2019-2020 – Gandharva Sangeet Paddhati
– krāmik dhvāni mudran mālikā
– क्रामिक ध्वनि मुद्रण मलिका –
I.= Gandharva-paddhati CD_01 गन्धर्व पद्धति
II. – Gandharva- mārg CD_02 गन्धर्व मार्ग
III.= Gandharva-sampradaya CD_03 सम्प्रदाय
IV.= Gandharva-vilayan CD_04 गन्धर्व विलयन
Szeretném személyes indíttatással vázolni, hogy az itteni 4 db CD-nyi anyag egy magán-mitológia lezárásaként állt össze.
Ennek előképe a múltszázad fordulóján müködő Gāyan Uttejak Mandali – Society (a Malābār Hill lábánál, ma Mumbāi ) és az egyik alapítója, egy bizonyos Visnu Nārāyan Bhātkhāndē, aki írt egy 4 kötetes összefoglalót Gandharva Sangeet Paddhati címen, (kb: “Mennyei Zenemetódus“) – és ezt krāmika pustak mālikā -ban, azaz könyvsorozatban adta ki.
Ebben a könyvsorozatban többek közt arról panaszolkodott ez a különös zenetudós, hogy mennyire rosszul művelik a korabeli klasszikus zenét Hindusthān-ban, semmi ujítás nincs már benne és az egész elöbb utóbb menthetetlenül le fog hülyülni.
Az lenne a legjobb tehát, ha egy értelmes szimbiózis alakulna ki az éppen kihaló zenei köznyelv által kiváltható (közösségi) extatikus communion hagyománya és a klasszikus zene napi gyakorlata között (– mint ahogy ezt a mindenkori sociostruktúra nyomora mindig is fűtötte, állítottam ezt mindig is – H.L.) ehelyett azonban minden idióta dalocskákat farigcsál és teledürrögi velük a légkört és különben is most már tényleg mindenki elmehetne a Yamarāja seggébe…(nem egészen így írta)
Bár V.N.Bhātkhāndē sokat tett később nézetei érdekében, de valahogy megmaradtak bennem az úgy ötvenöt évvel ezelött olvasott keserü szavak, és mivel a Gāyan Uttejak Mandali – ban már hangfelvételek is készültek (1905- 1917 között, ezek természetesen teljesen elvesztek), gondoltam felveszem a fonalat és egy valóságpárhuzamot képzelek az amúgy unalomig ismétlődő algoritmus ellenpontozására – tudjátok, mint amikor a bolha köhög…
Miután azt tapasztalom, hogy a jelenlegi világ eltorzítja és meghamisítja a klasszikus indiai zene ( és minden más pigmentgazdag zenekultúra) eredeti és egyedülálló jelentését, ezért igyekeztem egy olyan modern szintézist létrehozni, ahol az eredeti indiai zenei szabályok érintetlenek maradnak és minden tekintetben figyelembe veszik a múltat, szemben a mai általánosan lerohasztó, mindent penészes takonnyal benyálazó “világzenei” zombi rendszerrel.
Az általam 30 évvel ezelött kifejlesztett szoftver segitségével régi, már nem élő indiai mesterek fennmaradt felvételrészleteit, kis töredékeiket ujrastruktúrálva építettem be az új kompoziciókba.
Születésemnél fogva tudom, hogy a zene extatikus gyökerei a közösségi kultúrális nyelvekben virágoznak ki a legeredetibb formában.
Az utolsó élőzenei kapcsolat az európai és az indiai zene között kizárólag a barokkban és a hindusthāni klasszikus zenében lehetséges, azok azonos, az ismétlések szelekciós evolúcióján alapuló kötött szabadságfokú improvizációs-variációs template-technikájában hasonulnak utoljára össze.
A mindennapi léttől való elszakadást a mindenkori közösségi communion zenei csoportnyelve valósítja meg, ezért ötvöztem az ujkori, szintén közösségi techno “nyelvet” a hasonló, de korábbi transzracionális barokk-indiai köznyelvvekkel.
Amen
*
I would like to outline with personal motivation that the 4 CDs here have come together as the conclusion of my private mythology.
