We will miss this Legend forever.......... The divine voice of paradise ........... Her majestic tone had mystically captivated us since decades and shall continue to do so till the last man breaths his last .....! Few are only born; they never die ! Even if the Legend dies , their legacy will remain forever in the pages of past and hearts of mere mortals. RIP, Kishori Amonkar, the Legend. 😍💕😍

संगीत उनका प्राण और जीवन था....किशोरीताई को कोटी कोटी प्रणाम ....शिलादित्यजी आप को बहोत बहोत धन्यवाद और आशिर्वाद

The gandhar at 1:00 is so painful. Just that is enough to convey the bhav of todi. A magnificent rendition

Thank you Shiladitya for uploading Kishori Amonkar's beautiful music so generously. Her living presence will be missed by all music lovers but the music itself is immortal.

अतुलनीय ,दिव्य स्वार्गिक, साक्षात परमात्मा की आवाज़ मेरा सादर प्रणाम माँ गान सरस्वती जी को । आदरणीय शिलादित्य जी आपको भी बहुत धन्यवाद ।

बेगुन गुन गाईए अल्लाह के सामने सभी जायेंगे तब पूछेंगे ये बात । या बिध सो मैं बूझ सभी को अल्लाहदिया वास्ते सजूदको कहत गुन सरस कछु बन नाही आवे बात ॥

I'm only three minutes into listening, and already feeling chills from the raw emotion in every note. What an incredible rendition. Never heard her sing this bandish so slowly.

A heart-touching rendition. Kishori tai's Gurjari Todi recordings are very few. Thank you for the upload Mr.Shiladitya Banerjee.

Marvelous, melodious and mind-blowing with sweet listening. 🙏🙏🙏💐🌹🌷🥀

👌👌🙏🏼🙏🏼

Can you please translate the composition to English for me please???

This is Miya ki Todi must be around 1980s; she has several very extensive, major and gambheer renditions of Todi done very late in life.

@008mindspace

7 жыл бұрын

This is from somewhere in the 1970s, given the tone of her voice, absence of the swarmandal. The Tarana is definitely Mayan Ki Todi. Quite interestingly, she sings the Trivat towards the end of the Tarana, which she would omit in her later renditions. I'd hesitate to call the first piece Miyan ki Todi cause she completely omits the Pancham, even as a sparsha-swar. Slightly uncharacteristic since in her other renditions of the Raag, she is more than generous to the Pancham. While the Sam is placed right on Shadaj in the mukhda, she carefully structures her ascending movements, particularly in the uttaranga on the lines of the Marwaesque chalan of Gurjari Todi, being abundant with the komal Rishabh and Dhaivat. I would fairly argue that her intention in the first bandish is Gurjari Todi.

@harekrishna3047

2 жыл бұрын

@@008mindspace Very scholarly analysis - I am not a musician. I agree that Kishoriji (along with Ashwiniji) are the two greatest of all time, but found this Gujri Todi by Shubhada Marathe to be the best best ever. If anyone is interested, can find it at kzread.info/dash/bejne/oYR6vJqGmaeuXZM.html