1. A Catalogue of Recorded Classical and Traditional Indian Music Alain Danielou

ARCHIVES OF RECORDED MUSIC

ARCHIVES DE LA MUSIQUE ENREGISTRÉE

A CATALOGUE OF RECORDED

CLASSICAL AND TRADITIONAL

INDIAN MUSIC

CATALOGUE DE LA

MUSIQUE INDIENNE

CLASSIQUE ET TRADITIONNELLE ENREGISTRÉE

WITH AN INTRODUCTION ON INDIAN MUSICAL THEORY AND INSTRUMENTS

AVEC UNE INTRODUCTION SUR LA THÉORIE ET LES INSTRUMENTS INDIENS

BY

PAR

ALAIN DANIELOU

(ŚIVĀ ŚARAN)

UNESCO

INDIAN MUSIC

MUSIQUE INDIENNE

CONTENTS

FOREWORD

. . . . . . . . 6

PROPOSED SELECTIONS

. . . . . . . . 10

INTRODUCTION

. . . . . . . . 14

PART I: NORTHERN INDIA (Hindustani Music)

Chapter I Instrumental Music . . . . . 43

Chapter II Vocal Music (Classical and Light Classical) . 62

Chapter III Bhajanās (Songs of Mystic Love) and Kīrtanās (Hymns of Glory)

. . . . 114

The Singers of Bhajanās and Kīrtanās . . . 119

Chapter IV Modern Songs . . . . . . 133

Chapter V The Songs of Rabindranath Tagore . . . 138

PART II: SOUTH INDIA (Karnātakā Music)

Chapter I Instrumental Music . . . . . 147

Chapter II Vocal Music . . . . . . 159

Chapter III The Main Song Composers of South India . . 188

PART III: FOLK AND TRIBAL MUSIC . . . . .

Folk Songs. . . . . . . . . 213

PART IV: TIBETAN, NEPALI, AND SINGHALESE MUSIC . . . .

Tibetan Records . . . . . . . 221

INDEX OF NAMES . . . . . . . . 223

TABLE DES MATIÈRES

Avant-propos . . . . . . . . . . . . . . . . . . . . . 7

Sélections proposées . . . . . . . . . . . . . . . . . . . 10

Introduction . . . . . . . . . . . . . . . . . . . . . . 15

Ire partie : Inde septentrionale (musique hindoustanique)

Chapitre I Musique instrumentale . . . . . . . . . . . . . . 43

Chapitre II Musique vocale (classique et classique légère) . . . . 62

Chapitre III Bhajanās (chants d'amour mystique) et Kirtanās

(hymnes de gloire) . . . . . . . . . . . . . . . . . . 114

Les chanteurs de Bhajanās et de Kirtanās . . . . . . . . . . 119

Chapitre IV Chants modernes . . . . . . . . . . . . . . . . 133

Chapitre V Les chants de Rabindranath Tagore . . . . . . . . . 138

IIe partie : Inde méridionale (musique du Kanara)

Chapitre I Musique instrumentale . . . . . . . . . . . . . . 147

Chapitre II Musique vocale . . . . . . . . . . . . . . . . . 159

Chapitre III Les principaux compositeurs de l'Inde méridionale . . 188

IIIe partie : Musique populaire et de tribus

Chants populaires . . . . . . . . . . . . . . . . . . . 213

IVe Partie : Musique du Tibet, du Népâl et de Ceylan

Disques tibétains . . . . . . . . . . . . . . . . . . . . 221

Index des noms . . . . . . . . . . . . . . . . . . . . . 223

FOREWORD

The preparation of a catalogue of recorded music in India is, in a way, a distressing

task, for the best of the music recorded has been destroyed without any regard for

its artistic value.

Some of the most important recording companies were and still are mainly

foreign concerns and have no responsible artistic adviser.

If the sales of a record fail to reach a certain figure during a three-monthly

period, the record is automatically destroyed. The great majority of the records

which should figure in this catalogue are therefore no longer available and almost

all the records of musicians of the past generation have been destroyed.

Yet in order to give a reasonable idea of recorded Indian classical music, we have

maintained a certain number of important records of which the matrices were

recently destroyed but which are to be found in the collections of every music lover

in India.

A. D.

AVANT-PROPOS

L'établissement d'un catalogue de la musique indienne enregistrée est une entreprise quelque peu décourageante, car les meilleurs enregistrements ont été détruits, sans égard pour leur valeur artistique.

Quelques-unes des plus importantes maisons d'édition de disques étaient — et sont encore — des sociétés étrangères qui n'ont pas de conseiller artistique qualifié.

Tout disque dont la vente n'atteint pas un certain chiffre au cours d'un trimestre est automatiquement supprimé. Aussi, la grande majorité des disques qui devraient figurer dans ce catalogue ne sont-ils plus en vente. De même, presque tous les enregistrements de musiciens appartenant aux générations précédentes ont été détruits.

Compte tenu de ces faits, pour donner une idée assez juste de la musique classique enregistrée, nous avons maintenu dans ce catalogue un certain nombre de disques importants dont les matrices ont été récemment détruites, mais qu'on pourra trouver dans les discothèques de tous les amateurs de musique du pays.

A. D.

7

The material used for preparing this catalogue was mainly collected with the

active collaboration of:

Shrī H. R. Doctor, Principal, College of Indian Music, Baroda;

Shrī C. Subrahmanya Ayyar, Madras;

Shrī B. K. Roy Chaudhury, Calcutta;

Shrīmatī Indira Devi Chaudhuri, Director, Sangītā Bhavanā, Santiniketan;

The Directors of All India Radio Delhi, Madras, Bombay, Calcutta, Lucknow,

Trichinopoly;

The Education Ministry, New Delhi.

For checking the lists, listening to records, and providing additional information

we are grateful to

Shrī Musiri Subrahmanya Iyer, Principal, Central College of Karnātaka Music,

Madras;

Prof. P. Sambamoorthy, Head of the Department of Music, Madras University;

Dr. V. Raghavan, Secretary, Madras Music Academy;

Prof. S. N. Ratanjankar, Principal, National Academy of Music, Lucknow;

Shrī M. K. Samant, Cultural Association, Benares.

We further wish to convey our thanks to the musicians who sent us important

information, in particular Shrī Paṇḍit Omkarnāth Thakur, Shrīmatī Lakshmībāī;

Jadhav, Shrīmatī Juthikā Roy, Mr. Abbasuddin Ahmed, etc.

Our thanks are due to the Hindusthan, Megaphone, Columbia, and H. M. V.

Recording Companies for the help given to us and the facilities afforded in checking

and listening to over one thousand records.

ILLUSTRATIONS

Ustad Alla-ud-din Khān (playing the jouant du Sarode).

Ustad Alla-ud-din Khān (playing the jouant du Sarinda).

Surbahār

Surbahār

Tanpūrā

Timir Baran (playing the/jouant du Sarode).

Vinā South India/Inde méridionale.

Sitar

Sārangī (Back view/vu de dos).

Sārangī

Mridangā

Esrāj

Vīnā, North India/Inde septentrionale.

Ṭabla

Nous tenons à remercier ici :

Shrī H. R. Doctor, principal du Collège de musique indienne, Baroda;

Shrī C. Subrahmanya, Ayyar, Madras;

Shrī B. K. Roy Chaudhury, Calcutta;

Shrīmati Indira Devi Chaudhuri, directeur du Sangītā Bhavanā, Santiniketan;

Les directeurs de la Radiodiffusion indienne de Delhi, Madras, Bombay, Calcutta,

Lucknow, Trichinopoly;

Le Ministère de l'éducation, New Delhi,

qui par leur active collaboration nous ont grandement aidés à rassembler les

matériaux nécessaires à l'établissement de ce catalogue.

Shrī Musiri Subrahmanya Iyer, principal du Collège central de musique du Kanara,

Madras;

Le professeur P. Sambamoorthy, chef du Département de la musique à l'Université

de Madras;

Le docteur V. Raghavan, secrétaire de l'Académie de musique de Madras;

Le professeur S. N. Ratanjankar, principal de l'Académie nationale de musique de

Lucknow;

Shrī M. K. Samant, de l'Association culturelle de Bénarès,

qui ont bien voulu vérifier nos listes, procéder à l'audition des disques et nous

fournir tous renseignements.

Tous les musiciens qui nous ont aidés de leurs avis autorisés, en particulier :

Shrī Paṇḍit Omkarnāth Thakur, Shrīmatī Lakshmībāī Jadhav, Shrīmatī Juthikā

Roy, M. Abbasuddin Ahmed, etc.

Nous tenons également à remercier les sociétés d'édition de disques Hindusthan,

Megaphone, Columbia et H. M. V. de l'aide qu'elles nous ont apportée et des

facilités qu'elles nous ont offertes pour la vérification et l'audition de plus d'un

millier de disques.

PROPOSED SELECTIONS - SÉLECTIONS PROPOSÉES

The following selections are given as a first, representative choice of Indian records.

Les sélections ci-après constituent un premier choix de disques représentatifs de la musique indienne enregistrée.

I

Northern Indian music (instrumental)

Musique de l'Inde septentrionale (instrumentale)

(10 inches/25 cm)

1. Abdul Aziz Khān (vichitrā vīṇā) H. M. V N 6982

2. Ali Akbar Khān (sarode) H. M. V N 16781

3. Allā-ud-dīn Khān (sarode) Megaphone JNG 192

4. Enayat Khān (surbahār) Megaphone JNG 5236

5. Bismillah (shahnāī) H. M. V N 14560

6. Ahmadjana Thithvarhavā (tablā) H. M. V N 15906

7. Chhoté Khān (sārangī) Megaphone JNG 11

II

Northern Indian music (vocal)

Musique de l'Inde septentrionale (vocale)

(12 inches/30 cm)

1. Abdul Karīm Khān Columbia BEX 260

2. Faiyaz Khān Hindusthan HH 1

3. Kesarbāī Kerkar H. M. V. HQ 2

4. Omkarnāth Thakur Columbia BEX 270

III

Northern Indian music (vocal)

Musique de l'Inde septentrionale (vocale)

(10 inches/25 cm)

1. Gulām Ali Khān (Badé) Columbia VE 5052

2. Gulām Ali Khān (Badé) Hindusthan H 886

10

3. Omkarnāth Thakur

Columbia GE 3132

4. Omkarnāth Thakur

Columbia GE 3144

5. Roshanārā Bégum

Columbia VE 5032

6. Vishmadeva Chattopadhyayā

Megaphone JNG 449

7. Vishmadevā Chattopadhyayā

Megaphone JNG 960

8. Faiyaz Khān

Hindusthan H 1156

IV

Northern Indian music (instrumental)

Musique de l'Inde septentrionale (instrumentale)

(10 inches/25 cm)

1. Abdul Karīm Khān (vīṇā)

Columbia GE 17505

2. Ali Akbar Khān (sarode)

H. M. V. N 16781

3. Alla-ud-dīn Khān (sarode)

Megaphone JNG 924

4. Enayat Khān (sitar)

Megaphone MCC 72

5. Mohammad Sharīf (vichitrā vīṇā)

H. M. V. N 14949

6. Ravindra Shankar (sitar)

H. M. V. N 20027

7. Vilayet Hussain Khān (sitar)

Columbia GE 3344

8. Bismillah (shahnāī)

H. M. V. N 14564

V

South Indian music (instrumental)

Musique de l'Inde méridionale (instrumentale)

(10 inches/25 cm)

1. Rājaratnam Pillai (T. N.) (nāgasvaram)

Columbia CA 720

2. Māhalingam (T. R.) (flt)

Columbia GE 6389

3. Sanjīvā Rao (flt)

Columbia GE 968

4. Veenai Dhanam (vīṇā)

Columbia GE 980

5. Venkataswāmī Naidu (vln)

H. M. V. N 8970

6. Gopinath's Party (kathākali orchestra)

H. M. V. N 18958

VI

South Indian music (instrumental)

Musique de l'Inde méridionale (instrumentale)

(10 inches/25 cm)

1. Sanjīvā Rao (flt)

Columbia GE 6274

2. Veenai Dhanam (vīṇā)

Columbia GE 981

3. Veenai Dhanam (vīṇā)

Columbia GE 982

4. Mannarkudi K. Savitri (gottuvādyam)

Columbia GE 6540

5. Venkataswāmī Naidu (vln)

H. M. V. N 8971

6. Rājāratnam Pillai (T. N.) (nāgasvaram)

Columbia CA 731

II

VII

South Indian music (vocal)

Musique de l'Inde méridionale (vocale)

(10 inches/25 cm)

1. Subrahmanya Iyer Musiri

Columbia LBE 57

2. Rāmānujá Iyengar, Ariyakudī

Columbia A 106

3. Shrīnivāsā Iyer, Semmangudi

Columbia VE 62

4. Pattammal D. K.

Columbia GE 6203

5. Subbulakshmī M. S.

H. M. V. N 18680

6. Vasantākokilam (N. C.)

H. M. V. N 18552

VIII

South Indian music (vocal)

Musique de l'Inde méridionale (vocale)

(12 inches/30 cm)

1. Bālāsubrahmanyam (G. N.)

Columbia H 123

2. Subbulakshmī (M. S.)

H. M. V. HT 116

IX

South Indian music (vocal)

Musique de l'Inde méridionale (vocale)

(10 inches/25 cm)

1. Subrahmanya Iyer Musiri

Columbia LBE 30

2. Pattammal (D. K.)

Columbia GE 6173

3. Subbulakshmī (M. S.)

H. M. V. N 18234

4. Vasantākokilam (N. C.)

H. M. V. N 18219

X

Songs of Rabindranath Tagore

Chants de Rabindranath Tagore

1. Tumi ki ké bolé chhabi (Pankaj Mullick)

Columbia VE 2524

2. Vasanté ki shudhu kévala (Shāntidevā Ghosh)

H. M. V. N 27614

3. Hé Nirupamā (Hemanta Mukherjee)

Columbia GE 2873

4. Jaga Gaga alasa (Hemanta Mukherjee)

Columbia GE 7502

5. Ogo Badhu Sundari (Amitā Sén)

Hindusthan H 866

6. Chinilé nā āmārē ki (Amitā Sén)

Hindusthan H 279

XI

Tibetan Music

Musique tibétaine

1. The Offering of the 10th (Monks of the Maru Monas-tery)

L'offrande de la dième (moines du monastère de Maru)

H. M. V. N 16622

12

2. The Lion of the Moon (Kyumu Lunga Troupe)

Le lion de la lune (troupe de Kyumu Lunga)

H. M. V. N 16623

3. The Nests of the Birds (Lhasa Orchestra)

Le nid d'oiseaux (orchestre de Lhassa)

H. M. V. N 16624

4. Lady, Bright as the Sun (Kyumu Lunga Troupe)

Dame, brillante comme le soleil (troupe de Kyumu Lunga)

H. M. V. N 16678

5. The Sea Goddesses (Lhasa Orchestra)

Les déesses de la mer (orchestre de Lhassa)

H. M. V. N 16679

6. Nor-Sang Trang-Sum (Lhasa Orchestra)

Nor-Sang Trang-Sum (orchestre de Lhassa)

H. M. V. N 20020

13

INTRODUCTION

TRANSLITERATION

In Sanskrit, Hindi, Marathi, etc.

é is pronounced like “ay” in “day”

ă hardly sounded, like the French mute “e”

ñ nasalisation of the previous vowel (i.e. an like the French “an”)

ṭḍṇ cerebrals

In Bengali words

a is pronounced like “o” in “mob”

s is always pronounced “sh”

ā is pronounced like “a” in “father”

ae is pronounced like “a” in “cat”

v is pronounced “b”

THE INDIAN SYSTEM OF MUSIC

The Indian system of music is based on properties of sound distinct from those used either in the Harmonic (Western) or the Cyclic (Chinese) systems of music.

To appreciate Indian music, we must leave aside Western musical conceptions and habits. If we try to judge one system of music from the standpoint of another we are unable to assess its worth.

Indian music is modal, as was ancient Greek music, and as are the systems prevalent in Turkey, Persia and most of the countries of the Middle East. In this system, the meaning of each note depends on its relation to a permanent sound, the tonic, whether this tonic is played simultaneously or not. The habit of hearing each sound as related to a fixed basic one has to be acquired by people used to other systems.

Since the meaning of each note depends on its position in the scale, memory plays an essential part in the understanding of modal music. In speech, we have to remember all the words of a sentence until the last word permits us to grasp the general meaning. Similarly, in modal music one has to remember the elements of the mode as they appear, one after another, until the modal picture is completed and the expression can be fully appreciated.

Once the necessity of this mental training is realized, a little practice will make it easy to grasp Indian music.

The fact that the tonic is fixed in the modal system implies that, in any piece of music, a given pitch always corresponds to a given interval. This has very

14

INTRODUCTION

TRANSCRIPTION PHONÉTIQUE

En sanscrit, en hindi, en marathi, etc. :

é se prononce comme en français;

ā se prononce à peine, comme un « e » muet;

ñ donne le son nasal à la voyelle précédente;

ṭḍṇ sont des consonnes cérébrales ou rétroflexes.

En bengali :

a se prononce comme « o » dans « mobilisé »;

s se prononce toujours « ch »;

ā se prononce comme « a » dans « tâche »;

ae se prononce comme « a » dans « patte »;

v se prononce « b ».

LE SYSTÈME MUSICAL INDIEN

Le système musical de l'Inde repose sur des propriétés du son distinctes de celles qui entrent en jeu dans le système harmonique de l'Occident et dans le système cyclique des Chinois.

Pour apprécier la musique indienne, nous devons laisser de côté toutes les habitudes et conceptions musicales de l'Occident. En voulant juger ce système d'après un autre, nous nous condamnons à n'en pas comprendre toute la valeur.

La musique indienne est modale, comme celle de la Grèce antique et comme aujourd'hui encore les systèmes les plus répandus en Turquie, en Perse et dans la plupart des pays du Proche-Orient. Dans ce système, le sens musical de chaque note dépend de son rapport avec un son permanent, la tonique—que cette tonique soit jouée simultanément ou non. Quiconque a l'habitude d'autres systèmes doit s'entraîner, s'il veut comprendre celui-ci, à entendre chaque son en relation avec une base fixe.

De plus, le sens musical de chaque note dépendant de sa position dans la gamme, la mémoire joue un rôle essentiel dans la compréhension de la musique modale. De même qu'il faut se rappeler jusqu'au dernier tous les mots d'une phrase pour en saisir le sens général, de même il faut dans la musique modale se rappeler tous les éléments du mode, l'un après l'autre, au fur et à mesure de leur apparition jusqu'à ce que l'image modale soit complète et l'expression voulue pleinement réalisée.

Une fois qu'on aura reconnu la nécessité de cet exercice mental, il suffira d'un peu de pratique pour comprendre aisément la musique indienne.

15

definite advantages. The ear quickly becomes trained to recognize the interval

and expression of even the briefest note. Further, as a result of this correspon-

dence, accuracy of pitch is of great importance and minute differences become

recognizable. Hence the modal system of music always leads to a very detailed

scale where a difference of one comma may bring about a complete change in

colour and meaning. This offers vast possibilities of musical expression.

INSTRUMENTAL AND VOCAL TECHNIQUE

To obtain perfect accuracy in the intervals, Indian music favours instruments

which allow, by sliding, or pulling on the strings, a constant adjustment of pitch.

Similarly in vocal technique only such notes are called for as are absolutely free

from vibrato or fluctuation. The volume or mellowness of the tone being far less

important than accuracy of pitch, certain voices are considered good which may

at first appear unpleasant to foreign ears. Likewise, most Western voices seem

very unmusical to Indian ears and appear never to maintain a definite pitch.

THE INDIAN SCALE

Indian music is based on natural intervals and rejects temperament as detrimental

to musical expression. The octave is normally divided into 22 unequal intervals

corresponding to simple ratios. Some modes, however, use a few sounds more,

bringing the total of intervals in current use up to about 30. These intervals,

which are called Shruti, are used with utmost precision and are very easily recog-

nized by their different expression once the ear is trained to appreciate them.

THE MODES OR RĀGĀS

A certain number of intervals corresponding to definite expressions are chosen

to form a mode or rāgā. Modes are not supposed to have less than five or more

than twelve notes. The most usual however, have seven notes.

The tonic and fifth being invariable, the different positions—either flat or

natural—of the remaining five notes allow the formation of 72 basic scales. On

these can be established an almost limitless number of modes with some differences

in their ascending and descending scales. Although the definition of thousands of

modes can be found in the ancient theoretical treatises, not more than a few hun-

dred are in common use at the present time. They are taught traditionally

with all the particular ornaments which may best bring out their expression, and

they form the basis of instrumental and vocal classical music.

16

Le fait que dans le système modal la tonique est fixe implique que, dans tout morceau musical, à un intervalle donné correspond toujours une hauteur de son donnée. Cela présente des avantages certains. L'oreille s'entraîne rapidement à reconnaître l'intervalle et l'expression même de la note la plus brève. D'autre part, et cela résulte de cette correspondance, la justesse du son a une grande importance et les moindres différences sont faciles à reconnaître. Il s'ensuit que le système modal exige toujours une gamme extrêmement détaillée, où une différence d'un seul comma peut provoquer un changement complet de couleur et de signification. Cela offre à l'expression musicale les plus vastes possibilités.

TECHNIQUE VOCALE ET INSTRUMENTALE

Pour obtenir une justesse parfaite des intervalles, on donne la préférence aux instruments qui permettent, par un simple glissement ou par un pincement des cordes, d'ajuster constamment la hauteur du son. De même, en technique vocale, on n'aime que des émissions absolument pures de tout vibrato ou de toute fluctuation. Le volume ou le moelleux du timbre étant beaucoup moins important que la justesse du ton, certaines voix sont considérées comme bonnes qui peuvent au début sembler déplaisantes à des oreilles étrangères. De même, la plupart des voix occidentales donnent à des oreilles indiennes l'impression d'être inharmonieuses et de ne jamais s'arrêter à une hauteur de son bien précise.

LA GAMME INDIENNE

La musique indienne est fondée sur les intervalles naturels et elle rejette le tempérament comme nuisible à l'expression musicale. L'octave est normalement divisée en vingt-deux intervalles inégaux correspondant à des proportions harmoniques simples. Cependant, quelques modes comprennent quelques sons supplémentaires, ce qui porte à environ trente le total des intervalles couramment utilisés. Ces intervalles, appelés shruti, sont employés avec une précision minutieuse et sont facilement reconnaissables par les expressions différentes qu'ils donnent une fois que l'oreille est habituée à les apprécier.

LES MODES, OU RĀGĀS

Un certain nombre d'intervalles, correspondant à des expressions bien définies, sont choisis pour former un mode, ou rāgā. Les modes ne doivent pas, en principe, avoir moins de cinq et plus de douze notes. Les modes les plus usuels en ont sept. La tonique et la cinquième étant invariables, les différentes positions - soit naturelles, soit bémolisées - des cinq notes restantes permettent de former soixante-douze gammes fondamentales. Sur ces gammes, on peut établir un nombre presque illimité de modes, avec quelques différences selon que la gamme est montante ou descendante. Mais si dans les traités de théorie musicale on trouve la définition de plusieurs milliers de modes anciens, il ne s'en utilise actuellement que quelques centaines. Ils sont enseignés traditionnellement, avec tous les ornements particuliers qui peuvent le mieux concourir à leur expression, et forment la base de la musique classique instrumentale et vocale.

THE MAIN RĀGĀS (MODES)

Each mode corresponds to a particular mood and is also considered as connected

with a particular hour of the day when such a mood is more likely to develop.

Some modes are also related to particular seasons.

The scale is not sufficient to define a rāgā or mode because the notes cannot

generally be used in succession. Certain notes can be used only in relation with

other notes in definite melodic figures.

If, for greater facility, we consider that the tonic is always C, the scales of a few

characteristic modes may be defined as follows :

MORNING MODES — MODES DU MATIN

(North-Indian name)

(Noms de l'Inde septentrionale)

(South-Indian name)

(Noms de l'Inde méridionale)

Lalitā C Db E F# Ab B C Sūryakāntā

Ut Réb Mi Fa# Lab Si Ut Māyāmalavagaulā

Bhairavā C Db E F G B B C

Ut Réd Mi Fa Sol Si Si Ut Māyāḿalavākaus(h)i

Bhairavī C Db Eb F G Ab Bb C Hanumatodī

Ut Réb Mib Fa Sol Lab Sib Ut Hanumatodī

Jaunpurī C D Eb F G Ab Bb C Naṭā-Bhairavī

Ut Ré Mib Fa Sol Lab Sib Ut Naṭā-Bhairavī

Todī C Db Eb F# G Ab B C Shubhapantuvarālī

Ut Réb Mib Fa# Sol Lab Si Ut Shubhapantuvarālī

Bilāvalā C D E F G A B C Shankarābharaṇā

Ut Ré Mi Fa Sol La Si Ut Shankarabharana

Brinda- C D F G Bb B C Madhyamāvatī

vanī- Ut Ré Fa Sol Sib Si Ut Madhyamāvati

Sāraṅgā

EVENING MODES — MODES DU SOIR

Shrī C Db E F# G Ab B C Shrī

Ut Réb Mi Fa# Sol Lab Si Ut Shrī

Pīlū C Db D Eb E F G Ab A (Bb) B C Kāmavardhanī

Ut Réb Ré Mib Mi Fa Sol Lab La (Sib) Si Ut Kāvar-dhani

Pūravī C Db E F F# G Ab B C

Ut Réb Mi Fa Fa# Sol Lab Si Ut

Bhūpālī C D E G A C Mohanā

Ut Ré Mi Sol La Ut Mohanā

18

LES PRINCIPAUX RĀGĀS (MODES)

Chaque mode correspond à un état d'âme particulier et se rapporte aussi à une certaine heure du jour, convenant particulièrement à la manifestation de cet état d'âme. Certains modes également sont liés à telle ou telle saison.

La gamme ne suffit pas à définir un rāgā ou mode, car en général les notes ne peuvent pas être employées successivement. Certaines ne peuvent l'être qu'en relation avec d'autres notes, dans des figures mélodiques bien définies.

Pour plus de commodité, si nous considérons que la tonique est toujours l'ut, la gamme de quelques-uns des modes les plus caractéristiques peut être déterminée comme suit :

EVENING MODES — MODES DU SOIR (suite)

(North-Indian name)

(Noms de l'Inde septentrionale)

(South-Indian name)

(Noms de l'Inde méridionale)

Bihāgā C D E F (F♯) G A B C Bihāgā

Ut Ré Mi Fa (Fa♯) Sol La Si Ut

Khamājā C D E F G A B♭ Si C Hari-Kāmbodhi

Ut Ré Mi Fa Sol La Si♭ Si Ut

Tilak-Kāmodā C D E F G A B C Hindolā

Ut Ré Mi Fa Sol La Si Ut

Mālkoshā C E♭ F A♭ B♭ C Mecha-Kalyānī

Ut Mi♭ Fa La♭ Si♭ Ut

Kalyāṇā C D E F♯ G A B C Karaharāpriyā

Ut Ré Mi Fa♯ Sol La Si Ut

Kāfī C E E♭ F G A B♭ C

Ut Mi Mi♭ Fa Sol La Si♭ Ut

Darbārī-Kānaḍā C D E♭ F G A♭ B♭ C

Ut Ré Mi♭ Fa Sol La♭ Si♭ Ut

Bāgéshrī C D E♭ F (G) A B♭ C

Ut Ré Mi♭ Fa (Sol) La Si♭ Ut

Multānī C D E♭ F G A♭ B♭ C

Ut Ré Mi♭ Fa Sol La♭ Si♭ Ut

Kédārā C D E F F♯ G A B C Kédārā

Ut Ré Mi Fa Fa♯ Sol La Si Ut

Déshā C D E F G A B♭ B C

Ut Ré Mi Fa Sol La Si♭ Si Ut

Kalingaḍā C D♭ E F G A♭ B C

Ut Ré♭ Mi Fa Sol La♭ Si Ut

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SEASONAL MODES — MODES DE SAISON

(North-Indian name)

(Nom de l'Inde septentrionale)

Vasantā

(in Spring)

(pour le printemps)

C D♭ E F G A♭ B C

Ut Ré♭ Mi Fa Sol La♭ Si Ut

THE MUSICIANS

The Indian musician requires a thorough knowledge of all the peculiarities of a rāgă or mode, as well as the faculty to improvise its development. There are, no composers in the Western sense, although there are many song composers who furnish the melodic basis of the improvisation. There are also musicians who are able to create, or rather discover, new modes and establish a new tradition.

The Indian musician must therefore be both a performer and a creator. This explains why the training of musicians is so long and difficult, and why great masters are comparatively rare.

The tradition of Indian music has kept its integrity in spite of adverse circumstances, and there are still today a good number of living exponents of the classical Indian music. Although some attempts are now being made to teach music in specialized institutions, most present-day musicians of some repute acquired their art through the old master-disciple system. They therefore belong to traditional chains of musicians. These chains are known as "Gharānā" and are named after some celebrated master who originated them.

The recognized masters of classical music are often called Ustād, a Persian word indicating "mastery, accomplishment."

There are also several honorific Sanskrit titles given to the great musicians, e.g., Sangītā-Kalā-nidhi (Receptacle of the Art of Song), Sangītā-āchāryā (Master of Music), Mridangā-āchāryā (Master of Drumming), Sangītā-Ratnā (Jewel among Musicians).

THE DEVELOPMENT OF THE MODE

AND THE STYLES OF INSTRUMENTAL AND VOCAL MUSIC

The mode or rāgă corresponding to a particular mood is defined by an ascending and a descending scale, one or two accentuated notes, and certain melodic figures or ornaments.

20

SEASONAL MODES — MODES DE SAISON (suite)

(North-Indian name)

(Noms de l'Inde septentrionale)

Hindolā

(in Spring)

(pour le printemps)

C E F A B C

Ut Mi Fa La Si Ut

Malhārā

(in the rainy season)

(pour la saison des pluies)

C D F G A C

Ut Ré Fa Sol La Ut

LES MUSICIENS

Les musiciens de l'Inde doivent avoir une connaissance approfondie de toutes

les particularités d'un rāgā, ou mode, ainsi que la faculté d'en improviser le déve-

loppement. Il n'existe pas de compositeurs au sens occidental du mot, encore qu'il

y ait beaucoup de « compositeurs de chants » qui fournissent la base mélodique

de l'improvisation. Il y a également des musiciens capables de créer ou plus

exactement de découvrir de nouveaux modes et d'établir ainsi une nouvelle tra-

dition.

Il faut donc que les musiciens soient à la fois créateurs et exécutants. Ce qui

explique que leur formation soit si longue et difficile, et que les grands maîtres

soient relativement rares.

Les traditions de la musique indienne se sont conservées dans leur intégrité

en dépit de circonstances défavorables, et il existe encore de nos jours un nombre

considérable d'interprètes de la meilleure musique classique. Bien qu'actuellement

quelques tentatives soient faites pour enseigner la musique dans des établissements

spécialisés, la plupart des musiciens éminents de notre époque ont appris leur art

selon l'ancien système de maître à disciple. Aussi appartiennent-ils à des familles

de musiciens. Ces familles, connues sous le nom de gharānā-s, sont nommées

d'après les maîtres célèbres dont elles procèdent.

Les maîtres reconnus de la musique classique sont souvent appelés ustād, d'un

mot persan qui signifie « maîtrise, talent ».

On donne également aux grands musiciens plusieurs titres honorifiques en

sanscrit : Sangītā-Kalā-nidhi (Tabernacle de l'art du chant), Sangītā-acharyā

(Maître de la musique), Mridangā-āchāryā (Maître du tambour), Sangītā-Ratnā

(Perle des musiciens), etc.

LE DÉVELOPPEMENT DU MODE

ET LES DIVERS STYLES DE MUSIQUE VOCALE ET INSTRUMENTALE

Le mode, ou rāgā, correspond à un état d'âme particulier; il est défini par une

gamme montante ou descendante, une ou deux notes accentuées et certaines

figures ou ornements mélodiques.

On these elements the musician must improvise according to very strict rules,

trying to bring out and convey in all its aspects the particular mood or emotion

that the mode represents.

Indian classical music always takes the form of a performance by a single singer

or instrumentalist who may be accompanied only by a drummer and drone instru-

ments.

All attempts at combining several instruments reduce the possibilities of modal

development. Orchestral music in the modal system can only be cheap music:

the fashion for orchestras, in imitation of the West, had a very detrimental effect

on musical standards.

DEVELOPMENT OF THE MODE IN INSTRUMENTAL MUSIC

The development of the mode in classical music is accomplished through a series

of successive formas and movements.

The Ālāpă is the first exposition of the theme. It must be slow and noble in

style, and devoid of complicated rhythms.

The Ālāpă is followed by series of variations in different rhythms and tempi.

Jhālā, Thonk, Tarparandă, etc. are the technical names of different styles of execu-

tion.

Gatā-s are fixed melodic figures within the mode, which are repeated with

only slight variations. These have their place in the development of the mode

mainly when the lead is given to the rhythm.

Since the normal exposition and development of a mode may easily take from

half an hour to one hour, musicians usually play only gatā-s for records, since these

are the easiest fragments to isolate. There are, however, a few records of very

brief Ālāpă-s or Jhālā-s.

DEVELOPMENT OF THE MODE IN VOCAL MUSIC

The mode is developed in vocal music as is done in instrumental music. The

theme is often shown in a slow Ālāpă with conventional syllables which convey

no meaning.

When words are set to the mode, different styles may be used:

DHRUPAD

Dhrupad (the older form is Dhruvă-padă) is considered the noblest form. It

is slow, with few ornaments but intense expression. Though apparently

simple, it is considered the most difficult form of vocal technique. Tānā-s or

repeated melodic figures are not permitted.

KHYĀL

In khyāl the song is ornamented with many graces, ascending and descending

strings of notes, glissandos, etc. The Tānā-s, or repeated melodic figures,

which are prohibited in Dhrupad, are the very essence of Khyāls.

TAPPĀ

A difficult style in which the melody keeps the sober outline of the Dhrupad,

but each note is adorned with a complicated ornament.

Sur ces éléments, le musicien doit improviser suivant des règles très strictes, en s'efforçant de présenter et d'exprimer sous tous ses aspects l'état d'âme ou l'émotion que représente le mode.

La musique classique de l'Inde est toujours interprétée par un seul exécutant, instrumentiste ou chanteur, qui ne peut être accompagné que par une batterie et des instruments jouant en sourdine.

Toute tentative pour organiser un concert à plusieurs instruments limite les possibilités de développement modal. La musique orchestrale dans le système modal ne peut être que de la pauvre musique, et la vogue des orchestres, à l'imitation de l'Occident, a eu un effet des plus néfaste sur le niveau de la musique.

LE DÉVELOPPEMENT DU MODE DANS LA MUSIQUE INSTRUMENTALE

Le développement du mode dans la musique classique se fait selon une série de formes et de mouvements successifs.

L'ālāpá est l'exposition initiale du thème. Il doit être de style noble et lent, et éviter les rythmes compliqués.

L'ālāpá est suivi de séries de variations sur différents rythmes et mouvements. Jhālā, ṭhonk, tarpanā, etc., sont les noms techniques des différents styles de jeu.

Les gatās sont des figures mélodiques fixes à l'intérieur du mode, qui se répètent avec de légères variations. Elles ont leur place dans le développement du mode, surtout quand la prédominance est donnée au rythme.

Étant donné que normalement l'exposition et le développement d'un mode peuvent facilement durer d'une demi-heure à une heure, les musiciens ne jouent d'habitude pour l'enregistrement sur disques que des gatās, qui sont les fragments mélodiques les plus faciles à isoler de l'ensemble. Il existe toutefois quelques disques de très brefs ālāpás ou jhālās.

LE DÉVELOPPEMENT DU MODE DANS LA MUSIQUE VOCALE

Dans la musique vocale, le mode est développé de la même façon que dans la musique instrumentale. Le thème est souvent exposé par un lent ālāpā sur des syllabes conventionnelles qui n'ont aucune signification.

