Foreword
Ten the of Tim whe command our respect whose ges us and who have put us undmatily arte debt. Pants Dinkar Kalkin is one of these und perovalises, comparable to sages of alam very glad to be wining this word for Hewasa Tapervinha fercely meditative thinker whe achieved an elegant balance between theory and aesthetics through deegi teflection де maintained buss and respect for the aesthetic values that were implicit in the Myle of every cant and never succumbed to the impulie of sedly espousing the cause of one gharána over ten At adicale of Annasaheb Ratangankat he haid of course acquired extensive knowledge as wait as thomuch talim as a performer favoured him by gifting him with the same kind of felicity as a composer that Batangankar had Numerosas bandit-es of the highest quality flowed out of his anagranion. This was indeed a golden confluence of many factors. A solid foundation siamcee imbibed from the study of countess nadsonal bandi ex his own unrelenting study of rach and talk an intimacy with the literary idiom of languages necessary for work as a composer Jacqured from his king stay in the North and abow at the diveme gift of an insatiable ceative wge with which he was bivsed There can be no doubt that these factors are at the new of the unifons excefence of fus bandit es, in which we find a superb amalgam of punty ofráganga a hannonasun Dind of love and tala, and bones with an elegarit poeic sensibility His natural temperament was.contemplative lewiting him to develop a perspective of immense breath, versatility of approach and innovation His compositions in every genre be in Ragadári khayal, thums or Bhaktisangh were of the highest artistic level. His musical thought never fund expression through fragmented displays of learning, pedandic theory, or exhibition of virtuosity in techrisque. An intuitively attained balance between kriowledge theory and technique enabled him to not only scale the highest peaks of musical and aesthetic creativity but also to maintain that level, once achieved Thus the name Kaikini has become synonymous with excellence His ability to discover a new dawn in the horizon of musical ideas without abandoning traditional values and principles in a distinctive feature of his musicianship the other hand, even as he was composing peerless bandil-es, Kaiking's maturity enabled him to prevent himself from becoming infatuated with this own craft, He fully recognosed the necessity of giving the concrete intent expressed in a banded an abstract aesthetic utterance in its performance, and fully discharged the artistic obligation that was implicit in that recognition His presentation was in complete harmony with the panople he espioused namely, the bandis is the concrete kosem of muvc, while the musicianship that the aniste applies to its interprnmamion is its abstract counterpнт, на performansons would invariably reveal deep undentanding of a raga's structure, subtleties fantanmory and sophistication of thought to proportioned and docلمرسي presensasion. And even in the act of creating such a complete pertumange he waad be to involve hermell fully enjoying th being created. Thus the could carry tas audence with him, towasts a meditative experienc Inner satisfaction that trasomded the universe of feeling Kakini was gemerously gifted with contemplative point of view, which he used to employ with great effectivexplaing many delicate points about the art of performance I will never forget his felicitous explanations, which would resolve marry artistic loves that confront a performer I used to love listening to his thoughts about such matterns His views were not only informative for me, but they alto guided me towards the discovery of my own artistic perspective What is music? Why should we engage in al How should we perform ist Of what use is it? How does it affect our lives? His answers to such questions were so apt and comprehensive that one would feel certain that anyone who followed that path would feel fulfilled I would have to say that in making this invaluable stream of musical thought available to a wider public, the author has done us a great servicea
There are some penchames in the world of T who command our respect, whose be put us undeniably medie Party Dakar Ralkini is one of these deals, comparable to sages of imes lang pasti am very glad to be writing the zoreword for a book He was a tapawin a hercely meditative thinker who achieved an elegant balance between theory and siesthetics through deep reflection He maintained trust and respect for the aesthetic Values that were implicit in the style of every gharana and never succumbed to the impulse of unduly espousing the cause of one gharanä over athen. As a disciple of Annasaheb Ratanjankar, he hact of course acquired extensive knowledge as well as thorough talim as a performer And fortune favoured him by gifting him with the same kind of felicity as a composer that Ratanjankar had Numerous bandil-es of the highest quality flowed out of his imagination. This was indeed a golden confluence of many factors: A solid foundation of influences imbibed from the study of countless traditional bandil-es; his own unrelenting study of Käga and talk, an intimacy with the literary idiom of languages necessary for work as a composer Lacquired from his long stay in the North), and above all the divine gift of an insatiable creative urge with which he was blessed. There can be no doubt that these factors are at the root of the uniform excellence of his bandis-es, in which we find a superb amalgam of purity of raganga, a harmonious blend of laya and Dala, and lyrics with an elegant poetic sensibility His natural temperament wat contemplative, leading him to develop a perspective of immense breadth, versatility of approach and enro His compositions in every gente-be it Ragadal khay, thome, or Bhaktangit were of the highest artistic level. His musical thought never found expression through fragmented displays of learning, pedantic theory, or exhibition of virtuosity in technique. An intuitively attained balance between knowledge, theory and technique enabled him to not only scale the highest peaks of musical and aesthetic creativity but also to maintain that level, once achieved. Thus the name Kaikini has become synonymous with excellence. His ability to discover a new dawn on the horizon of musical ideas without abandoning traditional values and principles is a distinctive feature of his musicianship which compels our respect and admiration On the other hand, even as he was composing peerless bandis-es, Kalkóniji's maturity enabled him to prevent himself from becoming infatuated with his own craft. He fully recognised the necessity of giving the concrete intent expressed in a bandis an abstract aesthetic utterance in its performance, and fully discharged the artistic obligation that was implicit in that recognition His presentation was in complete harmony with the principle he espoused, namely, th bandis is the concrete form of music, while the musicianship that the artiste applies to its interpretation is its abstract counterpart, His performances would invariably reveal deep understanding of a rága's structure, subtleties of intonation, and sophistication of thought, in addition to a proportioned and disciplined.
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