Gangubai Hangal - Raag Marwa (1982)

Accompanying artists:
Vocal: Krishna Hangal
Tabla: Sheshgiri Hangal
Harmonium: Appa Jalgaonkar

[@Vishwanath-i8s]

दैवी आवाज,दैवी देणगी, पवित्र आत्मा. Divine voice,gift & soul.

[@shahvivek]

That vocal tension placed on madhya sptak Dhaivat and drut Rishabh brings spirit of Marwa so alive!

[@ArchismanMozumder]

Agree. Also, the 'sam' on the madhya-saptak dhaivat is how the contour of this raag ought to be. Amir Khan was so proficient in singing this raag and placing the 'sam' on the mandra-saptak dhaivat that almost everyone adheres to his style now. Even Bhimsen Joshi's studio recording has him singing this very same vilambit bandish (as Gangubai's recording here) and applies the 'sam' in the mandra saptak. Another beautiful recording is that of Mallikarjun Mansur - Live At The NCPA (1981) where he sings 'piya moha anat des' (the bandish of Amir Khan's celebrated studio recording of 1960) and places the 'sam' on the madhya-saptak dhaivat in a magically impactful way.

[@mayankupadhyaya6700]

Extra ordinary bold voice quality wah wah

[@ashishchakraborty6984]

Truly Legend , pranam .

[@shenoyn]

One of the best Marwas ever!

[@girishabs5745]

Hangalji singing + Appasaheb harmonium sangath, ofcourse Krishna hanagalji's vocal support. Very unique combination 🙏

[@musicbliss14]

So so perfect Raag Marwa my God 🙏🙏. Exactly Dh M G re G M G re Sa. is the main “ chalan” of Marwa and how beautifully the bandish and her gayki is showing that. Awesome just awesome 👏 Maintaining the no or less sustain “ meend” gayki throughout. Pranam to her 🙏🙏

[@nipunshah7137]

Simple yet majestic approach to raag vistar! Goosebumps!

[@ArchismanMozumder]

Completely agree. The most striking aspect of this recording is the placeemnt of the 'sam' on the 'madhya-saptak-dhaivat'. That gives the raag a restless nature. (Ustad Amir Khan's massive influence on vocalists, especially with his treatment of raag Marwa, has ensured that almost all recitals of this raag have the 'sam' on the mandra-saptak'. :) )

[@foresthill8462]

​@Archisman Mozumder ah, thank you for pointing that out. I was wondering why it sounded different from most Marwa renditions I've listened to 👍🙏

[@ArchismanMozumder]

@@foresthill8462 ​ Even her guru-bhai, Pt. Bhimsen Joshi, has rendered the same bandish with the 'sam' on the lower octave 'dha' (a la Ustad Amir Khan). On the other hand, there exists a compelling recording of Marwa by Pt. Mallikarjun Mansur, at the N.C.P.A., Bombay, in the mid 80-s. That recording has the traditional method of the 'dhaivat' on the 'madhya-saptak', despite the fact that the vilambit bandish is the same as Ustad Amir Khan's famous LP recording. :)

[@ArchismanMozumder]

​@@foresthill8462 ​ Even her guru-bhai, Pt. Bhimsen Joshi, has rendered the same bandish with the 'sam' on the lower octave 'dha' (a la Ustad Amir Khan). Pandit Mallikarjun Mansur had rendered a compelling Marwa at the N.C.P.A., Bombay (early 80-s). That recording had the traditional method of the 'dhaivat' on the 'madhya-saptak', despite the fact that the vilambit bandish is the same as Ustad Amir Khan's famous recording ('piya mohe aanat des'.) :)

[@shekharshindepatil999]

If Possible Please Upload Bhupali of Great Gangubai hangal ji..! It's a humble request from her greatest Fan..❤🙏🎭

[@BharatKoli-q9l]

Ismein Sun galat Dala hua hai is song ko kab gaya tha 1977 mein to gangubai ki death Ho gai thi aur is video ko Dale hue bus 1 year hua hai matlab 1 sal pahle tumne yah video Dali hai date off birth Sahi karo iski 😡

[@ArchismanMozumder]

1. Gangubai Hangal passed away in 2009. 2. Since you & I do not know each other, do you think using words like 'tum' and 'karo' are appropriate? 3. You have time to type angry emoticons but no time to perform a basic Google search? 4. The female singer who passed away in 1977 is *Kesarbai Kerkar*. Different singer... different gharana. All you had to do was to ask... instead of assuming that the details are incorrect. Courtesy goes a long way.