Quand des paroles sont écrites sur le mode, différents styles peuvent être employés.

DHRUPAD

Le dhrupad (ou plus anciennement dhruvā-padā) est considéré comme la forme la plus noble. Il est lent avec peu d'ornements, mais d'une expression intense. On estime qu'il représente, malgré son apparente simplicité, la technique vocale la plus difficile. Les tānās, ou répétitions de figures mélodiques, ne sont pas permis.

KHYĀL

Dans le khyāl, le chant s'orne de multiples fioritures, de traits montants ou descendants, de glissandos, etc. Les tānās, ou répétitions de figures mélodiques, qui sont interdits dans le dhrupad, sont l'essence même du khyāl.

TAPPĀ

Le tappā est un style difficile, où la mélodie garde la sobriété de structure du dhrupad mais où chaque note est enjolivée d'un ornement compliqué.

ṬHUMRĪ

A soft mixture of styles, the principal feature being the delicacy of the vocal ornaments rather than their brilliance. It is a very popular and charming kind of song in which rāgăs are often mixed.

TELLĀNĀ-S (or TARĀNĀ-S)

Rhythmic songs in which words, are replaced by the syllabes used to memorize the strokes on the Tablā or small drum. Sometimes a verse or sentence, the "Sahityă", is introduced in the middle of a Tellānā.

The word "Tellānā" is used in South-India, the word "Tarānā" in the North.

ASTĀĪ

The "first exposition of the mode." In the slow Khyāl or in the Dhrupad style. It is a popular word derived from Sthāyī, "the first part of a song".

JALADĀ

The second part of a song in quick and rhythmic tempo.

BHAJANĀ-S (Songs of Mystic Love).

One cannot exactly call the Bhajană-s "religious" songs because of the solemn connotation of the word in Western languages. Bhajană-s are songs of love and passion, but describe the love and play of divine beings and incarnations.

They often depict the plenitude of the soul which meets the eternal beloved or the anguish of its separation from him in terms of human passion.

In Bhajană-s, the element of passion, as shown by the meaning of the words, is more important than modes or ornaments. Bhajană-s are, therefore, considered an inferior, though much appreciated, form of music.

KĪRTANĂ-S

Kīrtană-s are sequences of religious songs and invocations accompanied by drums, castanets and other instruments. The best Kīrtană-s can be heard in Bengal.

GĪTĂ (Song)

In the classical development of the mode, the musician wanders about the modal scale which alone is fixed. The mental concentration being on the scale, the melodic line is unimportant and can be very loose and discontinous.

It is possible, however, to have fixed melodies within the limits of a mode, but the accent being thus placed on the melodic line rather than on the scale, the modal expression is weaker. This kind of fixed modal song is called "Gītă".

It constitutes an easier and popular form of semi-classical music. From the point of view of modal music, western plain-chant could only be considered as a form of Gītā.

DĀDARĀ

A popular type of song in the dādarā rhythm, which is rather like a waltz.

GAZĀL-S

Short popular song-poems in the Persian style.

DHUNĂ

A dhună is a popular, quick, but meaningless, tune made up of different modes.

HUMRĪṬ

Le ṭhumrī est un mélange très doux de styles, où la délicatesse des ornements vocaux l'emporte sur leur éclat. C'est un type de chant très populaire et charmant auquel se mêlent souvent des rāgās.

TELLĀNĀS

Les tellānās ou tarānās sont des chants rythmiques où les paroles sont remplacées par les syllabes dont on se sert pour se mettre dans la mémoire les battements du tablā, ou petit tambour. Parfois un vers ou une phrase, le sahityā, apparaît dans le cours d'un tellānā.

Dans l'Inde méridionale, on emploie surtout le mot tellānā. Dans le nord, tarānā.

ASTĀĪ

Ce mot désigne le « premier exposé du mode » dans le khyāl lent ou dans le style dhrupad. C'est un mot populaire, dérivé de sthāyī, « la première partie d'un chant ».

JALADĀ

Le jaladā est la seconde partie d'un chant, en un tempo vif et bien rythmé.

BHAJANĀS (chants d'amour mystique)

Il serait inexact de dire que les bhajanās sont des « chants religieux », au sens solennel qu'a ce terme dans les langues occidentales.

Les bhajanās sont des chants d'amour et de passion, mais qui racontent les amours et les jeux de divinités, ou d'incarnations divines.

Ces chants expriment souvent, dans le langage de la passion humaine, la plénitude de l'âme rencontrant l'éternel bien-aimé ou sa douleur d'en être séparée.

Dans les bhajanās, l'élément passionnel que produisent les paroles est plus important que les modes ou ornements. Aussi, les bhajanās, tout appréciés qu'ils soient, sont-ils considérés comme une forme musicale inférieure.

KĪRTANÁS

Les kīrtanās sont des suites de chants religieux et d'invocations, accompagnés de tambours, castagnettes et autres instruments. C'est au Bengale qu'on entend les meilleurs kīrtanās.

GĪTÁ (chant)

Dans le développement classique du mode, le musicien parcourt toute la gamme modale, qui seule est fixe. L'esprit se concentrant sur la gamme, la ligne mélodique est sans importance et peut être assez lâche ou même intermittente.

Il est cependant possible d'introduire dans les limites du mode des mélodies au contour précis, mais comme l'attention se porte alors sur la ligne mélodique plutôt que sur la gamme, l'expression modale s'en trouve affaiblie. Cette sorte de chant modal précis est appelée « gītā ». Elle constitue une forme populaire et facile de musique semi-classique. Du point de vue de la musique modale, seul le plain-chant occidental peut être comparé au gītā.

DĀDARĀ

Le dādarā est un genre de chant populaire en rythme dādarā, lequel est analogue au mouvement de valse.

GAZĀLS

Courts poèmes populaires chantés, de style persan.

DHUNĂ

Un dhună est un air populaire vif, mais sans signification, où se mêlent différents modes.

SEASONAL SONGS

HORĪ

Songs of the Spring Festival, or Indian carnival. Holi.

BĀRSĀTI

Songs of the rainy season.

RHYTHM

Rhythm in Indian Music is very important and extremely elaborate. There are a great number of rhythms, each rhythm-group extending usually over four bars. The complexity of the rhythms has often led untrained casual hearers to state that the rhythm is irregular, which is never the case in Indian music where rhythm is always followed with mathematical precision. Among the simpler rhythms, may be mentioned:

1 |2 |0 |3 ||

0 |0 |ɸ |0 ||

ɸɸɸɸ ɸɸɸɸ ɸɸɸɸ ɸɸɸɸ||

Tintālā (3 beats, 16 units)

or/ou tritālā (3 battements en 16 temps)

1 |2 |3 |4 ||

d ɸ |0 ɸ |d ɸ |d ||

ɸɸɸɸ ɸɸɸɸ ɸɸɸɸ ɸɸ||

Chautālā (4 beats, 12 units)

(4 battements en 12 temps)

1 |0 |2 |0 |3 |4 ||

ɸ |d ɸ |0 ɸ |d |0 ɸ |d ||

ɸɸɸɸ ɸɸɸɸ ɸɸ ɸɸ||

Ekatālā (4 beats, 12 units)

(4 battements en 12 temps)

(To understand these rhythms, beat the upper line with the right hand and the lower line with the left hand. The first beat, marked 1, is more accentuated.)

20

CHANTS DE SAISON

HORĪ

Chants de la fête du Printemps, ou carnaval hindou, le Holi.

BĀRSĀTI

Chants de la saison des pluies.

RYTHME

Dans la musique indienne, le rythme, très savant, joue un grand rôle. Il existe de nombreux rythmes, chaque unité rythmique s'étendant généralement sur quatre mesures. La complexité des rythmes a souvent fait dire à des auditeurs inexpérimentés que le rythme était irrégulier, ce qui n'est jamais le cas dans la musique indienne où il est toujours observé avec une précision mathématique.

Parmi les rythmes les plus simples, on peut citer :

1 | 0 | 2 | 0 || d. | л ɛ | d. | л ɛ || ɑ ɑ ɑ ɑ | ɑ . | ɑ ɑ ɑ ɑ | ɑ . || Dadārā tala

(2 beats, 12 units) (2 battements en 12 temps)

1 | 2 | 3 | 0 || od | d. | л | 0 || ɑ ɑ ɑ ɑ | ɑ ɑ ɑ ɑ | ɑ ɑ ɑ ɑ | ɑ ɑ ɑ ɑ || Dhamār

(3 beats, 14 units) (3 battements en 14 temps)

(Pour s'assimiler ces rythmes, battre la ligne supérieure avec la main droite et la ligne inférieure avec la main gauche. Le premier battement, marqué 1, est plus accentué.)

INDIAN MUSICAL INSTRUMENTS

According to the ancient Sanskrit books on music, the instruments are divided into four categories: wind, drum, string and percussion. In each category there is great variety.

STRING INSTRUMENTS

Of all the string instruments the most celebrated is the Viṇā. The word Viṇā really stands for a type of instrument and there are several kinds of Viṇā in use today.

The Viṇā is one of the oldest instruments known, its name appearing in texts that date at least from the first millennium before the Christian era.

THE NORTH INDIAN VIṆĀ

Popularly called Bīn. The basic instrument of Indian classical music. It is made of a bamboo and two gurds. It has seven metal strings played on twenty-two (or more) frets. Four of the strings are used for playing the melody. The three other strings, tuned to the tonic, are used only for drone-accompaniment. The strings can slide laterally on the frets, allowing the most delicate ornaments. They are played with the fingers or with metal nails.

THE SOUTH INDIAN VIṆĀ.

A larger and more powerful instrument than the North Indian variety. It was evolved in its present form in the 17th century. The lower gurd is replaced by a large wooden bowl with a flat top on which rests the bridge. The flat finger-board is also made of wood. This type of Viṇā, too, has seven strings and twenty-four frets.

THE VICHITRĀ VIṆĀ

The Vichitrā Viṇā is a North Indian Viṇā without frets played by sliding a piece of crystal on the strings. It corresponds to the South Indian Gottuvādyam.

GOTTUVĀDYAM

An instrument identical with the South Indian Viṇā but without frets. The strings are stopped with a sliding piece of wood. There are sympathetic strings.

LES INSTRUMENTS DE MUSIQUE DE L'INDE

Selon les anciens traités musicaux en sanscrit, les instruments se divisent en quatre catégories : instruments à vent, tambours, instruments à cordes et instruments à percussion. Chaque catégorie comprend à son tour une grande variété d'instruments.

INSTRUMENTS A CORDES

De tous les instruments à cordes, le plus célèbre est le vīṇā. Ce mot désigne en fait un type d'instrument, et il y a plusieurs sortes de vīṇās en usage de nos jours.

Le vīṇā est un des plus anciens instruments connus; son nom apparaît dans des textes datant au moins du premier millénaire avant l'ère chrétienne.

LE VĪNĀ DE L'INDE SEPTENTRIONALE

Connu sous le nom populaire de bīn, il est l'instrument fondamental de la musique classique indienne. Fait d'un bambou et de deux gourdes, il est muni de sept cordes métalliques dont on joue sur vingt-deux touchettes ou plus. Quatre des cordes servent à jouer la mélodie. Les trois autres, accordées sur la tonique, servent seulement à accompagner en basse continue. Les cordes peuvent glisser latéralement sur les touchettes, ce qui permet d'obtenir les ornements les plus délicats. On joue soit avec les doigts, soit avec un doigtier métallique.

LE VĪNĀ DE L'INDE MÉRIDIONALE

C'est un instrument plus grand et plus puissant que celui du nord de l'Inde. Il a pris sa forme actuelle au xviiie siècle. La gourde inférieure est remplacée par un large bassin d bois au sommet plat sur lequel repose le chevalet. Le clavier plat est également en bois. Cette variété de vīṇā a aussi sept cordes et vingt-quatre touchettes.

LE VICHITRĀ VINĀ

Le vichitrā vīṇā est un vīṇā du nord de l'Inde dépourvu de touchettes et dont on joue en faisant glisser un morceau de cristal sur les cordes. Il correspond au gottuvādyam de l'Inde méridionale.

LE GOTTUVĀDYAM

Le gottuvādyam est un instrument identique au vīṇā méridional, mais sans touchettes. Les cordes sont arrêtées par un morceau de bois qui glisse. Il a des cordes de résonance.

THE SITĀR

A popular North Indian instrument said to have been invented by the celebrated musician Amir Khusru at the end of the 13th century. It resembles the South Indian Vīṇā but is lighter and has adjustable frets which are set to the mode before playing. It is played with metal nails fixed on the fingers. It has usually four main strings but modern sitārs have a number of additional sympathetic strings.

THE SARODE

A string instrument of recent origin. It has a rather short stem covered with a skin on which the bridge rests. It is played with a plectrum. It has become very popular in recent years because of its resonance, which is stronger than that of most other Indian string instruments and thus allows playing to larger audiences.

THE SURBAHĀR

A Sitār with sympathetic strings, which give it a deeper and softer sound.

THE SURĀSAPTAKĀ

An instrument similar to the Sitār but slightly larger and with seven main strings.

THE TĀNPŪRĀ

The Tānpūrā, which corresponds to the ancient Tumburu Vīṇā, is a long instrument with four metal strings giving the tonic, its lower and higher octaves and the fifth. Its bridge is a very long and delicately made piece of ivory which, by coming in contact at certain points with the vibrating strings, produces numerous and carefully chosen harmonics. It is an essential feature of the accompaniment of vocal music since, according to Indian theory, a constant sounding of the tonic is essential to the accurate perception of the varied intervals of the mode or rāgā.

EKATĀRĀ

The Ekatārā (one-stringed) is a small instrument used to give the tonic in popular music.

DOTĀRĀ

The Dotārā (two-stringed) is an instrument similar to the Ekatārā but with two strings giving the tonic and its octave or fifth.

LE SITĀR

Le sitār est un instrument populaire de l'Inde septentrionale inventé, à ce que l'on croit, par le célèbre musicien Amir Khusru à la fin du xiiie siècle. Il ressemble au viṇā méridional, mais est plus léger et a des touchettes réglables qui sont ajustées au mode voulu avant l'exécution. Il se joue avec des doigtiers de métal fixés aux doigts. Il a d'ordinaire quatre cordes principales, mais les sitārs modernes possèdent en plus un certain nombre de cordes de résonance.

LE SARODE

Le sarode est un instrument à cordes d'origine récente. Son manche, assez court, est recouvert d'une peau sur laquelle repose le chevalet. On en joue avec un plectre. Il est devenu très populaire ces dernières années à cause de sa résonance, plus forte que celle de la plupart des autres instruments à cordes de l'Inde, qui permet de jouer pour de plus vastes auditoires.

LE SURBAHĀR

Le surbahār est un sitār muni de cordes de résonance qui lui donnent un son plus profond et plus doux.

LE SURĀSAPTAKĀ

Le surāsaptakā ressemble également au sitār, mais est légèrement plus grand et a sept cordes principales.

LE TĀNPŪRĀ

Le tānpūrā, qui correspond à l'ancien tumburu viṇā, est un long instrument à quatre cordes métalliques, qui donnent la tonique, ses octaves inférieure et supérieure et la quinte. Son chevalet est fait d'un très long morceau d'ivoire délicatement travaillé qui, en venant en contact avec les cordes vibrantes en certains points, fait résonner de nombreuses harmoniques, soigneusement choisies. C'est un élément essentiel d'accompagnement de la musique vocale, attendu que, selon la théorie indienne, l'audition constante de la tonique est indispensable à la perception effective des intervalles variés du mode, ou rāgā.

L'EKATĀRĀ

L'ekatārā (à une seule corde) est un petit instrument employé pour donner la tonique dans la musique populaire.

LE DOTĀRĀ

Le dotārā (à deux cordes) est un instrument semblable au précédent, mais avec deux cordes qui donnent la tonique et son octave, ou la quinte.

THE SĀRANGI

Probably derived from the old Sārangā Viṇā. Made of a single block of wood covered with parchment. It has four main strings of gut and many sympathetic strings. It is played with a short bow. This instrument, used mainly to accompany singers, has remarkable subtlety and great force of expression.

THE ESRĀJ

A long and narrow bowed string instrument used mainly in Bengal to accompany singing. Of recent origin (c. 15th century). It has 4 main steel and brass strings and numerous sympathetic strings.

THE DILRUBĀ

A bowed instrument similar to the Esrāj but with a square sound-box and a larger body. It has 9 or 10 strings like the Sārangī.

SARINDĀ

A kind of Sārangī but with metal strings. It is played with a short bow.

VIOLIN

The violin was imported into India only about a century ago. It has become common in South India but is not yet recognized in Northern India as a suitable instrument for classical music. The shortness of the strings hardly allows the accurate playing of the minute graces which are an essential element of higher Indian music.

WIND INSTRUMENTS

There are numerous wind instruments in India mainly of the flute, oboe and horn families. Instruments of the horn family used in temple-music have not so far been recorded.

THE FLUTE (VANSARĪ)

There are many types of flutes made of bamboo or ivory, sandal-wood, ebony, iron, silver or gold, either straight or transverse. Modern instruments with keys are also in use though the quality of the sound is less appreciated. The bamboo flute has the best tone. The system of fingering is entirely different from that current in Europe.

32

LE SĀRANGĪ

Probablement dérivé de l'ancien sārangā vīnā, le sārangī est fait d'un seul bloc de bois recouvert de parchemin. Il a quatre cordes principales en boyaux et plusieurs cordes de résonance. On en joue avec un archet court. Cet instrument, qui sert à accompagner les chanteurs, permet une remarquable subtilité dans la grâce et une grande force d'expression.

L'ESRĀJ

Instrument à cordes, long, étroit et courbe, employé surtout au Bengale pour accompagner le chant. D'origine récente (xve siècle), il a quatre cordes principales d'acier et de cuivre, plus un grand nombre de cordes de résonance.

LE DILRUBĀ

Instrument courbe semblable au précédent, mais plus grand et dont la caisse de résonance est carrée. Il a neuf ou dix cordes, comme le sārangī.

LE SARINDĀ

Espèce de sārangī, mais à cordes métalliques. On en joue avec un archet court.

LE VIOLON

Il n'y a guère plus d'un siècle que le violon a fait son apparition dans l'Inde. Il est communément en usage maintenant dans l'Inde méridionale, mais le nord ne l'a pas encore admis pour exécuter la musique classique. Le peu de longueur de ses cordes permet difficilement de rendre les minutieuses fioritures qui sont un élément essentiel de la grande musique indienne.

LES INSTRUMENTS A VENT

Il existe en Inde de nombreux instruments à vent, appartenant principalement à la famille des flûtes, à celle des hautbois et à celle des cors. Les instruments de la famille des cors qui s'employaient dans les temples n'ont pas, jusqu'à ce jour, donné lieu à des enregistrements.

LA FLÛTE (VANSARĪ)

Il y a plusieurs types de flûtes droites ou traversières en bambou, en ivoire, en bois de santal, en bois d'ébène, en fer, en argent ou en or. Les instruments modernes à clefs sont également en usage bien que la qualité du son qu'ils donnent soit moins appréciée. C'est la flûte de bambou qui a le meilleur timbre. Le doigté est entièrement différent de celui qui s'emploie communément en Europe.

33

THE SHAHNĀI

India possesses in the Shahnāī what is probably the world's finest oboe with a reed of unrivalled delicacy. The technique is extremely difficult. Great Shahnāī players can produce the most amazing glissandos and graces on this instrument.

NĀGASVARAM

The main instrument of the oboe family used in South India. It has a delicate reed held inside the mouth and the production of intermediary quarter tones is obtained by regulating the flow of air. The technique is very difficult. The system of fingering and the range are the same as for the flute.

It corresponds to the Shahnāī of Northern India.

OTTU

The drone oboe used for the accompaniment of the Nāgasvaram.

THE HARMONIUM

A very small type of harmonium with three octaves and a hand bellow was imported into India less than a hundred years ago. Because of the extreme facility of the key-board, it rapidly became popular and is much used in the accompaniment of songs. The limitations of a twelve-note keyboard, however, have had a very detrimental effect on the accuracy of the intervals in Indian modes, and the harmonium is generally prohibited in classical performances and in the music schools of high standard.

PERCUSSION INSTRUMENTS

DRUMS

Drumming is a very great art in India, and Indian drums, with their accuracy of pitch and variety of tone, are musically very superior to similar instruments in any other country.

Although the drum is usually an accompanying instrument, good drummers occasionally give brilliant solo performances.

Drums are by far the most important and independent part of accompaniment. They create, in terms of rhythm, variations on the theme which can be as rich and complex as the melodic variations.

34

LE SHAHNĀĪ

Avec le shahnāī, l'Inde possède probablement le meilleur hautbois du monde, d'une délicatesse sans égale. Sa technique est extrêmement difficile. Les virtuoses du shahnāī peuvent produire les plus extraordinaires glissandos, ou autres fioritures.

LE NĀGASVARAM

Le nāgasvaram est le principal instrument de la famille des hautbois qui s'emploie dans l'Inde méridionale. Il possède à l'intérieur du bec une anche mince, grâce à laquelle, en réglant judicieusement l'admission d'air, on peut obtenir des quarts de ton intermédiaires. Sa technique est très difficile. Le doigté ainsi que l'étendue de l'instrument sont semblables à ceux de la flûte.

Il correspond au shahnāī du nord de l'Inde.

L'OTTU

C'est une sorte de hautbois qui sert à accompagner en sourdine le nāgasvaram.

L'HARMONIUM

Un harmonium de très petit modèle, à trois octaves, actionné par une soufflerie à main a été introduit en Inde il y a moins de cent ans. En raison de l'extrême commodité de son clavier, il est devenu rapidement populaire et s'emploie beaucoup pour accompagner le chant. Toutefois, les limites qu'impose un clavier de douze notes se sont révélées préjudiciables pour la justesse des intervalles que comportent les modes indiens; aussi l'harmonium est-il en général proscrit des auditions classiques ainsi que des écoles musicales d'un niveau élevé.

INSTRUMENTS A PERCUSSION

LES TAMBOURS

Le jeu du tambour est un art auquel on accorde une très grande importance en Inde; les tambours indiens avec la parfaite justesse et la variété de leurs timbres ont une valeur musicale très supérieure à celle des instruments analogues de n'importe quel autre pays.

Bien que le tambour soit généralement un instrument d'accompagnement, certains virtuoses en donnent parfois de brillants récitals.

Les tambours sont de beaucoup la partie la plus importante de l'accompagnement et celle qui y joue le rôle le plus indépendant; ils créent en effet sous forme d'éléments rythmiques des variations sur le thème qui peuvent être aussi riches et aussi savantes que les variations mélodiques.

35

THE MRIDANGĀ OR PAKHAVĀJĀ

The classical drum of ancient music, the Mridangā, has a cylindrical body of wood with a skin at both ends tied at the rim. An elaborate system of tension-strings allows the accurate tuning of each skin.

The skin is loaded in its middle with a weight made of a dried rice-paste. This suppresses a great number of unwanted harmonics and gives the drum a clear well-pitched note.

The drummer strikes the rim or the skin in its centre or side with the fingers or the palm of the hand. This allows a number of very distinct strokes which are of a great value in the production of elaborate and subtle rhythms.

Each type of stroke on the drum is given a monosyllabic name. With these names, which are called 'bol', the drummer can easily memorize very complex rhythms.

THE TABLĀ

The most popular drum now in use. It is really a double drum made of two large earthen or wooden bowls covered with skin, each being played with one hand very much like the two sides of the Mridangā.

DHOLĀ AND KHOLĀ

Kinds of Mridangā used to accompany popular and religious music, especially in Bengal.

TAVIL

A small drum used in South India for the accompaniment of the Nāgasvaram. It corresponds to the North Indian Duggi.

DUGGI

A small drum with a dry sharp sound used for the accompaniment of the Shahnāī.

KARTĀLĀ

A percussion instrument made of two pieces of wood loaded with very small bells which are struck together to mark the rhythm in Kīrtanās.

MANJĪRĀ AND GHUNGHARŪ

Small bells.

36

LE MRIDANGĀ OU PAKHĀVĀJĀ

Le tambour classique de la musique ancienne, le mridangā, se compose d'un corps cylindrique en bois ayant à ses deux extrémités une peau fixée sur les bords. Un système compliqué de cordes de tension permet d'accorder exactement chaque partie de la peau.

La peau est alourdie en son milieu par une masse de pâte de riz desséchée, qui supprime un grand nombre d'harmoniques indésirables et donne au tambour une note claire et juste.

Le joueur de tambour frappe soit sur le bord de l'instrument, soit au centre de la peau, soit sur le côté, avec les doigts ou avec la paume de la main. Il peut ainsi donner un grand nombre de rythmes très distincts qui contribuent beaucoup à la production de rythmes savants et subtils.

Chaque espèce de coup donné sur le tambour porte un nom monosyllabique. A l'aide de ces noms, appelés « bol », le joueur arrive à se rappeler facilement les motifs rythmiques les plus complexes.

LE TABLĀ

Le tablā, qui est le plus populaire des tambours actuellement en usage, est en réalité un double tambour fait de deux grands bols de bois ou en poterie recouverts de peau, chacun se jouant d'une main, à peu près comme on fait des deux côtés du mridangā.

LE DHOLĀ ET LE KHOLĀ

Ce sont des genres de mridangā qui servent à accompagner la musique populaire et religieuse, particulièrement au Bengale.

LE TAVIL

Petit tambour employé dans l'Inde méridionale pour accompagner les nāgasvaram. Il correspond au duggi de l'Inde septentrionale.

LE DUGGI

Petit tambour au son aigu et sec qui sert à accompagner le shahnāï.

LE KARTĀLĀ

Instrument à percussion fait de deux morceaux de bois garnis de petites clochettes qu'on frappe l'un sur l'autre pour marquer le rythme dans les kīrtanās.

LE MANJĪRĀ ET LE GHUNGHARŪ

Clochettes.

JHĀNJHĀ

Small cymbals usually made of brass.

NUPURĀ

Ankle-bells.

ACCOMPANIMENT

There are three elements in the accompaniment of modal music. These are:

(1) The drums which provide rhythm.

(2) The Tānpūrā and the other instruments which give the tonic and its harmonics.

(3) The instruments which support and follow the melody, such as the Sārangī. Any form of counterpoint is strictly prohibited in Indian classical music since it immediately destroys the modal sentiment. The instruments accompanying the melody follow it exactly or repeat it as a sort of echo.

SIZE OF RECORDS

Unless otherwise indicated, all records in this catalogue are 10 inches in diameter.

ABBREVIATIONS

North India: N.I.

South India: S.I.

vln: violin.

flt: flute.

LES JHĀNJHĀS

Petites cymbales, habituellement en cuivre.

LES NUPURĀS

Clo chettes fixées aux chevilles.

ACCOMPAGNEMENT

Il y a trois éléments dans l'accompagnement de la musique modale, à savoir :

1o Les tambours, qui donnent le rythme;

2o Le tānpūrā et les autres instruments qui donnent la tonique et ses harmoniques.

3o Les instruments qui soutiennent et suivent la mélodie, tels que le sāraṅgī;

Toute forme de contrepoint est strictement proscrite de la musique classique de l'Inde, étant donné qu'elle détruit immédiatement l'expression modale. Les instruments qui accompagnent la mélodie la suivent exactement ou bien la répètent comme en écho.

DIMENSIONS DES DISQUES

Sauf indication contraire, les disques mentionnés dans ce catalogue ont un diamètre de 25 centimètres.

ABRÉVIATIONS

Inde septentrionale : I. S.

Inde méridionale : I. M.

vln : violon.

flt : flûte.

P A R T I

NORTHERN INDIA

(HINDUSTANI MUSIC)

P R E M I È R E P A R T I E

INDE SEPTENTRIONALE

(MUSIQUE HINDOUSTANIQUE)

CHAPTER ONE

INSTRUMENTAL MUSIC

CHAPITRE PREMIER

MUSIQUE INSTRUMENTALE

STRING INSTRUMENTS

INSTRUMENTS A CORDES

ABDUL AZIZ KHĀN

A celebrated classical musician of Patiala State. Died in 1946. He played the vichitrā vīnā, an instrument similar to the South Indian gottuvādyam and in which the frets are replaced by a sliding crystal.

Célèbre musicien classique de l'État de Patiala. Mort en 1946. Jouait du vichitrā vīnā, instrument semblable au gottuvādyam de l'Inde méridionale, où les touchettes sont remplacées par un morceau de cristal coulissant.

Instrument Instrument Rāgā (mode and style Rāgā (mode et style Accompaniment Accompagnement

1. Vichitrā Vīnā Id. Pīlū (gatā, ṭhumrī) Tablā H. M. V. N 6780

2. Vichitrā Vīnā Id. Darbārī-Kānadā (gatā) Id. H. M. V. N 6982

3. Vichitrā Vīnā Id. Jayājayantī Dēshī Id. H. M. V. N 6807

4. Vichitrā Vīnā Id. Lalitā Māru-Bihāg Id. H. M. V. N 6922

5. Vichitrā Vīnā Id. Tīlangā (ṭhumrī) Baravā Id. H. M. V. N 6990

6. Vichitrā Vīnā Id. Vasantā (gatā) Dēshā (gatā) Id. H. M. V. N 16164

ABDUL KARĪM KHĀN

Died in 1946. One of the foremost classical singers of his time. His voice was exquisitely beautiful. He made a very large number of recordings of classical rāgās (modes) which are among the very best records produced. Occasionally, he played the Vīnā or Bīn.

Un des premiers musiciens classiques de son époque. Mort en 1946. Sa voix était d'une grande beauté. Il a fait un très grand nombre d'enregistrements de rāgās classiques (modes) qui sont parmi les meilleurs enregistrements produits. Occasionnellement, il jouait de la Vīnā ou Bīn.

d'une exquise beauté. A fait de nombreux enregistrements de modes (rāgās)

classiques, qui comptent parmi les meilleurs disques édités. Jouait aussi à l'occa-

sion du viṇā ou du bīn.

1. Viṇa Darbārī-Kānadā Solo Columbia

Id. Pīlū Id. GE 17505

AKINCHANDA DĀTT

A well-known, blind Bengali musician.

Musicien aveugle bien connu du Bengale.

1. Violin/violon Bhairavī Tablā Senola

Id. Pīlū Id. QS 183

AKSHAYĀ KUMĀR MAITRA

1. Esrāj Pīlū-Baravā Tablā Hindusthan

Id. Jāyājayanti (miśrā) Id. H 499

ALI AKBAR KHĀN (Ustād)

Son and pupil of Allā-ud-dīn, the celebrated sarode player. Born about 1910

he has become one of the most brilliant sarode players of the younger generation.

He shows all the qualities of a great Ustād in technique as well as expression.

He was recently appointed State musician in Jodhpur.

Fils et élève d'Allā-ud-dīn, le célèbre joueur de sarode. Né aux environs de 1910.

Est devenu lui-même un des plus brillants joueurs de sarode de la jeune généra-

tion. Possède toutes les qualités du grand ustād, aussi bien pour la technique que

pour l'expression. A été récemment nommé musicien d'État à Jodhpurs.

1. Sarode Bhairavī (Tritālā) Tablā H. M. V.

Id. Gujarī-Toḍī (gaṭā) Id. N 16741

2. Sarode Pīlū (gaṭā, Tritālā) Id. H. M. V.

Id. Shrī (gaṭā) Id. N 16764

3. Sarode Darbārī-Kānadā (ālāpā) Darbārī-Kānadā (gaṭā) Id. H. M. V.

Id. Id. N 16781

44

ALI BUX

One of the great masters of the sāraṅgī.

Un des grands maîtres du sāraṅgī.

1. Sāraṅgī Bhairavī Tablā Hindusthan

Id. Pīlū Id. H 973

ALI AHMAD KHAN

Lived in Calcutta. Belonged, like Ashāk Ali Khān, to the Sainiyā tradition (gharānā) of Jaipur.

Vécut à Calcutta. Appartenait, comme Ashāk Ali Khān, à la tradition (gharānā) Sainiyā, de Jaipur.

1. Sitār Bhairavī Tablā Megaphone

Id. Pīlū Id. JNG 5526

2. Sarode (Aḍā-Chautālā) Id. Megaphone

Id. Jīlā (duni, gatā) Id. JNG 334

ALLĀ-UD-DĪN KHĀN

The foremost living Sarode player. Born in 1881 in Tripura State, East Bengal. From childhood, his love was only music and he ran away from home at the age of eight to find a teacher. After many tribulations he became the pupil of the celebrated Wazir Khān of Rampur. A most versatile genius, he plays almost every instrument and possesses great knowledge in every branch of music.

Le premier des joueurs de sarode contemporains. Né en 1881 dans l'État de Tripura (Bengale oriental). N'aimait que la musique dès l'enfance; s'enfuit à huit ans de chez ses parents pour se mettre à la recherche d'un professeur. Après bien des tribulations, devint élève du célèbre Wazir Khān, de Rampur. Génie universel, joue presque tous les instruments et connaît à fond toutes les branches de la musique.

1. Sarode Jīlā (vilambitā) Tablā Megaphone

Id. Lalitā (gatā) Id. JNG 192

2. Violin/Violon Sindhurā (gatā) Id. Megaphone

Id. Bīhāg (gatā) Id. JNG 193

3. Violin/Violon (Kīrtanā) Id. Megaphone

JNG 226

4. Sarode Bīhāg Id. Megaphone

Id. Tīlak-Kāmodā Id. JNG 924

45

5. Violin/ Violon

Kāmodā (ālāpā) Tilak-Kāmodā (gatā)

Id. Id.

Tablā Id.

Megaphone JNG 5120

6. Violin/ Violon Prabhākélí (ālāpā) Prabhākélí (gatā) (Yantrā-sangītā)

Id. Id. Id.

Id. Id. Id.

Megaphone Megaphone JNG 5801 JNG 5874

ANIL THAKUR (of/de Tripurā)

A disciple of Enayat Khān. He is a well-known musician of Calcutta. Musicien de Calcutta bien connu. Disciple d’Enayet Khān.

1. Vīnā Darbārī-Kānaḍā Tablā Hindusthan HRT 96

BĪRÉNDRA KISHORE ROY CHOWDHURY (of/de Gauripur)

A well-known patron of music of Calcutta and a remarkable performer. Born in 1903. First a disciple of Mohammad Ali Khān (rababī), he also studied with Amīr Khān, Enayat Khān and Allā-ud-dīn Khān. Mécène de la musique bien connu à Calcutta, remarquable exécutant. Né en 1903. D’abord disciple de Mohammed Ali Khān (rababī), travailla également avec Amīr Khān, Énayet Khān et Allā-ud-dīn Khān.

1. Vīnā Sūrāshringār

Id. Id.

Vasantā (ālāpā) Vasantā (jhālā) Darbārī-Toḍī (ālāpā) Puriyā (ālāpā)

Tablā Id. Id. Id.

Megaphone Hindusthan JNG 180 H 679

BUNDU KHĀN

Now in his old age. He is the descendant of a long dynasty of vīnā players. He learnt music from childhood and was for many years State musician of Indore. He is considered the greatest living sāraṅgī player. He studied Sanskrit and ancient musical theory with the celebrated musicologist Pandit V. N. Bhāt khaṇdé and possesses a great knowledge of musical theory. Très âgé. Appartient à une longue dynastie de joueurs de vīnā. Apprit la musique dès son enfance et fut pendant plusieurs années musicien de l’État d’Indore. Est considéré comme le plus grand joueur contemporain de sāraṅgī. A étudié le sanscrit et la théorie musicale ancienne avec le célèbre musicologue Pandit V. N. Bhātkhaṇdé et connaît à fond la théorie musicale.

1. Sārangī

Mālkosh (gatā)

Tablā

H. M. V. HT 83 12 in./30 cm

Id.

Darbārī-Kānaḍā

Id.

CHHOTÉ KHĀN (of/d'Alvār) [Prof.]

