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Friday, December 23, 2011
Thursday, December 8, 2011
The Sawai Gandharva Music Festival 2011 - Pune - December 7 to 11
Pune: The prestigious Sawai Gandharva music festival 2011 has been rechristened the Sawai Gandharva Bhimsen Mahotsav from its 59th edition which begins from December 7 until December 11.
The festival was initiated by Kirana Gharana maestro Pt Bhimsen Joshi in memory of his guru Sawai Gandharva aka Rambhau Kundgolkar. The announcement about the name change came from the maestro's son, Shrinivas Joshi, who is also the executive president of the Arya Sangeet Prasarak Mandal, the organiser of the festival, during a news conference on Friday. Pt Bhimsen Joshi, a Bharat Ratna awardee who was legendary for his khayal gayaki, passed away earlier this year at the age of 89. Joshi said that this is the first time that the festival is being organised without his father's presence. "But the legend is still with us, though not in his physical form. My father had initiated this festival to pay homage to his teacher. Similarly, it is our wish to pay tribute to the musical virtuoso who left us this year by adding his name to the fest. This festival is now dedicated to both the maestros of Hindustani classical music," said Joshi.
Previously, the festival was spread over four days comprising five sessions with four sessions in the evening and a morning session on the concluding day. However, this year the morning session on the concluding day has been canceled and instead, one more day has been added.
"Artistes are more comfortable with this timetable, as are members of the audience. This may be repeated next year too if it suits everyone," added Joshi.
The Sawai fest is scheduled to start on December 7 this year, and will continue till December 11. The event has been scheduled between 4 pm and 10pm, except the 1st and 4th day, when it will start at 3:30pm.
New English School Ramanbaug grounds is the venue for the festival this year too.
As many as 26 artistes from the world of Indian classical music will present their art before a seasoned audience. Among them are eight first timers in the festival, including singer Shankar Mahadevan.
On December 7, the festival will begin with performances by 'shehnai' maestro Tukaram Daithankar, vocalist Sanjay Garud, Pandit Satish Vyas on 'santoor', vocalists Ashwini Bhide Deshpande and Pt Ajay Pohankar.
The second day of the festival - December 8 - will have performances by vocalists Mahesh Kale, followed by Shaila Datar. "There will be an eclectic jugalbandi by Pt Ronu Majumdar on the flute and Kadri Gopalnath on the saxophone. Both the musicians will deliver both Hindustani and Carnatic rendition. This performance is one of the highlights of the fest this year.
At the day's close, the audience will get to listen to veteran vocalist Balmuralikrishna who will be performing after a considerable length of time, added Joshi.
The third day - December 9 -will showcase artistes like vocalist Kumar Mardur, sitarist Kartik Seshadri, Shankar Mahadevan with Carnatic classical renditions, and Pt Jasraj.
Vocalists Yojana Shivanand, Shrinivas Joshi and Malini Rajurkar will enthral the audience on the fourth day of the festival - December 10. This day also boasts of unique dance performances by dancers from the traditional Bharatnatyam school, Nritya Niketan in Udipi and a Kathak rendition by danseuse Shama Bhate's Nad Roop. These performances will be an attempt to pay tribute to Pt Bhimsen Joshi. This will be followed by 'sarod' maestro Ustad Amjad Ali Khan's rendition.
The final day of the festival - December 11 - will feature vocalist Omkar Dadarkar, Padma Deshpande, Nagaraj Rao Hawaldar and violinist N Rajam with her daughter Sangeeta Shankar and two grand daughters. This will be followed by a vocal performance by Pt Venkatesh Kumar.
Staying true to its tradition, the 59th edition of Sawai Gandharva Bhimsen Mahotsav will conclude with the performances of veteran vocalist from Kirana Gharana, Prabha Atre.
Source: The Times of India - Nov 19 2011 (http://articles.timesofindia.indiatimes.com/2011-11-19/pune/30418905_1_kirana-gharana-pt-bhimsen-joshi-festival)
Thursday, November 17, 2011
R.I.P.! Pandit Sharda Sahai from Benares Tabla Gharana
Pandit Sharda Sahai was born in Benares in 1935, a direct descendent of Pandit Ram Sahai, the founder of the Benares style ("gharana") of tabla playing. With the inherent gift in his blood of the finest traits of the Benares baj, he began at an early age to learn tabla from his father, the late Pandit Bhagvati Sahai. Following his father’s demise in 1946, he became a disciple of the inimitable Pandit Kanthe Maharaj, himself a disciple of Sharda Sahai’s grandfather, Pandit Baldeo Sahai.
Sharda Sahai started his professional career at the age of nine, performing both as a soloist and as an accompanist. He made his major public debut when he was sixteen, appearing at the Italee Music Conference in Calcutta with the sarod maestro Ali Akbar Khan. His professional activities in India have included appearances as soloist and accompanist at all of the important music conferences and festivals as well as performances with every major artist of North Indian classical music.
He was awarded "A Grade Artist" status by All India Radio in 1965. Also in 1965 he founded the Pandit Ram Sahai Sangit Vidyalaya, an institute for training in classical music and dance, located in Benares.
Sharda Sahai has performed over one thousand concerts worldwide. His solo performances have been broadcast on All India Radio’s prestigious National Program. His accompaniment experience includes every major artist of North Indian classical music- among others: sitarists Ravi Shankar, Vilayat Khan, and Nikhil Banerjee; sarodists Ali Akbar Khan and Amjad Ali Khan; violist V.G. Jog; and dancers Gopi Krishna, Birju Maharaj, and Sitara Devi.
In February, 1970 Sharda Sahai made a highly successful tour of Europe, the United States, and Canada with sarodist Amjad Ali Khan. His tabla playing made a powerful impression everywhere he played, and in September, 1970 he returned to the United States to accept an appointment as Artist in Residence with the World Music Program at Wesleyan University. He remained with Wesleyan University for five years, during which time he was also a visiting professor at Brown University and Berklee School of Music. Sharda Sahai’s superb ability as a performer is matched by his ability as a teacher. Few Indian musicians of his caliber have held as many teaching positions at such prestigious western universities. In recent years he has been dividing his time between busy teaching schedules, ongoing summer tabla training programs in the U.S. and Canada, and the administration of the Pandit Ram Sahai Sangit Vidyalaya in the U.K. In the U.K., he was a Senior Lecturer at Dartington College of Arts for six years, and he currently teaches tabla at Leeds University and at Oxford University.
Sharda Sahai’s reputation as a tabla virtuoso in India and in the West is unmatched. His position as the direct descendent of Pandit Ram Sahai, the founder of the Benares tabla baj (style), has endowed him as the bearer of a prodigious and closely guarded repertoire of composed material. As the fountainhead of the Benares Gharana, all of his performances are paradigms of the popular and respected Benares style. Many of the younger generation of tabla players and even some older players, from within the Benares Gharana and from outside the gharana, look to Sharda Sahai’s playing as the authoritative model of the Benares style- a style which many tabla players attempt to emulate and incorporate into their own repertoires.
