Mohi Bahauddin Dagar Ahir Bhairav

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Mohi Bahauddin Dagar Ahir Bhairav MARGAZHI 2019 Mohi Bahauddin Dagar Ahir Bhairav [CEX28] Ahir Bhairav, a mix of two Ragas, Ahir and Bhairav, is a morning raag that belongs to the first time cycle of the morning. It is played on the Rudra Veena in Dhrupad style by Ustad Zia Mohiuddin Dagar’s son Bahauddin, the prime upholder of the Dagarbani heritage today. Mohi Bahauddin Dagar, rudra veena Sadanand Naimpalli, pakhawaj Shibu Maity, tanpura 1. Ahir Bhairav - alap, jor, jhala (Bahauddin Dagar) 53:37 2. Ahir Bhairav - chowtal (Bahauddin Dagar) 12:45 Recorded at Studio Swarkul, Mumbai, January 6, 2020 Recorded, mixed and mastered by Maurice Mogard Produced by Maurice Mogard and Bengt Berger Graphic design by Jon Edergren, Spektra. Thanks to Vinay Balse, Ritwik Sanyal, Manish Pingle and Lars Fredriksson. www.countryandeastern.se Margazhi 2019 The greatest music festival in the world, the legendary December Season in Chennai, Margazhi, where more than a thousand concerts are held during one month is not happening this year due to Covid 19. But last year, celebrated Swedish sound engineer Maurice Mogard visited India during the 2019 season with us and recorded some of todays greatest performers from North and South. We are happy to present six full concerts from last year (actually one of them, a lovely Karnatic violin duet was recorded in Stockholmin 2016). The cover photos are from the Descent of the Ganges relief in Mahaballipuram. CEX27 CEX29 CEX31 Seshampatti Sivalingam Sadanand Naimpalli Malladi Brothers Nagaswaram at Aamad Pratishthan at Mylapore Fine Arts CEX28 CEX30 CEX32 Mohi Bahauddin Dagar Akkarai Sisters Akkarai Sisters at Royal College Ahir Bhairav at Narada Gana Sabha of Music, Stockholm..

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Mohi Baha'ud-Din Dagar मोही बाहाउिदन डागर
Mohi Baha'ud-din Dagar मोही बाहाउिदन डागर . Life & Training Born into the illustrious Dagar family of Dhrupad musicians in 1970, Mohi Baha'ud-din ﬁrst began his foray into Indian Classical Music at the early age of seven, training on the Sitar under the expert tutelage of his mother, Smt. Pramila Dagar. Once he'd ﬁnished three years of initial training, he received brief instruction on the Surbahar and was later introduced to the Rudra Veena by his father, Ustad Zia Mohiuddin Dagar; a legendary Rudra Veena maestro and his uncle, Ustad Zia Fariduddin Dagar; a renowned Indian classical vocalist from whom he later also learnt vocal music. In 1990, Mohi Baha’ud-din received the Lakhanpal Foundation Fellowship for two years. He also received a two-year Fellowship in 1993 from the Ministry of Human Resource Development, India. At the early age of twenty, Mohi Baha’ud- din formally stepped onto the stage and made his mark in the industry as a classical performer. Mohi Baha'ud-din is a unique artist who has played for diverse and varied audiences in India and across the world. A cross-platform performer, he has made regular appearances on television and radio networks. His music has been recorded by Music Today (India), Makars (France), Ragini Sutra (India), Sense World (London), and India Music Archives (USA). Mohi Baha'ud-din has also been invited to serve under Nana Shirgaokar Research Professorship at the University Of Goa for three years from 2013 to 2015. Mohi Baha'ud-din continues to receive able guidance from the esteemed Pandit Pushpraj Koshti, a senior disciple of Ustad Zia Mohiuddin Dagar and Ustad Zia Fariduddin Dagar.