From Rampur State. Now lives in retirement in Benares. His records do not give a fair idea of his playing.

Originaire de l'État de Rampur. Vit aujourd'hui retiré à Bénarès. Ses disques ne donnent pas une idée complète de son jeu.

1. Sārangī

Tīlak-Kāmodā

Tablā

Megaphone JNG 11

Id.

Pīlū-Barvā

Id.

2. Sārangī

Bhairavī (ālāpā)

Solo

Megaphone JNG 5991

Id.

Gauḍ-Sārangā (gatā)

Tablā

ENAYAT KHĀN

Son of Imdad Khān, the great Sitar player. Born in 1894. He studied with his father. State musician in Gauripur, he was considered the greatest sitar player until his death in 1938.

Né en 1894. Enayat Khān est le fils de Imdad Khān, le grand joueur de sitar, avec qui il étudia. Musicien de l'État de Gauripur, a été considéré jusqu'à sa mort, en 1938, comme le plus grand joueur de sitar.

1. Sitār

Pīlū

Tablā

Megaphone JNG 25

Surbahār

Bāgeshrī (ālāpā)

Id.

2. Sitār

Bhairavī (gatā)

Tablā

Megaphone JNG 72

Surbahār

Khamājā

Id.

3. Surbahār

Bhairavī (ālāpā)

Id.

Megaphone JNG 122

Id.

Bhairavī (gatā)

Id.

4. Sitār

Pīlū

Id.

Megaphone JNG 125

Surbahār

Bāgeshrī

Id.

5. Sitār

Khamājā (gatā)

Tablā

Megaphone JNG 134

Surbahār

Multānī (ālāpā)

Id.

6. Sitār

Bihāg (ālāpā)

Id.

Megaphone JNG 207

Id.

Bihāg (jhālā)

Id.

47

7. Surbahār

Pūrvī

(ālāpā)

Tablā

Megaphone

JNG 5236

Sitār

Bihārī

(gatā)

Id.

8. Sitār

Yogiyā

Solo

Megaphone

JNG 5274

Id.

(by/par Vilayat Hussain)

HABIB KHĀN ALLADIYĀ KHĀN (Khān Sahab)

From Patiala. Plays the vichitrā vīṇā. He is a young relative of Abdul Aziz Khān.

Originaire de Patiala. Joue du vichitrā vīṇā. C'est un jeune parent d'Abdul Aziz Khān.

1. Vichitrā Vīṇā

Shuddhā-Sārangā

Tablā

Columbia

GE 17518

Id.

Bāgeshrī

Id.

2. Vichitrā Vīṇā

Asāvarī

Id.

Odeon

SB 2166

Id.

Bhairavā

Id.

3. Vichitrā Vīṇā

Multānī

Id.

Odeon

SB 2304

Id.

Déshā

Id.

4. Vichitrā Vīṇā

Manāranjani

Id.

Odeon

SB 2308

Id.

Darbārī-Toḍī

Id.

5. Vichitrā Vīṇā

Darbārī-Toḍī

Solo

Odeon

SB 2346

Id.

Pīlū

Id.

HAMID HUSSAIN (of/de Moradabad)

He now lives in Lucknow and is a sāraṅgī player of repute.

Joueur de sāraṅgī réputé, vivant actuellement à Lucknow.

1. Sāraṅgī

Shrī

(tonk)

(Panjābi Angā)

(Ṭhumrī)

Tablā

H. M. V.

N 5967

Id.

2. Sāraṅgī

Bhairavā-Bahār

Id.

H. M. V.

5972

Id.

Māru-Bihāg

Id.

3. Sāraṅgī

Multānī

Id.

H. M. V.

N 5976

Id.

Pīlū

Id.

48

4. Sāraṅgī

Bhīmpalāshrī

Tablā

H. M. V.

N 5983

Id.

(Ṭhumrī)

Id.

5. Sāraṅgī

Chandanī-Kedārā

Id.

H. M. V.

N 5991

Id.

Pahāḍī (Dhun)

Id.

JHIRÉ KHĀN

1. Sāraṅgī

Lalitā

(gaṭā)

Tablā

H. M. V.

N 5949

Id.

(Bhairavī (Ṭhumrī)

Id.

LAKSHMANĀ BHATTACHARYA

Born in 1917 and belongs to a family of Bengali musicians. He studied music

with his father, who was a well-known vīṇā-player belonging to the Pashupat

Mishrā tradition (gharānā).

Né en 1917, appartient à une famille de musiciens du Bengale. Étudia la musique

avec son père, joueur de vīṇā renommé, appartenant à la tradition (gharānā)

Pashupati Mishrā.

1. Sitār

Bhairavī

(gaṭā)

Tablā

Megaphone

JNG 5846

Id.

Bhīmpalāshrī

Id.

LAKSHMANĀ RAO CHAWAHAN

1. Viṇā

Darbārī-Kānaḍā

(gaṭā)

Tablā

H. M. V.

N 5957

Id.

Mālkosh (gaṭā)

Id.

2. Sitār

Pilū

Id.

H. M. V.

N 5960

Id.

Pūrvī

Id.

3. Viṇā

Vasantā

(gaṭā)

Id.

H. M. V.

N 6971

Id.

Dēshā (gaṭā)

Id.

MANOHAR BARVÉ

Mainly a vocalist. He started his brilliant musical career as a child.

Est surtout un chanteur, dont la brillante carrière musicale a commencé dès

l'enfance.

1. Sitār

Kāfī

(gaṭā)

Tablā

H. M. V.

N 5934

Id.

Bhūpālī

Id.

MOHAMMAD KHĀN

1. Viṇā

Bhairavī

(gatā)

Tablā

H. M. V.

N 5993

Id.

Hamsā-Kankinī

(gatā)

Id.

2. Sītār

Bhairavī

(gatā)

Id.

H. M. V.

N 15902

Id.

Bihāg

(gatā)

Id.

MOHAMMAD SHARĪF

1. Vichitrā Viṇā

Bhātiyārā

Tablā

H. M. V.

N 14949

Id.

Jayājayantī

Id.

2. Sītār

Puriā-Dhanashrī

Id.

H. M. V.

N 14972

Id.

Shuddhā-Sārangā

Id.

3. Vichītrā Viṇā

Toḍī

Id.

H. M. V.

N 14792

Id.

Bhairavī

Id.

4. Sītār

Multānī

(Ṭhumrī)

Id.

H. M. V.

N 14793

Id.

MOHI UDDĪN (Prof. S. G.)

A well-known player from Dacca.

Artiste réputé de Dacca.

1. Sītār

Gārā

(gatā)

Tablā

H. M. V.

N 5951

Id.

Bhairavī

(gatā)

Id.

2. Sītār

Bihāg

(gatā)

Id.

H. M. V.

N 5953

Id.

Déshā

(gatā)

Id.

NĀRĀYANĀ RAO AMBADÉ

1. Sītār

Bāgésrī

(gatā)

Tablā

H. M. V.

N 5943

Id.

Bhīmpalāshrī

(gatā)

Id.

NAZIR KHĀN (Prof. of/de Jaora)

1. Sītār

Darbārī-Kānaḍā

(gatā)

Tablā

H. M. V.

N 5926

Id.

Aḍānā

(gatā)

Id.

50

2. Sitār

Yogiyā

(gāṭā)

Bhairavī (gāṭa)

Tablā

Id.

H. M. V.

N 5928

PARITOSH SEAL

A well-known Bengali musician of Calcutta.

Musicien bengali réputé de Calcutta.

1. Violin/ Violon

Pilū

(Tritālā)

Bhairavī (Tritāl)

Tablā

Id.

Columbia

GE 7047

2. Violin/ Violon

Bhīmpalāshrī

Id.

Twin

FT 4612

3. Violin/ Violon

Bihāg

Id.

H. M. V.

N 17230

RĀDHIKĀ-MOHAN MITRA

Born in 1909. He became a pupil of David Khān, and is considered one of the

best players of Calcutta.

Élève de David Khān. Né en 1909. Est considéré comme un des meilleurs exécu-

tants de Calcutta.

1. Sarode

Kāfī

Tablā

Hindusthan

Id.

H 1062

2. Sarode

Tōdī

Gārā

Id.

Hindusthan

H 1186

Id.

Kalingaḍā

Id.

RAHIMAT KHĀN

A celebrated sitār player from Dharwar.

Célèbre joueur de sitār, de Dharwar.

1. Sitār

Mālkośh

(gāṭā)

Bhairavī (gāṭā)

Tablā

Id.

H. M. V.

N 5963

2. Sitār

Yogiyā

Lalitā

Id.

H. M. V.

N 5964

3. Jalā-tarangā

Jhinjhoti

Kalingaḍā

Id.

H. M. V.

N 5966

51

4. Sitār

Jaunpuri

Tablā

H. M. V.

Id.

Parajā

Id.

N 5968

RĀMESHVARA PATHAK

A renowned musician of Darbhanga.

Musicien renommé de Darbhanga.

1. Sitār

Kāmodā

Tablā

Hindusthan

Id.

Pūriyā

Id.

H 268

2. Sitār

Sohanī

Id.

Bihāg

Id.

H 800

RAVĪNDRA SHANKAR

A younger brother of Uday Shankar. He was born about 1917, and travelled extensively abroad. Disciple of Allā-ud-dīn Khān, he is the most celebrated sitār player of the younger generation. He was recently appointed Director of Indian Music at All India Radio, Delhi.

Frère cadet d’Uday Shankar. Né aux environs de 1917, a fait de longs voyages à l’étranger. Disciple de Allā-ud-dīn Khān, est le plus célèbre joueur de sitār de la jeune génération. A été récemment nommé directeur de la musique indienne à la Radiodiffusion indienne de Delhi.

1. Sitār

Hemantā

Tablā

H. M. V.

Id.

Marvā

Id.

N 16996

2. Sitār

Yamini-Bilāval

(Tritālā-Vilampatā)

Id.

Parajā (Tritālā)

Id.

N 20027

SHAFIKULLĀ KHĀN

Now lives in Calcutta. Is the nephew of Karamat Ullā Khān the celebrated sarode player.

Vit actuellement à Calcutta. Neveu de Karamat Ullā Khān, le célèbre joueur de sarode.

1. Sitār

Sārangā

Tablā

Hindusthan

Id.

Kāfī

Id.

H 57

TIMIR BARAN

A pupil of Allā-ud-dīn Khān, he is one of the well-known players of Calcutta, though now mostly interested in modern orchestral music.

52

Élève d'Allā-ud-dīn Khān. Est l'un des artistes de Calcutta les plus connus,

bien qu'il se soit surtout intéressé à la musique orchestrale moderne.

1. Sarode

Pahāḍī

(ālāpā)

Solo

Hindusthan

H 354

Id.

Bhairavī (ālāpā)

Id.

VILAYET HUSSAIN KHĀN (of/de Gauripur)

Now lives in Bombay. Is the son of Enayat Khān. He is considered one of the

best living sitār players. His technique is brilliant, the variety of his improvisa-

tion remarkable.

Vit actuellement à Bombay. Est le fils d'Enayat Khān. Est considéré comme le

meilleur joueur de sitār contemporain. Sa technique est brillante et la variété de

ses improvisations remarquable.

1. Sitār

Bhairavī (gatā)

Tablā

Megaphone

JNG 5274

Id.

Yogiyā

Id.

(by/par Enayet Khān)

2. Sitār

Bhūpālī

Id.

Megaphone

JNG 5414

Surbahār

(Jhālā)

Id.

3. Sitār

Bhairavī

Id.

Megaphone

JNG 5574

4. Sitār

Kedārā

Id.

Megaphone

JNG 5550

5. Sitār

Yamanā-Kalyāṇā

Id.

Megaphone

JNG 5939

Id.

(Enayetī-gatā) (pt-1)

Id.

Id. (pt-2)

Id.

6. Sitār

Dhunā

(ālāpā)

Dhunā (gatā)

Id.

Megaphone

JNG 5980

7. Sitār

Gujarī-Toḍī

(jaladā, Tritālā)

Lalitā (astāī)

Id.

Columbia

GE 3344

8. Sitār

Madhuvanti

(astāī)

Madhuvanti (jaladā)

Id.

Columbia

GE 3346

9. Sitār

Chandrakauns

(astāī)

Chandrakauns (jaladā)

Id.

Columbia

GE 3355

10. Sitār

Pūriyā-Dhanashrī

(astāī)

Pūriyā-Dhanashrī (jaladā)

Id.

Columbia

GE 3360

53

11. Sitar

Shuddhā-Sāraṅgā

Tablā

Columbia

GE 3439

Id.

Shuddhā-Sāraṅgā

Id.

(astāī-gatā)

(jaladā-gatā)

12. Sitar

Bhairavā

Id.

Columbia

GE 3510

Id.

(jaladā-gatā)

Gujarī-Todī

(astāī-gatā)

Id.

WALI ULLA KHAN

Now about 45 years of age. Hails from Dacca in East Bengal and is a very gifted

musician. He is the son of the great sarode player Kokho Khān. He often

plays on Dacca Radio.

Agé d'environ quarante-cinq ans, originaire de Dacca, dans le Bengale oriental.

Est un musicien très doué. Fils du grand joueur de sarode, Kokho Khān. Se fait

souvent entendre à la Radiodiffusion de Dacca.

1. Sitar

Pīlū

Tablā

Hindusthan

H 170

Id.

Māṇḍā-Khamājā

Id.

WIND INSTRUMENTS

INSTRUMENTS A VENT

ALI HOSSAIN

Originally from Benares, he settled in Calcutta.

Originaire de Bénarès. Vît à Calcutta.

1. Shahnāī

Bhairavī

Duggī

Senola

QS 346

Id.

Yogiyā

Id.

2. Shahnāī

Puriā-Dhanashrī

Id.

Twin

FT 15462

3. Shahnāī

Mishrā-Kalingaḍā

Id.

Jaunpuri

Id.

Hindusthan

H 1306

Id.

Kajari

Id.

54

4. Shahnāī Bāgeshrī Duggi Hindusthan

Id. (Dādarā) Id. H 1347

BĀBŪ RAO DEVĀLANKĀR

From the Maharashtra country. His playing is delicate and sensitive.

Originaire du pays de Maharashtra. A un jeu délicat et sensible.

1. Shahnāī Āḍanā (gatā) Duggi Twin

Id. Durgā (gatā) Id. FT 5040

2. Shahnāī Bāgeshrī Id. Twin

Id. Mālkosh Id. FT 5065

3. Shahnāī Bhīmpalāshrī (gatā) Id. Twin

Id. Darbārī-Kānaḍā (gatā) Id. FT 5080

4. Shahnāī Jaunpurī Id. Twin

Id. Nāyaki-Kānaḍā Id. FT 6024

BISMILLĀH

The best living shahnāī player. From Benares.

Originaire de Bénarès. Le meilleur joueur de shahnāī actuel.

1. Shahnāī (Dādarā) Duggi H. M. V.

Id. Id. N 14543

2. Shahnāī (Ṭhumrī) Id. H. M. V.

Id. Id. N 14560

3. Shahnāī (Dādarā) Id. H. M. V.

Id. Bhairavī (Dādarā) Id. N 14563

4. Shahnāī Toḍī (Tritālā) Id. H. M. V.

Id. Mālkosh (Tritālā) Id. N 14564

5. Shahnāī Chaitī Id. H. M. V.

Id. Id. N 24595

6. Shahnāī Bihāg Id. Hindusthan

Id. Bhairavī Id. H 5004

7. Shahnāī Durgā Id. Hindusthan

Id. Toḍī Id. H 5015

55

8. Shahnāī

Bāgeshrī

Duggi

Hindusthan

H 5064

Id.

Jaunpuri

Id.

DINKARĀ RAO AMEMBAL (alias D. Amel)

Comes from South-Kānaḍā. He is the programme director of All India Radio, Bombay.

Originaire du Kānadā du Sud. Directeur des programmes de la Radiodiffusion indienne de Bombay.

1. Vansarī

Darbārī-Kānaḍā

(Tritālă)

Tablā

H. M. V.

N 5994

Id.

Tilangă

(Ṭhumrī, Tritālă)

Id.

2. Vansarī

Mishră-Pīlū

(Ṭhumrī)

H. M. V.

N 15903

Id.

Hindolă-Bahār

(Tritālă)

Id.

IMDĀD ALI (of/de Benares)

1. Shahnāī

Multānī

Duggi

Hindusthan

H 1165

Id.

Bhairavī

Id.

MAHABOOB ALI

A good performer from Benares.

Originaire de Bénarès. Bon exécutant.

1. Shahnāī

Bihāg

Duggi

Hindusthan

H 1098

Id.

Hansā-Kankañī

Id.

MUNNA KHĀN

Was court musician of Nagod State.

A été musicien de la cour dans l'État de Nagod.

1. Shahnāī

Sārangă

(Tritālă)

Duggi

Megaphone

JNG 117

Id.

Pīlū (Dādarā)

Id.

2. Shahnāī

Yogiyā

Id.

Megaphone

JNG'133

Id.

Bhairavī

Id.

3. Shahnāī

Āsāvarī

Id.

Megaphone

JNG 170

Id.

Sindhu-Shaṭ

Id.

56

4. Shahnāī

Bhairavī

Duggi

Megaphone

JNG 243

Id.

Bīhāg

Id.

Megaphone

JNG 359

5. Shahnāī

Puravī

Id.

Megaphone

JNG 389

Id.

Pīlū (Tellānā)

Id.

6. Shahnāī

Kedārā

(gatā)

Id.

Megaphone

JNG 1076

Behasī (gatā)

Id.

7. Shahnāī

Puriyā

Id.

Megaphone

JNG 5824

Id.

Gaurī

Id.

8. Shahnāī

NAZIR HUSSAIN (of/de Benares)

A very good Shahnāī player.

Très bon joueur de shahnāī.

1. Shahnāī

Pīlū

Duggi

Hindusthan

H 127

Id.

Bhairavī

Id.

2. Shahnāī

Multānī

Id.

Hindusthan

H 202

Id.

Puravī

Id.

3. Shahnāī

Mālkosh

Id.

Hindusthan

H 298

Id.

Puravī

Id.

4. Shahnāī

Bhairavā

Id.

Hindusthan

H 744

Id.

(Gazal)

Prabhātī

Id.

5. Shahnāī

Bhairavī

Id.

Hindusthan

H 837

Id.

(Gazal)

Toḍī

Id.

6. Shahnāī

Hindusthan

H 935

Id.

Vasantā

Id.

7. Shahnāī

Holī

Id.

Hindusthan

N 1255.

Id.

Bīhāg

Id.

8. Shahnāī

Hindusthan

H 1265

Id.

(Dādrā)

Id.

9. Shahnāī

Bhīmpalāshrī

Dholā

Senola

QS 240

(by/par Paban Biswas)

Id.

Tīlangā

Id.

57

SĀÑVALĀ RĀMĀ-JĪ

1. Vansarī

Tilak-Kāmodā

Tablā

H. M. V.

N 5932

Id.

Kāfī

Id.

2. Vansarī

Sājā

Id.

H. M. V.

N 5937

3. Vansarī

Mishrā-Mandā

Id.

Twin

FT 5352

Id.

Bhairavī

Id.

SARDAR KHĀN (of/de Peshawar)

1. Shahnāī

Āsāvarī

Duggī

Senola

QS 101

Id.

Pahadī

Id.

SHANKARĀ RAO GAIKWAD

A well-known shahnāī player, of great delicacy and style.

Joueur de shahnāī réputé. Son jeu a de la délicatesse et du style.

1. Shahnāī

Durgā

(gatā)

Duggī

H. M. V.

N 5911

Id.

Kāfī (gatā)

Id.

2. Shahnāī

Jaunpuri

Id.

H. M. V.

N 5913

Id.

Déshā

Id.

3. Shahnāī

Garudā-Dhvani

(gatā)

Tablā,

Harmonium

H. M. V.

N 5923

Id.

Id.

4. Shahnāī

Mālkosh

(gatā)

Id.

H. M. V.

N 5925

Id.

Yogiyā (gatā)

Id.

5. Shahnāī

Durgā

(gatā)

Id.

H. M. V.

N 5929

Kambhāvatī (gatā)

Duggī

6. Shahnāī

Tilak-Kāmodā

(gatā)

Id.

H. M. V.

N 5931

Mālāgunjī (gatā)

Id.

7. Shahnāī

(Tarjā)

(Rādhā-Shyāmā)

Id.

H. M. V.

HT 7

12 in./30 cm

(Tarjā)

(Jākḗ-Mathurā)

Id.

58

8. Shahnāī

Darbārī-Kānaḍā

Duggi

H. M. V.

HT 17

12 in./30 cm

Id.

9. Shahnāī

Bihāg

Id.

Dhānī

Id.

H. M. V.

HT 31

12 in./30 cm

Id.

10. Shahnāī

Bāgéshrī

Id.

Id.

H. M. V.

HT 34

12 in./30 cm

11. Shahnāī

Kāfī

(jilā)

Id.

Id.

H. M. V.

HT 37

12 in./30 cm

Id.

12. Shahnāī

Khamājā

Id.

Aḍānā

Id.

Twin

FT 5261

Id.

Miyān-kī-Malhār

Id.

SITĀRĀMĀ BHIMRAO JADHAV (of/de Solapur)

A good player of the sundarī, a small instrument of the oboe family, smaller than the shahnāī.

Bon joueur de sundarī, petit instrument de la famille des hautbois et plus petit que le shahnāī.

1. Sundarī

Bihāg

Duggi

Columbia

GE 3612

Id.

Mālkosh

Id.

59

DRUMS AND PERCUSSION

INSTRUMENTS A PERCUSSION

AHMADJĀNĀ THIRAKHAVĀ (of/de Rāmpur)

Started his career in the theatrical group organized by Bālā Gandharvā. He was later appointed musician to the court of Rāmpur. He has a brilliant technique in what is known as the “Delhi baz” or Delhi style of drumming, and is an excellent accompanist as well as soloist.

Commença sa carrière dans le groupe théâtral organisé par Bālā Gandharvā. Fut nommé plus tard musicien de la cour de Rāmpur. Possède une brillante technique dans ce qu'on appelle le « Delhi Baz », ou style de batterie de Delhi. Excellent dans l'accompagnement aussi bien que comme soliste.

1. Tablā

Tritālā

(Péshkar)

Sārangī

H. M. V.

N 5996

Id.

Tritālā (Delhi baz)

Id.

H. M. V.

N 15906

2. Tablā

Tritālā

(Delhi baz)

Id.

H. M. V.

N 15906

Tritālā (Pūrabā-tukadā)

Id.

ALLĀ RAKHĀ

One of the well-known tablā players from Northern India. He is a co-disciple of Thirakhavā, though younger. Now lives in Bombay.

Un des joueurs de tablā de l'Inde septentrionale les plus connus. Condisciple de Thirakhavā, mais plus jeune que lui. Vit actuellement à Bombay.

1. Tablā

Panjābi-Dhamār

Sārangī

Columbia

GE 3456

Id.

Jhaptālā

Id.

AMBĀDĀS INDURKAR

1. Mridangā

Dhamār

Harmonium

Columbia

GE 8122

AMIR HUSSAIN

1. Tablā

Tritālā-Relā

Sārangī

Columbia

GE 3639

Id.

Tritālā

Id.

GOVINDĀ RAO (Mridangāchārya, of/de Barhampur)

A very celebrated player of the large drum (pakhāvājā). He travelled extensively with Vishnu Digambar Paluskar. Previously State musician at Indore, he is now a teacher in Ahmedabad. Pupil of Sakhārāmjī Buvā Agalé, he belongs to

60

the school of the famous Pansé of Indore who learnt drumming as a child from a wandering yogi and whose technique always kept his audience spell-bound.

Très célèbre joueur de pakhavājā (grand tambour). A beaucoup voyagé avec Vishnu Digambar Paluskar. Précédemment musicien de l'État d'Indore, est actuellement professeur à Ahmedabad. Élève de Sakhārāmji Buvā Agalé, appartient à l'école du fameux Pansé, d'Indore, qui dans son enfance apprit le tambour d'un yogi errant et dont la technique tint toujours les auditeurs sous le charme.

1. Pakhavājā

Dhamār Jhāmpatālā Chautālā

Id. Id. Id.

Sārangī Id. Id.

H. M. V. H. M. V. N 5992 N 15901

KHAPRU-JĪ PRAVARTAKAR (Layā Brahmā-Bhāskar)

1. Tablā Id. 2. Tablā Id. 3. Tablā Id.

Dhamār in 13 time-units/en 13 temps (mātrās) Savar in 15 time-units/en 15 temps (mātrās) Tritālā Darjā in 8 time-units/en 8 temps (Aukoyādā) Tritālā in 9,10 and 11 time-units/ en 9, 10 et 11 temps Tritālā in 13, 14 and 15 time-units/ en 13, 14 et 15 temps

Sārangī Id. Id. Id. Id.

Twin FT 15262 Twin FT 15741 H. M. V. N 5948

PABAN BISWAS

A remarkable dholā-player from Dacca in East Bengal.

Remarquable joueur de dholā de Dacca, dans le Bengale oriental.

1. Dholā Id. 2. Dholā Id.

(Bhatiyālī) (Madhukānā) (Bhīmpalāshrī) (Tilangā)

Shahnāī Id. Shahnāī Id.

Senola QS 35 Senola by/par Nazir QS 240 Hussain

61

C H A P T E R I I

V O C A L M U S I C

(NORTHERN INDIA)

C H A P I T R E I I

M U S I Q U E V O C A L E

(INDE SEPTENTRIONALE)

ABDUL KARĪM KHĀN

Died in 1946. One of the foremost classical singers of his time. His voice was exquisitely beautiful. He made a very large number of recordings of classical rāgās (modes) which are among the very best records produced.

Mort en 1946. Un des premiers chanteurs classiques de son temps, avec une voix d’une exquise beauté. Enregistra un grand nombre de modes (rāgās) classiques, qui comptent parmi les meilleurs disques édités.

Title, language, authorTitre, idiome, auteur

Rāgā (mode) and styleRāgā (mode) et style

AccompanimentAccompagnement

1. Rāmā, Nagarīyā meṅ kai-sé jaiyo (Hindi)Pīyā mīlanā kī āshā (Hindi)Yogiyā

Mishrā-Janglā(Ṭritāl)ā

Tablā Tānpūrā SārangīId.

ColumbiaBEX 25112 in./30 cm.

2. Ājā Sohāgā (Hindi)Sajanā tumā kāhékō (Hindi)

ShankarāTilangā (Ṭhumrī, Tritāl)āId.Id.

ColumbiaBEX 25212 in./30 cm.

3. Inthanerā Chinnā (Kanarese)Rāmani samānā Inévéru (Kanarese)

SāvéiKaraharā-priyāId.Id.

ColumbiaBEX 25312 in./30 cm.

4. Ugīchā kā kāntā jānjilāṅ (Marathi)Nachā Sundarī karūṅ kopā (Marathi)

Ānandā-BhairavīSindhā-KāfīId.Id.

ColumbiaBEX 25412 in./30 cm.

5. Prémā sévā sharaṇā (Marathi)Chandrikā hi jaṇū bairé (Marathi)

BhīmpalāshrīDévá-GandhārāId.Id.

ColumbiaBex 25512 in./30 cm.

62

6. Prémā bhāvēñ jīvā jagiyāñ (Marathi)

Jaunpurī

Tablā Tānpurā Sārangī Id.

Columbia BEX 256 12 in./30 cm.

Hé dātā yā sharaṇāgatā (Marathi)

Nārī-Bahār

Id.

7. Pīrā na jānī dékhī (Hindi)

Mālkosh

Id.

Columbia BEX 257 12 in./30 cm.

Ḍim darā dinā [mnemotechnic rhythm-syllables/syllabes rythmiques (bols)]

Gujarī-Toḍī (Tārānā)

Id.

8. Piyā binā nāhīñ āvatā chainā (Hindi)

Jhinjhoti (Ṭhumrī-Aḍatālā)

Id.

Columbia BEX 258 12 in./30 cm.

Phagavā brijā dékhā ko chalori (Hindi)

Vasantā (Khyāl, Tritālā)

Id.

9. Abă mainé mană dékhérī (Hindi)

Vasantā (Khyāl, Ekātalā)

Id.

Columbia BEX 259 12 in./30 cm.

Jamunā ké tīrā Kānhā (Hindi)

Bhairavī (Ṭhumrī, Aḍatālā)

Id.

10. Maundarā bāju ré (Hindi)

Shuddhā-Kalyāṇā

Id.

Columbia BEX 260 12 inc/30.m.

Sochā samajhā nādānā (Hindi)

Shuddhā-Pīlū

Id.

11. Bāvarī damā dé gayo (Hindi)

(A song of the Spring Festival/ Chant de la fête printanière)

Mishrā-Kāfī (Hori)

Id.

Columbia BEX 261

Jādu Bharelī kauna

Gārā (Ṭhumrī)

Id.

12. Gopālā mori karuṇā (Marathi)

Sarāparādā

Id.

Columbia BEX 262 12 in./30 cm.

Pyārā nazarā nahīñ (Hindi)

Bilāvalā

Id.

13. Atanā Rāmā pāyīñ (Marathi)

Mālkosh

Id.

Columbia BEX 263 12 in./30 cm.

Tārī Tārī ré Rāmā (Marathi)

Khamājā

Id.

14. Bégună gună gā (Hindi)

Gujarī-Toḍī

Id.

Columbia BEX 264 12 in./30 cm.

Jhanakā jhanakā vā moré (Hindi)

Darbārī-Kānaḍā

Id.

63

15. Banalā rangīlā māī

(Hindi)

Abhogī-Kānaḍā

Tablā

Columbia

Tānpūrā

BES 265

Sarangi

12 in./30 cm.

Bandhanā vā bāndho ré

(Hindi)

Aḍānā

Id.

Id.

16. Atahī prachhunḍanā

(Hindi)

Gaurī

Id.

Columbia

BEX 266

12 in./30 cm.

Dirā dirā dirā ta nomā

(Hindi)

Māravā

Id.

(Tarānā)

Id.

17. Ghanā Ghanā Gharī

(Hindi)

Patāḍipā

Id.

Columbia

BEX 267

12 in./30 cm.

Bhavadā banadā jobanā

(Hindi)

Lalitā

Id.

Id.

AKHTĀRĪBĀĪ

A very well-known Ṭhumrī-singer from Fyzabad. She was a pupil of Ramazan Khān.

Chanteuse de ṭhumrī réputée. Originaire de Fyzabad. Élève de Ramazan Khān.

1. Kaisī bāñsiyā bajāī

(Hindi)

Pīlū

(Ṭhumrī)

Tablā

Megaphone

Tānpūrā

JNG 609

Maiñ téré sangā nā

(Hindi)

Patāmanjarī

Harmonium

Id.

2. Chhārahī kālī ghatā jiyā-rā

(Hindi)

(Dādarā)

Id.

Megaphone

JNG 745

Adāé nāzā ko jālimā

(Urdu)

(Kavvālī)

Id.

3. Ehasānā térā hogā mujhā parā

(Urdu)

(Dādarā)

Id.

Megaphone

JNG 762

Bahārā āī khilé gulā

(Hindi)

Id.

Id.

4. Matā karo prītă kiyé

hamā pachhatānā

(Hindi)

(Ṭhumrī)

Id.

Megaphone

JNG 764

Sayyāḍā né kaphasā méñ

karané na do

(Urdu)

(Gazal)

Id.

5. Kyā dardā kī koi davā jāné

(Hindi)

(Gazal)

Id.

Megaphone

JNG 796

Muphatā hué badanāmā

sarvariyā

(Urdu)

(Dādarā)

Id.

Id.

64

6. Kailsi yahā dhūmā machāī (Hori) ré (Hindi)

(A song of the Spring Festival/ Chant de la fête printanière)

Késariyā aganiyā rangā dārī (Hindi)

Id.

Id.

Tablā Tān̄pūrā Harmonium Megaphone JNG 804

7. Piyā milanā hamā jāibā ho (Hindi) Sévanā nidiyā jagāyā ho (Ṭhumri) ramā (Hindi)

Chaitī-Pīlū Id. Id.

Megaphone JNG 820

8. Paravāhā nahī̃ agarā dilā (Gazal) sadā nahī̃ (Hindi) Yahā kahanā usā sé é kā- sidā (Hindi)

Id. Id. Id.

Megaphone JNG 821

9. Hamā ko nazarā sé apané (Gazal) girāyé (Hindi) Vahā ā rahé haiñ jo bīmā- rā kī (Hindi)

Id. Id. Id.

Megaphone JNG 844

10. Morī bārī sī umariā (Ṭhumrī) (Hindi) Virahā ké mārī rainā na (Hindi)

Id. Id. Id.

Megaphone JNG 861

11. Sudhā aié ré bālamā (Dādarā) (Hindi) Sayāñ dagā déké na (Hindi)

Id. Id. Id.

Megaphone JNG 951

12. Bujhī huī shamā kā (Gazal) (Hindi) Sachā sachā batānā (Hindi)

Id. Id. Id.

Megaphone JNG 965

13. Daradiyā nā jāné mahā- rājā (Dādarā) (Hindi) Phulo ko juhlāné āī (gītā) (Hindi)

Id. Id. Id.

Megaphone JNG 974

14. Lé gayā joshé junū (Gazal) (Urdu) Mazé vétabiyoñ ké ā rahé haiñ (Urdu)

Id. Id. Id.

Megaphone JNG 987

15. Banavārī ho hamarā ké (Ṭhumrī) (Hindi) Joshā girayāñ aur (Gazal) (Hindi)

Id. Id. Id.

Megaphone JNG 1020

65 5

16. Chainā kisā dinā mujhē (Urdu) by/par Shaukat Thanvi Jānā bhī nazarā butā (Urdu) (Gazal) Id. Id. Tāblā Tāmpūrā Harmonium Megaphone JNG 1026

17. Wafāoñ ké badalē (Urdu) Divānā banānā hai to (Urdu) (Gazal) Id. Id. Id. Megaphone JNG 1042

18. Jafāé jamānā sé ranjurā (Urdu) Usé kisā tarahā sé sakunā ho (Urdu) (Gazal) Id. Id. Id. Megaphone JNG 1094

19. Jabā sé Shyāmā sidharé (Hindi) Abaké sāvanā (Hindi) (Ṭhumrī) Id. Id. Id. Megaphone JNG 1134

20. Hamā pachhatānē sajanavā (Hindi) Chāhé kachchu hoyā (Hindi) (Ṭhumrī) Id. Id. Id. Megaphone JNG 1160

21. Maiñ hué zindagī sé bézār (Urdu) Khāsā etanā mērē (Urdu) (Gazal) Id. Id. Id. Megaphone JNG 1207

22. Wafā tāhī na sahi (Urdu) by/par Shaukat Thanvi Sijā dokā goyaganā (Urdu) (Gazal) Id. Id. Id. Megaphone JNG 1215

23. Tuhi bharo sā (Urdu) Na kamā é ishaqā (Urdu) (Gazal) (Nātā) Id. Id. Id. Megaphone JNG 1269

24. Yahā marana sājagārā āyé (Urdu) by/par Shaukat Thanvi Na vahā rukhasé sāgarā (Urdu) (Gazal) Id. Id. Id. Megaphone JNG 10019

25. Kahāñ gavāī sarī rainā (Hindi) Daradiyā na jāñī (Hindi) (Dādarā) Id. Id. Id. Megaphone JNG 10021

26. Kabā lagā huī hai (Urdu) Mujhé jāno dilā méñ (Urdu) (Nātā) Id. Id. Id. Megaphone JNG 10028

27. Vahā āsu jo hasā isāké (Urdu) Goḍā laganā gayé (Urdu) (Nātā) Id. Id. Id. Megaphone JNG 10031

ALLĀH RAKHĪ

She is a well-known singer from Sindh.

Chanteuse réputée originaire du Sind.