Though Sharda Sahai is a guardian of tradition, he is extremely well versed in fusion of North Indian classical music with other styles. He has accompanied the well known South Indian violinist L. Shankar, and has performed jugal-bandi (duet) concerts with the leading exponents of the South Indian mridangam: Shivaraman, T. Shakaran, and R. Raghavan. In the West, he has performed with the avant garde composer John Cage, and the internationally acclaimed percussion group Nexus. At EXPO ‘86 in Canada, at EXPO ‘88 in Australia, and at the Commonwealth Drum Festival in England, he performed with the World Drum Ensemble, a conglomeration of over one hundred drummers from around the world performing on the same stage.
Few musicians in the world attain Sharda Sahai’s level of virtuosity. Whether he is demonstrating his mastery of the tradition or his versatility in adapting to different styles, his performances are spellbinding. Amidst the modernization of India and the real danger that the important traditions of Indian classical music may become diluted and faded, it is comforting to know that one can still experience a performance played as the founder of the Benares Gharana in the 1700’s would have played it. The tradition lives through Sharda Sahai.
Other contemporary disciples of Sharda Sahai:
Dipak Sahai, Dinanath Misra, Kishore Kumar Misra, Shiam Kumar Misra, Ramu Pandit, Shiv Sahai, Gobin Misra, Ram Borgaokar, Joanne Tod, Ray Dillard, Niel Golden, Frances Shepard, Jeff Deen, Todd Hammes, Ravi Singh, Tim Richards, Bhupinder Singh, Caroline Howard-Jones, Bob Becker, Shawn Mativetsky, Payton MacDonald.
Dipak Sahai, Dinanath Misra, Kishore Kumar Misra, Shiam Kumar Misra, Ramu Pandit, Shiv Sahai, Gobin Misra, Ram Borgaokar, Joanne Tod, Ray Dillard, Niel Golden, Frances Shepard, Jeff Deen, Todd Hammes, Ravi Singh, Tim Richards, Bhupinder Singh, Caroline Howard-Jones, Bob Becker, Shawn Mativetsky, Payton MacDonald.
Thursday, November 3, 2011
The Music of Delhi... by Kovid Rathee
The music of India goes back to the 1st century A.D. in the form of Chanting of Hindu Texts from the sacred Vedas. Though, it is believed that the Raagas came much later into the Chants. First, there was only rhythmic chanting of the hymns from the Sacred texts. Then there was a melodic structure introduced to the texts. A melodic structure which was to be characterized by it's ascending and descending movements, improvisation patterns, the mood and it's personality. The chantings later developed as an art called 'Dhruvpad', popularly known as Dhrupad. Dhruvpad literally means that the text and music which is dedicated always in praise of the almighty. The most sacred text. Dhrupad is also said to be the perfect rendition of a text. The other form of hindustani music is what we call Khayal. Khayal is a persian word literally meaning, Imagingation. This brings us to the motive of this paper.
Khayal, the form of music which was invented by Hazrat Amir Khusrau Dehalvi (1253-1325 A.D.), a court poet in the Darbar, of Hazrat Nizamuddin Auliya of Delhi. The golden time of Hazrat Amir Khusrau's life was during which he was a disciple of Hazrat Nizamuddin Auliya. It was then, he invented various forms of Qawwali like Qaul, Qalbana, Naqsh-O-Gul. It is true that Hazrat Amir Khusrau didn't write anything on music, but in the third chapter of his book Nur Siphr, Hazrat Amir Khusrau says "Indian Music", the fire that burns heart and soul, is superior to music of any other country. Foreigners, even after a stay of 30 or 40 years in India, cannot play a single tune correctly. Indian music charms not only men but beasts also. Deer have been hypnotized and hunted simply by music." ; Some of the most popular Raagas in Hindustani music were, in fact, created by Hazrat Amir Khusrau such as Sarparda, Saazgiri, Yaman, Zeelaf, Shahana and so on. The mystic style of Tarana was also created by Hazrat Amir Khusrau. Tarana in persian means 'a song'. Hazrat Amir Khusrau is also credited to the creation of numerous taalas, Chapaka, Farodast, Qawwali, and Pashto being a few of them.
Bonnie. C. Wade, a Professor of Music at the University of California, Berkeley says that Khayal's origins may have been attributed to Khusrau because there was a rapid fusion of the Perso-Arabic, Turki-Iranian, and Indic musical systems during his lifetime. Wade adds and says that the name Khayal was given to a particular mannerism and a particular song form in Khusrau's time. It wasn't a very popular form of music in Khusrau's time though. Most of the rulers and ministers were fond of listening to Dhrupad, which was then in the form of Chhanda, Prabhanda, Dhruv-Maata in that era. Thakur Jaidev Singh stated that in the fifteenth century Jaunpur, Khayal was ornate and romantic, and it was popular with musicians other than who performed in Hindu temples.
Ustad Shafaat Ahmed Khan who died on July 24, 2005 was a great tabla Exponent of Delhi Gharana.
During the reign of the mughals, which is known as the Medieval Period in Indian history. According to Acharya Brihaspati, the muslim rulers were lovers of art and music, and had musicians attached to their courts; The Delhi sultanate was expended to the South, and in the Deccan, Muslim Courts were established; When the Delhi Sultanate was fragmented by Taimurs' invasion in 1398, the musicians fled to regional centres; independent rulers of Jaunpur, Gujrat and Gwalior became chief patrons of music; Sultan Hussain Sharqi of Jaunpur (1458-1477 A.D.) revived the lost tradition of Khayal. After Khusrau, Khayal was depopularized due to a large number of Dhrupad singers as court singers.
By Kovid Rathee - August 24 2011
(Source: http://www.squidoo.com/the-music-of-delhi)
Khayal, the form of music which was invented by Hazrat Amir Khusrau Dehalvi (1253-1325 A.D.), a court poet in the Darbar, of Hazrat Nizamuddin Auliya of Delhi. The golden time of Hazrat Amir Khusrau's life was during which he was a disciple of Hazrat Nizamuddin Auliya. It was then, he invented various forms of Qawwali like Qaul, Qalbana, Naqsh-O-Gul. It is true that Hazrat Amir Khusrau didn't write anything on music, but in the third chapter of his book Nur Siphr, Hazrat Amir Khusrau says "Indian Music", the fire that burns heart and soul, is superior to music of any other country. Foreigners, even after a stay of 30 or 40 years in India, cannot play a single tune correctly. Indian music charms not only men but beasts also. Deer have been hypnotized and hunted simply by music." ; Some of the most popular Raagas in Hindustani music were, in fact, created by Hazrat Amir Khusrau such as Sarparda, Saazgiri, Yaman, Zeelaf, Shahana and so on. The mystic style of Tarana was also created by Hazrat Amir Khusrau. Tarana in persian means 'a song'. Hazrat Amir Khusrau is also credited to the creation of numerous taalas, Chapaka, Farodast, Qawwali, and Pashto being a few of them.
