First LP Record of Pandit Ravi Shankar (Classical Instrumental) (Audio CD) | Pandit Ravi Shankar Saregama (1963)

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From the CD

Saregama - HMV is proud to have recorded the very best of artistes and has preserved their art over a period of time. The company has been releasing these albums, as per music lover’s demand. The great works of these maestros is a source of inspiration to the future generations also. The First LP Record series is an attempt to rekindle and cherish the movement of glory which today’s greatest maestros must have experienced at the time when they got their first opportunity to release a Long Playing record. Releasing an LP record was considered very prestigious and a rare honour in itself for any artiste a Long Playing record. Releasing an LP record was considered very prestigious and a rare honour in itself for any artiste and it was used as a launch pad for starting a career in music. The LP record goes back to early sixties.

This is a CD replicated version of the first solo LP record recorded by today’s greatest classical maestros. The album features the original LP cover replica. Truly a rare opportunity to treasure the immortal performance, now in a new improved format.

The Music

Track 1:
Raga : Hema-Bihag
The is a sub-melody of the main raga Bihag. It is an original creation of Ustad Allaudin Khan, the doyen of Indian music and the teacher of Ravi Shankar. It is usually rendered in the first part of the night and is serene and quiet in mood. Pandit Ravi Shankar after a short Alap plays a Gat (composition) confined to Teental (16 beats) and gives a masterly exposition in keeping with the sublime and serene character of the Raga

Track 2:
Raga Malaya-Marutam is a South Indian Raga and Tack 3 is a light classical Dhun in Mishra Mand.

Raga : Malaya-Marutam

This is a Raga of the Karnatik school of South Indian but Pandit Ravi Shankar has put on it the colourful North Indian gard. The composition is confined to a rhythm of 16 beats called “Teental”. This Raga completely drops Madhyama (the 4th note) both in Aroha (ascent) and Avaroha (descent). In the hexotonic scale, it has the 2nd note Re and the 6th note Ni Komal (flat). The structure of the Raga is so peculiar that it can be rendered effectively both in the morning and in the night with equal advantage.

Track 3:
Raga : Mishra-Mand

This composition has a lilting gaiety and the maestro has given a free play to his imagination in weaving beautiful decorative note-passages with meticulous care. Mishra Mand is a night melody and it is sprightly and romantic in character. For about three minutes towards the end, Pandit Ravi Shankar switches over to a composition in fast tempo which affords an opportunity to Pandit Samta Prasad the tabla player - to open his shoulders and enrich the performance with his artistic accompaniment.