1. Ballé tūñ samajhāvan āinā Khārā-Kānaḍā (Sindhi) Rāñjhā rāñjhā kardiné méñ Id. Tablā Tānpūrā Id. H. M. V. N 4017 āpé ranjhā (Sindhi)

2. Dilā dastā chadā (Sindhi) Sindhī-Jogā Id. H. M. V. N 4040 Piyanā pāni indhanā (Sindhi) Bhairavī Id.

3. Hinā shashharā jī shorā kānā (Sindhi) Bhimā Id. H. M. V. N 6121 Payārā prémā payāyo (Sindhi) (Ashā) Id.

4. Ho jamālī (Sindhi) (Jamālī) Id. H. M. V. N 6135

AMĪR KHĀN (Sangīt Ratnā)

A celebrated singer who lived mainly in Bengal.

Chanteur célèbre. A vécu surtout au Bengale.

1. Dholā to jalam (Hindi) Multānī Tablā Columbia VE 1009 Tānpūrā Harmonium Id.

Bhajā manā nita Harā ko nāmā (Hindi) Hamsā (Dhunā) Id.

ANVAR BĀĪ

1. Bālamā chhéré matā jāo (Dādarā) Tablā Columbia GE 5036 (Hindi) Tānpūrā Sārangī

ĀTĀ HUSSAIN

A relative and pupil of Faiyaz Khān, and now quite well known.

Parent de Faiyaz Khān et son élève, aujourd'hui très connu.

1. Unā sangā lagī morī an-khiyāñ (Hindi) Rāmakali (Khyal) Tablā Hindusthan H 671 Tānpūrā Sārangī Id.

Karā suñ lé jāūñ gharavā (Hindi) Bahār (Khyāl) Id.

67

AZAMBĀĪ

1. Lată uljhi suljā (Urdu) Bihāgdā Tablā Tānpūrā Sārangī Columbia SB 2362

Piyā āyé nā (Himdi) Mañḍā (Ṭhumrī) Id.

BAḌĪ MOTIBĀĪ (of/de Benares)

Now very old, she once was among the most popular artists in India.

Actuellement très âgée, fut autrefois l'une des artistes les plus populaires de l'Inde.

1. Kānhā bīkhā bhari (Hindi) Pūrvī Tablā Tānpūrā Sārangī H. M. V. N. 16671

Pānī bharé rī kaunā (Hindi) (Dādrā) Id.

BĀLĀ GANDHARVĀ

Born about 1894, in Mahārashṭrā. He studied with Bhaskarā Rao Gokhalé and Abdul Karīm Khān. From childhood he had a great success as singer and actor. His voice is lovely and his singing delicate. His earlier records are preferred.

Né aux environs de 1894. Originaire de Mahārashṭrā. Travailla avec Bhaskarā Rao Gokhalé et Abdul Karīm Khān. Dès l'enfance, connut un grand succès comme chanteur et comme acteur. Sa voix est ravissante et son chant délicat. Ses premiers disques sont les plus appréciés.

1. Tumă bină mérī kaună khabarā lé (Himdi) by/par Pīlū (Bhajanā) Tablā Tānpūrā Sārangī Columbia VE 5009

Prabhu téri mahimā Mīrābāī Bāgeshrī (Bhajanā) Id.

2. Gamaté saḍā majalā (Marathi) Bhīmpalāshrī Tablā Tānpūrā Columbia VE 5019

Majalā ghaḍāvī dévā (Marathi) Jangālā Id.

BALLAVĀ DAS

1. Darshanā binā mainā tarasé (Hindi) Bihāg Tablā Tānpūrā Sārangī Columbia GE 3219

Basé urā sahajāmandā (Hindi) Durgā Id.

BARKAT ALĪ KHĀN

One of the most famous singers of his time. He was the teacher of Ashāk Ali Khān.

Un des chanteurs les plus fameux de son temps. Fut le maître d'Ashāk Ali Khān.

68

1. Ekā sītamā aur lākhoñ adāyén ur ri jawānī hai zamané (Urdu)

Bāgo méñ pāré jhulé (Hindi)

(Gazal) Orch.

Id. Id.

Columbia GE 5185

BASAVĀ RĀJĀ RĀJĀGURU

1. Kanganāvā morā (Hindi)

(Tritālā)

Kedārā

Tablā Tānpūrā Sārangī

Id. Id.

H. M. V. N 26813

Jobanā ré lalaiyā (Hindi)

Bhairabī-Bahār

2. Anāhatā ādā nādā (Hindi)

Shankarā

Id.

H. M. V. N 26450

Manā méñ raho (Hindi)

Māru-Bihāg

Id.

3. Bairanā ghasā na (Hindi)

Déshī

Id.

H. M. V. N 26569

Savanā kī (Hindi)

Shyāmā-Kalyāṇā

Id.

BHIMSEN JOSHI

A young musician from Mahārāshtra. He belongs to the school of Abdul Karīm Khān.

Jeune musicien de Mahārāshtra. Appartient à l'école d'Abdul Karīm Khān.

1. Sāhabā jamālā tūñ to (Hindi)

Multānī

Tablā Tānpūrā Sārangī

Id. Id.

Columbia GE 3454

Nāhīñ paratā maiñkā chai-nā (Hindi)

Bhairavī

2. Kalā nā paré morī (Hindi)

Pūriyā

Id.

Columbia GE 3509

Kānaānā sunāīré bātā (Hindi)

Sūhā-Kānaḍā

Id.

BĪNĀPĀNI MUKHERJEE

Born in Calcutta. She studied music with her grandfather, a noted Esrāj player. Now lives in Bombay.

Née à Calcutta. Étudia la musique avec son grand-père, joueur d'esrāj renommé. Vit actuellement à Bombay.

1. O Gokulā ké ujiyārē (Hindi)

(Bhajanā)

Tablā Tānpūrā Harmonium

Id. Id.

Columbia GE 2839

Ekā jogana āyiré (Hindi)

Id.

2. Duniyān sankatā nāgarī

(Hindi)

Tablā

Hindusthan

Tānpūrā

H 1005

Harmonium

Id.

Prémā kā guṇā gāo

(Hindi)

Id.

Megaphone

JNG 1022

3. Shyāmā nahīn āyé

Jaunpurī

(Khyāl)

Id.

Id.

Rāmā nāmā sé bolo

(Hindi)

(Bhajanā)

Id.

Megaphone

JNG 1262

4. Bālamā ājā shudhalé morā

(Hindi)

Id.

Id.

Mayā kuchhā nā bolūñ ré

(Hindi)

Id.

H. M. V.

N 27530

5. Madhupurā nagarī

(Kīrtanā)

(Bengali)

Id.

CHHOTÉ RĀM DAS (of/de Punjab)

One of the important disciples of Parusudda Missir, he belongs to the Haridāsā Svāmī tradition (gharānā).

Un des plus grands disciples de Parusudda Missir. Appartient à la tradition (gharānā) Haridāsā Svāmī.

1. Abā to baḍi derā bhai

(Hindi)

Bhīmpalashrī

Tablā

Broadcast

Tānpūrā

B 2183

Harmonium

Id.

Tandé karanvā

(Hindi)

'Tappā

CHINMOY LĀHIRI (of/de Calcutta)

Studied in the Marris College of Music at Lucknow. A young musician of standing, now living in Calcutta.

Jeune musicien de talent qui a étudié au collège de musique Marris de Lucknow et vit actuellement à Calcutta.

1. Duyārē élo ké

(Bengali)

Tablā

H. M. V.

Tānpūrā

N 27651

Sāraṅgī

Id.

Nā māñéc māñā

(Bengali)

Id.

2. Kéna bala nibhé jāyā

(Bengali)

Brindāvani-Sāraṅgā

Id.

H. M. V.

N 27703

Āsi bolé kéna élo nā

(Bengali)

Id.

DATTATRÉYĂ V. DIKṢITĂ

1. Haradamā maulā té

(Hindi)

Āsāvarī

(Tappā)

Tablā

Columbia

Tānpūrā

GE 3637

Ho miyā jānévālé

(Hindi)

Kāfī

(Tappā)

Id.

70

2. Kaisī ré kāḍu méndījā

(Hindi)

Khamājā

(Tappā)

Tablā

Tānpūrā

Columbia

GE 3646

Dilā bahārā ākhé

(Hindi)

Bhairavī

(Tappā)

Id.

Id.

DATTATRÉYĂ V. PALUSKAR (Paṇḍit)

The son of the celebrated musician and musicologist, Paṇḍit Viṣṇu Digambar Paluskar. He is greatly appreciated as a singer of classical music.

Fils du célèbre musicien et musicologue Paṇḍit Viṣṇu Digambar Paluskar. Très apprécié comme chanteur de musique classique.

1. Kaisé nikhasi chāndanī

(Hindi)

Bahār

Tablā

Tānpūrā

Sārangī

Columbia

GE 3405

Koyaliyā bolé

(Hindi)

Tilak-Kāmodā

Id.

Id.

2. Jāké kānā ré

(Hindi)

Kedārā

Id.

Columbia

GE 3458

Nīké ghungarīyā

(Hindi)

Vilāsākhānī-Toḍī

(Bhajanā)

Id.

Id.

3. Jabā jānakī nāthā

(Hindi)

Raghupati rāghavā rājā Rā-mā

(Hindi)

Id.

Id.

Columbia

GE 3507

4. Bunarā byāhanā āyéré

(Hindi)

Gauḍ- Malhār

Id.

Columbia

GE 3813

Huñ to bārā bārā

(Hindi)

Rāmakalī

Id.

Id.

5. Mārūñ kavanā kājā

(Hindi)

Māravā

Id.

Columbia

GE 3868

Chalo mană Gangā Jamunā tīrā

(Hindi)

by/par Mīrā-bāī

(Bhajanā)

Id.

Id.

6. Pīyā nahīñ āyé

(Hindi)

Hansā-Kinkini

Id.

Columbia

GE 3943

Lachhmanā dhiré chalo

(Hindi)

(Bhajanā)

Id.

Id.

7. Ajāhū nahīñ āyé

(Hindi)

Nandā

(Jhamptālā)

Id.

H. M. V.

N 35164

Karanā pichkārī

(Hindi)

Hindolā

(Tritālā)

Id.

Id.

8. Āī samadhinā morā

(Hindi)

Miyān-Malhār

Id.

H. M. V.

N 35289

Badhaiyā lāo lāo ré

(Hindi)

Āsāvarī

Id.

Id.

9. Chamakātī yā vāyā

(Hindi)

Id.

H. M. V.

N 25026

by/par Sukhlā Kavi

Sati charitā nīti

(Hindi)

by/par Sukhlā Kavi

Id.

Id.

71

DILIP CHANDRĀ VÉDI

Hails from Punjab. A disciple of Bhaskarā Buvā Gokhalé, his style is neat and

correct. He is a musicologist as well as a performer.

Originaire du Pendjab. Disciple de Bhaskarā Buvā Gokhalé. Son style est net et

correct. C'est un musicologue autant qu'un exécutant.

1. Piyā nahīn āyé

(Hindi) Déshā Tānpūrā Hindusthan

Jo hakīn katōn kī bahārā thī (Punjabi) (Gāzāl) Harmonium H 369

2. Rangā rangā phūlā khilatā (Hindi) Bahār (Ekātalā) Id. Hindusthan H 404

Jobanā jātā rī sajanī (Hindi) Védi-kā-Lalitā

3. Govardhanā Giridhārī (Hindi) (Bhajanā) Id. Hindusthan H 470

Ekā bārā chhavā dīkhājā (Hindi) (Bhajanā) Id.

DIPĀLĪ NĀG TĀLUKDĀR (Kumārī)

A well-known singer of Calcutta. She often sings on Calcutta Radio.

Chanteuse réputée de Calcutta, qui se fait souvent entendre à la Radiodiffusion

de Calcutta.

1. Chudiyān bārā bār kar (Hindi) Bihāg (Khyāl, Tritālā) Tānpūrā H. M. V. N 17198

Jānā sujānā (Hindi) Bāgéshrī (Tritālā) Id.

2. Kā karūn nā māncé (Hindi) Kalingadā Id. H. M. V. N 17498

Sumiranā karā bhajā (Hindi) Bīlāvalā Id.

3. Chhanā chhananamā bichhuvā bājé (Hindi) Jaunpūrī Id. H. M. V. N 27215

Yahī ganimatā jānā hamāncé (Hindi) Sūhā-Kānadā Id.

FAIYAZ KHĀN (of/de Baroda)

Now elderly, is considered one of the great masters of Indian music today. He is

mainly a singer of Khyāls but also sings Dhrupad. Grandson of the famous

Gulām Abbās, nephew of Nathan Khān, he belongs to the celebrated Rangilé

tradition (Gharānā). He was State musician of Baroda but has now retired.

Actuellement âgé, est considéré comme un des grands maîtres de la musique

indienne de nos jours. C'est surtout un chanteur de khyāls, mais il chante également

des dhrupads. Petit-fils du fameux Gulām Abbās, neveu de Nathan Khān, il

appartient à la célèbre tradition (Gharānā) des Rangilé. Il fut musicien d'État de

Baroda mais est maintenant retraité.

72

appartient à la célèbre tradition (gharānā) Rangilé. A été musicien de l'État de Baroda, mais a maintenant pris sa retraite.

1. Moré mandirā abā lūñ nahīñ āyé (Hindi)

Jayājayanti

Tablā Tānpūrā Sārangī Id.

Hindusthan HH 1 12 in./30 cm

Karā āi piyā sangā rangā raliyān (Hindi)

Pūriyā (Khyāl)

Id.

2. Garavā maiñ sangā lāgā (Hindi)

Todī

Id.

Hindusthan H 249

Manā-Mohanā jā ké rasiyā (Hindi)

Parajā

Id.

3. Jhanā jhanā pāyalā bajé (Hindi)

Natā-Bihāg

Id.

Hindusthan H 355

Chalo kāhé ko jhuti banavo (Hindi)

Bhairavī

Id.

4. Phulāvanā kī gēñdanā mai kā (Hindi)

Jaunpurī

Id.

Hindusthan H 793

Vandé Nandā-kumāram

Kāfī

Id.

5. (Ālāpā) (Hindi)

Lalitā (ālāpā)

Id.

Hindusthan H 861

Tadāpatā hūñ jaisé jalé hinā mīnā (Hindi)

Lalitā (Gītã)

Id.

6. Nainā sūñ dékhi ek jhalakā (Hindi)

Sūgarai

Id.

Hindusthan H 1093

Moré jobanā parā (Hindi)

(Dādarā)

Id.

7. (Ālāpā)

Darbārī (ālāpā)

Id.

Hindusthan H 1156

(Khyāl)

Darbārī (Khyāl)

Id.

8. Mathurā na jao moré Kanhaiyā (Hindi)

Pūrvī

Id.

Hindusthan H 1331

Pavanā chalakā janamānā (Hindi)

Chhāyā

Id.

Pūriyā Todī

Id. Id.

Hindusthan

10. (Ālāpā)

Ramkālī (Tritālā, vilampatā)

Id.

H. M. V. N 36050

Unā sangā lagi ānkhīā (Hindi)

Ramkālī (Tritālā, jaladā)

Id.

GĀNDHĀRĪ HANGAL (alias Gangubāī Hublī)

Born in Dharvar in North Karnātak. She belongs to the school (gharānā) of Abdul Karīm.

Née à Dharvar dans le Kanara du Nord. Appartient à l'école (gharānā) d'Abdul Karīm.

73

1. Chhāndā moré bālamā baiyāñ (Hindi)

Bāgeshrī (Ekātalā)

Tablā Tānpūrā Harmonium

H. M. V. N 5656

Moré manā harāi (Hindi)

Mālkosh

Id.

2. Hari kā bhédā nā payo Rāmā (Hindi)

Jogiyā (Jhamptālā)

Id.

H. M. V. N 5760

Hari khelatā hori vrajā méñ (Hindi)

Mishrā-Khambāvatī

Id.

3. Darashanā binā ankhiyān (Hindi)

Durgā

Id.

H. M. V. N 5764

Kāhé lādāli lāḍā laḍāyā (Hindi)

Miyāñ-ki-Malhār

Id.

4. Ābā mori bātā (Hindi)

Shuddhā-Sārangā

Id.

H. M. V. N 5814

Āi ré (Hindi)

Aḍānā

Id.

5. Koyalayā bolé (Hindi)

Aḍānā

Id.

H. M. V. N 5827

Amī lāmātā mashī (Hindi)

Déshkār

Id.

GAUHAR JĀN

A well-known Calcutta singer of light music in the beginning of the century. She was said to be extremely wealthy and met with a tragic end.

Chanteuse légère de Calcutta, aujourd'hui décédée, qui a connu de grands succès au début du siècle. On la disait extrêmement riche. Cut une fin tragique.

1. Nāhakā lāyé gavanavā mérā (Hindi)

Bhairavī (Ṭhumrī)

Tablā Tānpūrā Sārangī

H. M. V. P 17

Anā bānā jīyā méñ lāgī (Hindi)

Id.

Id.

2. Dilādāā dilārā tanā manā dhanā kurābānā (Hindi)

Pahāḍī

Id.

H. M. V. N 6323

Bārī jāūn ré sāñvariyā topé (Hindi)

Sorathā

Id.

3. Maiñ to hori Rāmā sangā (Hindi)

(A song of the Spring Festival/ Chant de la fête printanière)

Déshă (Holi)

Id.

H. M. V. 13264-47

Pāpiā dhumā machāī (Hindi)

Kāfī (Holi)

Id.

4. Jabā khulī bhī na thī arzé (Urdu)

Bhairavī (Gazal)

Id.

Twin FT 406

Rasă ké bharé toré nainā (Hindi)

Id.

74

GOPESHVAR BANERJEE (Sangītā Nāyakā)

Was a well-known singer of Dhrupad, Khyāl and Tappā. Court musician of Burdwan and later of Mayurbhanjā. He also taught music in Calcutta and wrote several books on musical theory.

Chanteur réputé de dhrupads, de khyāls et de tappās. Musicien de la cour de Burdwan, puis de Mayurbhanjā. Il enseigna également la musique à Calcutta et écrivit plusieurs traités de théorie musicale.

1. Girirāñī ei lao (Bengalī)

Rāñgā padé ké dila (Bengalī)

Tāblā Tānpūrā Id. Hindusthan H 401

GULĀM ALI KHĀN (Badé, of/de Lahore)

Now over 50. One of the acknowledged masters of Indian music today. His singing of Khyāls is very colourful. He is the son of Khalé Khān who was one of the most famous musicians of the previous generation.

Âgé de plus de cinquante ans, il est un des maîtres reconnus de la musique indienne de nos jours. Son exécution des khyāls est très colorée. Fils de Khalé Khān, un des plus fameux musiciens de la génération précédente.

1. Mandirā dékhā daré (Hindi) Latakā chalcé to jiñā (Hindi)

Mālkosh Parajā Tāblā Tānpūrā Sārangī Id. Columbia VE 5048

2. Katé nā birahā kī rātā (Hindi) Prémā ké phandé méñ ākarā (Hindi)

Pīlū Bhairāvī (Ṭhumrī) Id. Id. Columbia VE 5049

3. Jaisī Kariyé vaisī bhariyé (Hindi) Tīrachhī nazariā ké bāñṭā (Hindi)

Aḍānā (Ṭhumrī) Id. Id. Columbia VE 5051

4. Ayé nā bālamā (Hindi) Prémā ki marā katārā (Hindi)

(Ṭhumrī, Dādarā) Sohani (Ṭhumrī) Id. Id. Columbia VE 5052

5. Kāhé ko chhalā baliyā (Hindi) Beguñā āyé (Hindi)

Déshă (Ṭhumrī) Bhīmpalāshrī Id. Id. Columbia VE 5054

6. Mére nayanā lāgé (Hindi) Ho sāhébé jamālā (Hindi)

Pīlū (Ṭhumrī) Multānī (Khyāl) Id. Id. Megaphone JNG 797

75

7. Bājā bandā khulā jāyé (Hindi)

Bhairavī

Tablā Tānpūrā Sārangī

Hindusthan H 886

Rutā vastantā méñ (Hindi)

Adānā-Bahār

Id.

Hindusthan H 910

8. Abā manā kaisé na kahiyo (Hindi)

Pahāḍī-Meghā

Id.

Bālamuā ānā milo (Hindi)

(Dhunā)

Id.

Hindusthan H 965

9. Kurābānā so māriyé (Hindi)

Pahāḍī

Id.

Piyā manā mandirā méñ (Hindi)

Kalingaḍā

Id.

Hindusthan H 1028

10. Toré nainā jādū bhare (Hindi)

Tilangā

Id.

Hamā sangā tumā sangā

(Hindi)

Lalitā (Ṭhumrī)

Id.

HARIBHĀU GHĀNGRÉKAR

A Marathi by birth. He sings Khyāls and is the most outstanding pupil of Rāmā Krishnā Būvā Vazé, who was a disciple of Nisār Hussain Khān.

Marathi de naissance. Chante des khyāls. Un des élèves les plus en vue de Ramā-krishnā Būvā Vezé, lui-même disciple de Nisār Hussain Khān.

1. Barsanā lāgέ (Hindi)

Gauḍāgirī

Tablā Tānpūrā

Columbia CE 3446

Birahanā bārarī (Hindi)

Bārari

Id.

2. Adi madhyā antā (Hindi)

Khambhāvati

Id.

Columbia GE 3573

Tūhī ādā tuhī nāda (Hindi)

Shuddhā-Kalyāṇā

Id.

HIRĀBĀĪ BAḌODEKAR

A very talented and popular singer. She studied music with Wahid Khān, and belongs to the tradition of Abdul Karim.

Chanteuse populaire de talent. Étudia la musique avec Wahid Khān. Appartient à la tradition d'Abdul Karim.

1. Bairanā Thaḍi atarayā (Hindi)

Tilak-Kāmodā

Tablā Tānpūrā Harmonium

Columbia BEX 268 12 in./30 cm

Tatā vitatā ghanā (Hindi)

Bhūpālī

Id.

2. Trātā prabhu sakalānchā (Marathi)

Bāgeshrī

Id.

Columbia VE 5001

Sakhé mī murārī (Marathi)

Bhīmpalāshrī

Id.

76

3. Kitī sukhā karā babas (Marathi) Kāfī Tablā Tānpūrā Harmonium Columbia VE 5005 Bolā tujhé godā (Marathi) Mishrā-Mānḍā Id. Id.

4. Upavānī gātā kokilā (Marathi) Mishrā Id. Columbia VE 5006 Ātān̄ Ayodhyā Nagarīlā (Gītā) (Marathi) Id. Id.

5. Hānsavī nāchavī (Marathi) Mānḍā Id. Columbia VE 5010 Jagī ābhāsā hā (Marathi) Bhairavī Id. Id.

6. Padā Pankajāté (Marathi) Bhairavī Id. Columbia VE 5012 Kathinatā varīnā (Marathi) Tīlangā Id. Id.

7. Adhirā manā bāvaré (Marathi) Patadīpā Id. Columbia VE 5013 Ghéī Vihagasamā (Marathi) Mānḍā Id. Id.

8. Piyā nahīn āyé (Hindi) Patadīpā Id. Columbia VE 5015 Hori Khélo mosé (Hindi) Dīpāchandī (Holi) Id. Id.

(A song of the Spring Festival/ Chant de la fête printanière)

9. Dhanyā dhanyā jānakī (Marathi) Tīlangā Id. Columbia VE 5016 Hī sévā prabhurājā sévā (Marathi) Mānḍā Id. Id.

10. Janā manasā mandirāntā (Marathi) Yamanā-Kalyāṇā Id. Columbia VE 5018 Ruchirāchī (Marathi) Bhīmpalāshrī Id. Id.

11. Akélī matā jaiho (Hindi) Bhairavī (Thumrī) Id. Columbia VE 5021 Morā bansī bajāké (Hindi) Kaharavā Id. Id.

12. Rādhé-Kṛiṣṇā bolā mukhā sé (Hindi) (Bhajanā) Id. Columbia VE 5027 Jārē bhaurā dūrā (Hindi) Sārangā Id. Id.

13. Madhu madană manā karé (Hindi) Brindāvani-Sārangā Id. Columbia VE 5028 Abā ké sāyanā gharā āyé (Hindi) Déshā (Thumrī) Id. Id.

77

14. Ghérā bādarī Rāmā (Hindi) Giridharā Gopālā (Hindi) by/par Mīrābāī

Pīlū (Ṭhumrī) (Bhajanā)

Tablā Tāmpūrā Sārangī Id.

Columbia VE 5030

15. Asārā Pasārā (Marathi) Kāḷā kharā kali kāḷā (Marathi)

Bhairavī Pīlū Id. Id.

Columbia VE 5031

16. Bārā bārā karā Hari (Hindi) Shyāmā nahīn āyé (Hindi) (A song of the Spring Festival/ Chant de la fête printanière)

Bāgeshrī Kāfī (Holī) Id. Id.

Columbia VE 5033

17. Vrajā Vaninchā Harī (Marathi) Katu yā abalā (Marathi)

Kāfī Jaunpurī Id. Id.

Columbia VE 5034

18. Priyā bālé jhaṇimā dhānva gné (Marathi) Patitā tūñ pāvanā (Marathi)

Māṇḍā Abhangā Id. Id.

Columbia VE 5036

19. Kāñkariyé jī na māro (Hindi) Kāhé satāvo Shyāmā (Hindi)

Toḍī (Ṭhumrī) Id. Id.

Columbia VE 5039

20. So so bārī bālamā (Hindi) Id. Id.

Lalitā (asthāī) Lalitā (jaladā) Id. Id.

Columbia VE 5057

21. Chākarā rākhojī (Hindi) by/par Mīrābāī Sundarā svarupā jāké (Hindi)

Bhairavī (Bhajanā) Id.

Odeon SA 3027

22. Payori mainé Rāmā ratanā (Hindi) Hari nāma binā jalā jaiyé (Hindi)

(Bhajanā) Bhairavī Id. Id.

Odeon SA 3070

23. Tirathā kī sabā chalé (Hindi) Matavālé tori ho pīyā pyāré (Hindi)

Tilak-Kāmoḍā Bhairavī Id. Id.

Twin FT 2450

78

IMTIAZ AHMED

1. Kaunā dishā moré gayé (Hindi) (A song of the Spring Festival/ Chant de la fête printanière) Bāñké muraliyā tihārī (Hindi)

Kāfī (Holi-Ṭhumrī) Khamājā (Ṭhumrī)

Tablā Tānpūrā Id. Id.

H. M. V. N 14767 H. M. V. N 14779

2. Unasé ummīdé ilatiphatā (Urdu) Phiră kisi ikā bévaphā kī (Urdu)

Id. Id.

H. M. V. N 14779

INDRĀ BĀĪ KHĀDILKAR

1. Jhananā jhananā mérī (Hindi) Madhu bansarī (Hindi)

Bihāg Déshā

Tablā Tānpūrā Id.

H. M. V. N 26325

INDIRĀBĀĪ VADKAR

The most outstanding pupil of Vilayet Hussain Khān and often surpasses her teacher. "There is none better to make listeners realize the true loveliness of Tāṇās".

Élève la plus remarquable de Vilayet Hussain Khān, qui surpasse souvent son maître. « Personne mieux qu'elle ne sait faire sentir aux audíteurs le véritable charme des tāṇās. »

1. Pashupatā girijapātā (Hindi) So jāné ji jāné (Hindi)

Vasantā Shankarā

Tablā Tānpūrā Sārangī Id. Id.

Columbia Rl 2063 Young India TM 8361

INDUBĀLĀ

A professional singer of Ṭhumrīs from Calcutta. Chanteur professionnel de Ṭhumrīs. Originaire de Calcutta.

1. Mohé panaghatā pară Nandālālā (Hindi) Tumā Rādhé bano Shyāmā (Hindi)

(Ṭhumrī, Dādarā) (Kavvālī, Ṭhumrī)

Tablā Tānpūrā Harmonium Id.

H. M. V. P 10237

2. Morī nidiyā na jagāo (Hindi) Sajānā tumā kāhé ko néhā lagāyā (Hindi)

Khamājā Ṭablā Tānpūrā Harmonium

Tilak-Kāmodā Id. Id. Id.

H. M. V. P 10359

3. Erī hān rī nanadiyā (Hindi) Kāśé kahūñ jī kī batiyāñ (Hindi)

(Ṭhumrī, Jatā) Khamājā Id. Id.

H. M. V. P 10395

4. Piyā ké milanā hamā jāibā (Chaitī) Chaitā kī nidiyā ré (Hindi)

Id. Id. Id.

H. M. V. P 10442

5. Dilā kashā hai ajabā (Gazal-Nāitiyā) Mānjare gulajā rā (Urdu) Kyā samajhé koï ajamato rafatā (Urdu)

Id. Id. Id.

H. M. V. P 10481

6. Nā chhédo sayyāñ bārī umarā laḍakayyāñ (Hindi) Sakhī pyārī pyārī (Hindi)

(Dābarā) Id. Id.

(Bhagā) Id. Id.

H. M. V. P 10507

7. Ahalé vatanā ké hāthā méñ (Kaumī-Najamā) ijjatā vatanā (Urdu) Pyārā vatanā hamārā Hindusthān hai yāro (Hindi)

Id. Id. Id. Id.

H. M. V. P 10564

8. Mohé piyā milanā ko jānedé Kalingaḍā bairanā méñ (Hindi) Méro ājā āyé sayyāñ (Hindi)

Id. Kāmodā Id. Id.

J. M. V. P 10606

9. Tanā manā vārūñ bāñké sañvariyā (Hindi) Sakhī moré ajāhūñ na āyé sañvaliyā (Hindi)

(Nāchā) Id. Id. Id.

H. M. V. P 10619

10. Jamānā tujhé purajafā (Gazal) jānatā hai (Urdu) Jo kī ho nā āshanayé dardé dilā (Urdu)

Id. Id. Id. Id.

H. M. V. P 10638

11. Bālamā chhédō matā jāo (Hindi) Jā main tośé nahīñ bolūñ (Hindi)

Khamājā (Ṭhumrī) Id. Id. Id.

H. M. V. P 10645

12. Piyā milanā kī āshā (Hindi) Chandrakalā si shvétā rātā thī (Hindi)

Id. Id. Id. Id.

H. M. V. P 10669

13. Pahalu méñ garā ho dilā to térī ārajā karéñ (Hindi) Ruyé roshanā ké karīñ jhulfā agarā (Urdu)

(Gazal) Id. Id. Id.

H. M. V. P 10673

80

14. Kaisé māradai dékho pichhākārī (Hindi)

Bhairavī (Holī)

Tablā Tānpūrā Harmonium

H. M. V. P 10689

(A song of the Spring Festival/ Chant de la fête printanière)

Khélanā Shyāmā Kanhaiyā sé horī (Hindi)

Id. (A song of the Spring Festival/ Chant de la fête printanière)

Id.

15. Manā mohā liyo érī sakhī (Hindi) Lagatā karéjavā méñ chotā (Hindi)

Jangalā (Dādarā) Bhairavī (Thumrī, Jatā)

Id. Id.

Twin FT 803

JADDANĀ BĀĪ

A singer of light music and film actress from Calcutta. She died recently.

Chanteuse de musique légère et actrice de cinéma de Calcutta. Morte récemment.

1. Rūpā jobanā guṇā dharo rahatā hai (Hindi) Svanayé dilā sé numayānī hai (Hindi)

Durgā Id.

Tablā Tānpūrā Sārangī Columbia VE 1701

2. Lagatā kaléjavā méñ chotā (Hindi) Toḍā lā hūñ rājā jamu-niyā ko dāro ré (Hindi)

Bhairavī Id. Id. Columbia GE 1275

JAMIRUDDĪN KHĀN

Sometimes known as the "King of Thumrī". Born in Ambalā (Punjab). His father was a Dhrupad singer. Jamiruddīn studied music with Badal Khān and the celebrated Maujuddīn. He later settled in Calcutta and died in 1939.

Est quelquefois connu sous le nom de « roi du Thumrī ». Né à Ambalā (Pendjab). Son père était un chanteur de dhrupad. Étudia la musique avec Badal Khān et le célèbre Maujuddīn. S'installa plus tard à Calcutta. Décédé en 1939.

1. Dādaravā bolé (Hindi) Suganā bolé ré hamārā (Hindi)

(Thumrī) (Chaitī)

Tablā Tānpūrā Harmonium Megaphone JNG 10

Id.

2. Rangā dékhā jiyā lalachāyā (Hindi) Sainyā ékā vairī āyā (Hindi)

(Holī) (A song of the Spring Festival/ Chant de la fête printanière)

Pīlū Id. Megaphone JNG 611

81 6

3. Holī khélanā morī (Holī)

(Hindi)

Tablā Tānpūrā Harmonium

Megaphone JNG 1268

(A song of the Spring Festival/ Chante de la fête printanière)

Saiyyān rahé vohī pārā (Chaitī)

(Hindi)

Id.

JĀNĀKĪ BĀĪ

Jānākī Bāī of Allahabad who died about 1918. A very famous singer of classical and light songs.

Mort en 1918. Était un chanteur fameux de chansons classiques et légères.

1. Torī bolī suné kotavālā Gārī

tutī bolé nā (Hindi)

Tablā Tānpūrā Sārangī

Id. Id.

H. M. V. P. 10143

Samadhī dékho bāñkā nirālā hai ré (Hindi)

2. Garadanā katané sé na darayé (Hindi)

Sayyan morī pakādo dagarīyā (Hindi)

Kajarī Chétā

Id. Id.

H. M. V. P 10218

3. Sūndarī morī kāhé ko chhainā laī (Hindi)

Badayyā gharā gunayanā sūñ kyun ladayé (Hindi)

Darbārī-Kānaḍā Rāmākali

Id. Id.

H. M. V. P 10382

4. Kanhaiyā né māri rangā (Holī)

(Hindi)

Id.

H. M. V. P 10413

(A song of the Spring Festival/ Chant de la fête printanière)

Kubarā bhāī vairanā (Bhajanā, Holī)

(Hindi)

Id.

(A song of the Spring Festival/ Chant de la fête printanière)

5. Tu hī bāntiyo jagā méñ javānā (Hindi)

(Kajarī)

Majā lélé rasāyā naï Jhulanī kā (Hindi)

(Majāmuā)

Id. Id.

H. M. V. P 10422

6. Ekā kāfirā parā tabīyatā (Gazal)

ā gaï (Urdu)

Rūmā jhūmā badaravā barāsé (Hindi)

Malhār Id.

H. M. V. P 10451

7. Kānhā na karā mosé rārā Jaunpurī

(Hindi)

Bālamā nayyā dagāmagā dolé (Hindi)

Bhairavī (Dādarā)

Id. Id.

H. M. V. P 10476

80

8. Dilā ekā sé hī lagā hazā- Pīlū roñ khadé (Hindi)

Ānandā bhayo yahā nāgarī Soharā (Hindi)

T'ablā Tānpūrā Sārangī Id.

H. M. V. P 10497

9. Bālā jobanā morā machāo Bahār ré (Hindi)

Saiyyāñ hamārē morā Pūravī (Hindi)

Id. Id.

H. M. V. GC12-13293-GC 12-13301

10. Kyā tu ané dilā liyā (Gazal) (Hindi)

Ishkā méñ kyoñ karā ba- ché jāná badī (Hindi) Id.

Id. Twin FT 435

11. Balā ké banā méñ jo sagarā Sojā kā (Hindi)

Ranā méñ jabā banuyé békasā kī savārī (Hindi) Id.

Id. Twin FT 2009

12. Hamārā bālamā piyé (Kajarī) bhangā chhotī nanadī (Hindi)

Kāsé kahūñ jiyā kā hālā ré Sānvaliyā (Hindi) Id.

Id. Twin FT 2242

13. Bisaraiho na bālamā morī sudhavā (Hindi) Abā na bajāo kānhā bansariyā (Hindi)

Bhairvī Id. Id.