Bonnie. C. Wade, a Professor of Music at the University of California, Berkeley says that Khayal's origins may have been attributed to Khusrau because there was a rapid fusion of the Perso-Arabic, Turki-Iranian, and Indic musical systems during his lifetime. Wade adds and says that the name Khayal was given to a particular mannerism and a particular song form in Khusrau's time. It wasn't a very popular form of music in Khusrau's time though. Most of the rulers and ministers were fond of listening to Dhrupad, which was then in the form of Chhanda, Prabhanda, Dhruv-Maata in that era. Thakur Jaidev Singh stated that in the fifteenth century Jaunpur, Khayal was ornate and romantic, and it was popular with musicians other than who performed in Hindu temples.
Ustad Shafaat Ahmed Khan who died on July 24, 2005 was a great tabla Exponent of Delhi Gharana.
During the reign of the mughals, which is known as the Medieval Period in Indian history. According to Acharya Brihaspati, the muslim rulers were lovers of art and music, and had musicians attached to their courts; The Delhi sultanate was expended to the South, and in the Deccan, Muslim Courts were established; When the Delhi Sultanate was fragmented by Taimurs' invasion in 1398, the musicians fled to regional centres; independent rulers of Jaunpur, Gujrat and Gwalior became chief patrons of music; Sultan Hussain Sharqi of Jaunpur (1458-1477 A.D.) revived the lost tradition of Khayal. After Khusrau, Khayal was depopularized due to a large number of Dhrupad singers as court singers.
Early History of the Music of Delhi
Hindustani music has two classifications, according to geographical boundaries. These geographical boundaries brought in all the differences of traditions, religions, customs and the tastes in music. The two types of Hindustani Music are Hindustani and Carnatic, which had their respective core centres in Delhi and Tanjore. During the mid 14th century, the blending of Persian music with contemporary Indian music came to be known as 'Indraprastha Matt'. Matt literally means 'Style'. Under these systems, the Maqaam system Raagas were fused with the Indian system; there were some arrangements made to Raagas and their classification from Mela to Thaat. This new tradition of Indian music was called Qawwal Bachhon ki Parampara. Another version of this is available.
Hazrat Amir Khusrau had popularized the Qawwali during the times of Hazrat Nizamuddin Auliya. He picked up twelve students to render Qawwali and made Miyan Saamat Qawwal as the leader of the group. This group was then known as Qawwal Bachhe. The Qawwal Bachhe are adept at their singing in the style of Qawwali including the forms such as Naqsh, Gul, Baseet, Tarana, Rang, Qaul, Qalbana and so on. They are very good renderers of Khayal Gayaki too. But, in true terms, the Khayal tradition of Hazrat Amir Khusrau has been looked after the descendants living in Delhi, which creates a Gharana called the Dilli Gharana.This gharana has had quite a history, it has been a victim of ignorance, politics and tragedy.
Here's the story of Dilli Gharana. Meer Bula Kalawant was one of the two court musicians of Baadshah Shams Iltumish.He was a contemporary to Hazrat Amir Khusrau. As stated by the representatives of the present Delhi Gharana, the descendants of this very family were the court singers of Maharaja Nahar Singh (1823-1858) of Ballabhgarh, now in Haryana. Raja Nahar Singh was the ruler of 101 villages in and around Ballabhgarh. Two of the court musicians of his times were Meer Allahbuqsh and Meer Umarbaqsh. Their descendants, all of the generations have carried forward the Khayal tradition of Hazrat Amir Khusrau.
Hazrat Amir Khusrau had popularized the Qawwali during the times of Hazrat Nizamuddin Auliya. He picked up twelve students to render Qawwali and made Miyan Saamat Qawwal as the leader of the group. This group was then known as Qawwal Bachhe. The Qawwal Bachhe are adept at their singing in the style of Qawwali including the forms such as Naqsh, Gul, Baseet, Tarana, Rang, Qaul, Qalbana and so on. They are very good renderers of Khayal Gayaki too. But, in true terms, the Khayal tradition of Hazrat Amir Khusrau has been looked after the descendants living in Delhi, which creates a Gharana called the Dilli Gharana.This gharana has had quite a history, it has been a victim of ignorance, politics and tragedy.
Here's the story of Dilli Gharana. Meer Bula Kalawant was one of the two court musicians of Baadshah Shams Iltumish.He was a contemporary to Hazrat Amir Khusrau. As stated by the representatives of the present Delhi Gharana, the descendants of this very family were the court singers of Maharaja Nahar Singh (1823-1858) of Ballabhgarh, now in Haryana. Raja Nahar Singh was the ruler of 101 villages in and around Ballabhgarh. Two of the court musicians of his times were Meer Allahbuqsh and Meer Umarbaqsh. Their descendants, all of the generations have carried forward the Khayal tradition of Hazrat Amir Khusrau.
The Lineage of Music in Delhi
Qutubbaqsh, later known as Tanras Khan, a disciple of Miyan Achpal, was the court musician at the Darbaar of the last mughal emperor Bahadurshah Zafar. His father's name was Qadirbaqsh and his grandfathers' name was also Qutubbaqsh. Tanras Khan received his initial training from his father. After the death of Bahadurshah Zafar, Tanras Khan moved to Alwar and was appointed the court singer by Maharaja Shivdaan Singh. During that time, he was constantly being invited to different provinces for performances such as Joshpur, Jaipur, Gwalior and so on. He was also awarded by the King of Nepal. After returning from Nepal, he went to the Nizam of Hyderabad, Meer Mehboob Ali Khan and was appointed by him, his court musician at 750 rupees/month. He was awarded land by the Nizam of Hyderabad, which is now called 'Mausiqui Manzil' and it is the place where the descendants of Tanras Khan reside.
A Great Legend from Dehli Gharana " Ustad Iftekhar Ahmed Nizami Khanshab " Ghazal "Khuda ke"
Sultan Iltumish is said to have conferred the titles of Sawant and Kalawant to Mir Hasan and Mir Bala respectively during his reign (1211-1236 A.D.). Ustad Iqbal Ahmed Khan, who is the present Khalifa of Delhi Gharana, says that Miyan Saamti was Peer Bhai of Hazrat Amir Khusrau. As Hazrat Amir Khusrau was only a composer and not a singer, he chose Miyan Saamti to vocalize his writings and compositions. Miyan Saamti was the grandson of Hasan Saawant, who left the court of Shamsuddin Iltumish as a court Dhrupad singer and started singing Qawwali, as he was drenched into Sufi philosophy.
Ustad Iqbal Ahmed Khan adds that the materal lineage of Ustad Mamman Khan goes back somehow to Miyan Saamnti, who was inclined to Sufi music and so practiced singing Qawwali. The Delhi Gharana later on came out as a branch of Qawwal Bachhon Ka Gharana, when they took up Khayal Gayaki as the main form in their style. This was done by Miyan Achapal. So, the first thing that needs to be cleared is that Miyan Tanras Khan alias Miyan Qutubbaqsh was a disciple of Miyan Achapal and he was not the founder of the Gharana. Even though, there was no term Gharana at that time. But, referring to the style/school of singing, it was actually founded by Miyan Achapal.
