Friday, September 18, 2020

INDONESIA – THAILAND – CAMBODIA – CHINA – JAPAN – KOREA
Musik in Asien II – Südost- & Ostasien – BM 30 SL 5107 compiled by Helmut Schaffrath (LP)

#Bärenreiter-Musicaphon #Indonesia #Java #Bali #gamelan #shadow puppet theatre #China # Ch’in #Chinese opera #Korea #Thailand #Thai Piphat Hō #Japan #Gagaku #koto #Shakuhachi flute ##Cambodia #folk music #traditional music #world music #historic recordings #vinyl #MusicRepublic
#Bärenreiter-Musicaphon #Indonesia #Java #Bali #gamelan #shadow puppet theatre #China # Ch’in #Chinese opera #Korea #Thailand #Thai Piphat Hō #Japan #Gagaku #koto #Shakuhachi flute ##Cambodia #folk music #traditional music #world music #historic recordings #vinyl #MusicRepublic
#Bärenreiter-Musicaphon #Indonesia #Java #Bali #gamelan #shadow puppet theatre #China # Ch’in #Chinese opera #Korea #Thailand #Thai Piphat Hō #Japan #Gagaku #koto #Shakuhachi flute ##Cambodia #folk music #traditional music #world music #historic recordings #vinyl #MusicRepublic
#Bärenreiter-Musicaphon #Indonesia #Java #Bali #gamelan #shadow puppet theatre #China # Ch’in #Chinese opera #Korea #Thailand #Thai Piphat Hō #Japan #Gagaku #koto #Shakuhachi flute ##Cambodia #folk music #traditional music #world music #historic recordings #vinyl #MusicRepublic

This unique LP on the legendary German label Bärenreiter-Musicaphon presents an appealing sonic excursion of Southeast and East Asian traditional and folk music, with short tracks and excerpts of Indonesian, Thai, Cambodian, Chinese, Japanese, and Korean musics, including rare tracks from private and historical heritage recordings.


Cet album unique sur le légendaire label allemand Bärenreiter-Musicaphon présente un séduisant voyage sonore à travers la musique traditionnelle et folklorique de l'Asie du Sud-Est et Orientale, avec des courts morceaux et des extraits de musiques indonésiennes, thaïlandaises, cambodgiennes, chinoises, japonaises et coréennes, comprenant notamment des morceaux rares issus d’enregistrements privés et historiques.


INDONESIA

A1 – Javanese Gamelan – Gending Gambir Sawit a) Saron & Slentem b) Gambang c) Rebab & Kendang d) Tutti with singing

Private recording by Josef Kuckertz 

 

A2 – Balinese Gamelan – Gatangkangin a) Trompong & Jegogan b) Trompong & Jublag c) Trompong & Gangsa Giying d) Trompong & Gangsa-Group e) Tutti

Private recording by Josef Kuckertz 

 

A3 – Gamelan – Gender Barung, Gambang Kayu, Kempul, Gong Ageng. 
Private recording by Rudiger Schumacher

 

A4 – Javanese Gamelan – Lancaran Jangkrik Genggong

Lokananta Cassette ACD-025 

 

A5 – Javanese shadow puppet theatre – Suluk Patet Kedu.

Private recording by Rudiger Schumacher

 

A6 – Javanese shadow puppet theatre – Suluk Ada Ada Greget Saut Palaran.
Private recording by Rudiger Schumacher

 

A7 – Balinese Trance dance by Singers of Peliatan – Tjak.

Bali Folk Music EMI-Odeon 3C 064-17858 

 

THAILAND

 

A8 – Thai Piphat Hō a) Khong Wong Yai b) Ranät Ek c) Khong Wong Lek d) Ranat Thum e) Khlui f) ChingSong Na & Klong Khaek g) Tutti.