Id. Twin FT 2297

14. Lagā jāré nātho péndo kā Sārangā (Marvari)

Id. Twin FT 2304

JNANENDRĀ PRASAD GOSWĀMĪ

Died in 1947. Came from Vishnupur in Bengal, which is a famous centre of music. He studied music with his uncle Radhikā Prasād Goswāmī and sang purely classical music. He was famous in Bengal for his tappās.

Mort en 1947. Était venu de Vishnupur au Bengale, centre musical renommé. Avait étudié avec son oncle Radhikā Prāsad Goswāmī et chantait la pure musique classique. Était célèbre au Bengale pour ses tappās.

1. Āmāyā bolonā bhulitē (Bengali) Āji ni jhumā rāté ké (Bengali)

Bīhāg Darbārī-Kānadā Tablā Tānpūrā Sārangī Id.

H. M. V. N 7074

2. Ujala kājala dutī nayana Mālgunjā (Bengali) Dāminī damaké yāminī Jayājayantī (Bengali)

Id. Id.

H. M. V. N 7131

3. Shūnya é buké pākhí mo-rā (Bengali)

Jāhā kichu mama (Bengali)

Chhāyānată

Tablā Tānpūrā Sārangī

H. M. V.

N 7264

4. Shamashānē jāgiché shyāmā (Bengali)

Shyāmā māyérā kolé chadé (Bengali)

(Shyāmā Sangītă) (Prayer to Kālí/ prière à Kālí)

Id.

Id.

H. M. V.

N 9974

5. Madhurā minati shuna (Bengali)

Piu piu birahī papiyā (Bengali)

Jaunpuri

Lalitā

Id.

Id.

H. M. V.

N 17319

6. Ê ghana ghorā rāté (Bengali)

Āji Nandalalā mukhā-chandā (Bengali)

Sūrā-Malhār

Khambāvatī

Id.

Id.

H. M. V.

N 17406

7. Kénā méghérā chhāyā (Bengali)

Méghé méghé andhā (Bengali)

Id.

Id.

H. M. V.

N 17479

8. Madhurā nūpūrā (Bengali)

Jayā bigalitā (Bengali)

Shankarā (Tritālā)

Bhairavā (Tritālā)

Id.

Id.

H M. V.

N 27231

9. Sakhi téré manā ko (Bengali)

Murāli ki térā (Hindi)

Rāmkali

Tilangă

Id.

Id.

H. M. V.

N 27222

10. Yā sakhi ānă tāré (Bengali)

Bhīshma-jananī Bhāgīrathī (Bengali)

Yamanā (Tritālā)

Yatā (Bhajanā)

Id.

Id.

Megaphone

JNG 112

Bāgeshri

Brindāvani-Sārangă

Id.

Id.

Megaphone

JNG 1266

12. Chira sundara naola kishorā (Bengali)

Chhandé chhandé nāché Nanda dulālā (Bengali)

Bhairavā (Bhajanā)

Natā-Mallār (Bhajanā)

Id.

Id.

Megaphone

JNG 5114

13. Bājé mridanga-vīnā (Bengali)

Brindāvană dhanā naba-ghana (Bengali)

Darbāri-Kānadā

Brindāvani-Sārangă

Id.

Id.

Megaphone

JNG 5208

14. Ki ājă tomārā mané (Bengali)

Svapané bunéchhi āshā (Bengali)

(Rāgāpradhānā)

Id.

Id.

Megaphone

JNG 5875

84

JOSHI (G. N.)

A classical singer from Maharāshtrā.

Chanteur classique de Maharāshtrā.

1. Gorī dhīrē chalo

(Hindi)

Kāfī

Tablā

H. M. V.

Tānpūrā

N 3639

Sārangī

Id.

Jākē Mathurā

(Hindi)

Khambāvatī

Id.

H. M. V.

N 5682

2. Sukhasvāminī tūñ

(Hindi)

Prīti mēñ manā ājā

(Hindi)

Durgā

Id.

Id.

H. M. V.

N 5684

3. Sakhī rasā bolā

(Hindi)

Jāgī sārī rātā

(Hindi)

Aḍānā

Id.

Bhairavī

Id.

H. M. V.

N 5813

4. Dudhā béchané mainñ

(Hindi)

Piyā milanā ko

(Hindi)

Pūrvī

Id.

Bhīmpalāshrī

Id.

H. M. V.

N 5862

5. Kānhā torī

(Hindi)

Nāvā kinārē lagāvā

(Hindi)

(Bhajanā)

Id.

Id.

Id.

H. M. V.

N 5862

KAMALĀ JHARIĀ

A Calcutta singer who is mainly known for her Kīrtanā-s. She is a pupil of Jamiruddīn Khān.

Jamiruddīn Khān.

Chanteuse de Calcutta, connue surtout pour ses kīrtanās. Élève de Jamirud-dīn Khān.

1. Kaisé katé dinā rainā

(Hindi)

(Dādarā)

Pakhāvājā

H. M. V.

Tānpūrā

N 6288

Harmonium

Violin/Violon

Bisaratā nahīñ suratiyā tihārī (Hindi)

(Thumrī)

Id.

Id.

2. Tumārē dayā kī hai āshā Muhammad (Urdu)

Kalingaḍā

Tablā

H. M. V.

Tānpurā

N 6337

Harmonium

Térē darshanā ké kāranā bhaiñ (Hindi)

Bhairavī

Id.

Id.

3. Nandā Bhavanā ko bhu-kanā māī (Hindi)

(Bhajanā)

Pakhāvājā

H. M. V.

Tānpūrā

N 6929

Harmonium

Violin/Violon

Jai murārī, jai murārī (Hindi)

Id.

Id.

Id.

85

4. Sakhi ko kahuii āoyaba-mādhāi (Maithili)

(Kirtanā)

(Traditional/Traditionnel)

Bahutā miniti kari toyā

(Maithili)

(Traditional/Traditionnel)

Id.

Id.

Tablā

Tānpūrā

Harmonium

H. M. V.

N 7237

5. Jojana manā mahā (Maithili)

Id.

Id.

(Traditional/Traditionnel)

Sakhi kahabi kāinurā

(Maithili)

(Traditional/Traditionnel)

Id.

Id.

H. M. V.

N 7298

6. Kabari boyé (Bengali)

Id.

Id.

H. M. V.

N 31011

Etadiné gagané (Bengali)

Id.

Id.

7. Yashodā ka lālā khélé holi (Holi)

(A song of the Spring Festival/CHANT DE LA FÊTE PRINTANIÈRE)

Itani to kahiyo (Hindi)

Id.

Id.

Megaphone

JNG 1025

8. Piyā nahīn āyé (Hindi)

(Dādarā)

Jāgé ho vahī rainā (Hindi)

Bhairavī

Id.

Megaphone

JNG 1130

9. Vafā méñ hamā jo ékatā hai (Urdu)

(Gazal)

Kabhi jo khvāb méñ

(Urdu)

Id.

Id.

Megaphone

JNG 1156

10. Suno sundarā Shyāmā (Kīrtanā)

(Bengali)

Gokulā nagaré

(Bengali)

Id.

Id.

Megaphone

JNG 5816

11. Kānu kahé Rāi (Bengali)

Id.

Id.

O kubjarā bandhu

(Bengali)

Id.

Id.

Megaphone

JNG 5936

12. Yashomatī nandā (Bengali)

by/par Govinda Dās

Ekābārā Brojé chalo

(Bengali)

by/par Govinda Dās

Id.

Id.

Megaphone

JNG 5963

13. Hato chhédo na Kanhaiyā

(Thumrī)

(Hindi)

Nidiyā lāgī main (Hindi)

(Thumrī, Dādārā)

Id.

Twin

FT 2299

86

14. Yā shāhé arabā saiyyadé (Nātā) Tablā Tānpūrā Harmonium Twin FT 3923

Tumhāréc dayā kī āshā (Hindi) Id. Id.

KESARBĀĪ KERKAR (Bāī)

Though elderly, she is still without rival among women singers. Her style is very personal and attractive. She is the best pupil of Alladiyā Khān, a master whose greatness was acknowledged by all musicians.

Malgré son âge, est encore sans rivale parmi les chanteuses. Son style est très personnel et séduisant. C'est la meilleure élève d'Alladiyā Khān, un grand maître reconnu comme tel par tous les musiciens.

1. Huñ jaihoñ (Hindi) Jaunpurī (Tritālă, vilampatā) Tablā Tānpūrā Sārangī Id. H. M. V. HQ 1. 12 in./30 cm

Ghatanā lāgī rainā (Hindi) Lalitā (Tritālă) Id.

2. Rasiyā hoñ na jāūñ (Hindi) Mārū-Bīhāg (Tritālā) Id. H. M. V. HQ 2. 12 in./30 cm

Maiñ sanā mītā (Hindi) Mālkosh (Tritālā) Id.

3. Ankhiyā morī lāgo (Hindi) Parajā (Tritālā) Id. H. M. V. HQ 3 12 in./30 cm

Bāréc saiyān̄ (Hindi) Nandā (Tritālā) Id.

4. Rasikanā ré (Hindi) Durgā (Tritālā) Id. H. M. V. HQ 4 12 in./30 cm

Ñevarā bāju ré (Hindi) Natā-Kāmodā Id.

5. Pritamā saiyān̄ (Hindi) Lalitā-Gaurī (Tritālă) Id. H. M. V. HQ 5 12 in./30 cm

Mānā nā karo (Hindi) Gauḍā-Malhār Id.

6. Dévi jogé (Hindi) Kakubhā-Bilāval Id. H. M. V. HQ 6 12 in./30 cm

Māréc béré āyo (Hindi) Déshī Id.

7. Kāhé ko dārī (Hindi) Bhairavī Id. Broadcast G 4037

Id. (pt. 2) Id.

8. Alī maiñ jogī (Hindi) Khambāvatī Id. Broadcast GT 4038 12 in./30 cm

Sakhī Mohanā (Hindi) Déshā Id.

KRISHNĀ RAO PHULAMBRIKAR (Sangītā kālānidhi)

The outstanding pupil of Bhaskarā Buvā Gokhālé. He sings Khyāls in an accurate and pure style.

Brillant élève de Bhaskarā Buvā Gokhālé. Chante des khyāls dans un style net et précis.

1. Hari Harā mēn hōdā nā (Hindi) Kaisé rijhāu (Hindi)

Tilak-Kāmodā Jayājayantī

Tablā Tāmpūrā Sārangī Id.

Columbia GEX 501 12 in./30 cm

2. Kānā muraliyā bājé (Hindi) Shyāmā-sundarā ré (Hindi)

Todī Pūriyā Id. Id.

Columbia VE 3334

3. Jo piyā to dūn (Hindi) Mārā Raghuvīā ré (Hindi)

(Bhajanā) Id. Id.

Columbia GE 17506

4. Khélatā hai Giridhārī (Hindi) Vidurā gharā jāvé (Hindi)

Bhairavī Id. Pahādī Id.

Columbia GE 17509

5. Vandé -Mātaram (Sanskrit) Sabā ko apanā dharmā pyārā (Hindi)

Jhinjotī Yogiyā Id. Id.

Columbia GE 17512

6. Kavanā batāyé ré (Hindi) Tumā matā jāo (Hindi)

Bhīmpalāsh rī Id. (Thumrī) Id.

Columbia GE 17513

KRISHNĀ RAO SHANKAR PANDIT (Sangītā-alamkārā)

The son of Shankar Rao Pandit, who was a brilliant pupil of Nīsar Hussain Khān.

Fils de Shankar Rao Pandit, lui-même brillant élève de Nīṣar Hussain Khān.

1. Tu sāddénālā galā (Punjabi) Darā dimā tanā (Mnemotechnique rhythm-syllabes/Syllabes de rythme mnémotechniques [bols])

Bhairavī (Tappā) Gauḍ-Sāarangā (Tarānā)

Tablā Tāmpūrā Sārangī Id.

Columbia GE 3743

2. Suhāganā chalanā (Hindi) Dékhorī na mānē Shyāmā (Hindi)

Darbārī-Kānaḍā Jayājayantī Id. Id.

Columbia GE 3893

88

KUMĀRĀ GANDHARVĀ

Now about 24 years old. Sang masterly slow Khyāls at the age of 12, when the following records were made.

Agé aujourd'hui de vingt-quatre ans environ. Chantait de façon magistrale des khyāls dès l'âge de douze ans. Les disques suivants ont été enregistrés à cette époque.

1. Sakhi mori rimā jhimā ba- Durgā rasé (Hindi)

Shyāmā sundarā Madanā Mohanā (Hindi)

Bhairavī (Dādrā)

Tablā Tanpūrā Sārangī Id.

Hindusthan H 344

2. Sumirā ho nāmă ko manā hī manā (Hindi) Kaunā kaunā gunā gāyén Hari ké (Hindi)

Āsāvarī Māndā Id. Id.

Hindusthan H 418

LAXMĪBĀĪ JADHAV (Shrimati, of/de Kolhapur)

Born in 1902. She began to study music in 1912 under Haidar Khān, the brother of Alladiā Khān. Appointed state musician of Baroda, she gave concerts all over Northern India. She has a beautiful voice and a great knowledge of music, and is a moving singer of devotional songs.

Née en 1902. Commencà d'étudier la musique en 1912 avec Haidar Khān, frère d'Alladiā Khān. Nommée musicienne de l'État de Barode, a donné des concerts dans toute l'Inde septentrionale. A une très belle voix, connaît très bien la musique et chante de façon émouvante les chants spirituels.

1. Rātrī tumā samajhonāi (Hindi) Nādā gulpā téhā (Hindi)

Nāyākī-Kānaḍā Gaudā Tablā Tānpūrā Harmonium Violin/Violon Id. Id.

H. M. V. HT 48 12 in./30 cm

2. Sārē chhandā sodā Kan-haiyā (Marathi) Dévā nijā mīpanāsā (Marathi)

Mishrā-Pīlū Mishrā-Māndā Id. Id.

H. M. V. N 4120

3. Girīdharā jhulată Rādhé sangā (Hindi) Dijo morī naurangā chu-narī (Hindi)

Kāfī Tīlangā Id. Id.

H. M. V. N 4141

4. Morā banshī-vālā Kānhān (Hindi) Kunjanā mēn khelo yāro Kanhaiyā (Hindi)

Pīlū Pahāḍī (Amekhtā) Id. Id.

H. M. V. N 4197

5. Rusalāsī Harī kān barén (Marathi) Bājavi Bājavi muralīlā (Marathi)

Mishrā-Pahāḍī Mishrā-Māndā Id. Id.

H. M. V. N 5079

89

6. Kitī goḍā goḍā vadalā (Marathi)

Nāthā karunā sāgarā āī Kāshī (Marathi)

Bhairavī (Gazal)

Mishrā-Pīlū

Tablā Tānpūrā Sārangī

Id.

H. M. V. N 5138

7. Katavā gaḍā gailāvā (Marwari) Erī ékā nazarā (Marwari)

Déshkār Yamanā

Id. Id.

H. M. V. N 5602

8. Jamunā ké tīrā jādū vālé (Hindi) Kanhaiyā téro karo (Hindi)

Tīlak-Kāmodā Pahāḍī

Id. Id.

H. M. V. N 5608

9. Tumā binā morī kaunā khabarā lé (Hindi) Bhajanā binā nā nachā jayyo (Hindi, Kaharvā)

Bhairavī Id.

Id. H. M. V. N 5613

10. Bājo ré (Hindi) Vasantā kī dhunā machī (Hindi)

Kāmodā Bahār

Id. Id.

H. M. V. N 5715

11. Barakatā vāliyo (Hindi) Khélanā na jāo (Hindi)

Kāfī Déshā

Id. Id.

H. M. V. N 5723

12. Shyāmā horī khélatā vrajā méñ (Hindi) Gagarī shīrā bharī (Hindi)

(Holī) Sārangā

Id. Id.

H. M. V. N 5739

13. Piyā ko sandeshā mérā kaho jayé (Hindi) Moyé banā ké lāgé sahāyé (Hindi, Bhajanā)

Mishrā-Zilā Id.

Id. H. M. V. N 5803

14. Moraré mitā paypiharavā (Hindi) Bharanā jo gaī (Hindi)

Vibhāsā Shuklā-Bilāval

Id. Id.

H. M. V. N 26921

15. Tu mérā manā harā (Hindi) Ré langarvā (Hindi)

Déshī Garakalā

Id. Id.

Young India T. H. 8348

16. Mīlā dé sakhī (Hindi) Ayo vasantā sakhī (Hindi)

Nandā Id.

Id. Young India T. M. 8303

MALIKĀRJUNĀ MANSUR

Belongs to the school of Abdul Karīm Khān. A well-known singer of Khyāls. Chanteur de khyāls réputé. Appartient à l'école d'Abdul Karīm Khān.

1. Mandirā pātolī sundarā (Marathi) Yé māyā tyā karunāmayā (Marathi)

Durgā Karnātakī-Kāfī

Tablā Tānpūrā Sārangī Id.

H. M. V. N 5083

2. Sayyāñ morā ré (Hindi) Gauḍ-Malhār 'Tablā H. M. V.

Kanganavā morā (Hindi) Aḍānā Tānpūrā N 5661

3. Aisī mandatā yā manā (Hindi) Vasantā Sārangī Id. H. M. V. HT 20

Erī maiñ jā (Hindi) Sārangā Id.

4. Bīnā bīnā bajāī (Hindi) Toḍī Id. H. M. V. HT 33

Chitrā sudharā (Hindi) Durgā

5. Tumhén binā dékhé chai-nā nā (Hindi) Bilāval Id. H. M. V. N 5668

Erī āpā nondélā (Hindi) Chhāyānātā Id.

6. Daī piyā bīnā kaisé (Hindi) Déshā Id. H. M. V. N 5676

Hamāramaniyāñ (Hindi) Jaunpurī Id.

7. Méndé kalā āī ré (Hindi) Hamīrā Id. H. M. V. N 5697

Tū mérā sāññ (Hindi) Shankarā Id.

8. Sohī rasanā jo (Hindi) Bhīmpalāshrī Id. H. M. V. N 5710

Harā nāmā sumarā sukhā dhāmā (Hindi) Mishrā-Kāfī Id.

(Bhajanā)

MANOHAR BARVÉ

Started his musical career as a child. A commencé dès l'enfance sa carrière musicale d'exécutant.

1. Avatā hai alābélā (Hindi) Sugarāī 'Tablā H. M. V. N 15871

Kahé piyā nāhīñ bolā (Hindi) Bhairavī Tānpūrā Id.

2. Dadurāvā bolé (Hindi) Gauḍ-Malhār Id. H. M. V. N 25617

Shāmāmillanā ko āī (Hindi) Kāfī Id.

3. Hamā sangā khélatā hori (Hindi) Bhairavī Id. H. M. V. N 26060

(A song of the Spring Fest-ival/CHANT de la fête prin-tanière)

Shāmā moré naiyā kaisé lāgé (Hindi) Id.

4. Harī ko sumarā karā lé (Hindi) Shankarā Id. H. M. V. N 26551

Vārē haṭhā ji na kariyé (Hindi) Kedārā Id.

91

5. Manǎ mēn basatǎ Shāmǎ murāri (Hindi)

Madhuvanǎ mēn base Shyāmǎ (Hindi)

Bāgeshrī (Ekātalǎ)

Tablǎ Tǎmpǔrǎ Sǎrangī

H. M. V. N 26598

6. Gundǎ gundǎ lǎvorī (Hindi) Bītǎ gayé dinǎ bhajanǎ binā (Hindi)

Déshī Bhairavī

Id. Id.

H. M. V. N 26811

7. Hari tumǎ kāhé ko (Bhajanǎ) Jané toré bālamǎ dhangǎ (Hindi)

Lalitǎ

Id. Id.

H. M. V. N 26999

8. Shāmǎ māno hamarī bātǎ (Thumrī) Rādhā né mérī banshī churāī (Hindi)

Id. Id.

H. M. V. N 35278

9. Do phūlǎ sāthǎ phūlé (Gazal) Kahīn békhudī mēn é dilǎ (Hindi)

Id. Id.

H. M. V. N 5776

10. Bhajǎ manǎ Brahmǎ sadǎ (Hindi) Prabhu jāné prabhu jāné (Hindi)

Bhairavī Toḍī

Id. Id.

H. M. V. N 5798

11. Ghanǎ ghanǎ bhāgǎ piyā (Hindi) Dhūṇḍatǎ banǎ gaĩ main (Hindi)

Patadīpǎ Sāarangǎ

Id. Id.

H. M. V. N 5824

12. Tumǎ parǎ vārī Krishnǎ (Hindi) Logǎ vāsané pīravā (Marathi)

Déshkar Pūriyǎ

Id. Id.

H. M. V. N 5848.

MOGUBĀI KURḌĪKAR (Bāī)

A disciple of Alladiyā Khān. Her records have great musical value.

Disciple d'Alladiyā Khān. Ses disques ont une grande valeur musicale.

1. Vandé Mātaram (Sanskrit) by/par Bankim Chatterjee

Phirǎ āyī lautǎ bahārén (Hindi)

Khambāvatī Bihāg-Bahār

Tablā Tāmpurā Sāarangī Id.

Columbia GE 3997

2. Hārē manǎ kā (Hindi) Pāyo moré rāmǎ nāmǎ dhanǎ (Hindi)

Multānī Kedārǎ

Id. Id.

Columbia GE 8207

92

3. Ālī piyā (Hindi)

Mero piyā rasiyā (Hindi)

Jayājayanti

Tablā Tānpūrā Sārangī

Id.

Columbia GE 8114

4. Āvanā kāhé (Hindi) by/par Tan-Sén Dévā dévā santā sangā (Hindi)

Pūrvī Sāvanī

Id. Id.

Columbia GE 8115

MUSHTARĪ BĀĪ (of/d'Āgrā)

Died at an early age. Her voice was superb.

Morte prématurément. Avait une voix remarquable.

1. Bhanvarā ré (Hindi) Isā ré jobanā kā (Hindi)

Vasantā-Bahār Bhūpālī

Tablā Tānpūrā Sārangi Id. Id.

H. M. V. N 14853

2. Kaunā muraliyā bajé (Hindi) Kaunā banā āyé (Hindi)

Pūriyā Brindāvani-Sāragā

Id. Id.

H. M. V. P 10517

3. Ankhanā dāro abhīrā (Hindi) (A song of the Spring Festival/ Chant de la fête printanière) Fāgunā rangā machorī (A song of the Spring Festival/ Chant de la fête printanière)

(Holi) Id.

Id. Id.

H. M. V. P 10542

4. Ānkhā tumhārī mastā bhī (Hindi) Jo pūchhā kahō ājā kyā ho raha hai (Hindi)

Bhimpalāshri Sahānā

Id. Id.

H. M. V. P 10557

5. Tū namakā chhīḍake to samajhūn zakhmā acchhā (Hindi) Chatarangā guniyanā sangā (Hindi)

Bhāirāvī Mālkosh

Id. Id.

H. M. V. P 10597

MUSTAK HUSAIN KHĀN (Ustād Fakhare Nigannad, of/de Rampur)

Now elderly, is one of the great masters of vocal technique, and belongs to a celebrated tradition (gharānā) of Khyāl singers.

Aujourd'hui assez âgé. Un des grands maîtres de la technique vocale qui appartient à la célèbre tradition (gharānā) des chanteurs de khyāls.

1. Bahārā āyī (Hindi)

Sāgarā

Tablā

Columbia

Tāmpūrā

GE 2914

Sārangī

Id.

Ājā moré āyilā (Hindi)

(Khyāl)

Id.

2. Abā morī Rāmā Rāmā

(Hindi)

Alhaiyā-Bilāval

Id.

Columbia

Ārī sakhī piyā kī bātā

(Hindi)

Janglā

GE 7039

(Ṭhumrī)

Id.

NĀRĀYAṆĀ BUVĀ THITÉ (Sangītā Martandā)

1. Jalā thalā torā

(Hindi)

Darbārī-Kānaḍā

Tablā

H. M. V.

(astāī)

Tāmpūrā

N 26791

Sārangī

Torī yādā (Hindi)

Id.

Darbārī-Kānaḍā

(jaladā)

Id.

NĀRĀYAṆĀ RAO VYĀSĀ

A very popular Maharashtrian singer. He sings correct Khyals and possesses a beautiful voice.

Chanteur très populaire de Maharashtra. Chante des khyāls très correctement et a une voix agréable.

1. Ugichā kān kāntā

(Marathi)

Sindhā-Kāfī

Tablā

H. M. V.

Tāmpūra

N 5049

Harmonium

Pranatapālā tūn asashī

(Marathi)

Lalitā

Id.

2. Prabbu to Rāmachandrā

(Marathi)

Jaiminī-Kalyāṇā

Id.

H. M. V.

N 5059

Sharaṇā tujā yéī to

(Marathi)

Jaunpurī

Id.

3. Sakhī morī runā jhumā

(Hindi)

Durgā

Id.

H. M. V.

N 5647

Nīrā bharāṇā kaisé jāūn

(Hindi)

Tilak-Kāmodā

Id.

4. Jamanā tatā Shyāmā

khéléñ horī (Hindi)

Brindāvanī-

Id.

H. M. V.

Sāranga

N 5721

Abā mātabā hūñ kar jāté

ho (Hindi)

Bihāg

Id.

5. Bhajā Raghuvīrā Shyāmā

yugalā charaṇā (Hindi)

Bahār

Id.

N 5725

Tumā jāgo Mohanā pyāré

(Hindi)

Bhairavī

Id.

6. Muralī nādā bharalā

(Marathi)

Tilangā

Id.

H. M. V.

N 15111

Mohakā madhu madhu

rip karī (Marathi)

Khamājā-Māṇḍā

Id.

94

7. Bajata nupura kangana Hansa-Kankanī Tablā H. M. V.

(Hindi) (Tānpūrā) N 15743

Toré naina jādu bharé Khamājā-Mānḍā Harmonium Id.

(Hindi) Id.

8. Jānakī-nāthā kripā karī Khamājā-Mānḍā Id. H. M. V.

(Marathi) P 13296

Avināshī hā ātamā Durgā Id.

(Marathi)

9. Erī mohé jānpā derī māī Adānā Id. H. M. V.

Shyāmā sundarāvā (Tritālā, jaladā) Id. P 13304

(Hindi)

Shyāmā sundarā manā Déshā-Tilangā Id.

Mohanā kubarī (Tritālā)

(Hindi)

10. Nīrā bharanā maiñ to Mālkosh Id. H. M. V.

chali jātā hūñ (Tritālā, jaladā) P 13366

(Hindi)

Kadaré pyāré lāgé tumñā Pīlū Id.

sé nainā (Thumrī, Tritālā)

(Hindi)

11. Phūlā vālé kintā maikā Bahār Id. H. M. V.

vasantā (Tritālā, jaladā) P 13377

(Hindi)

Bālamā morī sūniho Majamūā-Bahār Id.

(Hindi)

12. Rādhe Krishnā bolā Kāfī Id. H. M. V.

mukhā sé (Hindi) Id. P 13428

Id.

13. Jayā Jagadīshā Haré Bihārī Id. H. M. V.

(Hindi) (Prārthanā) P 13480

Rachā prabhū tūné yahā Bhairavī Id.

Brahmaṇḍā sāā (Prārthanā)

(Hindi)

14. Khabarā na līnī janī Gauḍ-Sārangā Id. H. M. V.

yāravé ((Hindi) P 13503

Na dirā dirā tom tananā Toḍī Id.

tanā déé nā (Mnemo-technic rhythm syllables/ Syllabes de rythme mnémotechniques [bols]) (Tarāṇā)

15. Jāgo vrajā rājā kumārā Bhairavī Id. H. M. V.

(Hindi) P 13521

Hamā téri bānsarī (Hindi) Déshā Id.

Id.

NISAR HUSSAIN KHĀN

The son of Fidā Hussain Khān. He is one of the best singers of Khyāls and Tarāṇā-s. Now very old, he has settled in Budaun (U.P.). Formerly lived in Baroda.

Fils de Fidā Hussain Khān. Est un des meilleurs chanteurs de khyāls et de tarānās. Très âgé maintenant, il s'est retiré à Budaun (Provinces-Unies). Vívait précé-demment à Baroda.

95

1. Āllah jāné

(Urdu)

Toḍī

Tablā

H. M. V.

N 15721

Tarāṇā

(Mnemotechnic rhythm-syllables/Syllabes de rythme mnémotechniques [bols])

Jaunpurī

Tānpūrā

Sārangī

Id.

2. Kānhā ré Nandā nandanā

(Hindi)

Kedārā

Id.

H. M. V.

N 15747

Tarāṇā

(Mnemotechnic rhythm syllables/Syllabes de rythme mnémotechniques [bols])

Bhairavī

Id.

3. Pāyaliyā jhankarā

(Hindi)

Pūriyā-Dhānashrī

Id.

H. M. V.

N 15776

Tarāṇā (Mnemotechnic rhythm-syllables/Syllabes de rythme mnémotechniques [bols])

Déshā

Id.

4. Kaganā mumdariyā

(Hindi)

Multānī

(Trītāla, jaladā)

Id.

H. M. V.

N 15809

Tarāṇā (Mnemotechnic rhythm-syllables/Syllabes de rythme mnémotechniques [bols])

Miyān-Malhār

(Trītāla, jaladā)

OMKARNĀTH THAKUR (Sangītā Martandā, Paṇḍit)

Born in 1897. One of India's most honoured living singers and classical musicians. His voice is beautiful, his technique and knowledge admirable.

Né en 1897. Un des chanteurs et musiciens classiques les plus honorés de l'Inde. Sa voix est fort belle, sa technique et sa science musicale sont admirables.

1. Surajanā matavālā

(Hindi)

Multānī

Tablā

Columbia

Tānpūrā

BEX 201

Sārangī

12 in./30 cm

Vandé Mātaram

(Sanskrit)

by/par Bankim Chatterjee

Bangīyā-Kāfī

(National Song/ Chant national)

Id.

2. Pīrā na jāni

(Hindi)

Mālkosh

(vilambitā)

Id.

Columbia

BEX 270

12 in./30 cm.

3. Pagă ghungharā bandhă

Mālkosh

Id.

Columbia

BEX 271

12 in./30 cm.

Mīrā nāchi ré

(Hindi)

by/par Mīrābāī

96

4. Jhanjhariyā jhanaké (Hindi)

Déshkarā

Tablā Tānpūrā Sārangī

Columbia VE 1013

Ayā mangā jai ho (Hindi)

Champakā Id.

5. Mītavā bālamā vā (Hindi) Māī kanthā morā (Hindi)

Nilambarī Sugaharāī

Id. Id.

Columbia VE 1014

6. Garavā bhai sangā lagé (Hindi) Id.

Toḍī (astāī) Toḍī (jaladā)

Id. Id.

Columbia VE 1016

7. Bolā na lāgé (Hindi) Id.

Shuddhā-Kalyāṇā (astāī) Shuddhā-Kalyāṇā (jaladā)

Id. Id.

Columbia GE 3117

8. Vandé Mātaram (Sanskrit)

National Song/ Chant national

Tānpūrā

Columbia GE 3132

9. Nandiyā kaisé nīā bharuñ (Hindi) Id.

Tīlangā (Thumrī, astāī) Tīlangā (jaladā)

Tablā Tānpūrā Sārangī Id.

Columbia GE 3135

10. Rājā térā dungariyā parā (Hindi)

Brindāvanī-Sāraṇgā (Bhajanā)

Id.

Columbia GE 3143

11. Karatā ho mosé néhā ki (Hindi)

Shuddhā-Natā

Id.

Columbia GE 3144

12. Mālanā lā chunā chunā kaliyā (Hindi)

Tanké-Shrī

Id.

Columbia GE 3178

13. Kadamā kī chhāyā (Hindi)

Déshī-Toḍī

Id.

Columbia GE 3187

PADMAVATI SHALIGRAM

1. Tirathā ko sabā karā (Hindi) Bhajā Kriṣṇā (Hindi)

Tilak-Kāmodā Pīlū-Mishrā

Tablā Tānpūrā Id.

Columbia GE 1701

2. Kanhé karatā mosé (Hindi) Bhajā lé tu Rāmā nāmā (Hindi)

Gandhārī Pahaḍī-Mishrā

Id. Id.

Columbia GE 1727

PANḌIT RAO NAGARKAR

1. Kiasi vāṇī bavéri (Hindi)

Bihāg

Tablā Tānpūrā Sārangī

Columbia GE 3255

Sabā sakhi milakarā (Hindi)

Shuddhā-Kalyāṇā Id.

2. Katată nahīn sajanī (Punjābī) Pradīpakī Tablā Columbia

Tānpūrā Sārangī GE 3508

Nirāmohi morā jiyarā (Thumrī) Id.

PANNĀ BĀĪ (of/de Muzaffarpur)

Now in her old age. A singer of light music in Allahabad and Lucknow.

Agée maintenant. Chanteuse légère d'Allahabad et de Lucknow.

1. Maiṅkā na bhāyé tiharā (Dādarā) Tablā Columbia

batiyān (Hindi) Tānpūrā GE 2820

Ratiyā kaīlé vā julumiyā Id. Sārangī

2. Maiṅ kaisé jaṅ hūṅ mori (Dādarā) Id. Columbia

bagé (Hindi) GE 7038

Bagiyā kaisé jāṅṅ (Hindi) Id.

PYĀRĀ SĀHAB (of/de Rampur)

Had an almost feminine voice and was unrivalled as a singer of Thumrī. He made many gramophone records about 1926. He was the court musician of Rājā Tagore in Bengal.

Doué d'une voix presque féminine, n'avait pas son pareil pour chanter les Thumrīs. Enregistra ses disques aux environs de 1926. Était musicien de la cour de Rājā Tagore, au Bengale.

1. Inā dinoṅ joshé janūṅ hai (Gazal) Tablā H. M. V.

tére divāne ko (Hindi) Tānpurā P. 10034

Békāramā va bākāramā Id.

chūṅ madā bahisābā andarā (Hindi)

2. Bahu térā samajhāyé rī (Hindi) Bhairavī Id. H. M. V.

Aijā maiṅ lāḍungī sainyā (Dādarā) Id. N 25895

RĀMĀKRISHNĀ BUVĀ VAZÉ (Gāyanāchāryā)

A pupil of Nisar Hussain Khān, he was a good Khyāl singer. He travelled much, then settled in Poona.

Aujourd'hui décédé. Était un bon chanteur de khyāls; élève de Nizar Hussain Khān. Voyagea beaucoup, puis s'établit à Poona.

1. Tīrathā ko sabā karé (Hindi) Tilak-Kāmodā (Tritala) Tablā Columbia

Tānpūrā Sārangī GE 1501

Bolaré papīhārā (Hindi) Miāṅ-Malhār Id.

98

2. Ḍārā ḍārā patanā bālamā (Hindi) Harā damā maulā téro (Hindi)

Bhairavā-Bahār Jaunpurī

Tablā Tānpūrā Sārangī Id.

Columbia GE 1517

3. Damaru ḍamā ḍamā bajé (Hindi) Tarāṇā (Mnemotechnic rhythm-syllables/Syllabes de rythme mnémotechniques [bols])

Natā-Bihāg Māravā

Id. Id.

Columbia GE 1532

4. Bolā Rādhé abā tū (Hindi) Udho karmanā kī gaṭā (Hindi)

Baravā (Bhajanā)

Id. Id.

Columbia GE 1540

5. Sakhī mukhā chandrā (Marathi) Mére gharā āyé (Hindi)

Khambāvatī Tīlangā (Ṭhumrī)

Id. Id.

Columbia GE 1554

6. Harā Harā Shankarā (Hindi) Jobanā rasā lē gaī (Hindi)

Bhatiyārā Gāra-Bāgeshrī

Id. Id.

Columbia GE 1759

7. Masalatā puchā dayā (Hindi) Vidyādharā guṇiāñ (Hindi)

Toḍī Shatārāgā

Id. Id.

