Senior Dagar Brothers Nasir Moinuddin & Aminuddin Dagar | Darbari Kanada | 1965

From the sleevenotes:

Side A: Aalaap: Raag Darbari Kanada

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Ustad Moinuddin Khan and Aminuddin Khan, sons of the late Ustad Nasiruddin Khan, the doyen of the Dhrupad style, are better known as Dagar Brothers in the music world. At a very early age they were initiated into the art by their father. After the untimely demise of the latter, their uncles took over the young boys' interrupted tutelage and groomed and shaped them as able exponents of the Dhrupad and Dhamar styles. Dhrupad and Dhamar are very difficult to master and hence their exponents are very very few. These styles demand a vigorous voice and highly imaginative but massive mode of utterance and expression. Both brothers have proved to be most eminently suited for the exposition of these styles in the traditional manner.

The Dagar Brothers enjoy an international reputation, having travelled extensively both in the West and in the East, as cultural ambassadors of India. For several years they were on the staff of the Bharateeya Kala Kendra which is run by the Sangeet Natak Akademy Delhi to impart tuition in classical music.

Tradition demands that before the rhythmic rendering of a Dhrupad or a Dhamar, a complete and comprehensive picture of the Raga is woven with slow and ponderous movements from note to note. This side is entirely devoted to such an elaborate exploration of Raga Darbari Kanada and both the brothers share equal honours for building up an enchanting euphonious structure within the framework of the Raga

Raga Darbari Kanada is a night melody. It has a very sublime mood and its exposition is usually full of majesty and grandeur.

Side B: Dhamar – Raag Darbari Kanada Dhrupad – Raag Adana [not included here]

This side opens with a Dhamar piece. Usually in a concert a Dhamar is sung after a Dhrupad. But since the composition of Dhamar is in the same Raga as is featured on Side One. ie. Darbari Kanada, the maestros have preferred to render it as the first item on this side. The performance is confined to a rhythmic cycle of 14 beats known as "Dhamar Tala"

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The rhythm accompaniment on Mridanga, an oval shaped percussion instrument, is provided by Mr. S. V. Patwardhan, a reputed master of this instrument. The entire performance is marked by melodic and rhythmic jugglery created by the most fascinating mathematical combinations employed both by the singers and the percussion player vying good-humouredly with each other and displaying their virtuosity and proficiency.

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Worth nothing that this was in 1965, just a year later Nasir Moinuddin Dagar (1919-1966) was gone. Nasir Aminuddin Dagar (1923-2000) has long been gone as well, but the music sounds as fresh today.