Private recording by Josef Kuckertz

 

CAMBODIA

 

A9 – Cambodian Ensemble – Distribution of Gifts at a Marriage
Cambodia – Bärenreiter-Musicaphon BM 30 L 2002
 

CHINA

 

B1 – Chinese Instrumental Music by Wu Wen-Guang – Chiu-K'uang (Wine Madness).
Central Conservatory of Music, Beijing 

 

B2 – Music for Ch’in by Liang Ming Yueh – Chiu-K'uang (Wine Madness).
Museums Collection Berlin MC 7 

B3 – Chinese Folk song – Thirty-Mile Village.

Historic recording, Shanghai Conservatory of Music 

 

B4 – Chinese Folk song – Embroidered Bag.

Historic recording, Shanghai Conservatory of Music 

B5 – Chinese Folk Music Orchestra – Moonlit Night with Spring Flowers on the River.

Concert recorded in Beijing, 1978. 

 

B6 – Chinese Opera: The Ruse of the Empty City (excerpt). 

Folkways Records FW 8882 

JAPAN

 

B7 – Gagaku Imperial Court Music: Etenraku.

Lyrichord LLST 7126 

B8 – Sakura folk music for two kotos.

Disques Festival FLDX 526 


B9 – Shakuhachi flute music – Shika No Tōne.
A Warner Communications Company N° 558518


B10 – Jouri - Music of the Great Japanese Bunraku Puppet Theater – Waraigusuri.

Lyrichord LLST 7197

KOREA

 

B11 – Orchestra of the National Music Institute, Seoul – Stone Chimes & Bronze Bells.
Lyrichord LL 7206


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Photographs below are from The Oriental World by Jeannine Auboyer and Roger Goepper, Paul Hamlyn, 1967; The World of Masks by Erich Herold, Hamlyn, 1992; and Die Symbole der Menschheit by Natale Spineto, Patmos, 2003. 

Japanese Biwa lute, wood with inlay of mother-of-pearl, amber, and tortoise shell, 113 cm, 
Nara Period, 8th century:

MusicRepublic INDONESIA – THAILAND – CAMBODIA – CHINA – JAPAN – KOREA Musik in Asien II – Südost- & Ostasien – BM 30 SL 5107


Mask of a supernatural being of the Barong play, painted wood, Bali, Indonesia:

MusicRepublic INDONESIA – THAILAND – CAMBODIA – CHINA – JAPAN – KOREA Musik in Asien II – Südost- & Ostasien – BM 30 SL 5107


"Mandarin square," an embroidered rank badge worn by senior officials on their court mantles. The crane here symbolizes longevity and wisdom. Qing Dynasty, late 17th-early 18th century, China.


MusicRepublic INDONESIA – THAILAND – CAMBODIA – CHINA – JAPAN – KOREA Musik in Asien II – Südost- & Ostasien – BM 30 SL 5107

Please help me purchase important traditional records to pursue my global 
curation project and share the best finds with you on this blog:




Wednesday, September 9, 2020

INDIA Nikhil Banerjee – Raga Soheni & Raga Megh – HMV – EASD 1377

INDIA – INDE
Nikhil Banerjee – Raga Soheni & Raga Megh – His Master's Voice – EASD 1377, released 1972 (LP)





We now share another brilliant album by Maihar gharana sitarist Nikhil Banerjee (1931-1986), who found his own powerful expression alongside superstars Vilayat Khan and Ravi Shankar. The great Baba Allauddin Khan (1862-1972) quickly recognized his prodigious talent after meeting the teenager in 1947 and accepted him as his disciple. The venerable guru’s son, sarod master Ali Akbar Khan (1922-2009), would later continue Banerjee’s training.

This LP, featuring Swapan Chaudhury, or Chowdhury, (b. 1947) on tabla, exemplifies his extraordinary mastery of melody and rhythm combined with free-flowing emotion, depth, nuance and vitality.