Mir Allahbuqsh (Ela) and Mir Umrabaqsh (Umra) were both descendants of Mir Bala Kalawant. They were famous court musicians of Maharaja Nahar Singh of Ballabhgarh. They were the descendants of Heera Khan and Kaala Khan and Ujaala Khan. Kaala Khan and Ujaala Khan were the ancestors of Miyan Achapal, they were Dhruvpad singers, not Khayaliyas. Mir Umrabaqsh's disciple was Miyan Achpal. He was a court musician at Dilli Darbaar with his contemporary Chhange Khan of Agra. It is said that Miyan Achpal had an expressive voice and was an a true singer of Khayal, Tarana, Tirvat, Charuranga etc.
Miyan Achpal had two descendants, thought, none in his blood relation. These were Tanras Khan and Ghulam Hussain. Ghulam Hussain had a daughter and a son Nanhe Khan. The daughter of Ghulam Hussain was married to Saungi Khan. Mir Mohammad Khan, who had blood ties with Mir Allahbaqsh was a very fine vocalist in the court of Maharaja Loharu. Mir Mohammad Khan's son, Abdul Ghani Khan (1825-1909 A.D.), more popularly known as Saungi Khan was a court musician of Ballabhgarh. He was an expert Sarangi player and a vocalist of high calibre.
Though, the daughter of Ghulam Hussain was married to Saungi Khan, there was a bittersweet relation between the two linked families. The members of the two families avoided meeting each other. The reason being that Ghulam Hussain's family thought that Saungi Khan was not worthy of being respected enough to meet them, because he was a Sarangi player. He played Sarangi at Palaces in front of Nawabs, where the Tawaifs sung and performed.
Saungi Khan once visited Samepur, near Delhi. He was shown all the courtesies by all the other performers. But, he was refused the privilage of smoking Hookah with them. When he asked the people why he was refused to share the Hookah, he was told that he used to play Sarangi, which used to accompany the performances of Tawaifs at Kothas and Palaces, so having degraded himself, he couldn't expect the Hookah. He told them all to ban singing also because the Tawaifs also used to sing while they danced. He left the village and swore on making the Sarangi a very popular instrument in Hindustani music and played Sarangi under vow rest of his life. The four sons of Saungi Khan were Sughra Khan, Kale Khan, Mamman Khan and Samman Khan. All four were adept at playing Sarangi. Mamman Khan, especially was an expert at playing Sarangi, the Sursagar and of course he was a Khayal vocalist also.
Mamman Khan was a father of five : Chand Khan (1901-1980), Chakor Begum, Jahaan Khan, Usman Khan and Nisha Begum. Chand Khan and Usman Khan carried forward the tradition of vocalism in the family and Jahaan Khan took up playing the violin. Ustad Chand Khan was a well known vocalist in the court of Patiala for 24 years (1913-37). In his young age, he used to accompany his father Mamman Khan as a supporting artist. Usman Khan, also a fine vocalist, performed jugalbandi with his elder brother Chand Khan. Chand Khan regularly performed at various court provinces in the pre-independence era. He performed at the courts of Jind, Ajmer Sharif, Jaipur, Dhaulpur, Gwalior, Baroda, Surat, Jodhpur, Jammu, Alwar, Mysore, Hyderabad, Indore, Rampur, Jalandhar, Lahore and hundreds others.
Delhi Gharana "Taan Samrat" by Ustad Naseer Ahmed Khan [raag purya dhanasree]
Ustad Chand Khan later, in 1937, took on the job of Supervisor at AIR at the Delhi station. There's a history behind Ustad Chand Khan and the Delhi AIR station. Ustad Chand Khan didn't have a son, but he did have three daughters who were married to Hilal Ahmed, Zaffar Ahmed and Zahoor Ahmed Khan. Not having a son of his own, Ustad Chand Khan adopted the son of his daughter as his own, Ustad Iqbal Ahmed Khan. Zahoor Ahmed Khan was a fine violinist. Hilal Ahmed and Nasir Ahmed used to perform jugalbandis in vocal form.
Nasir Ahmed Khan was probably the most talented vocalist that Delhi has ever had. He received his training mainly under his father Usman Khan and also under Ramzan Khan. Nasir Ahmed Khan was known for his purital recitals of Raagas with ancient Gharanedar compositions with lightening fast taans. Ustad Nasir Ahmed Khan was so adept at different types of taans, he was given the title of Taan Samraat by Sangeet Sadan, Calcutta in 1962. He, alongwith only a countable few musicians knew how to render so many numbers of taans, without compromising the purity of a Raaga. In 1980, he was conferred the title of Sangeet Samraat at Prachin Club, Chandigarh.
A Great Legend from Dehli Gharana " Ustad Iftekhar Ahmed Nizami Khanshab " Ghazal "Khuda ke"
Sultan Iltumish is said to have conferred the titles of Sawant and Kalawant to Mir Hasan and Mir Bala respectively during his reign (1211-1236 A.D.). Ustad Iqbal Ahmed Khan, who is the present Khalifa of Delhi Gharana, says that Miyan Saamti was Peer Bhai of Hazrat Amir Khusrau. As Hazrat Amir Khusrau was only a composer and not a singer, he chose Miyan Saamti to vocalize his writings and compositions. Miyan Saamti was the grandson of Hasan Saawant, who left the court of Shamsuddin Iltumish as a court Dhrupad singer and started singing Qawwali, as he was drenched into Sufi philosophy.
Ustad Iqbal Ahmed Khan adds that the materal lineage of Ustad Mamman Khan goes back somehow to Miyan Saamnti, who was inclined to Sufi music and so practiced singing Qawwali. The Delhi Gharana later on came out as a branch of Qawwal Bachhon Ka Gharana, when they took up Khayal Gayaki as the main form in their style. This was done by Miyan Achapal. So, the first thing that needs to be cleared is that Miyan Tanras Khan alias Miyan Qutubbaqsh was a disciple of Miyan Achapal and he was not the founder of the Gharana. Even though, there was no term Gharana at that time. But, referring to the style/school of singing, it was actually founded by Miyan Achapal.
Mir Allahbuqsh (Ela) and Mir Umrabaqsh (Umra) were both descendants of Mir Bala Kalawant. They were famous court musicians of Maharaja Nahar Singh of Ballabhgarh. They were the descendants of Heera Khan and Kaala Khan and Ujaala Khan. Kaala Khan and Ujaala Khan were the ancestors of Miyan Achapal, they were Dhruvpad singers, not Khayaliyas. Mir Umrabaqsh's disciple was Miyan Achpal. He was a court musician at Dilli Darbaar with his contemporary Chhange Khan of Agra. It is said that Miyan Achpal had an expressive voice and was an a true singer of Khayal, Tarana, Tirvat, Charuranga etc.