A progenitor of this is the Gāyan Uttejak Mandali – Society (at the foot of Malābār Hill, now Mumbāi ) at the turn of the last century and one of its founders, a certain Visnu Nārāyan Bhātkhāndē, who wrote a 4-volume summary entitled Gandharva Sangeet Paddhati, (ca. “Heavenly Musicmethod“). – and this was published by krāmika pustak mālikā, that is, in a series of books.
In this series of books, this peculiar musicologist complained, among other things, about how poorly cultivated contemporary classical music was in Hindusthān, there is no novelty in it anymore, and the whole will soon be inexorably silly.
It would be best, then, for a meaningful symbiosis to emerge between the tradition of (communal) ecstatic communion, which could be triggered by the just-extinct musical common language, and the daily practice of classical music (– as this has always been heated by the misery of the current socio-structure, I have always stated this – H.L.) instead all the idiots whittling songs and pounding the atmosphere with them and anyway, now everyone could really go to Yamarāja‘s ass … (he didn’t quite write like that)
Although V. N.Bhātkhāndē, did much for his theses later, somehow his bitter words read about from him fifty-five years ago remained in me deeply, and since sound recordings had already been made in Gāyan Uttejak Mandali (between 1905 and 1917, these were, of course, completely lost), I thought I would pick up the thread and imagine a parallel of reality to counterpoint the algorithm that would otherwise be repeated to boredom – you know, like when a flea coughs …
After experiencing that the current world distorts and falsifies the original and unique meaning of classical Indian music (and any other pigment-rich music culture), I have sought to create a modern synthesis where original Indian musical rules remain intact and take the past into account in every way as opposed to today’s overwhelming “world music” zombie system which slobber everything with a moldy mucus.
With the help of the software I developed 30 years ago, I incorporated the surviving recording details, and restructuring little fragments of old Indian masters who no longer live today into the new compositions.
By birth, I know that the ecstatic roots of music flourish in community cultural languages in their most original form.
The last connection of the living music practice between European and Indian music is possible in baroque and Hindusthān classical music alone, in their identical fixed-degree improvisation-variation template technique based on the selective evolution of repetitions.
The secession from everyday life is realized by the musical cant ( group language) of the all-time community via musical common language therefore, I combined the modern, also communal techno “language” with similar but earlier transrational Baroque-Indian common musical languages.
Amen.
*
A mai korunkban nem utolsósorban meg kell jegyeznünk, hogy néhány CD-track kompozicióiban található némely eredeti archív lokális-felvételek egyetlen része sem jelenik meg a maga eredeti formájában, hanem csak újrastruktúrált és újraharmonizált apró mintákra vágott rövid granulátumokként: ezek a mintakötegek építik újjá a pigmentgazdag hagyományrészt az általam kifejlesztett granulált mintaszintézis szoftver segítségével.
*
In our present age, it is no less necessary to note that none of the some original archival-field recordings fragments on a few CD tracks compositions appear in their original form, but only their restructured and reharmonized short particles cut into small sample: these samplebundles they’re rebuilding the pigment-rich tradition part with using of I developed granular sample synthesis software.