Nous partageons ici un nouvel album du brillant sitariste Nikhil Banerjee (1931-1986) qui a imposé son propre style aux côtés des superstars Vilayat Khan et Ravi Shankar. Après avoir rencontré l'adolescent en 1947, le grand Baba Allauddin Khan (1862-1972) a rapidement reconnu son talent prodigieux et l'a accepté comme disciple. Le fils du vénérable guru, le maître du sarod Ali Akbar Khan (1922-2009), poursuivra ensuite l’éducation de Nikhil Banerjee.

Cet album, avec Swapan Chaudhury, ou Chowdhury, (b. 1947) aux tablas, illustre parfaitement son extraordinaire maîtrise de la mélodie et du rythme, alliée à une émotion fluide, une profondeur subtile et une remarquable vitalité.


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Our other sitar LP shares:
Nikhil Banerjee – HMV EASD 1378, 1973 here

Nikhil Banerjee – HMV EASD 1342, 1969 here
Vilayat Khan - HMV EALP 1259, 1961 here
Enayat Khan - Megaphone EJNG, 1930s here
Imrat Khan - HMV EALP 1345, 1969 here
Mohammad Sharif Khan Poonch Wala - Bärenreiter/Musicaphon BM 30 L 2029 here
Budhaditya Mukherjee - Melodiya C80-18043-4, 1979 here


Photograph below is from Yoga – The Art of Transformation edited by Debra Diamond, Freer / Sackler, Smithsonian, 2013.

The Cosmic Body: Vishnu Vishvarupa, Rajasthan c. 1800-1820:


Please help me purchase important traditional records to pursue my global 
curation project and share the best finds with you on this blog:





Thursday, September 3, 2020

SOLOMON ISLANDS 'Are 'Are – Flutes de Pan Mélanésiennes – Malaita - Vol. 1 – Vogue - LDM 30 104

SOLOMON ISLANDS
'Are 'Are – Flutes de Pan Mélanésiennes – Malaita - Vol. 1 – Vogue - LDM 30 104, recorded by Hugo Zemp in 1969-1970 (LP)
#Solomon Islands #Malaita #'Are'are #Hugo Zemp #pan-pipe #flute de pan #cult #ritual #ancestor #music #Traditional music #musique traditionnelle #world music #Oceania #Pacific #Océanie #ensemble #spirits #MusicRepublic #Vogue
#Solomon Islands #Malaita #'Are'are #Hugo Zemp #pan-pipe #flute de pan #cult #ritual #ancestor #music #Traditional music #musique traditionnelle #world music #Oceania #Pacific #Océanie #ensemble #spirits #MusicRepublic #Vogue
#Solomon Islands #Malaita #'Are'are #Hugo Zemp #pan-pipe #flute de pan #cult #ritual #ancestor #music #Traditional music #musique traditionnelle #world music #Oceania #Pacific #Océanie #ensemble #spirits #MusicRepublic #Vogue
#Solomon Islands #Malaita #'Are'are #Hugo Zemp #pan-pipe #flute de pan #cult #ritual #ancestor #music #Traditional music #musique traditionnelle #world music #Oceania #Pacific #Océanie #ensemble #spirits #MusicRepublic #Vogue
#Solomon Islands #Malaita #'Are'are #Hugo Zemp #pan-pipe #flute de pan #cult #ritual #ancestor #music #Traditional music #musique traditionnelle #world music #Oceania #Pacific #Océanie #ensemble #spirits #MusicRepublic #Vogue
#Solomon Islands #Malaita #'Are'are #Hugo Zemp #pan-pipe #flute de pan #cult #ritual #ancestor #music #Traditional music #musique traditionnelle #world music #Oceania #Pacific #Océanie #ensemble #spirits #MusicRepublic #Vogue
#Solomon Islands #Malaita #'Are'are #Hugo Zemp #pan-pipe #flute de pan #cult #ritual #ancestor #music #Traditional music #musique traditionnelle #world music #Oceania #Pacific #Océanie #ensemble #spirits #MusicRepublic #Vogue
#Solomon Islands #Malaita #'Are'are #Hugo Zemp #pan-pipe #flute de pan #cult #ritual #ancestor #music #Traditional music #musique traditionnelle #world music #Oceania #Pacific #Océanie #ensemble #spirits #MusicRepublic #Vogue