Miyan Achpal had two descendants, thought, none in his blood relation. These were Tanras Khan and Ghulam Hussain. Ghulam Hussain had a daughter and a son Nanhe Khan. The daughter of Ghulam Hussain was married to Saungi Khan. Mir Mohammad Khan, who had blood ties with Mir Allahbaqsh was a very fine vocalist in the court of Maharaja Loharu. Mir Mohammad Khan's son, Abdul Ghani Khan (1825-1909 A.D.), more popularly known as Saungi Khan was a court musician of Ballabhgarh. He was an expert Sarangi player and a vocalist of high calibre.
Though, the daughter of Ghulam Hussain was married to Saungi Khan, there was a bittersweet relation between the two linked families. The members of the two families avoided meeting each other. The reason being that Ghulam Hussain's family thought that Saungi Khan was not worthy of being respected enough to meet them, because he was a Sarangi player. He played Sarangi at Palaces in front of Nawabs, where the Tawaifs sung and performed.
Saungi Khan once visited Samepur, near Delhi. He was shown all the courtesies by all the other performers. But, he was refused the privilage of smoking Hookah with them. When he asked the people why he was refused to share the Hookah, he was told that he used to play Sarangi, which used to accompany the performances of Tawaifs at Kothas and Palaces, so having degraded himself, he couldn't expect the Hookah. He told them all to ban singing also because the Tawaifs also used to sing while they danced. He left the village and swore on making the Sarangi a very popular instrument in Hindustani music and played Sarangi under vow rest of his life. The four sons of Saungi Khan were Sughra Khan, Kale Khan, Mamman Khan and Samman Khan. All four were adept at playing Sarangi. Mamman Khan, especially was an expert at playing Sarangi, the Sursagar and of course he was a Khayal vocalist also.
Mamman Khan was a father of five : Chand Khan (1901-1980), Chakor Begum, Jahaan Khan, Usman Khan and Nisha Begum. Chand Khan and Usman Khan carried forward the tradition of vocalism in the family and Jahaan Khan took up playing the violin. Ustad Chand Khan was a well known vocalist in the court of Patiala for 24 years (1913-37). In his young age, he used to accompany his father Mamman Khan as a supporting artist. Usman Khan, also a fine vocalist, performed jugalbandi with his elder brother Chand Khan. Chand Khan regularly performed at various court provinces in the pre-independence era. He performed at the courts of Jind, Ajmer Sharif, Jaipur, Dhaulpur, Gwalior, Baroda, Surat, Jodhpur, Jammu, Alwar, Mysore, Hyderabad, Indore, Rampur, Jalandhar, Lahore and hundreds others.
Delhi Gharana "Taan Samrat" by Ustad Naseer Ahmed Khan [raag purya dhanasree]
Ustad Chand Khan later, in 1937, took on the job of Supervisor at AIR at the Delhi station. There's a history behind Ustad Chand Khan and the Delhi AIR station. Ustad Chand Khan didn't have a son, but he did have three daughters who were married to Hilal Ahmed, Zaffar Ahmed and Zahoor Ahmed Khan. Not having a son of his own, Ustad Chand Khan adopted the son of his daughter as his own, Ustad Iqbal Ahmed Khan. Zahoor Ahmed Khan was a fine violinist. Hilal Ahmed and Nasir Ahmed used to perform jugalbandis in vocal form.
Nasir Ahmed Khan was probably the most talented vocalist that Delhi has ever had. He received his training mainly under his father Usman Khan and also under Ramzan Khan. Nasir Ahmed Khan was known for his purital recitals of Raagas with ancient Gharanedar compositions with lightening fast taans. Ustad Nasir Ahmed Khan was so adept at different types of taans, he was given the title of Taan Samraat by Sangeet Sadan, Calcutta in 1962. He, alongwith only a countable few musicians knew how to render so many numbers of taans, without compromising the purity of a Raaga. In 1980, he was conferred the title of Sangeet Samraat at Prachin Club, Chandigarh.
Sadarang & Adarang
It is important to mention that Miyan Adarang & Miyan Sadarang, who are wholly responsible for the present state and style of Khayal music, belonged to the Qawwal Bachhe tradition. They were intelligent enough to modify the Dhruvpad Gayaki and mix it with Khayal, then called Dhruvpad ang Khayal Gayaki. They wrote the Bandishes which were mainly in the praise of the Emperor, Mohammad Shah 'Rangeele', who was the predecessor of Bahadur Shah 'Zafar'. The Khayal before Adarang and Sadarang was not sung in the courts, because the court singers were Dhruvpad singers.
The myth about Gwalior Gharana
The myth about Gwalior being the oldest Khayal Gharana : Miyan Haddu, Miyan Hassu and Miyan Natthu Khan's maternal grandfather was Miyan Mohammad Khan, who was actaually a forebearer of Qawwal Bachhe tradition. So, the Khayal input into the largely Dhruvpad gharana of Gwalior also came through Delhi.
The future of Delhi Gharana
Iqbal Ahmed Khan, the adopted son of Ustad Chand Khan has been the head of the Delhi Gharana since 1980. He is presently carrying forward the tradition of Hazrat Amir Khusrau.
Ustad Iqbal Ahmed Khan's performance in Harbhallabh Festival 2009
Ustad Iqbal Ahmed Khan Sahab is positive when it comes to he future of Delhi Gharana. He feels that Delhi has been left behind amongst other states, in context to the classical music traditions and it has merely countable exponents at the present stage.He says that there are many people who are learning from him at this time, so the future might be good.
Ustad Iqbal Ahmed Khan's performance in Harbhallabh Festival 2009
Ustad Iqbal Ahmed Khan Sahab is positive when it comes to he future of Delhi Gharana. He feels that Delhi has been left behind amongst other states, in context to the classical music traditions and it has merely countable exponents at the present stage.He says that there are many people who are learning from him at this time, so the future might be good.
P.S. - The Delhi Gharana
It is evident that this is a genuine Gharana as the text, compositions and true instances, which have been carried forward through generations are with the present Khalifa of the Gharana, who is Ustad Iqbal Ahmed Khan. Of course, there are no written proofs of the generation tracing back to Hazrat Amir Khusrau but all the facts are in the favor of the argument that, it is in fact, the tradition of Hazrat Amir Khusrau, that is being carried forward by Delhi Gharana. The most prominent feature of the representation of Khusrau's music being in the form of Khayal. Qawwal Bachhe don't particularly recite Khayal, although their improvisations are strictly based on Raagas and Raaginis. But still, Qawwali is a form of light classical music, it has contents of Khayal.By Kovid Rathee - August 24 2011
(Source: http://www.squidoo.com/the-music-of-delhi)
Saturday, October 29, 2011
R.I.P....Pandit Kashinath Mukherjee.
Pandit Kashinath Mukherjee,
a profoundly accomplished Hindustani Classical instrumentalist of the Etawah Gharana, has successfully kept aloft the taalim of the great Ustad Vilayat Khan. He has enthralled veterans, amateurs and the uninitiated alike over the years with the sheer merit, dexterity and the irresistible appeal and force of his music.
