Kishori Amonkar alias Geet Gaya Pattharon Ne

After mastering in-depth learning and understanding of the essence and merits of singing of Jaipur Atrauli family, Kishori Amonkar, who incorporated it in her singing style, made new inventions in her singing and made the continent of Indian classical music. Had made its original place in. The way he embellished his singing in a unique style shows a deep contemplation and a deep understanding in his singing style.

Just as Kishori Amonkar was vigilant of discipline in her singing, in the same way she wanted the same kind of expectation from her listeners. She used to scold her listeners many times for not being disciplined during the program, but her emotional singing was unique, wonderful and unique.

Kishori Amonkar, who gave a new rare height and a new ceremonial identity to Indian classical music, passed away on April 3, 2017 at the age of eighty-four. He was born on April 10, 1932. Adolescent Amonkar used to say that for her, music is not just an art form, it is a means to reach the infinite. Maybe that’s why they went into the deep boundless music of deep sleep and merged into the capable boundless.
Given the multifaceted subtleties of human sensations in her competent musical classics, it appears that she wanted to have the sensory infinity of human life as God. Kishori Amonkar was one of the best singers of the great tradition of conveying classical music to the masses. There has been a long tradition in our country of great singers taking the dignity and importance of classical music to new heights as well as bringing it to the masses. Under the same tradition, Bhimsen Joshi, Kumar Gandharva and Kishori Amonkar have been such top singers, in whose singing the full restlessness of spirituality and deism can be clearly seen. If there was a call for surrender in Bhimsen Joshi's singing, then Kumar Gandharva had Kabir's yearning and the voice of Kishori Amonkar overflowed with love. These great singers not only exalted human pain with their singing, but also established the identity of humanity and infinity through their competent experimentation. Like Bhimsen Joshi and Kumar Gandharva, Kishori Amonkar also had better experimentation in micro-classicalism, but no effort at all.
A slight hint of melancholy in exhilaration and melancholy in melancholy is important enough to make any composition special, while the ease of ascent and descent of emotions with serious melodies and melodies, without any hard practice and without any seriousness. Contemplation is impossible. Vidushi Kishori Amonkar not only practiced hard, but at the same time she also meditated on the merits and nuances of music. He invented his style only after in-depth study of many ancient Indian texts in terms of acquiring his classicality.

It is not that Kishori Amonkar has never faced praise and criticism. The main criticism of her singing was that she gave so much importance to emotions in her singing that she went beyond the tradition of family ragas, but it can still be ensured that Kishori Amonkar Instead of adopting a difficult style, he had adopted his general style and had also acquired uniqueness in it. She constantly tried to express the thoughts of sages in her singing.
Adolescent Amonkar was well-organized, trained and proficient in Indian state music, but it is not otherwise that it was not easy to tie him in a rut. His characteristic was that the ragas he learned took him to a whole new peak with the flight of his imagination and sadhana. A new sophistication was seen in his singing every time. Even in this context they always maintained their diversity.
It is not at all unnatural to say here that whenever she sang a devotional song, every word of that song and every line composed of the experience and the expression of the life-vision associated with it, seemed instinctive. . Mirabai's famous hymn 'Pag Ghungharu Bandh Meera Nachi Re' sung by him can be recalled here for reference. In this hymn of Mirabai sung by Kishori Amonkar, along with solitary devotion, the echo of Mirabai's rebellious nature is also heard. The line ‘Ranaji sent a cup of poison’ hovered in the atmosphere as an omen for a long time and then after that very lightly ‘Pivat Meera Hansi Re’ went ahead with extreme poignancy mocking the deception and arrogance of power. Goes.
It has been a coincidence that he got April and Mumbai for his birth and death respectively. Kishori Amonkar was born on April 10, 1932 in Mumbai to Madhavdas Bhatia and Mogubai Kurdikar, while she died on April 3, 2017 in Prabhadevi apartment in Dadar, Mumbai. In today's sponsored culture programs, self. After Pandit Ravishankar, Kishori Amonkar was probably the most expensive artist ever, who used to charge around Rs. They considered respect to be paramount instead of money with dedication. This is the reason why it is almost six decades long

Until recently, the flag of his unique and popular singing kept flying safely in the country and abroad.
Compared to Bhimsen Joshi, Kumar Gandharva, Ustad Amir Khan etc. who have become great singers in the field of Khyal singing, Kishori Amonkar, who gave her self, her own tone, her own style and her own exchange in singing, which is a family song. He had developed his own personal style of singing. Among the personal efforts he made to attract the common people to classical singing, he put more emphasis on realizing the sense of restraint with the technique of singing. It would not be an exaggeration to say that he did a great job of giving a very sublime height to the compositions of adornment, separation, anguish, compassion, sorrow and devotion etc. by giving a tone full of his singular contributions.
Admittedly, the melody of the melodies that Kishori Amonkar got was natural and the beauty of the melody in her voice was nothing short of awe-inspiring, but in the late fifties a tragic situation occurred in her life that For some reason, her voice went away, but when the same voice came back two years after taking proper Ayurvedic treatment, it proved to be a return of enthusiasm in her singing field as well as enthusiasm in many lives, then absolutely one in Kishoriji's singing. A new vision and a new bright tone appeared.
By the way, his music education was done in the strictly disciplined company of the well-known singer Mogubai Kurdikar (Padma Bhushan and Sangeet Natak Akademi recipient), who was both his mother and teacher. Kishori Amonkar was also honored with Padma Bhushan in 1987, Padma Vibhushan in 2002 and in 1991 she was honored by Doctor TMA Pai Foundation for her outstanding contribution in the field of music. It may be recalled that in the year 2009, Kishoriji was also awarded the Sangeet Natak Akademi Fellowship.
Taking care of the Jaipur family While accepting the merits and nuances of singing, Kishori Amonkar, who developed her specific style of singing, also reflected the merits and nuances of other clans in her singing. "I wanted to experiment with words and melodies and see how those experiments sound with my tunes," she said at the ceremony after being awarded the Padma Vibhushan. Later I broke this chain, because I wanted to work as much as possible in the world of music. I call my singing a language of melodies ”.
After marrying a school teacher Ravindra Amonkar and becoming a mother of two sons, she faced widowhood in the early 1980s. Otherwise, Kishori Amonkar's journey with cinema music was very brief. He sang four songs as a music director in the national award winning Govind Nihalani's film 'Drishti', while twenty five years ago in 1964 Kishori Amonkar sang the title song of V Shantaram's superhit film 'Geet Gaya Pattharon Ne' But, to the beat of the beat, of the call of the heart, of the colorful love, the song was sung by the stones ”. The sadness that is light with the joy in this song is extremely important in making this song a classic. Later he
Distancing himself from film music, he said that "adding words and melodies reduces the power of melodies". In fact, Kishori Amonkar was a unique singer who evoked love even in the heart of stone. Kishori Amonkar alias Geet Gaya Pattharon Ne for Smriti-Shesh Naman.