see: https://guo.hu/?page_id=772
or
http://www.guo.hu/___WORDPRESS/Laszlo-Hortobagyi_Gayan-Uttejak-Orchestra/_L.Hortobagyi_(eL-Horto)_CV_Guo-CV_Hortomeme-Mp4/el-Horto_Sound-System_Block-Diagram.pdf)
I. = Gandharva-paddhati गन्धर्व पद्धति CD-01
CD-01_01 Tārangoa
Performed (pradārshan kiyā प्रदर्शन किया): Pt.Vibhusan Ganayōgi Gāwāi,Tablā-tārang & Ensemble with Transangat-ki Uttejak Illumantions Orchestra
Jāti जाती Cast : Audava
Khelāne ka sāmay खेलने का समयtime of play: dopahar bād दोपहर बाद late noon
Thāta थात् Mode Type : Āsāwari
Rasa रस = essence,emotional mode,Vīram (वीरं)
Recorded at the Court of Mahārāja Azam Rasgotra, Muzaffarpur
CD-01_02 Metagauri
Performed (pradārshan kiyā प्रदर्शन किया): Gāyak : Pt. Kumār Gangreyakār Shīwmat of Deodhār Gharānā & Holon Transorchestrika Band & Naubatkhāni Astráltablā-ki Bā j Digitā lam & eL-Hortobagīra, organ
Jāti जाती Cast : Shādava
Khelāne ka sāmay खेलने का समयtime of play: subāh सुबह (Night’s Fourth Prahār )
Thāta थात् Mode Type : Bhairava
Rasa रस = essence,emotional mode, Kāruna (कारुण्यं)
Recorded at the Palace of Nawāb Muhammad Fāruq Ali Khān, Byculla
CD-01_03 Fatehadānā
Performed (pradārshan kiyā प्रदर्शन किया): Ustād Fatehsinghrao Gaekwad of Gwālior Gharānā & Svarg ElectronicVādya Vrinda of Rājkot & Naubatkhāni Tablā-ki Báj Digitālam par Sangatiki
Jāti जाती Cast : Shādava-Sampūrna
Khelāne ka sāmay खेलने का समयtime of play: subāh–ādhī rāt रात midnight
Thāta थात् Mode Type : Kānadā
Rasa रस = essence, emotional mode: Vīram (वीरं) Recorded at the Ashram of Pershád Bahádur Yamin, Ludhiana
CD-01_04 Shahnāmālkiyā
Performed (pradārshan kiyā प्रदर्शन किया): Gáyak: Feroze Ali Fateh Khán of Gwálior & Mahavrinda Goalitics Sangha of Almora & Mahákála Tálastronomy Samiti of Prayag
Jāti जाती Cast : Audava-Audava
Khelāne ka sāmay खेलने का समयtime of play: rát ka tísara prahár रात का तीसरा प्रहर
3rd Prahár of the Night
Thāta थात् Mode Type : Bhairaví
Rasa रस = essence, emotional mode: Kāruna (कारुण्यं)
Recorded at the Mahall of Miangul Abdul-Háqq Jahánzib, Mizoram
CD-01_05 Patnāi-ki Jaunpuriyā
Performed (pradārshan kiyā प्रदर्शन किया): Gāyak: Srmt. Shushilā Patnaik Rudrānī of Jaipur Itrauli Bāj & Transastral Electric Tāloop Vādya Kaccheri of Imphal
Jāti जाती Cast : Shādava – Sampūrna
Khelāne ka sāmay खेलने का समय time of play: dīn ka dviteīyā prahār दीन का द्वितीया प्रहर
2nd. Prahār of the day
Thāta थात् Mode Type : Āsāwari
Rasa रस = essence, emotional mode: Shringārā (शृङ्गारः)
Recorded at the Rānivās of Beglār Begi Mīr Agha Jan, Alwar
CD-01_06 Todarbār
Performed (pradārshan kiyā प्रदर्शन किया): Gāyak : Bashīr Iftikhār Ali Khān of Laora , Mewāt Gharānā & Srmt. Sundarabāi, regal & Synthechno Anāhata Company of Bodh-Gāyā & Mahākāla Tablā-ki Bāj Digitālam par Sangatiki
Jāti जाती Cast : Shādava – Sampūrna
Khelāne ka sāmay खेलने का समय time of play: ādhī rāt रात (second quater of the night)
Thāta थात् Mode Type : Āsāwari-Yāvanapuri
Rasa रस = essence, emotional mode : Vīram (वीरं)
