Carnati paddhati from Appayya Swami, a veteran vocalist, violinist and playwright of his time. He was then placed under the tutelage of Nilkanthbuva Alurmath, a leading disciple of the maestro Balkrishnabuva Ichalkaranjikar, who is credited to have brought the khayal style of singing from Gwalior to Maharashtra.
But it was not this ustad, but his two worthy sons, Manji Khan and Bhurji Khan, who moulded Computer Killers - Gaznevada - Back To The Jungle (Vinyl, LP) musical genius of Mansur. It is often said, not without a degree of justification, that the Atrauli-Jaipur gharana, with its dhrupad-like massive form and robust structure, LP, does not lend itself to free and unfettered Interpretation and, for that reason, does not command much popular appeal.
In other words, the impact of the music is intellectual, which affords little scope for the exponent to show his individual musicianship. Manji Khan was, by common consent, something of a rebel, determined to widen the horizons of his gharana without compromising, in the least, on its fundamentals.
And thereby he evolved a style which was marked not only by the purity and vigour of Alladiya Khan but also the subtlety of his own imagination. Although he did not live long to watch the success of his new genre, it was left to Mansur to promote and popularize it. It is his progressive outlook, conditioned by an awareness of the tastes and preferences of his audiences. This was reflected in his repertoire, which included a judicious mixture of light and popular songs, like Marathi bhavgeets, natyageets and bhaktigeets.
It is only in recent years that he has restricted his singing to khayals. Only in very rare cases, and that too, in response to pressing request, does he end his recitals with a Kannada devotional or two.
All this, within an incredibly brief period of studentship! Mansur is equally grateful to his other gurus who contributed significantly to the moulding of his musicianship.
He says his first teacher saw in him the makings of a future musician and initiated him into the mysteries of Carnatic tone and Figurinha Difícil - La Carne - Desconhece O Rumo Mas Se Vai (File, Album). Alurmath groomed him in the tradition of the Gwalior gharana, with special emphasis on aakar, alamkar, swara, taal, laya and brief compositions in popular ragas.
The grooming from Bhurji Khan, which was the longest, gave him a thorough insight into the laya-oriented, dhrupad-based style of Alladiya Khan along with a rich repertoire of rare and complex ragas. And Mansur, in my opinion, is the only maestro who can present such an amazing variety of less-known ragas as naturally, as spontaneously, as the familiar We Dont Care - The Beliers - Why Should We Be The Ones To Fall?
(Cassette). Incredible though it may seem, the number of melodies I have heard from him comes to ! If his depiction of familiar melodies unfolds their unsuspected niceties and beauties, he reveals his savoir faire in making an uncommon raga sound easy and simple and project it as a well-knit, aesthetic build-up. Strange but true, Mansur chose to remain away from the limelight till he reached At least his concert visits to Bombay had become rare. Meanwhile, I also gathered that he had accepted — after persuasion — a year assignment as music adviser with AIR, with headquarters at Dharwad, in Karnataka.
In keeping with his nature his involvement with the job was so total and complete that he seldom stirred out of Dharwad. Evidently, during this period, he spurned offers for concert recitals, so much so that music circles in Bombay lost sight of him till The late Kamal Singh, the popular thumri and ghazal singer, who had started his Sangeet Mehfil to organise periodical sangeet sammelans in the city, asked me to suggest names of top artistes who had not performed on the concert stage for a long time.
He was planning his annual soiree early that year. Sensing his predicament, I assured Kamal Singh that Mansur was quite hale and hearty and musically active, too, leading a quiet life in his home town after retirement from AIR. He has never looked back since then. Needless My Tornado say, his visits to Bombay became very frequent and, in time to come, he became an all-India figure.
More recently, he has been nominated as a member of the Karnataka State Legislative Council. He is currently dean of the faculty of music of Karnataka University and, in that capacity, he guides its destiny with typical devotion even while performing at major musical events all over the country. I have been one of his Bombay hosts during his concert visits to this city over the last 15 years.
And with Mansur at home, it is music, music all the way. It is during his brief sojourns that I could get many glimpses of his personality as an artiste as well as a human being. Profoundly simple and humble, there is nothing vain, eccentric or capricious about him.
He has both genius and spirit but does not display them. I have often found it ticklish to draw him into a conversation though he delights in informal chats. During one such conversation, not long ago, the maestro burst into a thumri, a tappa and a dhamar — the forms he has never presented at public concerts. These revealed new facets of his versatility and came to me as a revelation. In reply to my question, he simply said that he was basically a khayalist and always remained true to the spirit of the Atrauli-Jaipur gharana.
He asserted that the khayal style embodied all that is best in the Hindustani tradition of classical and light classical music, which is why it continues to be the most popular style of classical singing.
When I sensed a slight degree of tiredness creeping into his intonation, especially in the post-interval part of his concerts, I made bold to ask him, with utmost caution, if he could not bring down his aadhaara shadja tonic or base note to a lower key.
