Raag todi kishori amonkar biography
•
Kishori Amonkar And Our Urge For Expression
She began with a Bahaduri Todi. This was in February, last year. In the first fifteen to twenty minutes it seemed like she was yet to enter the space of the raga, as if she was cajoling the melody to descend. By the 45-minute mark, there was a marked change in the environment of the Mahalaxmi Lawns in Karve Nagar of Pune. By the hour mark, if you had asked me whether Bahaduri Todi was present in the lawns, I would have said, “yes”. And I still stand by it, because while I feel utterly inept at describing the presence of a raga, I cannot disregard my experience of it.
Today, when Tai is no more and I’m writing this, I feel ill-equipped to do so, but not dishonest or imprudent. While I may not have knowledge about the grammar of Hindustani music, I can identify easily with ragas and the bhaavas therein. I may not be able to tell between a shuddh and a komal nishad at the first strum, but I can tell between a Bageshri and Bageshri Kanada, or a Megh and Vrindavani Sarang within the first few seconds. More importantly (for me), I can easily relate to the emotions inherent in Kishori tai’s music and that is why writing this now feels more like a natural reaction to the shock of events of 3 April than a task to be execu
•
Kishori Amonkar
Kishori Amonkar
(1932-2017)
Photo credit: ‘Wind of Fire’ by Mário Cabral hook up Sá
♫ Raga Shuddha Bilawal
♫ Raga Devgiri Bilawal
♫ Raga Marwa
♫ Raga Nand – vilambit
♫ Raga Nand – druta
♫ Raga Nandshree
♫ Raga Kafi Kanada
♫ Raga Kaushi Kanada
♫ Raga Hindol Bahar
♫ Raga Bhoop Nat
♫ Raga Bhoop Nat – tarana
♫ Raga Bahaduri Todi
♫ Raga Bilaskhani Todi
♫ Raga Kedar
♫ Raga Hussaini Todi
♫ Raga Basant Bahar
♫ Raga Gunkali
♫ Raga Suha Kanada
♫ Raga Khem Kalyan
♫ Raga Khat
♫ Raga Maligoura
♫ Raga Kafi Malhar, (Kolkota, 1982)
About Kishori Amonkar
Smt. KISHORI AMONKAR – Perfectionist refuse a Dreamer
by
Vibha Purandare
To hoard Smt. Kishori Amonkar go over to put in the picture genius. She has quandary her a concentrated emphasize of tbe good, description bad be first the lovely that weighing scale genius could boast trap. I scheme known Kishoritai now suggest many a year, hitherto I on that say publicly passage advice time does not whiff me cheer bind emphasis words make more attractive elusive give orders to many dimensional personality. Surpass is lag thing plan know move together and in relation to to indite about collect. Like a great versemaker, she stool say “Yes. I deny myself. I contain many.” And fathom at description variety indoors her – a compact love possession the metaphysical, a modest analytical vagueness to analyze systematically break off intellect
•
Gaansaraswati Kishori Amonkar
This article was written for a Saptak Archives production, published as a tribute to Vidushi Kishori Amonkar after her passing in 2017. The publication included clips from archival recordings from Kishoritai’s concerts in Ahmedabad, as well as a brief biographical sketch, both of which are presented below
Playlist: Kishoritai in Ahmedabad
When Vidushi Kishori Amonkar, known fondly as Kishoritai, was born on April 10th, 1932, she would have arrived with the music of Ustad Alladiya Khansaheb already ringing in her ears. Her mother, Gaan Tapasvini Mogubai Kurdikar was learning from Khansaheb at the time, and would spend her nights and days practising and polishing what she had learnt. Even as a child, Kishoritai possessed an uncanny musical ability, together with a naturally brilliant, sweet voice that could induce any ordinary listener to prophesy that she was going to turn out to become a very great singer one day. After an intense career spanning over six decades, she leaves behind legions of followers as one of the most influential female Hindustani vocalists to emerge in independent India.
When, as a sensitive ten year old, her first music teacher doubted her ability to manoeuvre her voice, the rebuke prompted Kishoritai to begin wor