Recorded at the Gardens of Shrī Ganesh Yadakul Deo Bahādur, tāluqdār of Kurundwād
CD-01_07 Darbakauns
Sitār = Darbāri – Tablā-tārang = Mālkāuns
Performed (pradārshan kiyā प्रदर्शन किया): eL-Hortator, Sitār & Pt. Panchasāra Janārdhan, Tablā-tārang & Affaque Tablā-ki Bāj Digitālam par Sangatiki
Jāti जाती Cast : Sampūrna-Sampūrna Vakra & Audav-Audava
Khelāne ka sāmay खेलने का समयtime of play: Din ka Chaturth Prahār दीन का चतुर्थ प्रहर 4th. Prahār of the Day (Sunset)
Mishra Thāta थात् Mode Type: Bhairavī-Kānadā
Rasa रस = essence, emotional mode: Vīram (वीरं)
Recorded at the Mosque of Rājā Himmat Sher Singh Bahādur of Algoza
II. Gandharva-mārg गन्धर्व मार्ग CD-02
CD-02_01 Dhrūpartitam (Dhrūpad du Roi Akbār Soleil)
Performed (pradārshan kiyā प्रदर्शन किया): Dhrūpadiyā Dāgartwins & Dhrūpad Baroque Arkestra du Roi Akbār Soleil & Chhatrapati Rāja of Nana Panse, pakhāwaj
Jāti जाती Cast : Audava-Sampūrna
Khelāne ka sāmay खेलने का समय time of play: bahut savere बहुत सवेरे early morning
Thāta थात् Mode Type : Bhairavī – Dāgar-vānī dhrūpad
Rasa रस = essence, emotional mode: Veeram (वीरं) Recorded at the Tomb of Baba Gopāl Dās Pandey & Baba Imām Khān Dāgar Progenitors, Alwar
CD-02_02 Shridhārwarī
Performed (pradārshan kiyā प्रदर्शन किया): Gāyak: Pt. Kumāraswāmy Komkālimath of Belgaum, Deodhār Gharānā & Cybersynth-Mālikā Vilayan of Kolhapur & Gudaī Tablāiyā-ki Digitālam par gat-sangatiki
Jāti जाती Cast : Audhav-Sampūrna Vakra
Khelāne ka sāmay खेलने का समयtime of play: Din ka Chaturth Prahār दीन का चतुर्थ प्रहर 4th. Prahār of the Day (Sunset)
Thāta थात् Mode Type : Pūravī
Rasa रस = essence,emotional mode: Vībhatsam (बीभत्सं)
Recorded at the Rānivās of Beglār Begi Mīr Agha Jan, Alwar
CD-02_03 Gaudiyā Sampradaya
Performed (pradārshan kiyā प्रदर्शन किया): Dubhaktis Uttejak Sampradaya & Gāna Bajāneváon Sampradaya & Electricyber Prakriti Sangha of Krsnagar, & Naubatkhāni Tablāstronomy-ki Bāj Digitālam & eL-Hortobagīra, fata-organa
Jāti जाती Cast : Sampūrna vikrit
Khelāne ka sāmay खेलने का समय time of play: bahut savere बहुत सवेरे early morning
Thāta थात् Mode Type : Mishra varnam
Rasa रस = essence, emotional mode: Sākhyā–Adbhutam (अद्भुतं)
Recorded at the Ashram of Yadavrinda-dās Yamin us-Sultanāt, Mathura
CD-02_04 Metasuhā
Performed (pradārshan kiyā प्रदर्शन किया): Gāyaki: U. Faqīrullah Alamgīr of Dewas & Sūraj Baroque Strings of Kathiawar & eL-Hortobagīra, organum & Astralgat Triggering Tablā-ki Bāj Digitālam par Sangatiki
Jāti जाती Cast : Shādava-Audava
Khelāne ka sāmay खेलने का समयtime of play: rāt ka tīsara prahār रात का तीसरा प्रहर
3rd Prahār of the Night
Thāta थात् Mode Type : Kāfi
Rasa रस = essence, emotional mode: Vīram (वीरं)
Recorded at the Chhatri of Mirza Bāi Somanātha Bhegum, Fatehpur Wazīria
CD-02_05 Fataulla
Performed (pradārshan kiyā प्रदर्शन किया : Gāyaks : Pdmb. Umrao Yashwinder Bua & Dabīr Moula Bux Khān of Mewat & Gāyan Paramount Stringular VādyaVrinda of Gurgāon & eL-Hortobagīra, reed organ & Mahākāla Tālastronomy Samiti of Guo