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Ethnomuscology Journal Ethnomuscology Yıl/Year: 3 • Sayı/Issue: 2 (2020) Kış/Wnter ISSN 2619-9572 E-ISSN 2687-508X ISSN 2619-9572 ISSN E-ISSN 2687-508X E-ISSN www.etnomuzkoloj.org Etnomüzkoloj Derneğ Etnomüzkoloj [email protected] Etnomüzikoloji Dergisi Ethnomusicology Journal Yıl/Year: 3 • Sayı/Issue: 2 (2020) Etnomüzikoloji Dergisi / Ethnomusicology Journal Yıl/Year: 3 • Sayı/Issue: 2 (2020) ISSN: 2619-9572 E-ISSN: 2687-508X İmtiyaz Sahibi / Holder of a Concession Prof. Dr. Özlem DOĞUŞ VARLI Etnomüzikoloji Derneği (Türkiye) / Ethnomusicology Association (Turkey) Sorumlu Yazı İşleri Müdürü: Doç. Ersen VARLI Editör / Editor: Prof. Dr. Özlem DOĞUŞ VARLI Yayın Kurulu / Editorial Board Sayı Hakemleri /Journal Referees Prof. Dr. Irene MARKOFF Doç.Dr. Cenk GÜRAY Prof. Dr. Martin STOKES Prof. Dr. N. Oya LEVENDOĞLU Prof. Dr. Fırat KUTLUK Doç.Dr. Cenk CELASİN Prof. Dr. Özlem DOĞUŞ VARLI Prof. Dr. Irene MARKOFF Doç. Dr. Onur Güneş AYAS Doç. Dr. Şeyma ERSOY ÇAK Doç. Ersen VARLI Sayfa Tasarım/ Page Design: Gaye Kitabevi Kapak Tasarım/ Cover Design: Namık KÖSEER - Ahmet HERDEM Yayın Türü / Publication Type: Yılda İki Defa, Ulusal, Süreli / Twice a year, National, Periodical Yayın Dili / Publication Language: Türkçe veya İngilizce / Turkish or English Yönetim Merkezi Adresi / Address: Esentepe Mah. Okul Cd. Yılmaz Sit. Kat 5 Daire 9 A Blok Nilüfer/Bursa - TÜRKİYE Tel/Phone: +902242402106 Elektronik Posta/ E-mail: [email protected] [email protected] Web: http://www.etnomuzikoloji.org Baskı / Printed by Star Ajans Matbaacılık ve Ambalaj Sanayi Ltd.Şti. Alaaddin Bey Mh. 634 Sk. Nilüfer Ticaret Merkezi 2. Bölge Ayaz Plaza No:24 Nilüfer / Bursa Tel: 0224 249 33 20 (pbx) - 0224 245 18 09 Sertifika No: 15366 Basım Yeri ve Tarihi / Place and Date of Publication: Bursa - Turkey Eylül/September 2020 Etnomüzikoloji Dergisi’ne gönderilen yazıların sorumlulukları yazarlarına, telif hakları Etnomüzikoloji Derneği’ne (Türkiye) aittir.
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What Is the Future of Ancient Rudra Veena in Hindustani Classical?
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3 »-9»*>) AMITCHAKRAVARTY
~ft£ \\t S>'\ M ' ^*? " 3 »-9»*>) AMITCHAKRAVARTY Suanshu Khurana nal veena" - the Saraswati veena, which is to Bahauddin. Dagar started volunteering at Spicmacay's popular because of its association with the Dhrupad is usually associated with vocal, concerts and jazz festivals. In 1990, ZM goddess. "The rudra veena belonged to the music, but in the Dagar tradition, beenkars Dagar died. Over the next 40 days, his fa OURS BEFORE his concert this Diwan-e-Khas (hall of private audiences) - (veena performers) acquired significance, ther's lessons kept coming back to the col month for'students of The just about 25 people would listen to it. Now, too. Much of that credit belongs to lege-going Dagar in fleeting moments. He Shri Ram School, Delhi jTjdra_ it's available for the masses, too, through var- Bahauddin's father, Zia Mohiuddin Dagar, or started practising the first raga, Yaman, again veena exponent Bahauddin " ious festivals and YouTube," he says. ZM Dagar, who modified and redesigned the and again, while getting concerts on the side. DagaPrnakes it clear that he Despite a surname that has become syn rudra veena. An ancient instrument, dating "People would say, 'Bahauddin has come, Hdoes not play rhymes or familiar songs when onymous with dhrupad, Bahauddin stays back to lord Shiva in many lores, the rudra He'll play Yaman.' But I didn't care," says performing for children — unlike a few clas away from the spotlight, performing at a veena was, traditionally, not played in public Dagar, who debuted at a concert in sical musicians who do so to make their mu handful of concerts only.
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An Introduction to Dhrupad Performance Platforms of India Samarpita Chatterjee (Mukherjee)* & Sabyasachi Sarkhel
Etnomüzikoloji Dergisi Ethnomusicology Journal Yıl/Year: 3 • Sayı/Issue: 2 (2020) An Introduction to Dhrupad Performance Platforms of India Samarpita Chatterjee (Mukherjee)* & Sabyasachi Sarkhel Abstract Dhrupad an ancient form of music was initially performed in the Hindu temples. Later on, Dhrupad musicians were patronized in the royal courts by the Rajputs and Mughals. With time, Dhrupad started disappearing in society during the early part of the 20th century due to the increased popu- larity of other forms of music and loss of royal patronage. Dhrupad became absent in music concerts, and Kheyal music started dominating music con- certs. Collective efforts of many people, musicians, organizations, and pat- rons initiated the Dhrupad concerts in Jaipur and Varanasi, as a step for the revival of Dhrupad in the 1970s. Before this time the All India Radio also took initiatives towards the promotion of Dhrupad. Slowly other Dhrupad sammelans were arranged across India. There were few Dhrupad artists of Dagar Tradition with a high level of artistry, who were not intimidated by adversities and, with their persistence and dedication, continued to serve authentic Dhrupad music to audiences through music concerts, as a concert artist and music concert organizer. Afterward, artists from other Dhrupad traditions played similar roles; as a result, in the last few decades, there had been an explosion of Dhrupad festivals/concerts across India. These festi- vals are organized by societies/organizations/academies (government/pri- vate) under the leadership of eminent Dhrupad masters. This study deline- ates an account of the significant Dhrupad concerts across India and, based upon the present concert scenario, concludes that Dhrupad seems to have been able to get back to the Hindustani Classical music audience.
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Pappu Venugopala Rao
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