Kashinath Mukherjee was born in Kolkata into an aristocratic family with a rich cultural heritage. Inspired by his father Shital Chandra Mukherjee, a learned Dhrupad exponent, Kashinath trained under Srinivas Nag (a disciple of Ustad Enayet Khan) for twelve years. His elder brother, the late Hrishikesh Mukherjee, who went on to become a renowned filmmaker, was also a student of Srinivas Nag, learning Esraj.
After the passing away of his guru, he continued his taalim under the legendary Ustad Vilayat Khan, son of Enayat Khan. For the five years that he remained with the Ustad, he kept away completely from public appearances, as directed by his master. His insatiable hunger for learning later led him to luminous maestros such as Ustad Bade Ghulam Ali Khan, Ustad Keramatullah Khan and Ustad Amir Khan. He also learned from Amir Khan until the latter`s death.
Pandit Mukherjee has participated in major concerts both at home and abroad. He is the recipient of the ITC Award among others.
Kashinath Mukherjee was born in Kolkata into an aristocratic family with a rich cultural heritage. Inspired by his father Shital Chandra Mukherjee, a learned Dhrupad exponent, Kashinath trained under Srinivas Nag (a disciple of Ustad Enayet Khan) for twelve years. His elder brother, the late Hrishikesh Mukherjee, who went on to become a renowned filmmaker, was also a student of Srinivas Nag, learning Esraj.
After the passing away of his guru, he continued his taalim under the legendary Ustad Vilayat Khan, son of Enayat Khan. For the five years that he remained with the Ustad, he kept away completely from public appearances, as directed by his master. His insatiable hunger for learning later led him to luminous maestros such as Ustad Bade Ghulam Ali Khan, Ustad Keramatullah Khan and Ustad Amir Khan. He also learned from Amir Khan until the latter`s death.
Pandit Mukherjee has participated in major concerts both at home and abroad. He is the recipient of the ITC Award among others.
Ramprapanna Bhattacharya and Abhik Mukherjee are among his most prominent disciples.
Tuesday, October 18, 2011
Concert! Pandit Hariprasad Chaurasia in NYC. Saturday October 22, 5pm
SATURDAY OCTOBER 22 @ 5PM
The Association for India's Development (NYC) presents genius flautist
Pt. Hariprasad Chaurasia in NYC!
Accompanied by Subhankar Banerjee on the Tabla & Jay Gandhi on Flute.
Pandit Hariprasad Chaurasia is an internationally renowned exponent of the bansuri, or bamboo flute. His musical career has spanned 50 years, with over 100 albums released. He has been awarded the National Award of the Sangeet Natak Academy (1984), the Konark Samman (1992), the Padma Bhushan (1992), the Yash Bharati Sanman (1994), Rajiv Gandhi Ekta Award (1998), Padma Vibhushan (2000), Hafeez Ali Khan Award (2000), Dinanath Mangeshkar Award (2000), “Orders des Arts et Lettres” (Knight Of The Order Of Arts & Letters, 2009), Nada Vidya Bharati (2010) and honorary doctorates from North Orissa University and IIT Kharagpur (2010). He was invited to perform at Nobel Peace Prize ceremonies in Oslo and his music, along with Ravi Shankarji's, was played in outer space by Kalpana Chawla.
Subhankar Banerjee will be accompanying him on the tabla. A prolific musician, he has received widespread recognition.A classical tabla maestro of the highest order, his consistently brilliant and exciting performances have not only established him as a national treasure, but gained him worldwide fame.
Jay Gandhi, a senior student of Panditji, will accompany him on the flute. Jay, who is a graduate of the Oberlin College Conservatory of Music, has devoted himself to the study of both American jazz and the deepest aspects of Hindustani classical music. He splits his time between New York City and Mumbai.
New York Society for Ethical Culture
2 West 64 Street (CPW/Columbus), NYC
Buy TICKETS now! ($35 to $150)
Further 10% off for groups of 10 or more! More info: http://hpcconcert.info/
Buy TICKETS now! ($35 to $150)
Further 10% off for groups of 10 or more! More info: http://hpcconcert.info/
ALL PROCEEDS SUPPORT SUSTAINABLE DEVELOPMENTAL PROJECTS IN INDIA.
Friday, September 16, 2011
CONCERT! Friday Oct. 7, 8pm. Sitarist Anupama Bhagwat & Nitin Mitta in NYC!
HarmoNYom is proud to present a special concert in NYC by very talented Sitarist Anupama Bhagwat
and Nitin Mitta on Tabla.
Anupama Bhagwat, a refreshingly versatile sitarist of the current generation, has performed to critical acclaim in India, USA/Canada, UK, Italy, France, and Brazil. One of the leading disciples of the world-renowned Pandit Shri Bimalendu Mukherjee (a doyen of the famous Imdadkhani Gharana which is justly renowned for its fluency and grace), her sensitivity and erudition has taken her to the highest echelons of the modern genre, while remaining true to tradition. She has imbibed the vigor that is a hallmark of her Gharana: scintillating fast taans, mastery of the meditative alaap and brilliant fluency of melody (raag bhava), all the while maintaining her technical virtuosity. http://www.anupama.org/home.htm
Nitin Mitta is one of the most sought after tabla players in the music world and has quickly established a reputation as an artist with a rare combination of technical virtuosity, spontaneity, clarity of tone, and sensitivity to melodic nuance. received his early training in Hyderabad from Pandit G. Satyanarayana. He also sought the guidance of Pandit Arvind Mulgaonkar of Mumbai, one of the most highly respected mentors of his generation. Both of Nitin’s gurus are disciples of the late Ustad Amir Hussain Khan Saheb, legendary doyen of the Farukhabad Gharana. Nitin is an acclaimed accompanist who has performed with some of India’s most celebrated musicians including Pandit Jasraj, Pandits Rajan and Sajan Mishra, Pandit Vishwa Mohan Bhatt, Ustad Nishat Khan, Ustad Shahid Parvez and Pandit Nayan Ghosh. www.nitinmitta.com
HariNYC Studio
140 West 30 street, 3 Floor (6/7 Aves)
New York, NY 10001 (Subways: 1/N/R to 28 Street or 1/2/3 to 33 Street)
Tickets: $20 (Cash only at door)
Doors will open at 7:30pm. Seats are limited.
For more details: Email: contact@harmonyom.org
Community Partners:
WKCR 89.9FM - www.wkcr.org
HariNYC Studio - www.harinyc.com
Wednesday, August 24, 2011
Support! The Shakhri Begum Memorial Trust
Shakhri Begum Memorial Trust
. . . . . dedicated to the propagation of Hindusthani classical music!
Founded on 1st June, 1999, by Ustad Rashid Khan, in the memory of his late mother.
Objectives :
To establish and set up an institution for the promotion and propagation of Hindusthani classical music.
To provide the young people of our present generation with proper exposure towards this form of music, proper guidance and proper institution.
To become one of it's own kind of institution by setting up some branches of key cultural institutions in different parts of India which shall be under the able guidance of the best maestros in this field.
This it plans to achieve by :
- Establishment of a "gurukul" to explore and nurture young talents all over the country and support to the talented, yet needy, in the form of scholarships.