Jāti जाती Cast : Audava – vishtārit
Khelāne ka sāmay खेलने का समय time of play: dopahar ka doosarā bhāg दोपहर का दूसरा भाग
second part of afternoon
Thāta थात् Mode Type : Kāfi
Rasa रस = essence,emotional mode: Raudra (रौद्रं)
Recorded at the Mahall of the Baram Imambara Asaf-ud-daula, Lakhnau – Oud
CD-02_06 Sunpatnāwati
Performed (pradārshan kiyā प्रदर्शन किया): Gāyak: Srmt. Shushilā Patnaik Rudrānī of Jaipur – Itrauli Gharānā & Baroque Sunvādyavrinda Society of Allāhabad & Technokriyā Solenoid Group, Ujjain & Affaque Kibertablā Avatār sangatiki
Jāti जाती Cast : Shādava – Sampūrna
Khelāne ka sāmay खेलने का समयtime of play: dín ka dviteíyā prahār दीन का द्वितीया प्रहर
2nd Prahār of the day
Thāta थात् Mode Type : Āsāwari
Rasa रस = essence, emotional mode: Shringārā (शृङ्गारः)
Recorded at the Rānivās of Beglār Begi Mīr Agha Jan, Alwar
III.= Gandharva-sampradaya
गन्धर्व सम्प्रदाय CD-03
CD-03_01 Darbaroque
Performed (pradārshan kiyā प्रदर्शन किया): Gāyak: Ustād Shafkat Yaqul Khān of Etawah & Bhakti Korāl Samāj of Yogabhaktis & Baroque Profundo Uttejak Vrinda, Lakhnau & Bodhidub
Gaharāwāj System of Rāmpūr
Jāti जाती Cast : Shādava – Sampūrna
Khelāne ka sāmay खेलने का समय time of play: ādhī rāt आधी रात midnight
Thāta थात् Mode Type : Āsāwari-Yāvanapuri
Rasa रस = essence,emotional mode: Raudra (रौद्रं)
Recorded at the Iwan of the Sheykh Lotfollah mosque, Isfahan
CD-03_02 Gopikirtan
Performed (pradārshan kiyā प्रदर्शन किया): Sangītakāron Bhāgavān ke Sevāk Baind of Serampore & Tāla-vādya Kachcheri Foundation of Golconda, eL-Hortobagīra, regalorgan
Jāti जाती Cast : Shādava vikrit Sampūrna
Khelāne ka sāmay खेलने का समय time of play: bahut savere बहुत सवेरे early morning
Thāta थात् Mode Type : Mishra varnam
Rasa रस = essence,emotional mode: Bībhatsam (बीभत्सं) – Karunā (कारुण्यं)
Recorded at the Rādhā Wallabh Temple of Shanmukhā Alhuwalia Sandhū family.
CD-03_03 Ghazalia
Performed (pradārshan kiyā प्रदर्शन किया): Ghazal gāyaki : Rājā-Ghazal Ghulām Samír Dhādi & Kabīr Electric Vādya Vrinda of Kapurthala & Naubatkhāni Tablā-ki Bāj Digitālam par Sangatiki
Jāti जाती Cast : Sampūrna
Khelāne ka sāmay खेलने का समय time of play: dopahār दोपहर afternoon
Thāta थात् Mode Type : mizāj bol-banana is Kahan
Rasa रस = essence,emotional mode: Hāsyam (हास्यं)
Recorded at the Mahāvidyálaya of Chitra Saeed Khān Tanoli, Faizabād
CD-03_04 Mirza-choral
किया): Gāyak: Mirza Púrāna pilgrimsādhu & Gāyan Uttejak Dubsangha Mandali with eL-Hortobagíra, gothic portatīve
Jāti जाती Cast : Audava
Khelāne ka sāmay खेलने का समय time of play: sānj सांझ twilight
Thāta थात् Mode Type : Punjab varna
Rasa रस = essence,emotional mode: Kārunyam (कारुण्यं) – Udās उदास
Recorded at the Tomb of Firoz Shah Tughluq’s Garden, Firozpur
CD-03_05 Fatagiri
Performed (pradārshan kiyā प्रदर्शन किया): Gāyak: Ustād Fulājī Yaqub Ali Khān of Miymensingh & Aural Medicin Tranport’s Dāsas of Serfōji Congregation, Jodhpur & Naubatkhāni Tablā-ki Bāj Digitālam par Sangatiki