Columbia GE 3177

8. Tarāṇā (Mnemotechnic rhythm-syllables/Syllabes de rythme mnémotechniques [bols]) Piyā nahīn āyé (Hindi)

Brindāvani-Sārangā Khamājā

Id. Id.

Columbia GE 3182

9. Balā balā jaïyé (Hindi) Prītā purānī (Hindi)

Bhatiyārā Kāfī-Kānaḍā

Id. Id.

Columbia GE 3189

RĀMĀKRISHNĀ MISRĀ (Pt.)

Son and brother of celebrated musicians. Court musician of Nepal. He later came to Calcutta. His knowledge of rhythm was exceptional.

Fils et frère de musiciens célèbres. Musicien de la cour de Népāl. Vint ensuite à Calcutta. Possédait une science exceptionnelle du rythme.

1. Būndanā barashāī (Hindi) Sohé rī māiñ (Hindi)

Méghā-Malhār Shudhhā-Toḍī

Tablā Tānpūrā Sārangī Id.

Hindusthan H 447

RĀMĀ MARATHĪ

1. Sabā sé unchī prémā sagāī (Bhajanā) (Hindi)

Manā lago méro yārā pha-kirī mén (Hindi) by/par Kabīr

Tablā Tānpūrā Sārangī

Columbia GE 3525

2. Badarayā barasanā ko ayé (Hindi) Jā jā ré apané mandirā vā (Hindi)

Surā-Malhār (Tritālā) Bhīmpalāshrī

Id. Id.

Columbia GE 3574

RĀṆADÉ (J. L.)

A popular singer with a facile and accurate voice.

Son chant, habile et juste, lui a assuré une grande popularité.

1. Udāsā manālā lāgalā (Marathi) Girīdharā kān rusalā (Marathi)

Bhairavī Tilak-Kāmodā

Tablā Tānpūrā Harmonium

H. M. V. N 5110

2. Goḍā goḍā muralī (Marathi) Jādugirī nayanīn thorā (Marathi)

Pahāḍī-Mishrā Bhairavī

Id. Id.

H. M. V. N 5199

3. Phulalyā kalyā prémāchā (Marathi) Jagīn āsarā prahu cha kharā (Marathi)

Māṇḍā (Tritālā) Patadīpā (Tritālā)

Id. Id.

H. M. V. N 5227

4. Navalā hī bansarī hansarī (Marathi) Ati goḍā goḍā lalākāri (Marathi)

Tilak-Kāmodā Bhīmpalāshrī

Id. Id.

H. M. V. N 5275

5. Kalikā goḍā nāché (Marathi) Manamohanā rusalāsā (Marathi)

Kāfī Déshā

Id. Id.

H. M. V. N 5292

6. Gharā jāné dé Kanhaiyā pyāré (Hindi) Chunari rangā dé mori (Hindi)

Kāfī (Tritālā) Tīlangā

Id. Id.

H. M. V. N 5712

7. Churiyān karā ké gayé (Hindi) Khélatā āyé horī (Hindi)

Mālkosh Bhīmpalāshri

Id. Id.

H. M. V. N 5746

100

8. Kaisé katé rajanī sajanī Bāgeshri Tablā H. M. V.

(Hindi) (Hindi) Tānpūrā N 5768

Khélatā saba Vrajā narā Bihāg Harmonium Id.

(Hindi) (Hindi) Id.

9. Aisi na māro pichakārī Khamājā Id. H. M. V.

(Hindi) (Ṭhumrī) N 5777

Nā bolo Shyāmā hami sāṅgā Sāraṅgā Id.

(Hindi) (Tritālā) Id.

10. Mérā manā lé gayo Giradhārī Yamanā Id. H. M. V.

(Hindi) (Hindi) N 5794

Darshanā binā jiyarā tarasé Tilak-Kāmodā Id.

(Hindi) (Hindi) Id.

11. Gagarā (Hindi) maiñ kaisé lé jāūñ Durgā Id. H. M. V.

Ajā sakhi Shyāmā sundarā Māṇḍā Id. N 5804

(Hindi) (Hindi) Id.

12. Khélanā lāgé Shyāmā Bhīmpalāshrī Id. H. M. V.

(Hindi) (Hindi) N 5835

Kalā na padé mohé Purīyā Id.

(Hindi) (Hindi) Id.

13. Jamunā maiñ kaisé jāūñ Pahāḍī-Kaharvā Id. H. M. V.

(Hindi) (Tritālā) N 15810

Ajāhūñ nahīñ āyé Ajāhūñ nahīñ āyé (Hindi) Nandā Tablā

(Hindi) (Tritālā) Tānpūrā Harmonium

Violin/Violon

RASULANĀ BĀĪ (of/de Benares)

A well-known singer of Ṭhumrīs. Now in her old age.

Chanteuse bien connue de Ṭhumrīs. Maintenant très âgée.

1. Jā maiñ tosé nāhin bolūñ (Ṭhumrī) Tablā Columbia

(Hindi) Tānpūrā GE 2781

Sāraṅgī Id.

Békalā jiyā ho tumaré (Dādarā) Id.

kāraṇā (Hindi) Id.

2. Bisaraï ho na bālamā Bhairavī Columbia

(Hindi) (Dādarā) GE 2819

Jāgā padī maiñ to piyā ké Tilangā Id.

(Hindi) (Ṭhumrī) Id.

3. Chhinkatā paniyā ko jāyā Purvī Columbia

(Hindi) (Hindi) GE 2888

Abă rājā ḍarā lāgé Id.

(Hindi) Id.

4. Jhulaniyā vālī ré daiyā (Hindi) (gītā, kajarī) Kāhé tākélū gurérā ké (Hindi) Id.

Tablā Tānpūrā Sārangī Id. Columbia GE 2912

5. Kāhé piyā mosé (Hindi) (Ṭhumrī) Matā kiyā morī (Hindi) Id. Id.

Columbia GE 2969

6. Lagatā kaléjava méñ chotā (Hindi) Bhairavī (Ṭhumrī) Kāhé prītă lagāī (Hindi) Multānī (Khyāl) Id. Id.

Columbia GE 3200

7. Kaună tarahă sé tumă khélată (Hindi) (gītā) Kankară mohé lāgă jai hé (Hindi) (gītā, Dādarā) Id. Id.

Columbia GE 7080

RATANJANKAR (S. N.)

The son of a Sanskrit scholar. One of the best Indian musicologists as well as a singer of great repute. He was a pupil of Vishnu Nārāyană Bhātkhandé and had the opportunity to study with him the traditions of Indian music. As he hesitated to make a trade of his musical talent, Bhātkhandé had him appointed Principal of the newly founded Marris College of Music, now the National Academy of Indian Music, at Lucknow.

Fils d'un érudit sanscrit, S. N. Ratanjankar est un des meilleurs musicologues indiens et un chanteur de grand renom. A été l'élève de Vishnu Nārāyană Bhāt-kandé, avec qui il a pu étudier les différentes traditions de la musique indienne. Comme il hésitait à tirer profit de son talent musical, Bhātkhandé le fit nommer principal du collège de Marris, nouvellement fondé, devenu aujourd'hui l'Aca-démie nationale de musique indienne de Lucknow.

Six preliminary lessons in North Indian music/Six leçons préliminaires sur la musique de l'Inde septentrionale :

I. I. The 12 notes and 10 basic scales Les 12 notes et les 10 gammes fondamentales II. Id. Tablā Tānpūrā Sārangī Id. Columbia GE 3361

2. III. Alhaiyā-Bilāval (The Bilāval-basic scale [major mode], ascending and descending scale, characteristic motive [pakadā] modal shape [ālāpă], song/La gamme fondamentale Bilāval [mode majeur], gammes montante et descendante, motif caractéristique [pakadā], exposition du thème, [ālāpă], chant) IV. Bihāg Id. Id.

Columbia GE 3362

102

3. V. Déshkarā (Ascending-descending scale, characteristic motive, modal shape, song/Gammes montante et descendante, motif caractéritique, exposition du thème, chant)

Tablā Tānpūrā Sārangī Id. Columbia GE 3363

VI. Durgā (Ascending-descending scale, characteristic motive, modal shape, song/Gammes montante et descendante, motif caractéritique, exposition du thème, chant)

Id.

4. Jayā jayā Rāmā japā nāmā (Hindī) Niyān̐-kā-Sārangā Id. Columbia GE 3437

Madhumati āyī (Hindi) Kedārā-Bahār Id.

5. Vidyā dani (Hindi) Gopī-Vasantā Id. Columbia GE 3481

Sumārā-sahab (Hindi) Sālā-Barāli (Khyāl) Id.

6. Pyārē lālā to ré ri adhīnā (Hindi) Pīlū (Tritālā) Id. Columbia H 381

Barasanā ké bādalā kāré (Hindi) Sūrā-Malhār (Tritālā) Id.

7. Dāduravā bulāyé bādariyā (Hindi) Gauḍ-Malhār Id. Hindusthan H 272

Ayé ḍumaravā gailā (Hindi) Bahār (Tritālā) Id.

RATNĀ BĀĪ BANTWĀIL

1. Piyā mosé kahé nā (Hindi) Adāṇā Tablā Tānpūrā Sārangī Id. Jay Bharatā SJ 5009

Sunaliyo binati (Hindi) Yogiyā Id.

ROSHANĀRĀ BÉGUM

Abdul Karim's most outstanding pupil. She often sings on Radio Bombay.

Une des éléves les plus brillantes d'Abdul Karim. Chante souvent à la radio-diffusion de Bombay.

1. Āyorī mére gharā (Hindi) Karnātaki Tablā Tānpūrā Id. Columbia VE 5032

Tānā kaptānā (Hindi) Adāṇā (Ṭhumrī) Id.

2. Kabā hūñ na bhéjī pāti (Hindi) Kaisé jāūñ sakhi (Hindi) Pūrvī (Gazal) Id. Id. Columbia VE 5037

3. Allah kā jalvā bandé ko (Urdu) Tumā ho rutābé méñ ālī (Urdu) (Nāṭā) Id. Columbia VE 5045

103

4. Mathé tilakă dharo (Hindi) Jhulanā dālā dé (Hindi)

Shankarā (astāī) Shankarā (jaladāī)

Tablā Tānpūrā

Columbia VE 5047

5. Abă hārī nanadiyā (Hindi) Limhuă talé (Hindi)

(Ṭhumrī) Pūrvī (gītă)

Id. Id.

Columbia VE 5050

6. Chhailavā kahūñī sé (Hindi) Tarānā (Mnemotechnic rhythm-syllables de rythme mnémotechniques [bols])

Maru-Sāraṅgā Mālkosh

Id. Id.

Columbia VE 5053

7. Nairadayī lagarāī maikā (Hindi) Kanganā nunariyā mori (Hindi)

Bihāg Multānī

Id. Id.

Odeon SB 2359

8. Begună guṇă gāo (Hindi)

Gujrī-Toḍī

Id. Id.

National TH 8342

SAIGAL (K. L)

From Jullundur in Punjab. A film artist who mainly sang light music and modern songs. He was gifted with a beautiful voice.

Originaire de Jullundur, au Pendjab. Était un artiste de cinéma qui chantait surtout de la musique légère et des chants modernes. Sa voix était ravissante.

1. Lākhă sahī abă pīkī batiyaṅ (Ṭhumrī) Lagă gaī chotā karéjavā (Hindi)

Tablā Tānpūrā Harmonium

Hindusthan H 193

2. Nuktāchīṅ hai gamé dilā (Gazal) usko basāé na bané (Hindi) Yahā tassaruphā Allāhā (Urdu)

Id. Id. Id.

Hindusthan H 241

3. Rahmată pé térī mére gu-naon pé nază hai (Gazal) by/par Ghalib Shamā kā jalā nāi hai (Urdu) by/par Ghalib

Id. Id. Id. Id.

Hindusthan H 550

4. Bahută usă galī ké kiyé héră (Gazal) phéră (Urdu) Dīlā sé téri nigāhă (Urdu)

Id. Id. Id.

Hindusthan H 931

104

5. Idharā phirā bhī ānā udha-rā jāné valī (Urdu) (Gazal)

Matāvalé panésé jo ghatā Id. (Urdu)

Tablā Tānpūrā Harmonium

Id. Id. Id.

Hindusthan H 1004

6. Lāī hayāt āé kajā lé chalé (Gazal) (Urdu)

Garā siyahā bakhatā hī hotā Id. (Urdu)

Id. Id.

Columbia VE 1501

7. Panchhī kāhé hotā udāsā (Gazal) (Hindi)

Suno suno é Krishnā kāla Id. (Hindi)

Id. Id.

Columbia VE 1502

8. Duniyā méñ huñ duniyā kā (Gazal) (Hindi)

Kaunā virānē méñ (Hindi) Id. Id.

Columbia VE 1503

9. Dinā niké bitē jātā hain (Bhajanā) (Hindi)

Āo sarā biṭā jāṭā (Hindi) Id. Id.

Hindusthan H 156

SAMSHAD BĀĪ

A film actress and singer of light music. Actrice de cinéma et chanteuse de musique légère.

1. Pāyalā kī jhankārā (Hindi) Pūriyā-Dhanashri

Tablā Tānpūrā Sārangī

Id. Id. Id.

Columbia GE 1502

Mérā manā manatā (Hindi) Khamāj (Thumrī)

SACHINĀ DÉVĀ VARMANĀ

Belongs to the royal family of Tippera. Studied music with Krishnā Chandrā Dey and later with Vismadevā Chatterjee. De la famille royale de Tippera. Étudia la musique avec Krishnā Chandrā Dey, puis avec Vismadevā Chatterjee.

1. Ālo chhāyā dolā (Bengali) Behār Gāndhāri

Tablā Harmonium

Id. Id.

Hindusthan H 137

Jadi dakhiṇā pavanā (Bengali)

SARASVATĪ BĀĪ RAṆÉ

1. Jobanārē lalaiyā (Hindi) Chandakaunsā

Tablā Tānpūrā Sārangī

Id. Id. Id.

Columbia GE 3550

Morā manā harā lino (Hindi) (Thumrī)

2. Na bolo Shyāmā (Hindi) Sārangā Tablā Tānpūrā Sārangī Columbia GE 17524

Chalo sakhī khélé (A song of the Spring Festival/Chant de la fête printanière) (Holi)

Now elderly. Was the favourite pupil of Abdul Karim Khān. He comes from North Karnatak and mainly sings Khyāl.

Maintenant assez âgé. A été l'élève favori d'Abdul Karim Khān. Originaire du Kanara du Nord. Chante surtout des khyāls.

SAWAI GANDHARVĀ

1. Kahé rājā lānată jiyarā (Hindi) Dhānī Tablā Tānpūrā Sārangī H. M. V. N 5713

Lālā jinā karahū (Hindi) Hindolā Id.

2. Bādarvā baranā lāgē (Hindi) Sūrādāsī-Malhār Id. H. M. V. N 5726

Kishorī kyūñ balā mohé na (Hindi) Māndā Id.

3. Jāo jāo sakhī mādhovanā mēñ (Hindi) Tilangā Id. H. M. V. N 5744

Manā mēn Mohanā virājā (Hindi) Tilak-Kāmodā Id.

4. Samajā manā Gorakhā nadā (Hindi) Gujarī-Toḍī Id. H. M. V. N 15827

Piyā guṇā maunētā (Hindi) Puriyā Id.

5. Prītā nā kijiyé (Hindi) Āsāvari Id. H. M. V. N 15858

Banarā vyāhanā (Hindi) Naṭā-Malhār Id.

6. Biñā dékhé paḍatā nahīn (Hindi) Bhairavī (Thumrī) Id. H. M. V. N 15889

Pārā karā arajā suno (Hindi) Puriyā-Dhānashrī Id.

7. Kalā na paré maikā (Hindi) Shankarā Id. H. M. V. HT 46

Jo téri rājā jo chahé (Hindi) Āḍānā Id. 12 in./30 cm.

106

SHARĀFAT HUSAIN KHĀN

Made this record at the age of 12.

A enregistré ce disque à l'âge de douze ans.

1. Hajaratā Alī (Urdu)

Bihāg

Tablā Tānpūrā Sārangī

Hindusthan H 1198

Erī alīrī (Urdu)

Multānī

Id.

SHRĪMATĪ BĀĪ NARVĒKAR

A good classical singer from Maharashtra.

Bonne chanteuse classique, de Maharashtra.

1. Gaḍuva karasolé

Bahār

Tablā Tānparū Sārangī

Odeon SB 2126

Hari ké sangā méñ to (Hindi)

Sārangā

Id.

SHRĪPADĀ RAO NEVARĒKAR

1. Jā bhayā na mamā manā (Marathi)

Mālkosh

Tablā Tānpūrā Sārangī

Columbia GE 3982

Bahutā dinā nachā bheṭa-lon (Marathi)

Bāgéshrī

Id.

SUSHILĀ TEMBÊ

A popular artist from Bombay.

Chanteuse populaire de Bombay.

1. Shyāmā Mohanā majhiyā (Marathi)

Bhairavī

Tablā Tānpūrā Sārangī

Columbia GE 8101

Chalā chalā Mathurā (Marathi)

Bāgéshrī

Id.

2. Aisi na māro pichakāri (Hindi)

(Thumrī,Tritālă)

Tablā Tānpūrā Harmonium

Columbia GE 8106

Dékhiri aisi (Hindi)

Nandā (Tritālă)

Id.

3. Dattă guru dattă guru (Marathi)

Mālkosh (Tritālă)

Tablā Tānpūrā Sārangī

Columbia GE 8105

Ḍamru ḍamru dujhē bajé (Marathi)

Aḍāṇā

Id.

107

4. Badalā gayo nainā (Hindi)

Pīlū

Tablā Tām̐pūrā Sārangī

Columbia GE 8107

Ā miyāñ sandé (Hindi)

Sohanī

Id.

5. Mukhā sé Rāmā kaho (Hindi)

Yogiyā (Tritālā)

Id.

Columbia GE 8108

Jhananā bajé (Hindi)

Déshkarā (Tritālā, jaladā)

Id.

6. Hatā chodā dé (Hindi)

Bīhāgadā

Id.

Columbia GE 8109

Sabā sé unchī prémā sagai (Hindi)

Bhīmpalāshrī

Id.

7. Karinā yadumamin sadnā (Marathi)

Id.

Columbia GE 8120

Svakulā tārakā sutā (Marathi)

Id.

8. Dilrubā hā yā jivāchā (Marathi)

Id.

Columbia GE 8218

Hajaratā salāmā dhayāvā (Marathi)

Id.

TĀRĀPADA CHAKRAVARṬĪ

Born about 1902. Was first a tablā player, then studied vocal music with Jnānā Goswami. He is now considered one of the good classical singers in Bengal.

Né aux environs de 1902. Fut d'abord joueur de tablā, puis étudia la musique vocale avec Jnānā Goswami. Est maintenant considéré comme un des bons chanteurs classiques du Bengale.

1. Phāguné samīranā sané (Bengali)

Durgā

Tablā Tām̐pūrā Harmonium

Megaphone JNG 5467

Chāmélī méla āñkhī (Bengali)

Bhūpālī

Id.

2. Kothā gélé Shyāmā (Bengali)

Bhairavī

Id.

Megaphone JNG 5716

Vané vané pāpiyā bolé (Bengali)

Bahār

Id.

3. Khola khola mandirā dvārā (Bengali)

Mishrā-Tilangā

Id.

Megaphone JNG 5751

É rāngā godhūlī (Bengali)

Gujarī-Toḍī

Id.

VALLABHĀDĀS (Swāmī)

A pupil of Faiyaz Khān.

Élève de Faiyaz Khān.

108

1. Darshanā binā nainā tarasé Bihārā (Hindi) Basé urā sahajānandā (Hindi) by/par Swami Sahajānandā

Tablā Tānpūrā Sārangī Id. Columbia GE 3219

VASANTĀ (Master, of Surat/Maître, de Sarant)

A well-known singer of light and classical music. He mainly lives in Bombay. Chanteur bien connu de musique légère et de musique classique, qui vit surtout à Bombay.

1. Dulhanā banā ké mārā (Gazal) (Hindi) 2. Kabulā karé na kyoñ karā (Gazal) (Hindi) Aré o ūdho (Hindi) Durga (Gazal) 3. Méri mātā ké sarā parā (Hindi) 4. Mathurā méñ na sahi (Hindi) 5. Do phulā sāthā phulé (Dādarā) (Hindi) Sabā chalā chalī kā (Hindi) Bhairavī

Tablā Tānpūrā Sārangī Id. H. M. V. N 4124 Id. H. M. V. N 4139 Id. H. M. V. N 15727 Id. H. M. V. N 5707 Id. H. M. V. N 5737

VAZĪR KHĀN (of/de Rampur)

Died about 1920. Was a very great master of Indian music and the greatest Dhrupad singer of his time. Mort aux environs de 1920. Était un très grand maître de la musique indienne et, de son temps, le plus grand chanteur de dhrupads.

1. Labé jāu bakhshā kā una- (Gazal) ké Karishmā (Urdu) Chalé gayé vahā adayéñ d̤ikhā ké (Urdu)

Tablā Tānpūrā Sārangī Id. H. M. V. P 10434 Id.

VILAYAT HUSSAIN

A nephew of Faiyaz Khān, he belongs to a celebrated tradition (gharānā) of Agra. He mainly sings Khyāls but also knows Dhrupads. Neveu de Faiyaz Khān, appartient à la célèbre tradition (gharānā) d'Agra. Chante surtout des khyāls, mais aussi des dhrupads.

109

1. Tujhasé japākā paré (Hindi) Arī birahanā bichharanā (Hindi)

Bilāval Asāvari

Tablā Tānpūrā Sārangī Id.

Columbia BEX 269 12 in./30 cm.

VIMALĀ PATKĪ (Shrīmatī)

1. Sumīrĕ ho nāmĕ (Hindi) Rangā réliyān karatā (Hindi)

Jaunpurī Mālkosh (Tritālā, jaladā)

Tablā Tānpūrā Harmonium Id.

H. M. V. N 26705

2. Madhu bansarī (Hindi) Ḍārī ḍārī rangā (Hindi)

Bāgeshrī (Tritālā) Adānā (Tritālā, jaladā)

Id. Id.

H. M. V. N 26852

3. Jā jā ré (Hindi) Vană vană bolatā koyaliyā (Hindi)

Gauḍ-Sārangā Bahār

Id. Id.

H. M. V. N 35225

VINĀYAKĀ RAO PATVARDHAN

A singer of Khyāls and Bhajanās. He is one of the most representative disciples of Vishnu Digambar Paluskar.

Chanteur de khyāls et de bhajanās. Est un des disciples les plus représentatifs de Vishnu Digambar Paluskar.

1. Piti to kānā nāvaḍé (Marathi) (from/de Kānhopātrā) Ashī naté ho chārutā (Marathi) (from/de Kānhopātrā)

Patādipā Tilangā

Tablā Tānpūrā Sārangī Harmonium Id.

H. M. V. N 4135

2. Karī dayā dévā mādhavā (Marathi) Tārāṇā (Mnemotechnic rhythm - syllables/Syllabes de rythme mnémotechniques [bols])

Kāfī (Tritālā) Malhār (Tritālā)

Id. Id.

H. M. V. N 5011

3. Jogī matā jā (Hindi) by/par Mīrābāī Taranā (Mnemotechnic rhythm - syllables/Syllabes de rythme mnémotechniques [bols])

Bhairavī (Bhajanā) Bhairavī

Id. Id.

H. M. V. N 5631

110

4. Ritu āī sāvanā kī

(Hindi)

Jayantā-Malhār

Tablā

Tānpūrā

Sārangī

Harmonium

H. M. V.

N 25849

Tarānā (Mnemotechnic rhythm-syllables/Syllabes de rythme mnémotechniques [bols])

Bhūpālī

Id.

5. Sundarā Shyāmā dékhanā

ko (Hindi)

Shrī giridharā āgé (Hindi) by/par Mīrābāī

Jayājayanti

(Tintālā)

Bahār

Id.

H. M. V.

N 26000

6. Madhu bansarī pyārī

(Hindi)

Bhavanā té nikase (Hindi)

Mishrā-Kāfī

(Tintālā)

Surā-Malhār

(Tintālā)

Id.

Id.

H. M. V.

N 26090

7. Bādaravā gaharé āyé

(Hindi)

Dhirā kitā takā dhi dhi nā

Tarānā (Mnemotechnic rhythm-syllables/Syllabes de rythme mnémotechniques [bols])

Bhūpālī

(Trivatā)

Id.

Rāmādāsī-Malhār

Id.

H. M. V.

N 35465

VISHMADEVĂ CHATTOPADHYAYĂ

First studied music with Nāgendră Nāth Dattā of Rāmāghāt. He began to record when he was only 15. Later he studied with Badal Khān and Faiyaz Khān. He gave up music for several years and lived retired in the Pondichèrry Ashram, but has now come back to Calcutta. His voice is extremely beautiful.

Étudia d'abord la musique avec Nāgendră Nāth Dattā, de Rāmāghāt, et commença à enregistrer dès l'âge de quinze ans. Étudia ensuite avec Badal Khān et Faiyaz Khān. Renonça à la musique pendant plusieurs années et se retira à l'ermitage de Pondichéry. Est maintena de retour à Calcutta. Sa voix est extrêmement belle.

1. Phuléi dinā hala yé aba-sānā (Bengali)

Shéshérā gānāti chhila tomā lāgi (Bengali)

Jayājayanti

(Gazal)

Tablā

Tānpūrā

Harmonium

Megaphone

JNG 391

Id.

2. Nabāruna rāgé tumi sāthī go (Bengali)

Taba lāghī byathā othé yé kusumi (Bengali)

Bhairavī

Déshī-Toḍī

Id.

Id.

Megaphone

JNG 449

3. Mukhă moḍă moḍă musa-kātā (Hindi)

Ajă āo rī sakhī (Hindi)

Mālkosh

Ashā

Id.

Id.

Megaphone

JNG 513

III

4. Piñ piñ ratatã papiharā Lalitā (Hindi)

Abāho lālanā maikā Bihāg (Hindi)

Tablā Tānpūrā Harmonium

Megaphone JNG 656

5. Piyā paradéshā vā (Hindi) Rutā vasantā (Hindi)

Dhānashri Id. Id.

Megaphone JNG 698

6. Tadé sélā manā jā (Hindi) Hañ manā bhavaniyān (Hindi)

(Thumrī) Tilangā Id. Id.

Megaphone JNG 850

7. Bābanā dévatā (Hindi) Saiyañ tu ekā béri ājā (Hindi)

Shankará (Thumrī) Id. Id.

Megaphone JNG 910

8. Mati milaniyān (Hindi) Dukhava maiñ kāse kahūñ (Hindi)

Kāmodā Tilak-Kāmodā Id. Id.

Megaphone JNG 960

9. Pidā nā jani ré (Hindi) Bhalā morā manā Danḍi muralī bajāi (Hindi)

Mālkosh Kāfī-Bhairavī (Thumrī) Id. Id.

Mégaphone JNG 1017

10. Jāgo ālok lagané (Bengali) Yadi mané padé sé dinérā kathā (Bengali)

Rāmākali Kāfī-Bhairavī Id. Id.

Megaphone JNG 5175

WAHIDON BĀĪ (of/de Āgrā)

Died a few years ago. Was a well-known singer of Thumrīs. She mainly lived in Delhi.

Morte il y a quelques années. Était une chanteuse bien connue de Thumrīs. A surtout vécu à Delhi.

1. Jhūlā kinā né dālo (Hindi)

Sākhi rī piyā binā (Hindi) Kālí kālí jo ghatā (Hindi)

Sāvanā (Thumrī) (Thumrī) Id. Id.

Tablā Tānpūrā Sārangī Harmonium

Megaphone JNG 975

Achhé aisā ho (Hindi)

Id. Id.

Megaphone JNG 1106

ZOHRA BĀĪ

A famous singer of Thumrīs from the United Provinces. Was a disciple of Kalé Khān. She died many years ago in Calcutta.

112

Célèbre chanteuse de Ṭhumrīs des Provinces Unies, disciple de Kalé Khān.

Morte il y a longtemps déjà à Calcutta.

1. Rāmā karē nayanā

(Hindi)

Kāfī-Khamsā

(Kaharva)

Pī ké hamā tumā jo chālē

jhuma té (Pushto)

Pīlū

(Gazal)

Tablā

Tānpūrā

Sārangī

H. M. V.

P. 347

Id.

Id.

2. Kaunā rangā nanadī

(Hindi)

Savéré chalā jai ho (Hindi)

(Dādrā)

Id.

Twin

FT 4354

113

9

C H A P T E R I I I

BHAJANĀS

(Songs of Mystic Love) and

KĪRTANĀS

(Hymns of Glory)

C H A P I T R E I I I

BHAJANĀS

(Chants d'amour mystique) et

KĪRTANĀS

(Hymnes de gloire)

BHAJANĀS (Songs of Mystic Love)

Songs have a unique place in the traditional popular music and in the religious life of India. Many of the writers of Bhajanās were great musicians and poets.

BHAJANĀS (Chants d'amour mystique)

Les chants tiennent une place unique dans la musique populaire traditionnelle et dans la vie religieuse de l'Inde. Beaucoup de compositeurs de bhajanās étaient de grands poétes et musiciens.

THE SONGS OF KABĪR

LES CHANTS DE KABĪR

KABĪR (1450-1508)

A Mohmedan weaver of Benares. He composed numerous songs in Hindi, many of which are still traditionally preserved.

Tisserand musulman de Bénarès. A composé en hindi de nombreux chants dont beaucoup ont été conservés par la tradition.

1. Ājā mérē gharā prītamā

Sung by Juthikā Roy (Kumāri)

Accompaniment Tablā Tānpūrā Orch.

H. M. V. N 16418

2. Ghūnghatā ka patā kholā (Rāgā Darbāri)

Juthikā Roy (Kumāri)

Id. H. M. V. N 16418

3. Hari bolo ré bhāi

Vaidyānāth Seth

Duggī Kartālā Harmonium

Colombia GE 5002

4. Jāgo pyāri

Id. Id.

114

5. Kabīrā Bhajanā

Rénukā Dās Guptā

Tablā

Hindusthan H 11106

6. Manā lāgo méro yārā fakīrī méñ

Rāmā Marāthé (Master/Maître)

Tablā Tānpūrā Sārangī

Columbia GE 3525

7. Mosé kahā nā jāyé

Juthikā Roy (Kumārī)

Tablā Orch.

H. M. V. N 16562

8. Rāmā bhajanā binā koī nā

Kabīrā Dāsī

Tablā Tānpūrā

Columbia GE 5190

9. Rāmā Rahīmā méñ bhédā nā koī

Kabīrā Dāsī

Id.

Columbia GE 5190

10. Sabā sé unchī prémā sagāī

Rāmā Marāthé (Master/Maître)

Id.

Columbia GE 3525

11. Sājanavā nainā mére

Juthikā Roy (Kumārī)

Tablā Orch.

H. M. V. N 16562

THE SONGS OF SURDĀS

LES CHANTS DE SURDĀS

SURDĀS (1483-1563)

A celebrated Hindi poet and song composer who lived in Mathurā. He wrote a very large number of songs, a few of which are recorded.

Célèbre poète et compositeur de langue hindi qui vivait à Mathurā. A écrit un nombre considérable de chants, dont quelques-uns seulement sont enregistrés.

1. Dérā bhai Prabhu

Sant Tukdojī Mahārājā

Tablā Tanpūrā Sārangī

H. M. V. N 26591

2. Jabā prānā tanā sé nikalé

Himāngsū Dutt

Tablā Tānpūrā

H. M. V. P 11797

3. Vaishnavā janā to téné kahiyé jo pīrā parāī jané

Subbulakshmī (M. S.)

Tablā Tānpūrā Sārangī

H. M. V. N 14408

4. Bālā yogi āyā

Abharāmā Bhagat

Id.

Columbia GE 3976

THE SONGS OF MĪRĀBĀĪ (16th Century)

LES CHANTS DE MĪRĀBĀĪ (xvie siècle)

MĪRĀBĀĪ

A Rajput princess born in 1501. She left her home to become a wandering mendicant. Her songs are still today sung all over Ncrthern India. She wrote in Vrajā Bhāshā, a poetic form of Hindi.

115

Née en 1501. C'était une princesse radjpoute, qui quitta les siens pour devenir une mendiante errante. De nos jours encore ses œuvres se chantent dans toute l'Inde septentrionale. Écrivait en Vrajà Bhāshā, forme poétique de l'hindi.

1. Aratī térī ho

Juthikā Roy (Kumā rī)

Tablā Orch.

H. M. V. N 16542

2. Bādalā dékhă ḍarī

Juthikā Roy (Kumā rī)

Id.

H. M. V. N 16218

3. Barakhé bādaravā sāvană kī

Satī Dé vī

Tablā Tāmpūrā Harmonium

P 11807

4. Barakhé bādaravā sāvană kī

Vinodini Dīxit

Id.

Columbia GE 3354

5. Baso mé ré nainană méñ

Rā nadé (J. L.)

Id.

H. M. V. N 26567

6. Bhajā lé ré mană Gopālă guṇă

Juthikā Roy (Kumā rī)

Kholā Ghungharū Harmonium

H. M. V. N 7419

7. Chalo mană Gangā Jamunā tīră

Dattatré yă V. Pa luskar (Paṇ ḍitā)

Tablā Tāmpūrā Sāraṅgī

Columbia GE 3868

8. Ḍālī ḍalī phūlā

Sachinā Dé vā Varmană

Orch.

H. M. V. N 35331

9. Darshanā binā dukhanā lāgé naina

Juthikā Roy (Kumā rī)

Kholā Nupurā Harmonium

H. M. V. N 16031

10. Darshanā dījo āyé

Juthikā Roy (Kumā rī)

Tablā Ghungharū Orch.

H. M. V. N 16597

11. E Prabhu tumā chandanā hamā pā nī

Vasantā (Master/ Maître)

Tablā Tāmpūrā Sāraṅgī

H. M. V. N 5758

12. Galī to chāroñ bandă huī

Juthīkā Roy (Kumā rī)

Kholā Nupurā Harmonium

H. M. V. N 16447

13. Ghaḍī ékā na suhāvé

Juthikā Roy (Kumā rī)

Id.

H. M. V. N 16542

14. Hari tumă haro

Subbulakshmī (M. S.)

Tablā Tāmpūrā Sāraṅgī

H. M. V. N 14422

15. Kā lī bādariyā chhā gaï

Sachinā Dé vă Var manā

Orch.

H. M. V. N 35331

16. Koi kahiyo Prabhu āvană kī

Juthikā Roy (Kumā rī)

Kholā Nupurā Harmonium

H. M. V. N 16031

116

17. Koi kachhu kahé manā Juthikā Roy (Kumārī) Tablā Tānpūrā Orch. H. M. V. N 16717

18. Maiñ to prēmā divānī Juthikā Roy (Kumārī) Id. H. M. V. N 16406

19. Main to sāñvarā ké rangā Juthikā Roy (Kumārī) Id. H. M. V. N 9704

20. Maiñ vari jāūñ Rāṇā Rénukā Nāgā (Shrīmatī) Tablā Tānpūrā Sārangī H. M. V. N 9754

21. Maiñ vari jāūñ Rāṇā Juthikā Roy (Kumārī) Tablā Orch. H. M. V. N 16717

22. Mainé chakarā rakho-jī Satī Dévī Tablā Tānpūrā Harmonium H. M. V. P 10642

23. Mainé chakarā rakho-jī Hirābāī Baḍodekar Tablā Tānpūrā Sārangī Odeon SA 3027

24. Mainé chakarā rakho-jī Juthikā Roy (Kumārī) Tablā Harmonium Orch. H. M. V. N 16107

25. Manā mané jabā tārā Amirbai Karnataki Tablā Tānpūrā Harmonium Columbia GE 3448

26. Mérā lagī rangā Juthikā Roy (Kumārī) Tablā Tānpūrā Orch. H. M. V. N 16406

27. Mére to Giridharā Gopālā Hirābāī Baḍodekar Tablā Tānpūrā Sārangī Columbia VE 5030

28. Mére to Giridharā Gopālā Satī Dévī Tablā Tānpūrā Harmonium H. M. V. P 10642

29. Mére to Giridharā Gopālā Juthikā Roy (Kumārī) Tablā Harmonium Orch. H. M. V. N 16107

30. Mére to Giridharā Gopālā Dilip Kumār Roy Kholā Kartālā Harmonium H. M. V. N 17417

31. Méro janamā maranā ké Juthikā Roy (Kumārī) Tablā Harmonium Orch. H. M. V. N 16597

32. Mére paramā snéhi Rāmā Prabhu Rénukā Nāgā (Shrīmatī) Tablā Tānpūrā Sārangī H. M. V. N 9754

33. Mīrā Bhajanā

Rénukā Dās Gupta

Tablā Tāmpūrā Sārangī

Hindustan N 11106

34. Mīrā ko Prabhu sanchi dāsī banao

Juthikā Roy (Kumārī)

Kholā Ghungharū Harmonium

H. M. V. N 7419

35. Mīrā maganā bhaī

Hridayā (Pandit)

Tablā Tāmpūrā Sārangī

Columbia GE 7090

36. Pagā ghungharū bandhā Mīrā nāchi ré

Omkarnāth Thakur

Id. Columbia BEX 271 12 in./30 cm.

