It's absolutely true. This style has that peculiar force that is seldom found in today's time. If you know that sitarist from Pune named late Pandit Sudhir Phadke and his sister Vidushi Sandhya Apte who are deciples of guruma Annapurna Devi, unfortunately there only 3 recordings of him on KZfaq, please I request the music community as whole that if anyone have any recordings of these artists, please upload them. This style is so rarely heard today. Just look at the systematic development of raaga, everytime I listen to this, I get goosebumps!

this is guruma annapurna devi style

Pt r shankar style ko, sampurna sitar bhi kaha jata hai

Sir aap ji, bhi, bahut achchha sitar bajate hai,mi aap ka sitar bhi sunta hu

I don't have to say any more.You have expressed every thing.I agree with you absolutely.

Me too

Oóo000000⁰00lppppk

You will be blessed for mentioning a Musical Priest's name

This is more of dhrupad style. Nikhil Banerjee was leaned more towards Khayal style.

1960 onwards actually. The style not only got watered down, but got transmogrified into one that placed a lot more emphasis on rhythm than melody, the one that valued the lay person in the audience over the connoisseur. I am not necessarily saying one is bad and the other is good. But this is a fact. I am also not suggesting that he lost the ability to play like his old self (there are examples to the contrary: kzfaq.info/get/bejne/eN2JdrCfqdeacqc.html); but he gravitated towards the other style without a doubt. It is also during this transition that his sitar 'voice' became markedly more angular and krintan-reliant than rounded and meend-reliant.

@@theblaseone Thank you Hemant Sir for clarifying; that's exactly what I thought, and from reading a little bit....his rhythm IS so beautiful at times, but overall i prefer Nikhil Bannerjee exactly for the melody and depth....I alway wonder if his background as a dancer has anything to do with his love of rhythm, or if it was just what my Indian friend calls "playing to the gallery."

He used one instrument from ~1945--1964. His meend oriented melodic performances are from that era. Then he changed instruments to improve the bass sound but that was limited in meend. He mentions this in his biography. Also the melody oriented style requires more daily practice, hard to maintain with panditji's numerous commitments and dalliances.

True!

Yes.Indeed, you never listen this type of rendition in ati mandra work. It trnansandces you in a different world.

Best of Indian Railways There is a Bhatiyar played immediately after the Darbari. You will find it on KZfaq.

But, the Bhatiyar available on your channel is unfortunately incomplete. Doesn't a fuller version exist?

Prithviraj Guha : unfortunately, I do not have the complete version.

Many thanks for your prompt response. It's possible that the following version is same as yours and fuller. kzfaq.info/get/bejne/p8qEkqmqtp6mdXU.html I found the beginnings similar.

Prithviraj Guha : The Bhatiyar version you have kindly sent is from a different program. Both versions are of course divinely beautiful!

are you deaf?

Like you? Not.

I agree. Ravi's treatment of Ga/Dha in this performance lacks the heaviness of other performers of this raga.

Hmmmm music training of particular kind sometimes causes some uncanny feeling to something else but your comment remind me one saying why Sachin' drives are not so good :D

Need proper talim to understand what panditji used to play this raag. otherwise, better to use hearing aid...