Jāti जाती Cast : Audava-Audava
Khelāne ka sāmay खेलने का समय time of play: rāt ka tīsara prahār रात का तीसरा प्रहर
3rd. Prahār of the Night
Thāta थात् Mode Type : Bhairavī
Rasa रस = essence, emotional mode: Kāruna (कारुण्यं)
Recorded at the Tomb of Umdae Rajhae Makan Mahārājadhīrāja, Agra
CD-03_06 Vrindāvan-communion
Performed (pradārshan kiyā प्रदर्शन किया): Gāyakdās of Krsna & Gāyan Uttejak Dubsangha Baind with eL-Hortobagīra, harmorganetto & Naubatkhāni Tablā-ki Bāj Digitālam
Jāti जाती Cast : Audava -vikrit mode
Khelāne ka sāmay खेलने का समय time of play: pūrvāhn पूर्वाह्न forenoon
Thāta थात् Mode Type : Kīrtanā
Rasa रस = essence,emotional mode: Bhakti भक्ति
Recorded at the Shrine of Mahāprabhu Ichalkaranjikār of Ayodhya Puri
CD-03_07 Metakauns
Performed (pradārshan kiyā प्रदर्शन किया): Gāyak: Feroze Ali Fateh Khān of Gwālior Gharānā & Fractalitic Sōmavarnam Society, Shillong & eL-Hortobagīra, harmorgan
Jāti जाती Cast : Audava-Audava
Khelāne ka sāmay खेलने का समय time of play: rāt ka tīsara prahār रात का तीसरा प्रहर
3rd. prahār of the Night
Thāta थात् Mode Type : Bhairavī
Rasa रस = essence,emotional mode: Kāruna (कारुण्यं)
Recorded at the Mahall of Miangul Abdul-Hāqq Jahānzib, Oudh
CD-03_08 Ae Katib-e Taqbīr
Performed (pradārshan kiyā प्रदर्शन किया): Pankāj Mahā-Jī &Versailles-ki Prakāsh Sāstrīy Barok Orchestra & Gāyan Uttejak Dubsangha with eL-Hortobagīra, organetto
Jāti जाती Cast : Mishra Sampūrna
Khelāne ka sāmay खेलने का समय time of play: dopahar दोपहर midday
Thāta थात् Mode Type : Gīt
Rasa रस = essence,emotional mode: Hāsyam (हास्यं)
Recorded at the Sangīt Ghar of Māllik Adhunik Gān , Kolkata
CD-03_09 Ajoyadānā
Performed (pradārshan kiyā प्रदर्शन किया): Gāyak: Pandit Mahārawaljī Sāhib Shrī Jagmāljī of Tilwāndā Gharānā & SynthelectronixVarnam Ensemble of Rishikesh
Jāti जाती Cast : Shādava-Sampūrna
Khelāne ka sāmay खेलने का समय time of play: subāh ādhī rát रात midnight
Thāta थात् Mode Type : Kānadā
Rasa रस = essence, emotional mode:Vīram (वीरं)
Recorded at the Ashram of Rāi Rayan Mahimahendra Mahārawal of Banswara.
IV. Gandharva-vilayan गन्धर्व विलयन CD-04
CD-04_01 Memkauns
Performed (pradārshan kiyā प्रदर्शन किया): Gāyak: Feroze Ali Fateh Khān of Gwālior Gharānā & Fractalitic Sōmavarnam Society, Shillong & eL-Hortobagīra, harmorgan
Jāti जाती Cast : Audava-Audava
Khelāne ka sāmay खेलने का समय time of play: rāt ka tísara prahār रात का तीसरा प्रहर
3rd. prahār of the Night
Thāta थात् Mode Type : Bhairavī
Rasa रस = essence,emotional mode: Kāruna (कारुण्यं)
Recorded at the Mahall of Miangul Abdul-Hāqq Jahānzib, Oudh
CD-04_02 Rathayantra
Performed (pradārshan kiyā प्रदर्शन किया): Rāgi Jatha: Bhai Bhajīt Sangha of the Dāsas & Gāyan Uttejak Dubelektric Vrinda with eL-Hortobagīra, harmonium
Jāti जाती Cast : Shādava-Sampúrna Satsang
Khelāne ka sāmay खेलने का समयtime of play: pūrvāhn पूर्वाह्नforenoon
Thāta थात् Mode Type : Shabad-Krsna Kīrtanā
Rasa रस = essence, emotional mode: Bhakti भक्ति