37. Pagā ghungharū bandhā Mīrā nāchi ré

Juthikā Roy (Kumārī)

Tablā Orch.

H. M. V. N 16493

38. Pagā ghungharū bandhā Mīrā nāchi ré

Amirbai Karnātaki

Tablā Tāmpūrā Harmonium

Columbia GE 3448

39. Payo jī mainé Rāmā ratanā

Himangsu Dutt

Tablā Tāmpūrā Sārangī

P 11811

40. Payo jī mainé Rāmā ratanā

Hirābāī Badodekar

Id. Odeon SA 3970

41. Piyā itanī vinatī

Juthikā Roy (Kumārī)

Tablā Orch.

H. M. V. N 16344

42. Pyaré darashanā dijo āyā

Satī Dévī

Tablā Tāmpūrā Sārangī

H. M. V. N 11807

43. Pyaré darashanā dijo āyā

Subbulakshmī (M. S.)

Id. H. M. V. N 14422

44. Rājā téri dungariā parā

Omkarnāth Thakur

Id. Columbia GE 3143

45. Rānā jī main to Giridharā-ké gharā

Juthikā Roy (Kumārī)

Tablā Tāmpūrā Orch.

H. M. V. N 9704

46. Rāmā milanā ké kājā sakhī

Subbulakshmī (M. S.)

Tablā Tāmpūrā Sārangī

H. M. V. N 16464

47. Sādhanā karanā chahiyé manavā

Juthikā Roy (Kumārī)

Tablā Orch.

H. M. V. N 16087

48. Shrī Giridharā āgé

Vināyakā Rao Patvardhan

Tablā Tāmpūrā Sārangī

H. M. V. N 26000

49. Shyāmā suno méri bīnati

Sachinā Dévā Varmanā

Id. Hindusthan H 1094

50. Suni main Hari āvanā ki avājā

Himangsu Dutt

Tablā Tāmpūrā

H. M. V. P 11797

118

51. Tumā binā mēri kaunā khabarā lē

Bālā Gandharvā

Tablā Tānpūrā

Columbia VE 5009

52. Yogī matā jā matā jā

Juthikā Roy (Kumārī)

Tablā Harmonium

H. M. V. N 16087

53. Yogī matā jā matā jā

Vināyakā Rao Patvardhan

Tablā Tānpūrā Sārangī

H. M. V. N 5631

THE SINGERS OF BHAJANĀS AND KĪRTANĀS

Kīrtanās (hymns of Praise) and Shyāmā Sangītā (songs in honour of the Goddess Kā l ī ) are the Bengali equivalents of the Hindī Bhajanās, of "Songs of mystic love".

Most classical singers also sing Bhajanās. There are, however, a few celebrated Bhajanā and Kīrtanā singers who do not sing classical music. Among them, the following are the best known.

LES CHANTEURS DE BHAJANĀS ET DE KĪRTANĀS

Les kīrtanās (Hymnes de louange) et les shyāmā sangītā (chants en l'honneur de la déesse Kā l ī) sont l'équivalent, en bengalī, des bhajanās ou « chants d'amour mystique », de l'hindī.

La plupart des chanteurs classiques interprètent aussi des bhajanās. Par contre, quelques célèbres chanteurs de bhajanās et de kīrtanās ne chantent pas de musique classique. Parmi ceux-ci, les plus connus sont les suivants :

ANUPAMĀ GHATAK

A Bengali. Engaged as director of music in the film industry. Bengali, directeur musical de production cinématographique.

Title, language, author Style and Rāgā (mode) Accompaniment

Titre, langue, auteur Style et Rāgā (mode) Accompagnement

1. Sambhalā sambhalā karā pagā dharanā (Hindi)

Bhajanā

Tablā Tānpūrā Kartāl Harmonium

Hindusthan H. 1076

Hari sé lagā rahī ré (Hindi) Id. Id.

119

BHATNAGAR (R. L.)

1. Manavā matā bhūlā bhūlā Bhajanā Tablā Tampūrā Regal (Hindi) Piléré āvatā ho (Hindi) Id. Id. RL 336

2. Prītā kā hānī kisé (Hindi) Id. Id. Regal RL 377

Prémā prītā nibhānā (Hindi)

3. Jobanā chhīnā chhiyā (Hindi) Rakhā āsā nirāsa na (Hindi) Id. Id. Id. Regal RL 411

BIJAN BĀLĀ GHOSH DASTIDAR (Kumārī)

A classical musician from Dacca in East Bengal. She now lives in Calcutta. Musicienne classique de Dacca (à l'est de Bengale). Vit actuellement à Calcutta.

1. Minati mori suniyo Hari Bhajanā Tablā Tampūrā H. M. V. (Hindi) Karatālā N 6793

Bhajā ré manā Krishnā nāma (Hindi) Id. Id. Id.

2. Prēmā muditā manā se kaho (Hindi) Id. Tablā Tampūrā Columbia GE 7269

3. Raghupati Raghavā Rājā Id. Id. Columbia GE 7223 Rāmā (Rāmā Dhunā)

DHIRENDRĂ CHANDRĂ MITRA

A pupil of Hanumandās of Gayā. He sings classical and light music. Élève de Hanumandās, de Gayā. Interprète la musique classique et la musique légère.

1. Kahabi kānura pāyā Kīrtanā Kholā Karatālā H. M. V. (Bengali) Rāiko hridayā bhabā (Bengali) Id. Id. Id. N 27398

DILIP KUMĀR ROY

A charming singer of light as well as religious songs. He was born in Bengal in 1898. He has now retired in the Ashram of Shrī Aurobindo at Pondicherry and rarely gives performances outside. Né au Bengale en 1898. Chante de façon charmante la musique légère aussi bien que la musique religieuse. S'est maintenant retiré dans l'ermitage de Shrī Aurobindo, à Pondichéry, et se fait rarement entendre dehors.

120

1. Chila basi sé kusumā kana-né (Bengali) Rāṅgājabā ké dila tor pāyā (Bengali)

Kīrtanā Id. (Mishrā-Sindhu)

Harmonium Id. H. M. V. N 7169

2. Mā (Bengali) Mantramayī (Bengali)

Bhajanā Id. Id.

Kholā Gun-gharū Kartālā Harmonium Id. H. M. V. N 9936

3. Sei Brindavanéra lilā abhi-rāmā (Bengali) Id.

Kīrtanā Id. Harmonium Id. H. M. V. N 9991

4. Lachakā lachakā bijalī jhalakā (Hindi) Mére dilā méñ dilā kā pyārā (Hindi)

Bhajanā Id. Id. Id.

Tablā Tānpūrā Esrāj Id. H. M. V. N 17057

5. Dilā lé liyā hai (Hindi) Basā lé apné manā méñ (Hindi)

Id. Id. Id. H. M. V. N 17388

6. Kunjanā banā chhādī (Hindi) Mére to Giridharā Gopā-lā (Hindi) by/par Mīrābāī

Id. Id. Id.

Tāblā Harmonium Kartālā Kholā Kartālā Harmonium H. M. V. N 17417

7. Mére janamā maranā ké sāthī (Hindi) Banā thanā karā āī (Hindi)

Id. Id. Id.

Id. Tablā Harmonium Kartālā H. M. V. N 27347

8. Na tātā na mātā (Sanskrit) by/par Shankaracharyā Aum praṇom

Id. Id. Id.

Tablā Tānpūrā Id. H. M. V. N 27623

9. Shrī Aravindā (Hindi) Mātrī stuti (Hindi)

Prayer/Prière (Stuti) Id. Id. Id. H. M. V. N 27656

10. Ghumā jayi main (Hindi) (with/avec Manju Guptā)

Bhajanā Id. H. M. V.

HIMĀNGSŪ DŪTT

Came from Comilla in East Bengal. Was mostly a director of music. He died young.

121

Originaire de Comilla (à l'est du Bengale). S'occupa surtout de direction musicale.

Est mort jeune.

1. Jabá práná taná sé nikalé Bhajaná (Hindi) Suni main Hari Ávaná kí Id. ávájá (Hindi) by/par Mírábáí

Tablá Támúpúra H. M. V. P 11797

2. Páyo jí mainé Rámá rataná Id. (Hindi) Káhé ré baná khojaná jáyá (Hindi) Id.

Id. H. M. V. P 11811

3. Rangá jo gulálá lálá (Hindi) (A song of the Spring Festival/ Chánt de la féte printaniére) Ao Ghanáshyamá (Hindi) Id.

Holi Id. Id. H. M. V. P 11815

JOSHI (G. N.)

1. Kánhá tori (Hindi) Bhajaná Nava kináré lagáun (Hindi) Id.

Tablá Támúpúra Id. Id. H. M. V. N 5862

2. Tumá kiské ho Ghaná Id. Tumá sabké ho Bhagaváná (Hindi) Id.

Id. H. M. V. N 26137

JUTHIKÁ ROY (Kumárí)

A very popular singer of devotional songs born in Bengal. She is a pupil and partner of Kamal Dás Gupta. Her lovely records are often disfigured by unsuitable accompaniment.

Interpréte renommée de chants spirituels, née au Bengale. Élève et partenaire de Kamal Dás Gupta. Les chants qu'elle a enregistrés sont charmants mais souvent défigurés par l'accompagnement.

1. Kabá avogé Krishná Murárí (Hindi) Gangá ké usapará (Hindi) Id.

Bhajaná Kholá Nupurá Orch. H. M. V. N 6794

2. Bhajá lé ré maná Gopálá Id. by/par Mírábáí Mírā ko Prabhu sanchi Id. dásí banáo (Hindi) by/par Mírábáí

Kholá Ghungharu Harmonium H. M. V. N 7419

122

3. Tomārā kālo (Bengali) Kīrtanā Kholā H. M. V.

Oré nīla jamunārā (Bengali) Id. Id. N 9788

4. Koi kahiyo Prabhu āvanā kī (Hindi) Bhajanā Kholā H. M. V.

by/par Mīrābāī Nupurā Harmonium N 16031

Darshanā binā dukhanā lāgé nainā (Hindi) Id. Id.

by/par Mīrābāī

5. Yogī matā jā matā jā Id. (Bhairavī) Tablā Harmonium H. M. V. N 16087

Sadhanā karanā chahiyé rēmanavā (Hindi) Id. Tablā Nupurā Harmonium

6. Mérē to Giridharā Gopālā (Hindi) Bhajanā Tablā Harmonium H. M. V. N 16107

by/par Mīrabāī Orch.

Mainé chakarā rakho jī (Hindi) Id. Tablā Nupūrā Harmonium

by/par Mīrabāī

7. Jā ré papīhā pīyu ké déshā (Hindi) Barah-Māsā Tablā Orch. H. M. V. N 16286

Id. Id. Id.

8. Maiñ to prēmā dīvānī (Hindi) Id. Tablā Tānpūrā H. M. V. N 16406

by/par Mīrabāī Orch.

Méra lago rangā Hari (Hindi) Id. Id.

by/par Mīrabāī

9. Ajā mére gharā prītamā (Hindi) Id. Id. H. M. V. N 16418

by/par Kabīr

Ghunghatā kā patā kholā (Hindi) Id. (Darbārī) Id.

by/par Kabīr

10. Main hārī O Girīdhārī (Hindi) Bhajanā Tablā Harmonium H. M. V. N 16510

Toré angā sé angā mīla-kāra (Hindi) Id. Orch. Id.

11. Jhumā jhumā barsatā hai Barsātī H. M. V. N 16513

Sāvanā kī āyī bahārā (Hindi) Id.

123

12. Darshanā dijo āyé (Hindi) by/par Mīrabāī Méro janama maranā ké sāthī (Hindi) by/par Mīrabāī

Bhajanā Id.

Tablā Ghungharū Orch.

H. M. V. N 16597

13. Kanhaiyā parā tanā manā lutāné chali (Hindi) Agar tumā Rādhé hoté Shyāmā (Hindi)

Id. Id.

Tablā Orch.

H. M. V. N 16689

KRISHNĀ CHANDRĂ DEY

Started to learn music after losing his eyesight at the age of 12. He first studied with Satish Chakravarty; then, with Karamat Ullā Khān. Now about 60 years of age, he is still studying Dhrupad with Davīd Khān. He is one of the most celebrated singers of Bengal.

Après avoir perdu la vue à douze ans commença à apprendre la musique. Étudia d'abord avec Satish Chakravarty, puis avec Karamat Ullā Khān. Agé de soixante ans environ, travaille toujours les dhrupads avec Davīd Khān. Un des chanteurs les plus célèbres du Bengale.

1. Chhāyāchhāyā:vonā bandhu (Bengali) Shatéka bayashā paré (Bengali)

Kīrtanč Id.

Kholč Kartālā Harmonium

H. M. V. HT 2 12 in./30 cm.

2. Ei to mādhabī (Bengali) Shuna shunahé parāna pīyā (Bengali)

Id. Id.

Id. H. M. V. HT 63 12 in./30 cm.

3. Ami dékhé chhi (Bengali) Āti aparūpā (Bengali)

Id. Id.

Id. H. M. V. HT 53 12 in./30 cm.

4. Akrurā haranā (Bengali) by/par Sailen Roy Id.

Id. Id. Id.

H. M. V. HT 81 12 in./30 cm.

5. Sakhi, loké balé kalo (Bengali) Āmi chandana hoiyé shitālá (Bengali)

Id. Id.

Id. H. M. V. P 11798

6. Hiyāyā rākhité (Bengali) Svapana dékhichhé (Bengali)

Id. Id.

Id. H. M. V. P 11835

124

7. Nabadvipéra shobhan-chandra (Bengali)

Kīrtanā

Kholā Kartālā Harmonium

H. M. V. P 11854

Odiké nimāi chalé (Bengali)

Id.

Id.

8. Kunjā sājāyé dé lo (Bengali)

Id.

Id.

H. M. V. P 11865

Jāminī tumi dīghalā hoyo (Bengali)

Id.

Id.

9. Gosṭha līlā (Bengali)

Id.

Id.

H. M. V. P 11867

Id. (pt. II)

Id.

Id.

10. Katira taté sé pīta tathi (Bengali)

Id.

Id.

H. M. V. P 11873

Āmi bhāṇḍa bhari nabanī (Bengali)

Id.

Id.

11. Raj rājā

Id.

Id.

H. M. V. P. 11879

12. Raj rājā

Id.

Id.

H. M. V. P 11880

13. Sakālē chalili jamunā (Bengali)

Id.

Id.

H. M. V. P 11881

Bhujhāo āmārē kéna (Bengali)

Id.

Id.

14. Japo ré Rāmā nāmā (Hindi)

Bhajanā

Tablā Harmonium

H. M. V. N 6296

Shrī Rāmā bhojo (Hindi)

Id.

Id.

15. Sochā phikarā kī nadī (Hindi)

Id.

Id.

H. M. V. N 16089

Bhavā sāgārā kī navā (Hindi)

Id.

Id.

16. Musafirā kyon māyā (Hindi)

Id.

Id.

H. M. V. N 16460

Rāmā téri māyā (Hindi)

Id.

Id.

17. Dékho prītā kī (Hindi)

Id.

Id.

H. M. V. N 16474

Karā tū Rāmā nāmākī (Hindi)

Id.

Id.

LĪLĀ KĀRVĀL

1. Murali prēmā kī bāji ré (Hindi)

Bhajanā

Tablā Tānpūrā Nupurā Harmonium

H. M. V. N 16659

Raghupati Raghavā Rājā Rāmā (Hindi)

Kīrtanā

Id.

125

MANJU GUPTA (Kumārī)

1. Brindāvanā kī mangalā līlā Bhajanā (Hindi) Mosé kahé ko prītā (Hindi) Id. with/avec Dilip Kumār Roy

Esrāj Tablā H. M. V. H 27386

MRINĀL KĀNTI GHOSH

A popular Bengali artist. Died in 1949. Artiste bengali très populaire. Mort en 1949.

1. Bhédā hari kā koi na jāné Bhajanā (Hindi) 2. Khélicha Vishva loyé Virātā (Bengali) by/par Kazi Nazrul Tomārā mohāvishé kichu (Bengali) by/par Kazi Nazrul

Id. Id. Id. Id.

Harmonium Columbia GE 2677 Tablā Harmonium H. M. V. N 7393

PANKAJ MULLICK

A very celebrated modern singer of Bengal. His voice and style are extremely attractive. Célèbre chanteur moderne du Bengale. Sa voix et son style sont extrêmement séduisants.

1. Kauna tojhé samajhāyé (Hindi) Ānkheñ muḍā karā dhyānā (Hindi) (sung by/chanté par Rūpā Kumārī)

Bhajanā Id. Id. Id.

Tablā Harmonium Columbia VE 5112

2. Chhoḍā musafirā mayā (Hindi) Dūniyādāri chhodé (Hindi)

Id. Id. Id. Id.

Columbia GE 2427

RĀDHĀ RĀNĪ

A pupil of Manju Saheb. She belongs to Murshidabad in Bengal. Élève de Manju Saheb. Originaire de Murshibad, au Bengale.

1. Ki mohini jāno (Bengali) Chhi chhi mahārājā (Bengali)

Kirtanā Id. Id. Id.

Kholā Kartālā Ghungharū Columbia GE 2521

126

2. Sārī prati shukā takhanā (Bengali) Kīrtanā Kholā Kartālā Ghungharū Columbia GE 2875

Shyāmā shukā pakha (Bengali) Id. Id. Id.

3. Bandhu é béshé (Bengali) Id. Id. Columbia GE 2909

Sundari oi khané (Bengali) Id. Id.

4. Mohanā muralī (Bengali) Id. Id. Columbia GE 2999

Bahudina paré (Bengali) Id. Id.

5. Mathurā vasini (Bengali) Id. Id. Columbia GE 7483

Dhikangā rājā (Bengali) Id. Id.

RĀMĀ ASRÉ (of/de Lucknow)

1. Sītājī kī bidāī (Hindi) Kīrtanā Kholā Kartālā H. M. V. N 16660

Id. (pt. II) Id. Id.

RATNESHWARĀ MUKHERJEE

A reputed singer of Kīrtanā-s from East Bengal. Chanteuse réputée de kīrtanās. Originaire de l'est du Bengale.

1. Ki kahili ré sakhī (Bengali) Kīrtanā Kholā Kartālā H. M. V. N 27856

Tyājī Kālobaranā kariba (Bengali) Id. Id.

2. Prémā kī ankurā (Maithili) Id. Id. Bharat S. C. 48

Alāpa bayashé (Maithili) Id. Id.

Traditional/Traditionnel

REBĀ SHOME (Kumāri)

1. Giridharilālā morā (Hindi) Bhajanā Tablā Tānpūrā Nupurā H. M. V. N 27597

Chanchalā chandé āshā ānandé (Bengali) Id. Id.

RÉNU BOSE (Bhowmik)

1. Jagā janā Mohanā sankatahari (Hindi) Bhajanā Tablā Tānpūrā H. M. V. N 17056

Shyāmāsundarā manmāndirā méñ āo (Hindi) Id. Id.

127

RÉNUKĀ DĀS GUPTA

1. Nandā Nandanā (Bengali) Kīrtanā Mādhava tūnhūn (Bengali) Id.

Harmonium Kholā Kartālā Hindusthan H 42

2. Kata kāla rabé (Bengali) Id. Kéna élé tabé (Bengali) Id.

Id. Id. Hindusthan H 711

3. Shuka sārī samā (Bengali) Id. Kona rasha Jamunāra (Bengali) Id.

Id. Id. Hindusthan H 958

4. Jadi Gokula Chandra (Bengali) Id. Pāgalā manatā ré (Bengali) Id.

Harmonium Kholā Id. Hindusthan H 3

5. Mīrā Bhajanā (Hindi) by/par Mīrābāī Kabir Bhajanā (Hindi) by/par Kabīr

Bhajanā Id. Tablā Id. Hindusthan H 11106

SACHINĀ DÉVĀ VARMANĀ

A well-known musician of Bengal. Most of his records of Bhajanās are dis-figured by the accompaniment.

Musicien réputé du Bengale. La plupart de ses enregistrements de bhajanās sont défigurés par l'accompagnement.

1. Nayanā mére darashābhi-khārī (Hindi) Prītā mēñ hué badanāmā (Hindi)

Bhajanā Id. Tablā Orch. Id. Hindusthan H 461

2. Shyāmā suno méri binati (Hindi) Pilé pilé (Hindi)

Id. Id. Id. Id. Hindusthan H 1094

3. Dhiré sé jānā bagiyānā (Hindi) Kona nagarīyā jayi ré (Hindi)

Id. Id. Id. Id. Hindusthan H 1001

4. Jhanā jhanā jhanā manjīrā (Bengali) Pohālā rāti jāgiyā (Bengali)

Id. Id. Id. Hindusthan H 494

5. Abā maiñ sharaṇā tumhārī (Hindi) Mére pitamā pyāré(Hindi)

Id. Id. Id. Hindusthan H 548

120

SAILA DÊVI

Came from East Bengal. A classical singer with a lovely voice. She died young.

Originaire de l'est du Bengale. Était une chanteuse classique à la voix charmante. Morte jeune.

1. Agaru chua (Bengali)

Kīrtanā

Tablā

Senola

Tānpūrā

QS 600

Harmonium

Kartālă

Rūpā lāgī āñkhī (Bengali)

Id.

Id.

SATĪ DÉVĪ (Shrīmatī)

Mainly a singer of Tagore songs.

Chante surtout les chants de Tagore.

1. Mére to Giridharā Gopālā Bhajanā

(Hindi)

by/par Mīrābāī

Maiñ né chakarā rākho jī

(Hindi)

by/par Mīrābāī

Id.

Tablā

H. M. V.

Tānpūrā

P 10642

Harmonium

Id.

2. Pyāré darashană dijo āyé

(Hindi)

by/par Mīrābāī

Barakhé badarovā savana kī

(Hindi)

Id.

Id.

H. M. V.

P 11807

Id.

SUBBULAKSHMĪ (M. S.)

One of the most celebrated Indian film stars, Shrīmatī Subbulakshmī is a very popular singer of both Southern and Northern music.

Une des vedettes les plus célèbres dans les milieux cinématographiques indiens. Shrīmatī Subbulakshmī est aussi une chanteuse très appréciée aussi bien en ce qui concerne la musique du sud que celle du nord de l'Inde.

1. Maiñ niraguṇiyā guṇā

(Hindi)

Bhajanā

Tablā

H. M. V.

Harmonium

N 16464

Rāmā milană ké kājā

(Hindi)

Id.

Nupurā

Id.

2. Vaishnavā janato (Hindi)

Id.

Tānpūrā

H. M. V.

Raghupati Rāghavā Rājā

Rāmā (Hindi)

Id.

N 14408

(with chorus/avec chœeurs)

Id.

3. Hari tumā haro (Hindi)

by/par Mīrābāī

Pyāré darshanā (Hindi)

Id.

by/par Mīrābāī

Id.

H. M. V.

N 14422

Id.

129

9

4. Vandé Mātaram (Sanskrit by/par Bankim Chatterjee Dhanya (Bengali) by/par Dwijendralal Roy

National song/ Chant national Orch. H. M. V. N 14421

Id. Id.

SUCHITRĀ MUKHERJEE

A well-known singer of Tagore songs. She has a superb voice.

Interprète réputée des chants de Tagore, à la voix ravissante.

1. Prabhu kabase bula rahe Bhajanā Tabla Tānpūrā Harmonium H. M. V. N 16727

haiñ (Hindi) Id. Id. Id.

Maiñ nanda ganvā kī orā Id. Id.

(Hindi)

SUPRAVĀ SARKAR

1. Sangā aji sangā (Bengali) Kīrtanā Orch. Hindusthan H 1335

Manā Harā Sundarā Bhajanā Id. Id.

2. Ājī Gokulā (Bengali) Kīrtanā Id. Hindusthan H 1451

(Bengali) Id. (pt. II) Id. Id.

TUSHARKANĀ PAUL (Kumārī)

A well-known research student and a good singer of Kīrtanās.

Connu pour ses travaux de recherche. Est aussi un bon chanteur de kīrtanās.

1. Rūpa lāgī āñkhi jharé (Bengali) Kīrtanā Kholā Violin/ violon H. M. V. N 27250

Sunaité kānu (Bengali) Id. Id. Id.

2. Torā jā jā sakhī jālo (Bengali) Id. Id. H. M. V. N 27719

3. Āmi na haiñ koré chino (Bengali) Id. Id. H. M. V. To be issued/ A paraître

by/par Kazi Nazrul Islām

UMĀ BOSE

A pupil of Dilip Kumār Roy. She died very young.

Élève de Dilip Kumār Roy. Morte très jeune.

1. Āja sakhī suna bājata Bhajanā Tabla Tānpūrā Harmonium H. M. V. N 17289

(Hindi) Id. Id. Id. Id.

Tū né kājā kiyā mujhé (Hindi) (Sung by/Chanté par Dilip Kumār Bose)

130

UMARĀ ZIYĀ BÉGUM

1. Ankhiyān Hari darshanā kī Bhajanā pyāsi (Hindi)

Nādanā samajhā lé jī méñ Id. (Hindi)

Bhajanā

Tablā Tānpuūrā Harmonium Id. Id.

Columbia GE 5182

2. Méri bhī banégi rahī (Hindi) Shyāmā Sundarā ré Manā-mohanā (Hindi)

Id. Id.

Id. Id.

Columbia GE 5193

UTPALĀ SEN (Shrīmatī)

1. Jāgo ré manā (Bengali) Hari nāma likhé diyo (Bengali)

Bhajanā Id.

Tānpuūrā Harmonium Id. Id.

Hindusthan H 1438

UTTARĀ DÉVI

1. Kānā se' jibana (Bengali) Sajanī go ki hérinū (Bengali)

Kīrtan Id.

Khōlā Kartālā Harmonium Id. Id.

Columbia GE 2125

2. Chhuo nā chhuo nā (Bengali) O kubjārā bandhu (Bengali)

Id. Id.

Id. Id.

Columbia GE 2578

3. Brojapurā nāgarā (Bengali) by/par Anil Bhattacharya Āmi Krishna chāhinā (Bengali)

Id. Id.

Id. Id.

Columbia GE 2643

4. Ké balé kānāi nāi (Bengali) by/par Nalini Kanta Sarkar Dvarā chhédé dé (Bengali) by/par Nalini Kanta Sarkar

Id. Id.

Id. Id.

Columbia GE 2948

VIDYĀNĀTH SETH

1. Bhajanā binā bavaré tumā hirajanam (Hindi) Manā phulā phulā phiré (Hindi)

Bhajanā Id.

Duggi Kartālā Harmonium Id. Id.

H. M. V. N 14661

-131-

2. Patiyān main kaise likhūn Bhajanā Duggi H. M. V.

(Hindi) Kāranā sabā sukhā Id. Kartālā Harmonium N 14688

Tumhāré kāranā sabā sukhā Id. Id. Id.

3. Chandariyā jhīnī ré jhīnī Id. Id. H. M. V.

(Hindi) Rahanā nahīn déshā birānā Id. Id. N 14721

VINODINI DIXIT (Shrīmatī)

1. Barasé bādariā savanā kī Bhajanā Tablā Columbia

(Hindi) by/par Mīrābāī Tānpūrā GE 3354

Ankhiyā Hari darshanā kī Id. Harmonium Id.

2. Mohé charanā pā sā bulālo Id. Id. Columbia

(Hindi) Prītamā mére manā bhayé Id. Id. GE 3829

132

CHAPTER IV

MODERN SONGS

CHAPITRE IV

CHANTS MODERNES

Modern songs play an important part in the musical life of India. Some of these songs follow traditional types and are sung by very good singers. Most of them, however, are disfigured by the unsuited orchestral accompaniment, which film and recording companies usually impose on the artists.

We are here giving a few selected songs by very popular singers.

Les chants modernes occupent une place importante dans la vie musicale de l'Inde. Quelques-uns de ces chants appartiennent au type traditionnel et sont exécutés par d'excellents chanteurs. Malheureusement la plupart sont défigurés par un accompagnement orchestral mal approprié, que les sociétés cinématographiques et les sociétés d'enregistrement ont coutume d'imposer aux artistes.

Nous donnons ci-dessous une sélection de quelques chants, exécutés par des chanteurs renommés de musique moderne.

DHONANJAY BHATTACHARYA

Rāgā (mode) and style

Rāgā (mode) et style

Accompaniment

Accompagnement

1. Ekti séturā bandhanā (Bengali) Nā dharā débārā (Bengali) by/par Tarit K. Ghosh

Modern song/ Chant moderne Id.

Guitar Orch. Id.

Columbia GE 7409

DILIP KUMĀR ROY and/et UMA BOSE (Kumārī)

1. Nālayé khastājan (Hindi) (Dilip Kumār Roy) Yūñ to kyā kyā nazarā (Hindi) (Uma Bose)

Gazal Id.

Tablā Tānpūrā Manjirā Harmonium Id.

H. M. V. N 17232

2. Tū né kyā kiyā (Hindi) (Dilip Kumār Roy) Āj sakhi sunā bajatā (Hindi) (Uma Bose)

Id. (Gītā)

Id. Id.

H. M. V. N 17289

133

HEMANTA KUMĀR MUKHERJEE

A young and extremely popular singer of Calcutta. Her voice is extremely beautiful.

Jeune chanteuse de Calcutta, extrêmement populaire, à la voix charmante.

1. Anchală sé kyoñ bandhă (Gītā) liyā (Hindi) Dilā léké bhulāi dénā (Hindi)

Id. Id. Tablā Orch. Columbia GE 2654

2. Suné panaghată pé bītī huī rāta (Hindi) Rātā ko dinā banā diyā (Hindi)

Id. Id. Id. Id. Columbia GE 2681

3. Mastī hai chhāī Vasantă (Hindi) Madhubană mēn na Shyāmă (Hindi)

Id. Id. Id. Id. Columbia GE 2725

4. Aba yadā hamēñ kyoñ ātī (Hindi) Vahă ankhă pilā gayé (Hindi)

Id. Id. Id. Id. Columbia GE 2742

5. Maiñ sajă bajāūñ tumă gāo (Hindi) Prēmă isīko kahé zamānā (Hindi)

Id. Id. Id. Id. Columbia GE 2779

6. Tumané mujhă ko sadā jalāyā (Hindi) Tumă kabă takă pyārā (Hindi)

Id. Id. Id. Id. Columbia GE 2913

7. Musibatoñ ko bulā rahā hūñ (Hindi) Bhalā thā kitanā apanā (Hindi)

Id. Id. Id. Id. Columbia GE 2985

8. Maiñ nadī sī bahatī (Hindi) with/avec Belā Mukherjee Bahakī huī nigāhén (Hindi) with/avec Belā Mukherjee

Id. Id. Id. Id. Columbia GE 7062

9. Sédină nishīthé (Bengali) Jāni jāni ekă dinā (Bengali) by/par Subodha Purka yastha

Modern Song/ Chant moderne Id. Id. Tablā Id. Columbia GE 2619

10. Ajă kono kathā nayă (Bengali) Esa kunjé go madhu (Bengali) by/par Amiya Bagchi

Id. Id. Id. Id. Columbia GE 2684

134

11. Morā byāthā jamunārā

(Bengali)

Bādālā méghérā (Bengali)

by/par Amiya Bagchi

Modern Song/

Chant moderne

Tablā

Columbia

GE 2783

12. Madhabīrā svapané

(Bengali)

Tomārā duarākhāni

(Bengali)

by/par Amiya Bagchi

Id.

Tablā

Columbia

GE 2917

Orch.

Id.

JAGANMOY MITTRA (JAG MOHAN)

1. Dilā déké dardā liyā maiñ

né (Hindi)

Yahā nā batā sakungā nāī

(Hindi)

(Gītā)

Id.

Tablā

H. M. V.

N 16685

Orch.

Id.

2. Pyārā ki manzilā nahiñ hai

(Hindi)

Jalā rahé haiñ armānā

(Hindi)

Id.

Id.

H. M. V.

N 16752

3. Phirā pyārā ho rahā hai

(Hindi)

Mujhé dilā méñ chhipā lo

(Hindi)

Id.

Id.

H. M. V.

N 16728

4. Sapanoñ méñ mujhako

pyārā (Hindi)

Ankhoñ méñ chhipā

(Hindi)

Id.

Id.

H. M. V.

N 16763

5. Sapanoñ méñ kyoñ āté ho

jī (Hindi)

Kyoñ nā chamaké pyārā

(Hindi)

Id.

Id.

H. M. V.

N 16866

6. Kyā méri matavālī né li

hai (Hindi)

Sajani āvo (Hindi)

Id.

Id.

H. M. V.

N 16604

7. Mujhé sapanoñ méñ nā

bahalāo (Hindi)

Méñri ãñkhiāñ banī dīvānī

(Hindi)

Id.

Id.

H. M. V.

N 16546

8. Matā karā sajā singārā

(Hindi)

Pyārī tumā kitanā sundarā

(Hindi)

Id.

Id.

H. M. V.

N 16586

9. Usā rāgā ko payālā méñ

(Hindi)

Yahā chandā nahiñ térī

(Hindi)

Id.

Tablā

H. M. V.

N 16617

Tānpūrā

Harmonium

Id.

135

10. Tumā mērē samanē ayanā (Gītā) karo (Hindi)

Ēkā bārā muskarā do (Hindi)

Tablā Tānpūrā Harmonium H. M. V. N 16630

11. Banā jogē tumā ékā dinā (Hindi) Prēmā kī rutā chalī gaī (Hindi)

Id. Id. Tablā H. M. V. N 16649

12. Hé morā dharani talā (Bengali) Kata tuku parichayā (Bengali) by/par Charu Mukherjee

Modern Song/ Chant moderne Tablā Orchestra H. M. V. N 27548

13. Ekāti pradīpā (Bengali) Malayā ré dhiré (Bengali) by/par Prabhavati Dévi

Id. Id. Id. H. M. V. N 27977

PANKAJ MULLICK

1. Maiñ ājā pīyā hothon kā (Hindi) Yahā ratēñ yahā mausamā (Hindi)

Modern Song/ Chant moderne Tablā Orch. Columbia VE 2547

2. Nā karā itanā pyārā (Hindi) Prēmā bélā mēñ phulā nā patté (Gītā)

Id. Id. Tablā Harmonium Flt Columbia VE 2510

3. Prānā chāhé nainā na chāhé (Hindi) Yādā āyé ki na āyé (Hindi)

Id. Id. Tablā Orch. Columbia VE 2517

4. Kaunā tujhé samjhāyé (Hindi) Ānkhā mudā karā dhyānā (Hindi) (Sung by/chanté par Rūpā Kumārī)

Id. Id. Columbia VE 5112

5. Kārā charu charaṇérā (Bengali) Janama marana (Bengali) by/par Sailen Roy

Modern Song/ Chant moderne Id. Id. Columbia VE 2328

6. Maranā ré torā (Bengali) Jédinā tomārā (Bengali) by/par Bāṇi Kumār

Id. Id. Id. Columbia VE 2521

136

SAIGAL (K. L.)

