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Manilal Nag - Surbahar/Sitar IAM 1058
GBP8.99
Our Regular Price:
GBP9.99 +10% off!
Manilal Nag is one of the foremost Sitarists of India and one of the very few leading Sitarists who has an equal command over the idiom of the Sitar and the Surbahar. He is also the most significant member of the Vishnupur Gharana (lit. family, and by inference, stylistic tradition) of Hindustani (North Indian) music, which spearheaded the flowering of classical music in Eastern India during the 19th and early 20th centuries. Manilal Nag (b. 1939) was initiated into music at the age of 5 by his father and Guru, Pandit Gokul Nag, a Surbahar and Sitar player who had studied under Ramprasanna Banerjee of the Vishnupur tradition. Manilal made his debut as a performing musician in 1954 at the All India Music Conference, accompanied on the tabla by the legendary Shamta Prasad of Benares. Since the 1950s, Nag has grown steadily in stature as one of India's most significant Sitarists, and the torchbearer of the Vishnupur tradition. The Vishnupur tradition of music, founded by a descendent of the legendary Mian Tansen, was a cultural powerhouse, cultivating the enormous reservoir of Bengal's musical talent in the vocal styles of the older dhrupad, the modern khayal, the lively semi-classical tappa, the romantic thumri, and the instrumental styles of the Rudra Veena, sitar, surbahar and esraj. The most durable and visible contribution of the Vishnupur tradition has been the engineering of continuity between the dhrupad style of the rudra veena and the post-dhrupad music of the sitar, surbahar and sarod in Bengal. ABOUT THE SITAR: The sitar, the most significant representative of Hindustani classical music, belongs to the long-necked, fretted lute family of instruments. The instrument has evolved from a very limited melodic capability to a level of great sophistication over three centuries of evolution. Most of this evolution has taken place during the 20th century…ABOUT THE SURBAHAR: The Surbahar is to the sitar, what the cello is to the violin. It is a large-size bass sitar, with a flat, rather than rounded, gourd at the base and a rounded sitar-type, gourd at the top. The contemporary surbahar has a string count identical to the sitar, the difference being in the thickness of the strings, the pitch at which the instrument is tuned and the tuning system covering four octaves. Its construction gives the surbahar a deep, sonorous, long-lasting sound. The extra width of its stem enables the execution of meends of up to a full octave. These features facilitate the parsimony of strokes, as well as left-hand movement between frets, which are needed to deliver a higher degree of melodic continuity…Samir Chatterjee is one of the leading tabla players of India and the U.S.A. Samir plays in the style of the Farrukhabad Gharana and is known for his cleanliness of technique and clarity of tone production. Samir (b. 1954) began his studies under Pt. Amalesh Chatterjee and continued under Pt. Shyamal Bose. Samir has toured the world, playing solo and accompanying such great artists as Nikhil Banerjee, Pt. Jasraj, Hariprasad Chaurasia and L. Subramaniam. Since 1994, Samir has split his time between India and the U.S.A., where he is based in New York.
Features:
Raga Nat Bhairav (Surbahar)
Alap, Jor & Jhala 37:16
Raga Nat Bhairav (Sitar)
Alap 8:32
Vilambit Gat in Tintal 24:30
Drut Gat in Tintal 6:41
Reference:
IAM 1058
Manufactured by:
IAM
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IAM 1058
Manilal Nag - Surbahar/Sitar IAM 1058
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