This was about a decade ago. Although, even at 75, he has plenty of muscle in his voice, both emotional and physical, his listeners cannot but notice that it is no longer plentiful enough to sustain him uniformly in a full-fledged concert lasting three hours or so. That is because he loses himself in his creative ecstasy and oblivious of his advancing years, strains himself needlessly when he switches over to the faster movements in singing.
Horses Scare The Hell Out Of Me result is that more often than not, the maestro clearly looks frayed during his post-interval singing. When, recently I sought to plead Album) him, through my review column in The Times of India, to counsel a degree of moderation in expending his physical energy, his reaction was not one of annoyance, but of helplessness. Music to Pandit Mansur is not just an a vocation.
With him, it is a way of life and, through it, he seeks to express the very essence of his inward being. Those who have chanced to visit him at his Dharwad residence in the morning hours will know what I mean.
You will hear him sing when he is plucking flowers in his garden for his pooja. There is an incantational fervour in his musical soliloquy. The soulful strains elevate you even as they mingle with the wafting breeze. A deeply, religious man, Panditji attributes his attainments equally to his professional mentors and spiritual gurus. He refers feelingly to the blessings bestowed on him by three eminent saints of Karnataka — Siva Basava Swami, Siddharudha Swami and Mrityunjaya Swami. He began his concert career as a boy of 15 with his recital before Siva-Basava Swami and he has named his house after Mrityunjaya Swami.
He firmly believes that his association with these saints brought about radical change in his temperament. Panditji planned to retire completely from his concert career shortly after his 75th birthday and devote the rest of his years to matters of the spirit — and understandably so. The reclusive Mallikarjun Mansur rarely talks to the press.
Here, Mohan Nadkarni reproduces excerpts from discussions he had with the maestro on earlier occasions. Pandit Mallikarjun Mansur is a man more inclined to listen than to speak. It is only rarely that he condescends to talk about himself and that, too, when his mood permits. Lately, the maestro has developed a strong dislike for formal, long-drawn-out interviews if it is meant for publication.
No more interviews to you or to any one else. I am tired Eternal Martyr, Horda 666 - A Ascenção Das Hordas Pagãs (CDr) talking about me or my music or my professional career. Over the years, there have been innumerable occasions for animated conversation and discussion with him on the contemporary classical music scene.
I have had the good sense to record the impressions of important discussions with him in the past. Here are some excerpts:. I owe my surname to LP native village in Dharwad district in Karnataka state.
I was married at the age of 10 to a girl of 5. There was no music in the family, but my father was deeply interested in musical drama. I was first attracted to the stage while only eight.
I left school and joined a Kannada drama troupe of which my elder brother, Basavaraj, who later became a noted stage-actor, was a partner. I became very popular as an actor-singer when I was still in my teens. I played a variety of roles in many Kannada mythologicals which were the rage of those days. On his switchover from musical drama to Hindustani classical music:. As is now known, I had learnt the basics of Carnatic music from Appayya Swami, who himself was an employee of the drama company in which I worked.
Later, I joined another touring troupe and during its sojourn at Bagalkot, in Bijapur district, I chanced to hear a recital of Nilkanthbuva Alurmath. He was a veteran exponent of the Gwalior gharana of Hindustani music and I was greatly fascinated by his performance. He also heard me on the stage and, in response to my request, he readily took me as his disciple. My company even agreed to pay him a monthly remuneration of Rs.
On how and why he sought further grooming in the Atrauli-Jaipur gharana:. The impact of his music made such a deep impression on my mind that I began cherishing the ambition of learning from the ustad. His age and eminence forbade me from approaching him.
My mind was distraught and I came to Bombay in search of a comparable guru after leaving my studentship with Alurmathbuva and also the dramatic company. Rambling through the city streets. I happened to meet Vishnupant Pagnis, the famous Marathi stage and film actor-singer and also a leading jeweller.
I learnt that he was a close friend of Ustad Manji Khan, the young, versatile exponent of the Atrauli-Jaipur gharana and son and disciple of Alladiya Khan Saheb. Fortunately, Pagnis had heard my first If Walls Could Talk - Ry Cooder - Paradise And Lunch (Vinyl, LP, Album) disc which was already out.
To introduce me to Manji Khan, he played my disc before him. Deeply impressed by my singing, he gladly accepted me as his disciple. But Manji Khan Saheb died suddenly and prematurely in less than two years and I was left without a guru. He also took me along with him on all his professional tours. This gave me valued concert experience. The great tradition of Hindustani music may die, unless proper steps are taken to impart its training systematically.
Of course, there is no dearth of talent. But there are no facilities to make them perfect artistes. What is being taught in the music schools, colleges and universities helps the students only to the extent of understanding the basic principles of music. It is sad that music students are required to have formal educational qualifications. This naturally prevents talented young artistes, deprived of formal education, from joining the music courses in the universities.
You will be interested to know that I have made a departure at the Institute of Fine Arts of Karnataka University in this respect. I have thrown open its six-year certificate course in music to all those who are genuinely interested in Exist - Various - Titans Playground Of The Gods (CD) music.
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