USTAD ZIA MOHI UD DIN DAGAR | RUDRA VEENA | RAAG BHIMPALASI | ALAP

#raagbhimpalasi #ustadziamohiuddindagar #rudraveena #veena #nahar #dagarbani #kafithaat #surmandal #veena #dhrupad #dhamar #rudra #rudra #bhimpalasi #artist #airraagam #akashvaniair #pakhawaj #flute #ektara_music #santoor #shehnai #tanpura #classicalvocal #vocals #vocalsongs #classicalinstrumental #culture #ddbharti #doordarshan #darbarfestival #guitar #hclconcerts #harmonium #instrumentalmusic #instrumental #indianragas #motivation #music #musictoday #ragdari #sangeetnatakakademi #sarangi #saptak #sarod #tseriesmusic #tabla #violin ‪@MinistryofCultureGovtofIndia‬ ‪@sangeetnatak‬ ‪@inbm‬ ‪@inbministry‬ Ustad Zia Mohiuddin Dagar (14 March 1929 – 28 September 1990), popularly known as Z. M. Dagar, was a North Indian (Hindustani) classical musician, one of the 19th generation of Dagar family dhrupad musicians. He was largely responsible for the revival of the Rudra veena as a solo concert instrument. Ustad Z. M. Dagar was born in the town of Udaipur, Rajasthan on 14 March 1929 and began musical study with his father, Ustad Ziauddin Khan Dagar, court musician for the Maharana of Udaipur. He was trained both in vocals and in the Rudra veena, an instrument used by vocalists to practice melodies. The veena was traditionally not played in public, but the young Zia Mohiuddin adopted it as his primary instrument, giving his first recital at age 16. Although he was discouraged by his father from experimenting with the structure of the veena, he nevertheless modified the instrument after his father's death to better equip it for solo performance, transforming it into a larger bass instrument (sometimes called a 'Dagar veena'): With the help of the instrument house Kanailal & Brother, he enlarged the tumbas (gourds) and dhandhi (hollow neck) to create greater resonance and to allow the notes to sustain longer and so better reproduce the techniques used in dhrupad singing. Because of these modifications, the instrument was too heavy to be held in the standard Northern posture (with one tumba on the left shoulder), so he played instead in the Southern posture, with one tumba on the ground and one on the left knee. After India gained independence in 1947, the princely states were abolished. The Dagar family lost the patronage of the court of Udaipur, and had to seek employment elsewhere. Finally they arrived in Mumbai. For 25 years, they had to make ends meet by working in garages, selling bread, and rarely, playing instruments for movie scores. They did not have a tanpura, sitar, or veena, let alone a house. There was much cynicism about dhrupad, as his son Mohi Baha'ud-din recounted in an interview. Ustad Z. M. Dagar was known particularly for his slow development of ragas, typically performed only with tanpura accompaniment (he rarely played with Pakhawaj), and for his meticulous attention to microtonal inflections. In 1986, Ustad ji was awarded the Kalidas Samman Award, one of India's most prestigious awards, by the Madhya Pradesh government. He also received the Sangeet Natak Academi Award in 1981, the Rajasthan Sangeet Natak Academi award, and the Maharana Kumbha award, to name a few.