Short Takes: Narayani and Gorakh Kalyan Comment On This Article Below. Return to the article H G Kamat comments : Dear Mr Parrikar, At first as an avid reader and listener of your articles, I am delighted that you are back.Please accept my congratulations on your efforts. As a fellow Goan I dare say that you will ultimately be the Parrikar whose work will leave a deep footprint on our society. I find it regretable that you still remain the little heard of Parrikar in Goa. I immensely enjoy the way you slay your favourite dragons save one. And permit me to say this, I think in the case of Amcho Kamatbaab you go a bit too far. The others you attack the sartorial, culinary or styles while grudgingly conceding their music. In the case of Ramdasbaab , while you experience no choice but to quote him, you attack his music itself. To the best of my knowledge, Kamat never claimed to be a classical musician. He took to Natay sangeet as a hobby. His talent was halied beyond his expectations. It is no surprise that he always had another profession all his life. However he did his best , and at great personal sacrifice, to repay the faith people imposed in him. At the time of the renaissance of Natay sangeet, Abhishekhi chose him , and repeatedly, to launch his creations. Did Abhishekhi not know what he was doing?? Was it so difficult for Abhishekhi to find someone else if Ramdaasbaab was 'bawling'? Abhishekhi used him everytime except in Katyar but he did pit him against Vasantrao in He Bandha Reshamache. I think this speaks for his appeal. To cap it all ,none other than Pt Bhimsen Joshi chose him as in the lead rols of TAnsen the only time he composed music for a play for Dhanya Te Gayani Kala. Consider it then, is it fair that he should be so mauled that too by a fellow goan, because if not some one else at least a Goan should have known more about Kamat? I am sure you know that he had and still continues to have great appeal among lovers of natay sangeet. I could see that you have assaile d him on at least three ragas. My respect for you and your work will double if you delete the non charitale references to Ramdasbaab. Since he led a reclusive life , I am afraid you wil not find any other achileeses heel in his armour like the love for pijja etc. to assail. I believe yoru articles will be read for ages to come. I would not like that on these articles a popular and non controversdial Goan be attacked by a Goan. And I hope you conitnue writing for a long time. I do not see anything , hard or soft, that matches what you provide for a lover of classical music. And yes, keep slaying your other favourite dragons ( may their tribe increase) and their follies. Keep it above teh belt . One suggestion, if you want to enrichen teh humour in your articles ( which I greatly enjoy), try to talk to Channulal Mishra. No genuine classical musician was as knowledgeable and as funny!! H G Kamat comments : Dear Mr Parrikar, After posting my views on yrou article I saw that responses to your articles are like a public forum. My intention was to appeal to you in private and not to start a debate on whatever I have had to say. Only, I could not find any other means of communicating with yoru directly. Hope you read thsi mail ' in time'. Dhond comments : Hello Mr. Parrikar, I thoroughly enjoy reading your articles and also listening to the songs/music pieces that have been hosted after each raga's description. I had a question. What is the name of the raag that Hridaynath has used in Lata's "Malvun Taak Deep"? Mehdi Hassan has also used the same raag in his live concert version of "Ab ke hum bichhade"... Also for some music pieces (especially songs of lata), it would be excellent if complete songs are hosted because these beautiful songs are very rare and are not available even if people are ready to pay for them... Thanks and regards, Mihir Siddhartha Chaudhuri comments : Dear Shri Parrikar, The audio file for Gorakh Kalyan by Pt. Basavraj Rajguru ends abruptly after about a minute, although the playing time shows up as 6+ mins. Could you please fix this (I don't think it's a problem with my system)? Thanks Siddhartha The author responds: The problem has been fixed. Thank you for bringing it to my attention. Rajan P. Parrikar Siddhesh Kochikar comments : Dear Mr. Parrikar, You have Enlightened me by the notes and music on Gorakh Kalyan, which is one of my most favourite raagas. As a fellow goan, I wholeheartedly appreciate your knowledge and willingness to share thoughts and knowledge on the vast un ending subject. May I also request to add one Gorakh kalyan song of Ustad Mehdi Hassan titled "Dekh to dil ke jaan se uthata hai, yeh dhuwaan sa kahase uthata hai" Thanks Siddhesh Sushma Kashyap comments : Dear Mr.Parrikar You have brought back my childhood memories . I have grown up listening to Rasklalji's Gorakh Kalyan and had been looking for this recording for a long time now. It was a great feast to listen to his Gorakh Kalyan after a long time. Also the discussion on the scope of Pancham in this raga was very meaningful. Also Gorakh sung by Khan brothers enlightened me. Can I please request you to post Nazakat's and Salamat Ali khan's Rageshri . Thanks Sushma Yogesh Parvate comments : Hello Rajan ji, It is a great pleasure to read such woderful articles truly dedicated to hindustani classical music and discussion on the various aspects of music This is really helpful for the conoissur and the layman since the every article gives nice examples of light music which can help the all types of music listeners enjoy the beauty of our clasical music thorougly. I have always felt that the fantastic era of film music has influenced music audience so much so, which led to a paying less attention to a pure classical redenration .. ( when u have a readymade beautiful tunes of 3/4 miutes based on some ragas .. why to listen pure classical music ..) However articles like this can again bring people closer to hindustani classical music which is the foundation of all.. One small suggestion. Pl continue writing the articles on classical music with niti-griti of various aspects of ragas .. ( i could find that very les was written on various version of malhar .. which should have been the part of this articles) .. e.g miyan malhar,ramdasi malhar,nat malhar,meera malhar sur malhar etc .. Pls write on them as well ... Great experience Regards, Yogesh Parvate Vidya comments : >>Even women and children know that it is not possible to convey via the written word the nuances of the swara-lagAv so vital to raga-based music. I am surprised and appalled that such a statement appears on a website that calls itself SAWF? Just because someone is knowledgable on an art form and writes well otherwise does not mean that they can get away with writing anything they please and the editors and webmasters of the site turn a blind eye to it. Is this meant to be humor? May be I am one of those humorless feminists but I completely miss the point of this statement? Vijay Sai comments : Rajan Ji, Is your explanation of Narayani also the same for NAT NARAYAN.......mostly sung by the vocalists of the Mewati Gharana, right on from Pandit Motiram and Maniram to Jasrajji.......... Could you explain that raag in detail...... warm regards vijay