Incredible Khayal | Raag Bageshri | Manjusha Kulkarni-Patil | Music of India

#darbarfestival | “Hindustani classical music is based on nature...we use the wind to create the notes, the music and notes later return to the wind...” (Manjusha Kulkarni-Patil) ► Join our newsletter at http://www.darbar.org/newsletter for the finest in Indian classical music and dance, and watch full length exclusive concerts in pristine HD on the Darbar Player: http://www.darbar.org/darbarplayer If a few brief minutes of Manjusha aren't enough…watch her full 45-minute performance of Raag Ramkali in pristine HD on the Darbar Player, along with dozens of other captivating concerts: https://www.darbarplayer.com/videos/m... --------------------------------------------------------------------- Learn more about the music: Manjusha Kulkarni-Patil was born into the Maharashtra village of Sangli, famous for producing superb musicians. She learned to sing under Chintubua Mhaiskar, DV Kanebua, Narendra Kanekar, and Vikas Kashalkar, and continues to study with esteemed scholar-singer Ulhas Kashalkar. Today she sings khayal in the Agra and Gwalior gharana styles, and also expertly performs thumri, dadra, abhang, and natya sangeet (‘dramatic music’) - the musical theatre of the Maharashtra region. She draws great inspiration from the natural world, seeking to mimic the sounds of wind with her voice and intimately feeling the connection between each raga and its prahar (prescribed time of day). Hear more of Manjusha here: -Ramkali |    • Morning Raag Ramkali | Manjusha Kulkarni-P...   -Interview |    • Singing with the Wind | Interview with Man...   Bageshri is a raga of profound longing. It aims to evoke vipralambha, the heartache felt by separated lovers, and is often chosen for searing late-night performances. Some attribute its composition back to Mian Tansen, the legendary 16th century musician of Emperor Akbar’s court, and some trace it back even further, to ancient Sanskrit theoretical treatises. It uses Kafi thaat [SRgmPDnS], with Ma as the vadi [king note], and Pa often omitted or played weakly in aroha [ascent]. Separation is built into into its melodic structure - musicians can switch between two tonal areas, resolving phrases to Sa for a minor-key tone, or Ma for a brighter, more hopeful sound. The two voices can represent the thoughts of the two lovers, or perhaps competing waves of emotion within a single mind. It is similar to the Western Dorian mode, or Carnatic Raag Kharaharapriya. Listen to more Bageshri here: -Ramakant Gaikwad (khayal) |    • Video   Recorded by Darbar in 2017, at Italy’s Ravenna Festival: -Manjusha Kulkarni-Patil (khayal) -Guardian Rayatt (tabla) -Milind Kulkarni (harmonium) -Kirthika Nadarajah (tanpura) -Mithila Sarma (tanpura) Darbar believes in the power of Indian classical arts to stir, thrill and inspire. Through shared experiences and digital connectivity we ensure that one of the world’s finest art forms reaches the widest possible audience. Founded in 2006, we deliver premium quality live events, music education, broadcasts and online engagement through promoting artistic innovation and creative technology. We are also committed to providing a platform for new talent from India and the UK. All Rights Reserved ©2019 Darbar Arts Culture Heritage Trust