- An audio-visual library named GHARANA, having recordings of all stalwarts, past and present, whether instrumental or vocal, available to research and in-house scholars round the clock. The library can be accessed by music-lovers, who can visit for the sole purpose of listening.
- A miniature museum - NAAD - housing old musical instruments, existing or almost extinct, either in their full form, or re-created in a miniature form, fashioned in a way, where one shall be capable of tracing the origins of Indian classical music.
- An auditorium - DARBAAR - to be set up to give the scholars a stage, where by they shall be able to gather the practical experience of performing live and shall also get a chance of interacting with a live audience.
- A well-equipped studio - RAAGA - for the promotion of scholars and young talents by way of recording a master digital, free of all recording charges.
In a nutshell, the various activities which the Trust shall associate itself with, are :
- Arrange for sponsorships for deserving performers;
- Promote artistes who are incapable of financing themselves;
- To extend financial help to old and ailing artistes;
- Institute a life-time achivement award;
Whether by way of sponsorship/donation/advertisement or an assertive presence in the activities of the Trust, you can reach out to those who need your help deservedly.
Your kind participation shall be exempted under Sec.80G of I.T.Act, '61. Shakri Begum Memorial Trust is a Registered Charitable Trust.
Account payee cheks or drafts to be drawn in favor of:
" Shakhri Begum Memorial Trust "
State Bank of India
Naktala Branch (1510)
A/c no. - 01190050150
State Bank of India
Naktala Branch (1510)
A/c no. - 01190050150
Thursday, August 4, 2011
Tribute! Ustad Mehmood Dhaulpuri
"At the Swami Haridas – Tansen Sangeet Mahostav, Sathya Sai Center, Lodhi Road, Delhi. December 2010".
I saw Ustad Mehmood Dhaulpuri live, for the first and the last time in Dec 2010. I couldn’t gather the amount of conscience that it takes to observe such an artiste, but then, I tried. He was playing with Ashwini Tai that day. As the concert started, I started noticing more and more, the magic of those fingers. I went into a state where I could not notice my surroundings. I could just see the stage. I couldn’t even see our annoying car driver who was sitting right by my side. But I could listen to Ashwini Tai and I could see those fingers moving. Everytime he played a unimaginably complex phrase an then everybody would go ‘Aaahh’.
Nabanita Chowdhury - Puriya Dhanshri at India International Centre, New Delhi on 21 September, 2010. Harmonium: Ustad Mehmood Dhaulpuri; Tabla : Pt. Subhash Nirwan.
Ustad Mehmood Dhaulpuri was born in 23 March, 1953 in Dhaulpur, Rajasthan. He belonged to a family of musicians. Most of the men in his family were Sarangi players. But at that time, Harmonium was in vogue. He took up Harmonium from the age of eleven. He started learning from various people, including Ustad Nasir Ahmed Khan of Dilli Gharana. It is pretty ironic that he was awestruck by the playing of a Harmonium in a Hindi movie song from the movie, Love in Tokyo. Ustad Mehmood Dhaulpuri brought back the ‘once banned’ Harmonium into the mainstream classical arena once again. He also believed that Harmonium was not a foreign instrument. Ustad Mehmood Dhaulpuri was blessed by three daughters and two songs, who are carrying forward his tradition. Every vocalist in Delhi wanted Ustad Mehmood Dhaulpuri for the accompaniment.
He said he imparted the Sarangi style into the playing of a Harmonium. It’s a vocalists dream to have an accompanist who understands the need of a vocalist, and who understands that the amount of interference in the improvisations must be very low. Ustad Mehmood Dhaulpuri was one such artist. He was praised by everyone whoever he played with. He would just accompany. He would never try to gain attention or overpower the performance of a vocalist.
Ustad Iqbal Ahmed Khan - Kamani Auditorioum, Delhi
Harmonium: Ustad Mehmood Dhaulpuri
He was too young to die. He was just 58. In Hindustani Music, 58 is not old, rather this is the age when an artiste of such high caliber starts getting attention and recognition. It all started to happen to Ustad Mehmood Dhaulpuri. He became the proud recipient of the Padma Shree, but soon after, he passed away. I’ve read that his financial condition was very weak. Ustad Mehmood Dhaulpuri accompanied all the major artists of the country including Pandit Bhimsen Joshi, Begum Parveen Sultana, Pandit Jasraj, Girija Devi and Kishori Amonkar.
‘Yeh harmonium mujhe aisi jagah le gaya hai ki jise main khwaabon mein bhi nahin soch sakta’, he said on the DD Urdu interview.
May he be blessed, as God blessed us by him ! Rest in Peace.
By Kovid Rathee - August 4 2011
To read as well: "No longer by their side... Artistes remember harmonium maestro Mehmood Dhaulpuri". The Hindu - June 3 2011
http://www.thehindu.com/todays-paper/tp-features/tp-fridayreview/article2072193.ece?css=printWednesday, June 15, 2011
R.I.P. ! Rudra veena exponent Ustad Asad Ali Khan
New Delhi, Rudra Veena exponent Ustad Asad Ali Khan, one of the last existing advocate of the Khandarbani dhrupad school, passed away in the wee hours yesterday June 14, 2011. He was 74.
The classical musician who represents the 12 generation of Jaipur''s Beenkar Gharana breathed his last at the All India Institute of Medical Science at around 2:30 am, his adopted son and disciple Ustad Ali Zaki Haidar told PTI.
"I had taken Ustad ji to hospital in the evening for a routine check-up and he was admitted around 7 pm. They conducted routine tests. Around 2:00 am while he was watching TV in his air-conditioned room, I noticed he was sweating. He passed away a little later," Haidar said.
Ustad Khan who was unmarried is survived by his nephew Haidar whom he had adopted as his own son at a very young age and trained to become his successor, said Pawan Monga, a disciple of the Rudra Veena exponent.
Ustad Asad Ali Khan Sahib plays Rudra Veena- Raag Darbari
The musician, who received the Padma Bhushan in 2008 underwent training under his father Ustad Sadiq Ali Khan Beenakar. His father, grandfather Ustad Musharraf Ali Khan Beenakar and great-grandfather Ustad Rajab Ali Beenakar were court musicians in the princely state of Alwar where Ustad Asad Ali Khan was born in 1937.
His father later moved to the princely court of Rampur where he undertook to teach him music. For the next 15 years he learnt to play Rudra Veena, practicing 14 hours a day.
Ustad Khan was a artiste of the All India Radio and participated in ''sangeet samelans'' and musical performances across the country and the world. He has also performed at concerts in Afghanistan, Australia, Holland, Italy, New Zealand, the United Kingdom, the US and other countries.
Monday, June 13, 2011
The Romantic Raaga, Maru Bihag!