Recorded at the Transrāgi pavitr din of Gurdwara Sikh Sangat, Transsylvanie
CD-04_03 Fatehsuhā
Performed (pradārshan kiyā प्रदर्शन किया): Gāyak: Mirza Allāuddin Ahmad Khān of Loharu & Swaragoa Astral Triggering of Maihar Bāj & eL-Hortobagīra, organ & Naubatkhāni Tablā-ki Bāj Digitālam par Sangatiki
Jāti जाती Cast : Shādava-Audava
Khelāne ka sāmay खेलने का समय time of play: rāt ka tīsara prahār रात का तीसरा प्रहर
3rd. prahār of the Night
Thāta थात् Mode Type : Kāfi
Rasa रस = essence,emotional mode: Vīram (वीरं)
Recorded at the Garden of Indār Bahādur Rājā Golconda
CD-04_04 Gopikendra
Performed (pradārshan kiyā प्रदर्शन किया): Gāyakdās of Krsnadāsa Sangha & Suryāgraha Abyssdub Syndicate with L. Hortobagīra, harmoniumorgan
Jāti जाती Cast : Shādava -vikrit mode
Khelāne ka sāmay खेलने का समय time of play: sānj सांझ twilight
Thāta थात् Mode Type : Kīrtanā-choral
Rasa रस = essence,emotional mode: Bhakti भक्ति – Adbhutam (अद्भुतं)
Recorded at the Mandīr of the Technosadhus Yantra Pūja
CD-04_05 Transnāgar
Performed (pradārshan kiyā प्रदर्शन किया): rāgi jatha: Bhai Bhajīt Ensemble of Amritsar & Cybergranth Maharloka Gītelektra of Akai Thakt of Harmandīr Complex & Mahākāla Tālastronomy Samiti of Khumba mela Prayag
Jāti जाती Cast : Shādava-Sampūrna Satsang
Khelāne ka sāmay खेलने का समय time of play: pūrvāhn पूर्वाह्न forenoon
Thāta थात् Mode Type : Shabad kīrtān type
Rasa रस = essence, emotional mode: Bhayānakam (भयानकं)
Recorded at the Takhts of Parkāsh Utsav Dasveh Patshāh , Nanded
CD-04_06 Krsna-choral
Performed (pradārshan kiyā प्रदर्शन किया): Sangītakāron Bhaktidās Sangha of Vrindāvan & Transtringulār Arkestral Mandali & eL-Hortobagīra, organetto
Jāti जाती Cast : Shādava vikrit Sampūrna
Khelāne ka sāmay खेलने का समय time of play: bahut savere बहुत सवेरे early morning
Thāta थात् Mode Type : Mishra Thāta
Rasa रस = essence,emotional mode: Bībhatsam (बीभत्सं) – Karunā (कारुण्यं)
Recorded at the Rādhā Wallabh Temple of Shanmukhā Alhuwalia Sandhū family.
CD-04_07 Venkatadānā
Performed (pradārshan kiyā प्रदर्शन किया): Gāyak:Shrī Jāyachamarajendra Wādiyār of Indore & Technozoologists Arkestra of Ludhiana & Āhatablā-ki Bāj Digitālam par Sangatiki
Jāti जाती Cast : Shādava-Sampūrna
Khelāne ka sāmay खेलने का समय time of play: subāh ādhī rāt रात midnight
Thāta थात् Mode Type : Kānadā
Rasa रस = essence, emotional mode: Vīram (वीरं)
Recorded at the Manor Shrīmant Rājā Vijāysingharao Rāmarao Babasaheb, Dalhousie
CD-04_08 Krsna-vilayan
Performed (pradārshan kiyā प्रदर्शन किया): Dāsas of the Gāyan Uttejak Cybervrinda Mandali, Dwarkadhish Shrine & Purun Bagāt, bānsuri
Jāti जाती Cast : Shādava vikrit Sampūrna
Khelāne ka sāmay खेलने का समय time of play: bahut savere बहुत सवेरे early morning
Thāta थात् Mode Type : Mishra Thāta
Rasa रस = essence, emotional mode: Raudram (रौद्रं) – Bhakti भक्ति
Recorded at the Chapel of Srī Nityānānda Prabhu of the Gaurikishore Thākur Ashram, Dacca
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