We now introduce the first volume in a seminal series of three LPs of the music of the 'Are'are people from the island of Malaita in the Solomon Islands east of Papua New Guinea recorded by ethnomusicologist Hugo Zemp between 1969 and 1970. This series, says Zemp “presents a complete inventory of all types of music – recognized as such by the musicians. (...) Although the 'Are'are do make vocal music, their instrumental music attained (...) a remarkable degree of sophistication rarely heard in Oceania.”


The music here is performed by two bamboo pan-pipe ensembles “which perform only for major ritual festivals to celebrate the cult of the ancestors and the prestige of great men,” explains Zemp.


“Each piece follows strict rules and bears a title that summarizes the 'program,' which may evoke a bird’s song, croaking frogs, screeching insects, the cries of mammals, the sound of raindrops on a leaf, the murmur of a river or roar of the sea, tree branches rubbing in the wind… any sound in nature can provide the theme for a composition, as well as human sounds: crying children, the moaning of the sick, snoring, work sounds, etc. Songs can also convey visual movements, such as a spider rocking on a web or people coming and going.”

Ce disque est le premier volume d’une remarquable série de trois albums enregistrés par l’ethnomusicologue Hugo Zemp entre 1969 et 1970 consacrée aux musiques des 'Are'are de l’île de Malaita dans les Solomon Islands situées à l’est de la Papouasie Nouvelle Guinée qui « présentent un inventaire complet de tous les types musicaux — reconnus comme tels par les musiciens, »  selon Hugo Zemp. Même si « les 'Are'are connaissent différents types de chants, c'est en musique instrumentale qu'ils ont atteint (…) un degré de richesse peu commun en Océanie. »

 

Les musiques présentées ici sont jouées par deux « ensembles de flûtes de pan [en bambou] qui apparaissent exclusivement au cours de grandes fêtes rituelles liées au culte des ancêtres et au prestige des grands hommes. » 

 

Une ‘musique à programme’ où « chaque morceau, construit selon des règles rigoureuses, porte un titre qui résume en général le ‘programme’ : chants d'oiseaux, coassements de grenouilles, crissements d'insectes, cris de mammifères, grésillement des gouttes de pluie sur une feuille, murmure de la rivière ou mugissement de la mer, craquement de branches d'arbres se frottant dans le vent ; tout bruit dans la nature fournit le thème dune composition. Les sons produits par I'homme également : pleurs d'enfants, gémissements de malades ou de blessés, ronflements de dormeurs, paroles, bruits de travail, etc. Des morceaux peuvent traduire un mouvement visuel tels que to balancement d'une araignée ou le va-et-vient des gens. »

'Au Tahana Pan-Pipe Ensemble:

A1 – Suru 'Au (opening song)

A2 – Suri (small parrot)

A3 – Riko Kiteitoro (parot)

A4 – Rawauuruuru (swinging of a spider)

A5 – Aanoaanoha (a man tries to crawl into another person’s house at night)

A6 – Uusuusuha (falling raindrops)

A7 – Mani Paru'i'a (song bearing the composer’s name)

A8 – Poo We (a pig grunts)

A9 – Pisi Ni Tootora (sacred ceremonial Pisi bush whose powers bring together many people, large amounts of food and shell currency)

A10 – Kukua (rooster crowing)

A11 – Toto 'Au (closes a series of ten songs).

