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Pandit Mallikarjun Mansur who, at 68, continues to rule supreme as the greatest performing maestro of the Atrauli “gharana” of Ustad Alladiya Khan, presents in this disc two masterpieces in sculptured sound to be sheer delight of connoisseurs of highbrow music.

 To lovers of form, unity and design in music, his “khayals” in Deshkar” and Yaman-Kalyan” provide an unforgettable treat. His crushing sonority of voice, his immaculate intonation; his phenomenal breath-control, his marvelous “layakari” and his typical ardor and fervor are such as to pose a combined challenge to “khayal” singers half his age.

 Born at Mansur, in Dharwar district, Karnataka State, Mallikarjun Mansur was initiated into the mysteries of Hindustani music by Pandit Neelakant Buva Alurmath, a disciple of the Gwalior maestro, Pandit Balkrishna Buva Ichalkaranjikar. After six years of rigorous studentship with this veteran, he sought further training from Ustad Manji Khan and Ustad Bhurji Khan, the gifted sons of Alladiya Khan. Rigorous discipline and patient practice under the guidance of the two ustads groomed young Mansur to become one of the ablest exponents of a difficult singing style, noted for its “dhrupad” – like massiveness of form, robustness of structure, the felicitous emphasis on “layakari” and the unending variety of ingenious, odd-shaped “phirat”.

 In his eventful professional career, many prized laurels, awards and honors have come his way. Besides being a recipient of the President’s Award for Hindustani vocal music, Panditji has worked as music adviser with All India Radio for a decade. The University of Karnataka has honored him with a D. Litt (Honoris causa). Presently, he is honorary director of the Institute of Music and the Faculty of Fine Arts of that University, at Dharwar.

Panditji receives valued vocal support in this disc from his young talented son, Rajashekar. A chip of the old block, Rajashekhar is an academician, teaching English at Karnataka University. His “sangat” reveals sound musical grounding from his illustrious father.

THE MUSIC

 SIDE ONE: Raga Deshkar

 This charming morning melody, derived from the Bilawal “that”, is “odava” (Pentatonic) in character. It omits “Madhyama” and “nishadha” from its”saptaka”. “Dhaivata” and “dandhara” are, respectively, its “vadi” and “samvadi” ‘”swaras”. The use of “dhaivata” calls for great skil on the part of the performer.

 The “Raga” is rendered here in “vilambit”, set to “tritaal”, a rhythmic cycle of 6 “matras”.

SIDE TWO: Raga Yaman Kalyan

 This pernennially beautiful evening melody is a “sampurna raga”, having all the seven “swaras” of the “saptaka”. It makes use of “Gandhara” and “nishada” as “vadi” and “samvadi” “swaras”, respectively. The judicious application (“prayoga”) of “Shuddha Madhyama” gives it a color subtly district from “Yaman” The “raga” is rendered here in “vilambit”, set to “tritaal”, in 16 “matras”.

Artists:

Pandit Mallikarjun Mansur (Vocal), Rajashekhar Mansur (Vocal), Baban Manjrekar (Harmonium), D. R. Nerurkar (Tabla)

Tracks:

Side One:

 Raga Deshkar                  Khayal Vilambit Teentaasl             - Hun To Tore Karan

Side Two:

Raga Yaman-Kalyan      Khayal Vilambit Tritaal                   - Pat Tore Kavan