1. Ekhani uthibé chāndā (Bengali) Naibā ghumālé priya (Bengali) by/par Pranab Roy

Modern Song/ Chant moderne Id.

Tablā Harmonium Id.

Hindusthan H 11819

2. Panchhi kahé hotā udāsā (Hindi) Suho suho Krishna Kālā (Hindi)

Id. Kīrtan̆

Id. Kholā Manjirā Harmonium

Columbia VE 1502

3. Duniyā mēñ huī duniyā kā Kaunā birané mēñ (Urdu) (Urdu)

Id. Id.

Tablā Harmonium Id.

Columbia VE 1503

UTPALĀ SEN

1. Nayané ghanā lo (Bengali) by/par Biswaranjan Bha-duri Āyā ghumā āyā (Bengali) by/par Anil Bhattacharjya

Modern Song/ Chant moderne Id.

Tablā Orch. Id.

Hindusthan H 1341

2. Prathama milané (Bengali) by/par Dipa Mukherjee Mora kānané (Bengali) by/par Gora Mukherjee

Id. Id.

Id. Id.

Hindusthan H 1281

137

CHAPTER V

THE SONGS OF RABINDRANATH TAGORE

CHAPITRE V

LES CHANTS DE RABINDRANATH TAGORE

RABINDRANATH TAGORE (1861-1941)

The greatest modern Indian song-composer. Born of a family of wealthy music

lovers, he had the opportunity from childhood to hear the greatest musicians.

Most of his poems were conceived as songs and he created the music and words

together. About 2,000 of his songs have been published in Bengali notation. The

music of these songs is highly original and had a considerable influence on the

development of modern Indian music. He wrote several music dramas, which

are often performed in Bengal.

Le plus grand compositeur moderne de l'Inde. Né dans une famille riche où

l'on aimait la musique, il eut l'occasion dès l'enfance d'entendre les plus grands

musiciens. Il conçut la plupart de ses poèmes sous forme de chants, dont il créait

la musique en même temps que les paroles. Environ deux milliers d'entre eux ont

été publiés en caractères bengalis. Leur musique est particulièrement originale et

elle a exercé une influence considérable sur l'évolution de la musique indienne

moderne. Rabindranath Tagore a également composé plusieurs drames lyriques,

souvent joués au Bengale.

1. Adhēka ghumé nayană

(Bengali)

Sung by

Chanté par

Amitā Sén

Accompaniment

Accompagnement

Orch.

Hindusthan

H 262

2. Ajā Bangalā dēśérā hridayā holé (Bengali)

Hemanta Mukherjee

Tablā Flt Orch.

Colombia GE 7488

3. Ajā khélā bhāngārā khélā (Bengali)

Saigal K. L.

Orch.

Hindusthan H 915

4. Ajā tārāyā tārāyā dipta (Bengali)

Mādhurī Chaudhuri (Shrimatī)

Vln Guit. Org.

H. M. V. N 27839

5. Āji godhuli lagané (Bengali)

Suchitrā Mukherjee Id.

H. M. V. N 31026

6. Āji tomāyā ābārā (Bengali)

Rajeswarī Vāsu-dévā (Shrīmatī)

Orch.

Hindusthan H 920

138

7. Āji tomāyā ābārā (Bengali) Nīlimā Gupta Guit. Org. Piano Columbia GE 7104

8. Āju sakhī muhu muhu (Bengali) Kanikā Déví (Shrīmatī) Kholā Kartālā Harmonium Esrāj H. M. V. N 27747

9. Ākāshā judé shuninū oi bājé (Bengali) Gītā Nāhā Kholā Manjīrā Columbia GE 7122

10. Ali bārā-bārā (Bengali) Amitā Sén. Orch. Hindusthan H 442

11. Āmārā andha pradīpā (Bengali) Pankaj Mullick Id. H. M. V. P 11900

12. Āmārā jābārā bélāyā (Bengali) Krishnā Chandrā Dey Org. H. M. V. P 11782

13. Amārā jīvanapātra uchhaliya (Bengali) Rājéswarī Vāsudévā Orch. H. M. V. N 27649

14. Āmārā ki bédanā sé (Bengali) Suchitrā Mukherjee Id. H. M. V. N 27630

15. Āmārā priyārā chhāyā (Bengali) Pankaj Mullick Id. H. M. V. P 11905

16. Āmārā rātā pohalā (Bengali) Saigal K. L. Orch. Hindusthan H 915

17. Āmārā sonārā bānglā (Bengali) Suchitrā Mukherjee Kholā Orch. H. M. V. N 27790

18. Āmāré tumi ashéshā karéchha (Bengali) Pankaj Mullick Orch. H. M. V. N 11900

19. Āmārā godhuli laganā (Bengali) Hémanta Mukherjee Esrāj Vln Tablā Columbia GE 7057

20. Āmi Shravanā ākāshé (Bengali) Pankaj Mullick Orch. H. M. V. P 11905

21. Āmi tomārā sangé (Bengali) Kanikā Déví (Shrīmatī) Id. H. M. V. N 27991

22. Āmi tomāyā jata (Bengali) Saigal K. L. Id. Hindusthan N 766

23. Andhārā rāté ékalā pāgalā (Bengali) Krishnā Chandrā Dey Org. H. M. V. P 11782

24. Ārā rékhonā āndhārē (Bengali) Suchitrā Mukherjee Orch. H. M. V. N 27673

25. Āro kichukshanā (Bengali) Suchitrā Mukherjee Orch. Kholā H. M. V. N 27630

26. Āyi Bhuvana mana mohini (Bengali) Hémanta Mukherjee Orch. Columbia GE 7488

139

27. Bādalā dinérā prathamā (Bengali) Rājéswarī Vāsu-dévā Orch. Hindusthan H 920

28. Bādalā méghé mādalā bājé (Bengali) Suchitrā Mukherjee Id. H. M. V. N 27737

29. Bājāo ré Mohanā bānshī (Bengali) Nilimā Gupta Flt Kholā Columbia GE 7167

30. Bandhu konā māyā lāgālo (Bengali) Amalā Dutt Tablā Harmonium Vln Hindusthan H 385

31. Bédanā bharā é Vasanta (Bengali) Nilimā Gupta Flt Kholā Columbia GE 7104

32. Bhéngécha duyārā ésécha (Bengali) Jaganmoy Mittra Orch. H. M. V. N 27831

33. Bhorā holo bībhāratī (Bengali) Shāntidévā Ghosh Tablā Tānpūrā Esrāj H. M. V. N 27671

34. Bimalā ānandé jāgo ré (Bengali) Rādhikā Prasād Goswāmī Tablā Org. H. M. V. P 2173

35. Chhāhiyā dékho rashérā sroté (Bengali) Dévarabrata Biswās Orch. Columbia GE 7233

36. Chīnilé nā āmāréc kí (Bengali) Amitā Sén Id. Hindusthan H 729

37. Chokhā jé odérā chhuté Chalé (Bengali) Shāntidévā Ghosh Tānpūrā Tablā Esrāj H. M. V. N 27671

38. Dīnā guli morā sonārā khānchāyā (Bengali) Pankaj Mullick Orch. Columbia VE 2502

39. Dīnā paré jāyā dinā (Bengali) Rénukā Dās Gupta (Shrīmatī) Kholā Org. Manjirā Hindusthan H 421

40. Dinérā parā dinā jé géla (Bengali) Rénukā Dās Gupta Id. H. M. V. P 11877

41. Dīpā nibhé géchhé mama (Bengali) Kanak Dās (Shrīmatī) Org. Flt Vln H. M. V. P 11878

42. É dinā āji (Bengali) Saigal K. L. Orch. Hindusthan H 914

43. É shudhu alashā māyā (Bengali) Dévarabrata Biswās Id. Columbia GE 2927

44. Ékātuku chhoñyā lāgé (Bengali) Saigal K. L. Id. Hindusthan H 914

45. Ekhanā āmārā samayā holo (Bengali) Rājéswarī Vāsudévā Id. Hindusthan H 1022

46. Élo jé shitéra bélā (Bengali) Samaréshā Chowdhury Shāhnāī Guit. Vln Senola QS 509

140

47. Emni koré jāyā jadi dinā (Bengali) Dévarbrata Biswās Orch. Columbia GE 7233

48. Gagané gagané (Bengali) Pankaj Mullick Id. Hindusthan H 523

49. Hé kshanikérā atithi (Bengali) Bijoyā Shome (Kumārī) Id. H. M. V. N 27857

50. Hé nirupamā (Bengali) Hémanta Mukherjee Id. Columbia GE 2873

51. Hé nutanā dékhā dikhā ārābārā (Bengali) Kanak Dās (Shrīmatī) Esrāj Tānpūrā H. M. V. P 11861

52. Hé nutanā dékhā dikhā ārābārā (Bengali) Saila Dévi Esrāj Sénola QS 549

53. Himsayā unmatta prithvi (Bengali) Kanak Dās (Shrīmatī) Esrāj Tānpūrā H. M. V. P 11866

54. Hriday vāsanā purna hola (Bengali) Mālatī Ghosāl (Shrīmatī) Esrāj H. M. V. P 11853

55. Hridayérā ékulā okulā (Bengali) Suchitrā Mukherjee Orch. H. M. V. N 27564

56. Jadi préma dilé nā (Bengali) Amitā Sén Vlṇ Harmonium Hindusthan H 1010

57. Jadi torā dākā suné (Bengali) Suchitrā Mukherjee Manjīrā Columbia GE 7502

58. Jāga jāga alasā (Bengali) Hémanta Mukherjee Orch. Columbia

59. Jana gana mana Id. Gramophone OJE IT 1

60. Jana gana mana Haripadā Chatterjee Choir/ Chœur H. M. V. H. 570

61. Jaubana sarasī nīré (Bengali) Pankaj Mullick Orch. Hindusthan H 523

62. Jé chhila āmārā (Bengali) Amitā Sén Id. Hindusthan H 1010

63. Jé dina bhéshé géchhé (Bengali) Kanikā Déví Id. H. M. V. N 27802

64. Jīvan jakhanā shukhāyé (Bengali) Suchitrā Mukherjee Id. H. M. V. N 27823

65. Ké basilé āji (Bengali) Mālatī Ghosāl (Shrīmatī) Sārangī H. M. V. P 11853

66. Ké débé chāndā dolā (Bengali) Amitā Sén Orch. Hindusthan H 442

67. Krishnakali āmi tārēi bali (Bengali) Shāntidévá Ghosh Esrāj H. M. V. N 27614

68. Marané­ra tunhu mama Shyāmā (Bengali)

Suchitrā Mukherjee Harmonium Vln Kholā Kartālā

H. M. V. N 27564

69. Nā chāhilé jāré (Bengali)

Suchitrā Mukherjee Orch.

H. M. V. N 27673

70. Nilā naba ghana (Bengali)

Suchītrā Mukherjee Vln Guit. Kholā

H. M. V. N 31026

71. Nrityéra tālé (Bengali)

Suchitrā Mukherjee Id.

H. M. V. N 27906

72. Ogo āmārā chira (Bengali)

Rājéswarī Vāsu-dévā Orch.

Hindusthan H 1022

73. Ogo badhu sundarī (Bengali)

Amitā Sén Id.

Hindusthan H 866

74. Ogo dakhinā hāoyā o pathikā (Bengali)

Amitā Sén Id.

Hindusthan H 262

75. Ogo déko nā moré (Bengali)

Sudhā Mukherjee (Banerji) Org. Piano Vln

H. M. V. N 27837

76. Ogo shonā ké bājāyā (Bengali)

Rājéswarī Vāsudéva Id.

Hindusthan H 1097

77. Oi Bhuvanamohini (Bengali)

Hémanta Mukherjee Orch.

Columbia GE 7488

78. Oré sāvadhāni pathikā (Bengali)

Pankaj Mullick Id.

Columbia VE 2502

79. Pāglā hāoār bādalā diné (Bengali)

Hémanta Mukherjee Id.

Columbia GE 7232

80. Pathéră shéshă kothāyā (Bengali)

Hémanta Mukherjee Id.

New Theater H 1032G

81. Phiré phiré dākdékhire (Bengali)

Amitā Sén Id.

Hindusthan H 729

82. Pralayā nāchana nāchalé (Bengali)

Pankaj Mullick Id.

Hindusthan H 9

83. Prāngané morā shirishā (Bengali)

Hémanta Mukher-jee Id.

Columbia GE 2873

84. Prathama ādi taba shakti (Bengali)

Jaganmoy Mitra Vln

H. M. V. N 27831

85. Pūrvā hāoāté deyā dolā (Bengali)

Suchitrā Mukherjee Orch.

H. M. V. N 27737 GE 2873

86. Saghana gahana rātrī Vasanta (Bengali)

Pankaj Mullick Id.

Columbia VE 2524

142

87. Sakaruna venu bajayé (Bengali) Nilimā Gupta Orch. Columbia VE 7235

88. Sanmukhé shānti pārā-vārā (Bengali) Saila Dévi Esrāj Senola QS 549

89. Sanmukhé shanti parāvarā (Bengali) Kanak Dās (Shrīmatī) Id. H. M. V. P 11861

90. Sārthakā janamā āmārā Suchitrā Mukherjee Orch. H. M. V. N 27790

91. Sé āmārā gopanā (Bengali) Kanikā Dévi Orch. Flt Kholā Kartālā H. M. V. N 27991

92. Sé āmārā gopanā (Bengali) Amalā Dutt Vln Kholā Esrāj Hindusthan H 197

93. Shāngana gagané ghorā ghanaghatā (Bengali) Kanikā Dévi Kholā Esrāj Kartālā H. M. V. N 27747

94. Shésha gānérai réshā (Bengali) Rājéswarī Vāsudévā Orch. Hindusthan H 1097

95. Shubhra prabhātē (Bengali) Sāvitrī Dévi Esrāj Hindusthan H 8

96. Svapanā jadi bhāngilé (Bengali) Rādhikā Prasād Goswāmī Org. Tablā H. M. V. P 2173

97. Tomārā āsanā shunyā (Bengali) Pankaj Mullick Orch. Hindusthan H 9

98. Tomārā āmāréi virahérā (Bengali) Rajeswarī Vāsudévă Id. New Theaters H 1032 G

99. Tomārā manā balé chāi shuru (Bengali) Gītā Nāhā Kholā Manjīrā Columbia GE 7122

100. Tomārā gānă (Bengali) Hémanta Mukherjee Orch. Columbia GE 7051

101. Tomāyé sāiāba yatané (Bengali) Amitā Sén Id. Hindusthan H 866

102. Tomārā vīnāyă gānā (Bengali) Saigal K. L. Id. Hindusthan H 766

103. Toră āponā jāné chhā-dabé (Bengali) Dévabrata Biswās and Chorus/et chœurs Id. H. M. V. N 27736

104. Tumi hatāthā hāoyāyā bhésé (Bengali) Ilā Ghosh Id. H. M. V. N 27754

105. Tumi kichu diyé jāo (Bengali) Savitri Dévi Esrāj Flt Hindusthan H 8

106. Tumi ki kébalí chhabi (Bengali)

Pankaj Mullick

Tablā Tānpūrā Sitār

Columbia VE 2524

107. Tumi konă bhāngnéră pathé (Bengali)

Ilā Ghosh (Kumārī)

Orch.

H. M. V. N 27754

108. Tumi rabé niraba (Bengali)

Dévabrata Biswās

Id.

Columbia GE 7593

109. Vasanté shudhu kébalā kébalā

Shāntidévá Ghosh

Flt Esrāj Kholā

H. M. V. N 27614

110. Yodí toră dākā shuné

Hémanta Mukherjee

Orch.

Columbia GE 7502

144

PART II

SOUTH INDIA

(KARNAṬAKĀ MUSIC)

DEUXIÈME PARTIE

INDE MÉRIDIONALE

(MUSIQUE DU KANARA)

145

10

CHAPTER I

INSTRUMENTAL MUSIC

CHAPITRE PREMIER

MUSIQUE INSTRUMENTALE

APPADURAI IYENGAR (T.)

Instrument

Title of piece

and composer

Rāgā (mode)

and style

Accompaniment

Instrument

Titre

et auteur

Rāgā (mode)

et style

Accompagnement

1. Jalā-tarangā

Id.

Karaharā-priya

Brindāvani-Sarangā

H. M. V.

P 81

CHOWDIAH (T.).

MYSORE

Now about 55 years of age. A well-known violinist from Mysore, where he is court musician. He is a disciple of Vidharamā Krishnappa. Uses a violin with seven strings, his own invention.

Agé d'environ cinquante-cinq ans. Est un violoniste réputé originale de Mysore, où il est musicien de la cour. Disciple de Vidharamā Krishnappa. Se sert d'un violon à sept cordes de son invention.

1. Violin/ Violon

Dīnamani Vamshā

by/par Tyāgarājā

Hari-kāmbhojī

Mridangā

Columbia

GE 167

Id.

Id. (pt. 2)

Id.

Id.

2. Violin/ Violon

Nidhishālā

by/par Tyāgarārājā

Kalyāṇī

Id.

Columbia

GE 6148

Id.

Id. (pt. 2)

Id.

Id.

3. Violin/ Violon

Ellīruva

Aindu Vayadinilé

Id.

Columbia

GE 6506

Id.

Id.

4. Violin/ Violon

Vāthāpi Ganapatim

Id. (pt. 2)

Id.

Columbia

GE 6539

Id.

Id.

5. Violin/ Violon

(Alāpanā)

Shankarābharanam

Id.

Columbia

GE 187

Id.

(Tānam)

Id.

Id.

6. Violin/ Violon

Rāmā Niyéda

by/par Tyāgarājā

Kharaharāpriyā

Id.

Columbia

GE 225

Id.

Id. (pt. 2)

Id.

Id.

147

7. Violin/ Violon Vanajākshī (Varnam) Kalyāṇī Mridangā Columbia GE 307

8. Violin/ Violon Kālaharaṇā by/ par Tyāgarājā Shuddhā-Sāvéī Mridangā Columbia GE 593

Id. Méruśamāna by/ par Tyāgarāja Mayamalava- Gaulā Id. Id.

9. Violin/ Violon Intasowkyāmani by/ par Tyāgarājā Kāpī Id. Columbia GE 921

10. Violin/ Violon Rāmā Nannu by/ par Tyāgarāja Jananī Jānaka Hari-kāmbhojī Id. Columbia GE 6175

11. Violin/ Violon (Tānam) Toḍī Id. Columbia GE 6198

Id. Id. (pt. 2) Id. Id. Id.

12. Violin/ Violon Vará-Gaṇapaté Id. Id. Columbia GE 6261

Id. Smarā-janakā by/ par Svātī Tirunal Bihāg Id. Id.

DORÉSWĀMĪ IYENGAR (V.)

A young musician from Mysore. Jeune musicien de Mysore.

1. Viṇā Bhuvanéshvarī by/ par Muthiah Bhagavatar Mohanā-Kalyāṇī Mridangā Columbia GE 6531

Id. (Rāgā-Tānā) Khanās Solo Id.

GOPĀLĀKRISHNÄ IYER (Marungapuri)

Now about 65 years of age. Has been accompanying all the best classical singers. Aujourd'hui âgé d'environ soixante-cinq ans. A accompagné tous les plus grands chanteurs classiques.

1. Violin/ Violon Koluvai Yunnāḍé by/ par Tyāgarājā Bhairavī Mridangā Columbia CA 618

Id. Id. (pt. 2) Id. Id. Id.

GOPINĀTH'S PARTY

Traditional/ Traditionnel Kéli Kottu (Kathākali) H. M. V. N 18958

Id. Id. (pt. 2) Id. Id.

148

KALPAKAM (Shrīmatī)

A vīṇā teacher in Kalākshétrā.

Professeur de vīṇā à Kalākshétrā.

1. Vīṇā Parabrahmané Samā Tānpūrā H. M. V.

Id. Ādiapadāmé Toḍī Vln N 18312

Mridangā Id.

KEERANUR BROTHERS

1. Nāgasvaram Kharaharāpriyā Ottu H. M. V.

Tavil N 8967

2. Nāgasvaram Kharaharāpriyā Id. H. M. V.

(Pallavi) Pancharatna Id. N 8968

Id. (Rāgā-mālikā)

3. Nāgasvaram Etāvunarā Kalyāṇī Id. H. M. V.

Id. Gnāmosagarada Pūrvī-Kalyāṇī Id. N 8969

4. Nāgasvaram Bāgāyénayya Chandrā-jyoti Id. H. M. V.

Id. Manasāi étulorthu Malayāmarutā Id. N 8972

KRISHNAMURTHI SHĀSTRIGAL (Budalur)

Is considered the best exponent of the Gottuvādyam. He first studied vocal music under Konéri Rājapuram and Vaidyanāthā Iyer and later practised instrumental music. He is now teaching in Kalākshétrā and in the Central College of Karnātakā Music in Madras.

Est considéré comme le meilleur joueur de gottuvādyam. Après avoir étudié la musique vocale avec Konéri Rājupuram et Vaidyanāthā Iyer, fit plus tard de la musique instrumentale. Enseigne maintenant à Kalākshétrā et au Collège central de musique du Kanara, à Madras.

1. Gottuvādyam Datchukovalanā Toḍī Mridangā Columbia

by/par Tyāgarājā Id. BA 403

Id. (pt. 2) Id.

2. Gottuvādyam Sāmajavaragamanā Hindolā Id. Columbia

by/par Tyāgarājā Id. PA 406

Id. Kommarovāniki Khamās (Javālī) Id.

MAHĀLINGAM (T. R.)

Now about 30 years of age. Comes from Tayanayar in the Tanjore district. Although he does not belong to a family of musicians, he began to play the flute at the age of five. He is considered a very exceptional artist.

149

Agé maintenant d'environ trente ans, est originaire de Tayanayar, district de Tanjore.

Bien qu'il n'appartînt pas à une famille de musiciens, il commença dès l'âge de cinq ans

à jouer de la flûte. Est considéré comme un artiste tout à fait exceptionnel.

1. Flute/Flûte Ninnuvinā Navarasā-Kānadā Tānpūrā Columbia

by/par Tyāgarājá Vln. GE 6274

Id. Id. (pt. 2) Mridangá

Id. Id. Id.

2. Flute/Flûte Rāgam-Tānam Kāmbhojī Id. Columbia

Id. Id. (pt. 2) Bihāg, Id. GE 6389

Id. Id. Sindhu-Bhairavī

3. Flute/Flûte Evarini Nāda-Chintāmani Id. Columbia

by/par Tyāgarājá Id. Id. GE 6505

Id. Mahudī Id.

4. Flute/Flûte Rāgam Kedārā-Gaulā Id. Columbia

Id. Id. (pt. 2) (Pallavi) Id. GE 6589

MANNARKUDI (K.), SAVITRĪ (Shrīmatī)

One of the very few players of the Gottuvādyam. She is about 30 years old and is con-

sidered very talented.

Agée d'environ trente ans. Compte parmi les très rares artistes actuels qui jouent

du gottuvādyam. Est considérée comme ayant beaucoup de talent.

1. Gottuvādyam Arunodayam Kharaharāpriyā Mridangá Columbia

Id. Mundu Tamil Malai Rāgā-mālikā Id. GE 6540

NĀRĀYANĂ IYENGAR (K. S.)

A palace musician of Mysore. Now about 40 years of age.

Musicien du palais de Mysore. Agé d'environ quarante ans.

1. Gottuvādyam Marulu Konnadhira Khamās (Javālī) Solo Columbia

by/par Ramnād Id. Id. GE 984

Shrīnivāsā Iyengar Nītu Mahimā Hamsā-nandi

by/par Muthiah Id. Id.

Bhagavatar

2. Gottuvādyam Shrī Raghukulā Husséni Id. Columbia

Nidhim Id. Id. GE 985

by/par Ramnād

Shrīnivāsā Iyengar Id. (pt. 2) Id.

Id. Id.

150

3. Gottuvādyam

Nee Bhaktibhāgya-

sutā

by/par Tyāgarājā

Jayā-Manohari

Solo

Columbia

VE 41

Id.

Adhi Nīpai

by/par Dharmpuri

Subbiar

Khamās

Id.

Id.

4. Gottuvādyam

Manaṣu Svadhīnā

by par Tyāgarajā

Shankarābharanam

Id.

Columbia

GE 872

Id.

Id. (pt. 2)

Id.

Id.

5. Gottuvādyam

Paramā pāvanā

by/par Ramnād

Shrīnivāsā Iyengar

Pūrvī-Kalyāṇī

Id.

Columbia

GE 251

Id.

Id. (pt. 2)

Id.

Id.

NĀRĀYANASWĀMĪ IYER (Pudukottai)

A celebrated violinist at the beginning of the century. He had a remarkable sense of rhythm.

Violoniste célèbre du début du siècle. Avait un sens remarquable du rythme.

1. Violin/Violon

Parimalā Rangapaté

Kāmbhojī

(Ālāpā)

Mridangā

H. M. V.

P. 67

Id.

Id. (pt. 2)

Id. (Pallavi)

Id.

2. Violin/Violon

Manaṣu Karuga

by/par Patnam

Subramanya Iyer

Hamsa-dhvani

Id.

H. M. V,

P 68

Id.

Rammanavé

Nīlambarī

(Javālī)

Id.

3. Violin/Violon

Vidumu Saya

by/par Tyāgarājā

(Pure music/

Musique pure)

Kharaharāpriyā

Pera

Solo

H. M. V.

P 66

Id.

Id.

4. Violin/Violon

(Pure music/

Musique pure)

Rāgā-Mālikā

Mridangā

H. M. V.

K 26

Id.

Id. (pt. 2)

Id.

Id.

5. Violin/Violon

Ālāpá

Senjuruti

Id.

H. M. V.

P 69

Id.

Psalm (Devāram)

by/par Sundara-

mūrti Nāyanār

Id.

Id.

RĀDHĀKRISHNAN (T. K.)

A flute player from Madras. He belongs to a family of musicians.

Flûtiste de Madras. Appartient à une famille de musiciens.

1. Flute/Flûte

Nannubrovamani

by/par Bhadrachalā

Rāmā Dās

Kalyāṇī

Vln

Columbia

Mridangā

GE 6258

Id.

Id. (pt. 2)

Id.

Id.

151

2. Flute/Flûte Pālinchutaku Kāmbhojī Mridangă Columbia

Id. Id. (pt. 2) Id. Id. GE 6410

RĀJAMANIKAM PILLAI

Born in 1898. Learned the violin from Tirukodikaval Rāmaswāmī Iyer, a pupil of the celebrated Tirukodikal Krishnă Iyer. He is known for the clarity of his style and the perfection of his rāgas.

Né en 1898. Étudia le violon avec Tirukodikaval Rāmaswāmī Iyer. Lui-même élève du célèbre Tirukodikal Krishnă Iyer. Est connu pour la netteté de son style et la perfection de ses rāgas.

1. Violin/Violon Inta Kannanan-thamé by/par Tyāgarājā Bilaharī Mridangă Vln Columbia CA 1365

Id. Id. (pt. 1) Id. Id. Ottu Id.

2. Violin/Violon Svamiku Sari by/par Tyāgarājā Begadā Id. Broadcast GR 2426

Id. Id. (pt. 2) Id. Id.

RĀJARATNAM PILLAI (T. N.)

The foremost player of Nāgasvaram, and the musician of the Tiruvadutura Monastery in the Tanjore district. The quality of his style and the delicacy of his playing are considered exceptional.

Le meilleur joueur de nāgasvaram. Musicien du monastère Tiruvadutura, dans le district de Tanjore. La qualité de son style et la douceur de son jeu sont considérées comme exceptionnelles.

1. Nāgasvaram Ālāpană (Pure music/ Musique pure) Toḍī (karnātakă) Ottu Tavil Columbia CA 720

Id. Id. (pt. 2) Id. Id. Id.

2. Nāgasvaram Yochana Kamala by/par Tyāgarājā Niravadi Sukhadă by/par Tyāgarājā Darbār Ravi-Chandrikā Id. Columbia GA 731

3. Nāgasvaram (Pallavi) Toḍī Id. Columbia CA 790

Id. Id. (pt. 2) Id. Id.

4. Nāgasvaram (Ālāpană) Shanmukhăpriyă Id. Columbia CA 916

Id. Vallinayakané by/par Muthiah Bhagavatar Id. Id.

152

5-8. Nāgasva-

ram

Id. (Set I/Série I

(pts. 1-10)

Shanmukhäpriyā

Ottu

Tavil

Columbia

CA 916-20

9. Nāgasvaram

(Ālāpanā)

Id.

Id. (pt. 2)

Natā-Bhairavī

Id.

Columbia

CA 1143

Id.

Id. (pt. 2)

Id.

10. Nāgasvaram

(Ālāpanā)

Id.

Vachaspati

Id.

Columbia

CA 1234

Id.

Id. (pt. 2)

Id.

11. Nāgasvaram

(Ālāpanā)

Id.

Pantu-Varāli

Id.

Columbia

CA 1465

12. Nāgasvaram

(Pallavi)

Id.

Id. (pt. 2)

Pantu-Varāli

Id.

Columbia

GE 6043

Id.

Id. (pt. 2)

Id.

13. Nāgasvaram

(Rāgā-Ālāpanā)

Id.

Shubhā-Pantu-

varāli

Id.

Columbia

GE 6348

Id.

Id. (pt. 2)

Id.

14. Nāgasvaram

(Rāgā-Mālikā)

Id.

Shubhā-Pantu-

varāli (pallavi)

Id.

Columbia

GE 6349

Id.

Id. (pt. 2)

Id.

15. Nāgasvaram

(Ālāpanā)

Id.

Kharaharāpriyā

Id.

Columbia

GE 6390

Id.

Id. (pt. 2)

Id.

16. Nāgasvaram

Shivā gunu paranē

Id.

Kalyāṇī

Id.

Columbia

GE 6472

RĀMASWĀMĪ (Sem-

banarkovil)

One of the great players of the previous generation.

L'un des grands virtuoses de la génération précédente.

1. Nāgasvaram

Nee Namarupamu-

laku

by/par Tyāgarājā

Sourashtra

Tavil

Ottu

H. M. V.

P 1469

Id.

Ponnarmeni-

yané

Shankarābharanam

Id.

SANJĪVĀ RAO (Palladam)

Born in 1882. He first studied singing and the violin, and then the flute under the great Sarabha Shāstrigal. He is famous for delicacy and intensity of the expression and the quality of his style. He is a Sangītā Kalānidhi of the Music Academy (Madras).

Né en 1882. Étudia d'abord le chant et le violon, puis la flûte avec le grand Sarabha Shastrigal. Est connu pour la délicatesse et l'intensité de son expression et la qualité de son style. Sangītā Kalānidhi de l'Académie de musique de Madras.

1. Flute/Flûte

Chethulara

by/par Tyāgarājā

Bhairavī

Vln

Mridangā

Columbia

GE 603

Id.

Evarani

by/par Tyāgarājā

Devatāmruta-

varshāṇi

Id.

153

2. Flute/Flûte

Gīripai neḷā

by/par Tyāragājā

Sahanā

Vln

Columbia

Id.

Mridangā

Id.

GE 966

3. Flute/Flûte

Kshīrā Sagarā

by/par Tyāgarājā

Devā-Gandhārī

Id.

Columbia

Id.

Id.

GE 968

4. Flute/Flûte

Enthara

by/par Tyāgarajā

Hari-Kāmbhojī

Id.

Columbia

Id.

GE 969

5. Flute/Flûte

Naṭā Janā

by/par Tyāgarajā

Simhendrā-

Kaligiunté

by/par Tyāgarājā

Madhyamam

Id.

Columbia

Kiravāṇī

Id.

GE 970

6. Flute/Flûte

Manasu Svādhinā

by/par Tyāgarājā

Shankarabharāṇam

Id.

Columbia

Dhamā Vhibo

Kānaḍā

Id.

GE 992

7. Flute/Flûte

Evari Maṭā

by/par Tyāgarājā

Kāmbhojī

Id.

Columbia

Id. (pt. 2)

Id.

BEX 2

12 in./

30 cm.

8. Flute/Flûte

Emi Jésité

by/par Tyāgarājā

Toḍī

Id.

Columbia

Sarasamuladé

Kāpī (javāli)

Id.

LBE 38.

9. Flute/Flûte

Vln

Columbia

Mridangā

LBE 68

Reed-drone/

Hautbois

SHANKARA SHĀSTRI (Emani)

Viṇā player from the Telugu country.

Joueur de viṇā de la région téloogou.

1. Viṇā

Pahimam

by/par Rāmaswāmī

Janā-Ranjanī

Mridangā

H. M. V.

Shivan

Id.

N 18925

Id.

Khamās

Id.

2. Viṇā

Paramatmudu

by/par Tyāgarājā

Vagadīshvarī

Id.

H. M. V.

Bihāg

Id.

N 18929

SUBRAHMANYA IYER (Déshamangalam)

Died in 1947, belonged to Cochin State. A celebrated Viṇā player, and lecturer in music at Anramalai University.

154

Mort en 1947. Était de l'État de Cochin. Célèbre joueur de vīṇā, il donnait à l'Université d'Annamalai des conférences sur la musique.

1. Vīṇā Rāgā Alāpanā Shankarābharanam Solo Columbia

Id. Svararāgāsudhā by/par Tyāgarājā Id. BA 402

2. Vīṇā Evarani by/par Tyāgarājā Devatāmruta-varshāni Id. Columbia

Id. Vīṇārādanā by/par Tyāgarājā Deva-Gāndhārī Id. BA 404

3. Vīṇā Ambānadu by/par Pallavi Gopālā Iyer Toḍī Id. Columbia

Id. Id. (pt. 2) Id. Id. BA 407

SUBRAHMANYA PILLAI (T. P.)

A popular Nāgasvaram player. Joueur de nāgasvaram très populaire.

1. Nāgasvaram (Rāgā-Alāpanā) Shanmukhāpriyā Dholā H. M. V.

Id. Id. (pt. 2) Id. Id. N 8979

2. Nāgasvaram A snake-charming tune/Mélodie de charmeur de serpents) Magudi (a Dhun in Punnagā-Varāli) Ottu Tavil H. M. V.

Id. Id. (pt. 2) Id. Id. N 8982

3. Nāgasvaram (Pallavi) Rāgā-Mālikā Id. H. M. V.

Id. Id. (pt. 2) Id. Id. N 8986

4. Nāgasvaram Manasā Sanchraré by/par Sadāshivā Brahmendrā Samā Id. H. M. V.

Id. Shrī Shanmukha Id. N 8989

5. Nāgasvaram (Pallavi) Rāgā-Mālikā Id. H. M. V.

Id. Id. (pt. 2) Id. Id. N 8991

6. Nāgasvaram Thaparam by/par Pāpanāsham Shivan Simhendrā-Madhyamam Id. H. M. V.

Id. Id. (pt. 2) Id. Id. N 8993

7. Nāgasvaram (pt. 1) Bhīmplās Dholā H. M. V.

Id. Id. (pt. 2) Id. Id. N 18933

8. Nāgasvaram Manolayam Manolayam Id. H. M. V.

Id. (Folk Tune/Mélodie populaire) Id. Id. N 18941

155

9. Nāgasvaram Rakshabettaré by/par Tyāgarājā Id. (pt. 2) Bhairavī Id. Ottu Tavil Id. H. M. V. N 18945

10. Nāgasvaram (Rāgā-Alāpanā) Id. Pūrvī-Kalyāṇī Id. Dholā Id. H. M. V. N 18946

SUBRAHMANYA PILLAI & BROTHERS (Thiruvizhimizhalai)