 

'Au Paina Pan-Pipe Ensemble:

B1 – Paoro (rooster)

B2 – 'Eke (cockatoo)

B3 – Hoehoe Tani Poo (pig’s scream)

B4 – Aaniaanita Na 'Oko'Ohimane (funeral lament of a woman called 'Oko'Ohimane)

B5 – Suasuarora Na Wa'Aikao (snoring man)

B6 – Hakehake Na Kaihirua (Kaihirua groans because of a head ache)

B7 – Hakehake Na Keniupasia (Keniupasia groans because his foot hurts)

B8 – Hakehake Na Keniohia (Keniohia groans because his leg is paralyzed)

B9 – Mara Hana Uurira'o (during a heavy rainfall that lasted several days a woman named Uurira'o declared “we need everything”)

B10 – Ookeooke Aatara Na Kuukuuku (sound of men putting up the beams of Kuukuuku’s house)

B11 – Roko 'Au (closes a series of ten songs)

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Hugo Zemp (b. 1937) is a major ethnomusicologist from Switzerland who made field recordings and films in many countries, including Ivory Coast, the Solomon Islands and Switzerland.

More info on Zemp: https://www.der.org/resources/filmmaker-bios/hugo-zemp/


Our other music shares from Oceania:

The Iatmul of Papua Niugini – BM 30 SL 2701, 1972 here
Music of the Middle Sepik – BM 30 SL 2700, 1962-1972 here
An Introduction to the Music of New Guinea – Prestige INT 25013, 1958 here
Australie – Vogue EXTP 1056, 1950s here

#Solomon Islands #Malaita #'Are'are #Hugo Zemp #pan-pipe #flute de pan #cult #ritual #ancestor #music #Traditional music #musique traditionnelle #world music #Oceania #Pacific #Océanie #ensemble #spirits #MusicRepublic #Vogue


#Solomon Islands #Malaita #'Are'are #Hugo Zemp #pan-pipe #flute de pan #cult #ritual #ancestor #music #Traditional music #musique traditionnelle #world music #Oceania #Pacific #Océanie #ensemble #spirits #MusicRepublic #Vogue


#Solomon Islands #Malaita #'Are'are #Hugo Zemp #pan-pipe #flute de pan #cult #ritual #ancestor #music #Traditional music #musique traditionnelle #world music #Oceania #Pacific #Océanie #ensemble #spirits #MusicRepublic #Vogue


#Solomon Islands #Malaita #'Are'are #Hugo Zemp #pan-pipe #flute de pan #cult #ritual #ancestor #music #Traditional music #musique traditionnelle #world music #Oceania #Pacific #Océanie #ensemble #spirits #MusicRepublic #Vogue

Zemp's film 'Are'are Music, 1974 (excerpts)



Photograph below is from Océanie by Jean Guiart, Gallimard, 1963:

Canoe prow figurehead, New Georgia, Solomon Islands, 
(I also use this image for my MusicRepublic avatar):

MusicRepublic SOLOMON ISLANDS 'Are 'Are – Flutes de Pan Mélanésiennes – Malaita - Vol. 1 – Vogue - LDM 30 104

Please help me purchase important traditional records to pursue my global 
curation project and share the best finds with you on this blog:




Saturday, August 8, 2020

NIGERIA Sikiru Ayinde Barrister – Vol. 6 – Africa Song - AS 33-L

NIGERIA – NIGÉRIA
Sikiru Ayinde Barrister & His Fuji Group – Vol. 6 – Africa Song - AS 33-L, 1975 (Cassette)
#Nigeria #Yoruba #Lagos #Fuji music #Sikiru Ayinde Barrister #Yorouba #Iyalu talking drum #shekere #akuba drums #agidigbo thumb piano #traditional music #world music #African music #musique africaine #cassette #MusicRepublic #musique traditionnelle
#Nigeria #Yoruba #Lagos #Fuji music #Sikiru Ayinde Barrister #Yorouba #Iyalu talking drum #shekere #akuba drums #agidigbo thumb piano #traditional music #world music #African music #musique africaine #cassette #MusicRepublic #musique traditionnelle
#Nigeria #Yoruba #Lagos #Fuji music #Sikiru Ayinde Barrister #Yorouba #Iyalu talking drum #shekere #akuba drums #agidigbo thumb piano #traditional music #world music #African music #musique africaine #cassette #MusicRepublic #musique traditionnelle