While writing about music, I’m very scared because I know I am not at all qualified or educated enough to comment on music, but my sheer love for Hindustani music drags me to write about it again and again. Pandit Vishnu Narayan Bhatkhande’s classification of ragas has been the base for all the musicians learning Hindustani Vocals. I don’t intend to classify the raagas on the basis of emotion. Though, guni people can attempt to classify raagas on the basis of the emotions they intend to render. In an interview, Ustad Salamat Ali Khan was telling about one of his concert experiences. It was a morning concert and he started singing Miyan Ki Todi in front of a large audience. The environment was perfect for a rendition. Ustad Salamat Ali Khan & Ustad Nazakat Ali Khan started by filling in the Kharaj and as soon as they forwarded to their Rikhab, something soulful happened and there were tears in their eyes. Ustad Allah Rakha and Pandit Ram Narayan who were accompanying them on Tabla and Sarangi respectively, couldn’t also stop their eyes to shed tears. The affect that a note has, if rendered perfectly, is immense. Just like Puriya Dhanashree represents hope and longing, as pointed out by Ustad Fateh Ali Khan, during a rendition. So, here I am writing about the most romantic Raaga of all. It’s just a personal thought. It might also change with time. But I can’t find a Raaga more romantic than Raaga Maru Bihag!
Rasiya Ho Na Jaa, the most famous bandish in this raaga shows how a girl is pleading to her beloved not to go to some other place and leave her pining. The continuous improvisations consisting the phrases such as sa ma ga Ma pa Ma pa, and sa ga Ma pa Ma pa, leave the heart beating twice it’s normal rate. In most of the bandishes, the Sam finds it place on the Madhya Saptaks’ pa or Pancham swar or on the Kharaj swar itself. The expression in it’s improvisational phrases, taans, is of a romantic mood, lover’s pining, requesting the beloved not to leave, or praising one for her/his eternal beauty. If classified, it might fall into the category of Shringaar Rasa. I’ve had the fortune of listening to a lot of recordings in Maru Bihag, a very few also in concerts. Though, the structure of the Raaga is the same for all, but the improvisational phrases vary from artist to artist, so much so as they vary in other Raagas.
Although, all the types of Bihag have a romantic touch to them, but what differentiates Maru Bihag from all of the other versions is the use of Khada/Shuddh Madhham and Teevra Maddham. Teevra Maddham is extensively used in this Raaga, which separates its personality from Shuddh Bihag. Patterns such as ni sa ma ( shuddh ), are of extreme beauty when used at proper places. The artistry of rendering a Maru Bihag is quite a lot about how to handle the Shuddh Madhham. For the extensive use of that swar won’t add to the beauty at all, neither will it’s use less frequently. Just at the right times, at proper places, it should be read.
Here’s a bandish rendered by Pandit Channulal Mishra which says,
More Balama Ajahun Na Aaye / Mohe Un Bin Kachhu Na Suhaaye
Tarpat Hun Mohe Kal Naahin Aawat / Naina Jal Barsaaye
What beautiful lyrics to add to the beauty of the framework of notes provided by Maru Bihag. My beloved hasn’t arrived as of yet, and without him I can’t seem to like anything. I’m pining and time seems to have stopped, my eyes are shedding tears. Such beautiful words and when rendered using Maru Bihag, it’s magic. Rendering this in some other Raaga might not create that aura of pining at all. Another raaga, another laya, another taala may convey a very different emotion, despite the lyrics staying the same.
Another beautiful bandish in Vilambit Ek Taal is,
Bairan Ratiyaan Hamaar Bhayi / Mitawa Kaise Aaun Tore Paas
Ek To Jaag Rahi Saas Nanadiya Re / Jhoole Chanda Aakas
Another one following this bandish in the same recording is,
Ratiyaan Keeni Bhor Batiyaan Bana Ke / Mohe Manawan Aaye Kumar Kishor
Rain Kati Mukh Chhab Nirakhat / Laagi Preet Ki Dor
These two bandishes have been rendered by Pandit Ajoy Chakraborty, whose renditions are so flawless and transcendental that you forget about everything around that transpires. One more bandish that has been rendered by a lot of vocalists is,
Tarapat Rain Dina / Piya Bin Mora Jiyara Tarase
Piya Tore Darasan Bina / Nainan Mein Jal Barse
I am pining to meet you all day and all night long. Without your sight all this time, I’ve been shedding tears.
Another bandish by Ustad Iqbal Ahmed Khan that goes More Ghar Aaye Meet Piharawa / Chun Chun Laawun Phoolan Harawa. This Maru Bihag has an amazing touch to it.
Another bandish rendered by Pandit Rajan & Sajan Mishra goes like this,
Piharawa Raat Ke Alasaaye / Sajariya Nahin Aaye
Kaahu Kalawari Madh Sau Chhakaaye / Sautan Kaahu Bin Maane
My beloved has been lazy since last night. Not romanticizing with me. Which second lady got you drunk last night, as you cannot think of me, but think of her.
Another of their bandish,
Saghan Ban Bole Ri Koyaliya / Basant Ritu Aayi Sahelariya
Papiha Pukaar Laage Jiya Hunkaar / Piharawa Naahi Aaye Hamre
The Koyal is singing in the forest, the season of spring has come. Papiha is also singing it’s tunes, there are emotions are shaken as my beloved hasn’t arrived as of yet.
And last but not the least, a bandish rendered by Pandit Jasraj,
Mann Bhaawan Aayo Ri Sajaniya / Janak Rahi Mori Paayaliya
Preet Piya Ki Laagi Jiya Mein / Jhanak Rahi Mori Paayaliya
In every rendering that you are going to listen to, you would find immense pleasure, only after understanding the scale and movement patterns. The laya and taal are of utmost importance in the rendition of a Raaga. The bandishes in Maru Bihag are usually bound in Madhyala Teen Taal, Vilambit Ek Taal, but there are no such boundations to compose bandishes in set layas and taals.
Right now, I’m listening to Mallika-E-Mausiqui Roshan Ara Begum’s rendition of Maru Bihag
Balama Na Jaa Bidesawa / Tore Balihaari Waari Jaaun
Palachhin Mose Raar Karat Hai / Binati Karat Hun More Piharawa
"The Romantic Raaga : Maru Bihag" by Kovid Rathee for HarmoNYom (May 2011)
Wednesday, June 8, 2011
JUNE 2011... CONCERTS & Events - Indian Classical Music - NEW YORK
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- http://www.rageshreemusicinst.org
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- Pt. Tulsidas Borkar online school of harmonium - Pune/India
- Digital Archive of North Indian Classical Music
- Bandishes by Kovid Rathee
- http://imcradiodotnet.wordpress.com/2010/11/16/raga-cds-of-the-months-1110-kalpita-sangita-compositions-in-indian-classics/
- http://www.indiacurrents.com/news/view_category.html?category_id=104
- http://www.ethnomusic.ucla.edu/index.php?option=com_content&view=article&id=1008%3Acelebrating-50-years&catid=93&Itemid=226
- http://www.thedailystar.net/newDesign/news-details.php?nid=119380
- http://www.smashingmagazine.com/2010/03/20/the-beauty-of-india-50-amazing-photos/
- http://chantal-jumel-kolam-kalam.com/