When I visited Lagos on several occasions in the early 1990s, Alhaji Sikiru Ayinde Barrister's (1948-2010) Yoruba "Fuji" music, both modern and steeped in tradition, was all the rage (the name was inspired by Japan’s Mount Fuji, the mountain of love and peace!). Barrister's Yoruba Islamic "Were" style of music evolved over time and became increasingly secular, with Barrister later incorporating Juju-style guitars and electronic instruments for a modern touch. But the core of his music always remained his 15- to 20-member band of superb percussionists playing traditional Yoruba instruments accompanied by the singer's beautiful voice.

Barrister was a highly sought after MC, conveying great prestige to lavish marriage celebrations which drew distinguished guests along with crowds of the uninvited hoping to hear the music or even catch a glimpse of the "Balaa of Lagos." Barrister's singing accompanied by frenetic drumming created a feeling of excitement and was absolutely the ultimate for dancing. I had the great privilege of seeing him perform twice in the 1990s. Most regrettably, he is largely unknown outside the Yoruba community.

We now share a second excellent traditional-sounding early Barrister album from 1975 featuring his commanding voice, gorgeous backing vocals and wonderful multilayered percussion.

Lors de mes voyages à Lagos au début des années 1990, la musique « Fuji » (dont le nom vient du Mont Fuji au Japon, la montagne de l'amour et de la paix !) inventée par Sikiru Ayinde Barrister (1948-2010) faisait fureur. Les Lagosiens Yoruba adoraient ce musicien à la fois moderne et ancré dans la tradition. Le style musical de Barrister s'est progressivement modernisé au fil du temps, incorporant même des jeux de guitares de style Juju et des instruments électroniques. Mais le coeur de sa musique est toujours resté son groupe de 15 à 20 percussionnistes jouant des instruments traditionnels yoruba et sa voix impériale.

Barrister était un MC très recherché, qui conférait un grand prestige aux célébrations de mariage somptueuses. Sa présence attirait de nombreux invités de marque, sans compter la foule de badauds à l’extérieur venue pour écouter la musique et peut être même apercevoir le « Balaa of Lagos ». La voix majestueuse de Barrister accompagnée de percussions frénétiques créaient une grande excitation et étaient le summum pour danser. J'ai eu le grand privilège de le voir deux fois en concert dans les années 1990. Barrister est malheureusement resté quasi inconnu en dehors de la communauté Yoruba.

Nous partageons maintenant un deuxième album de 1975 avec une texture sonore traditionnelle comprenant la voix magnifique du maître, des chœurs sublimes et des percussions polyrythmiques inspirées.


Download

Many thanks to Nuno for his help with the visuals.


Our other Yoruba Fuji music shares:

Sikiru Ayinde Barrister - Fuji Exponent Vol. 8 - AS 46-L, 1976 here

Dr. Wasiu Ayinde Barrister – Jo Fun Mi (Dance for Me) – OLPS 1361, 1990 here


Photograph below is from Yoruba (Visions of Africa) by Babatunde Lawal, 5 Continents, 2012:


Priest wearing a sculpted representation of the female divinity from the Lájomi River during the Òsun annual festival, Òsogbo, Osun State, Nigeria, 1972:

MusicRepublic NIGERIA – NIGÉRIA Sikiru Ayinde Barrister & His Fuji Group – Vol. 6 – Africa Song - AS 33-L
Please help me purchase important traditional records to pursue my global 
curation project and share the best finds with you on this blog:

Saturday, August 1, 2020

INDIA Vijay Raghav Rao – Flute – HMV – ECLP 2357

INDIA – INDE
Vijay Raghav Rao – Flute – His Master's Voice – ECLP 2357, recorded 1968 (LP)
#Vijay Raghav Rao #Hindustani #bamboo #Flute #Bansuri #raga #tabla #tanpura #Indian Music #traditional music #musique indienne #world music #Pannalal Gosh #musique traditionnelle #vinyl #MusicRepublic #meditative #atmospheric
#Vijay Raghav Rao #Hindustani #bamboo #Flute #Bansuri #raga #tabla #tanpura #Indian Music #traditional music #musique indienne #world music #Pannalal Gosh #musique traditionnelle #vinyl #MusicRepublic #meditative #atmospheric

#Vijay Raghav Rao #Hindustani #bamboo #Flute #Bansuri #raga #tabla #tanpura #Indian Music #traditional music #musique indienne #world music #Pannalal Gosh #musique traditionnelle #vinyl #MusicRepublic #meditative #atmospheric
#Vijay Raghav Rao #Hindustani #bamboo #Flute #Bansuri #raga #tabla #tanpura #Indian Music #traditional music #musique indienne #world music #Pannalal Gosh #musique traditionnelle #vinyl #MusicRepublic #meditative #atmospheric


Vijay Raghav Rao (1925-2011) was one of the most distinguished North Indian Bansuri flute players to emerge in the footsteps of the great Pannalal Gosh (1911-1960), who transformed the Bansuri, an instrument played mostly in folk and light classical music, into a deeper-toned concert solo instrument by significantly extending the instrument's length to over 30 inches (75 cm) and devising innovative playing techniques.

Born in Chennai (Madras) in the State of Tamil Nadu, Rao initially studied Bharatanatyam South Indian dance, and ultimately took up the bass bamboo transverse flute after meeting his guru Pandit Ravi Shankar (1920-2012) in the 1940s. He toured widely, wrote many ragas and had a successful career at All India Radio as a soloist and film music composer. He was also a dedicated teacher who trained the likes of G. S. Sachdev (1935-2018) and Ronu Majumbar (b. 1963). 

This 1968 release showcases the maestro’s delicate, reflective and fluid lyricism complemented by D. K. Thakar on the second Bansuri flute, Manikrao Popatkar’s understated tabla and the tonal drone of the tanpura

Vijay Raghav Rao (1925-2011) fut l'un des flûtistes Bansuri les plus distingués de l'Inde du Nord à suivre les traces du grand Pannalal Gosh (1911-1960) qui transforma le Bansuri, jusque-là limité aux musiques folkloriques et classiques légères, en un instrument solo de concert aux tonalités plus profondes. Il étendit considérablement la longueur de l'instrument à plus de 75 cm et créa des techniques de jeu novatrices.

Né à Chennai (Madras) dans l'État du Tamil Nadu, Rao commença par étudier la danse classique Bharatanatyam, et se consacre finalement à la flûte traversière Bansuri en bambou après avoir rencontré son maître Pandit Ravi Shankar (1920-2012) dans les années 1940. Il effectua de nombreuses tournées, écrit de nombreux ragas et mena une brillante carrière à All India Radio en tant que soliste et compositeur de musique de film. Il fut également un maître dévoué qui forma notamment G. S. Sachdev (1935-2018) et Ronu Majumbar (né en 1963).

Ce disque de 1968 présente le lyrisme fluide, délicat et méditatif du maestro, accompagné de D. K. Thakar à la deuxième flûte Bansuri, Manikrao Popatkar aux tablas et le bourdon du tanpura.


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Flac

Photograph below is from Treasures of Asia - Paintings of India, by Douglas Barrett and Basil Gray, Skira, 1963.

Lord Krishna playing the Bansuri flute – believed to have had magical powers over all living beings – to tame the serpent Kaliya (Bundi School c. 1640):

MusicRepublic INDIA – INDE Vijay Raghav Rao – Flute – His Master's Voice – ECLP 2357

Please help me purchase important traditional records to pursue my global 
curation project and share the best finds with you on this blog: