Tag Archives: The Banaras Gharana

The Gharanas of India



Music and Society

Introduction to Indian Musical Dynasties

This page aim to provide a general introduction on the traditional Indian musical institution called gharana. Indian Classical music can be described a religion whereby the music, knowledge and musical research was traditionally passed down from guru to disciple by word of mouth.  In many old musical families the guru or teacher, is the father and the disciple or student, the son.   A gharana, or musical dynasty is formed when this process of teaching is passed down for five or six generations. There  are two types of gharana in India, direct gharanas in which music has  remained within a family and indirect gharanas, where in the absence of  sons or musically talented sons, the teacher chooses to pass on his  knowledge to a talented student.  In India there are very few direct or true gharanas left.  Students will find here few articles written by renowned specialists in the field of Indian classical music.


David Courtney, Ph.D.

The concept of gharana was peculiar to North Indian music.  The word “Gharana” literally means “house” and it implies the house of the teacher.  It was linked to the very ancient concept of the Guru-Shishya-Parampara (linage of teacher /disciple) but it had some interesting twists. The names of the gharanas were almost always derived from a geographical location.  This was usually the city, district or state that the founder lived in.  Two examples are the Gwalior Gharana (vocal) or the Farukhabad Gharana (tabla). The gharana system as we think of it today was not really very old.  Most of the gharanas began not more than 100-300 years old.  The modern gharanas were generally traceable to the period when the Mogul empire collapsed. Gharanas were found throughout the North in every field of dance, vocal and instrumental music.  They tend to be distinct among themselves.  That is to say that you generally do not find tabla players saying that they are from a vocal gharana or a vocalist claiming to come from a kathak gharana.  This is reasonable.  One would not expect an accountant to use his golf skills as and endorsement of his abilities as an accountant. In the professional sense a gharana had some of the characteristics of a guild.  It was always understood that tracing ones linage to a major gharana was a prerequisite for obtaining a position in the royal courts.  The gharanas were entrusted with the duty of maintaining a certain standard of musicianship. In the artistic sense the gharana was somewhat comparable to a “style” or “school”.  Over the years poor transportation and communication caused the various gharanas to adopt their own particular approach to presentation, technique and repertoire. In the 20th century the gharana system had a negative impact on the standard of musicianship.  Improvements in communications made it a professional imperative for musicians to have as broad of a background as possible.  The secretive nature of the gharana system coupled with the fact that gharanas tended to specialize in only one technique or approach was inconsistent with modern pedagogic and professional requirements.  In the end of the 20th century, musicians who proclaim loudest that they were “such-and-such” gharana often had the least rounded background.  It is for this reason that many of the aspects of this system were abandoned by modern music colleges in India. Today the gharana exists in its vestigial form.  Although musicians routinely declare that they are such and such gharana, it usually has no practical meaning.  The loss of royal patronage coupled with the loss of artistic identity have virtually destroyed the system. Gharana is used in Hindi and Urdu to refer to the core component in the organizational structure of North Indian (or Hindustani) music and dance, in other words a family of hereditary occupational specialists. Traditionally the gharana is headed by an authoritative musician-teacher called the Khalifa, and comprises members related by blood and/or musical knowledge (talim). David Courtney, Ph.D. has been performing on the tabla since 1972.  He first studied pakhawaj (an ancient barrel shaped drum) under the famous Zakir Hussain at the Ali Akbar College of Music.  He then moved to India and spent a number of years learning tabla under the late Ustad Shaik Dawood Khan of Hyderabad.  He has performed extensively on stage, TV, disk, and radio, in India, Europe and the United States.  Along with his wife, he composed the theme music for Houston’s Indian TV program called “ASIANA” and recorded the theme music for the radio program “INDIA FILE” which aired in the Austin area.  He has accompanied many great musicians including Ashish Khan, Lakshmi Shankar, and Pandit Jasraj He is well versed in the academic side of music.  During the 80s he received great acclaim in academic circles for his pioneering work in the application of computers to Indian music.  This work is found in his doctoral dissertation “A Low Cost System for the Computerization of North Indian Classical Music”.  He is the author of numerous books and articles on the subject of Indian music including, Introduction to Tabla, Elementary North Indian Vocal, Learning the Tabla, Fundamentals of Tabla, Advanced Theory of Tabla, Manufacture and Repair of Tabla and Focus on the Kaidas of Tabla.  His articles have appeared in “Modern Drummer” and “Percussive Notes”.  He is presently on the Board of Directors of the Texas Institute for Indian Studies.  Recently along with his wife Chandra, he was given an award of recognition for outstanding contributions to the arts by the American Telugu Association. He is very active today in musical activities.  He is an artist with Young Audiences.  He is also the percussionist in the fusion group Vani, and has several CDs to his credit.  Recently he composed and performed some music for the film “Dancing in Twilight”, a film staring Erick Avari, Louise Fletcher, Mimi Rogers, Kal Penn, Sheetal Shet. *

Genealogical musings A brief discussion of the Delhi tabla gharana

James Kippen Delhi has been a locus for tabla playing since the early to mid-eighteenth century. Many people argue it was “invented” there, and that its inventor’s lineage is the oldest continuous tabla tradition. This is a brief outline of the Delhi lineage, including genealogical information and a little historical analysis/commentary. The information comes largely from the gharana’s khalifa, or head, the late Ustad Inam Ali Khan and his uncle, Ustad Munnu Khan. It was collected during the early 1980s, and recorded interviews with these gharana members took place in Delhi in April 1984. I hope to add further information about the repertoire as time goes on. Caveat: I do not wish to get into a debate with my friend Daniel Neuman (The Life of Music in North India. New Delhi: Manohar, 1980) about the validity of the term “gharana” for tabla lineages. He and others know my views, and I am using the term here as those Delhi informants used it when speaking directly with me in the Urdu language. I am aware that the term came into existence only around the end of the nineteenth century, that it was used primarily by “soloists” (using Neuman’s term), and that “accompanists” like tabla players probably began using the term to validate their knowledge, raise their music to the status of an art, and to elevate their own social status.  As with all genealogies, the one I give here is incomplete and probably somewhat selective. In anthropology we call this kind of selectivity “structural amnesia”. I take the view that history is a reconstruction of the past that justifies the present. Notwithstanding, my primary source was the genealogy I saw written in Urdu. I read and speak Urdu, and I have therefore been able to verify what Delhi gharana members believe to be true. Whether the document reflects this knowledge, or the knowledge has been crystallized because this version of the family tree exists on paper, is worthy of a future debate. Origins No documentary evidence yet exists for the “invention” of tabla. Many scholars have tried to show either that (1) tabla existed over 2,000 years ago (temple carvings seem to indicate horizontally played drums, but alas with no organological similarity), or that (2) tabla resulted from the chopping in half of a pakhavaj. The pakhavaj theory has some credibility because of the similarity of the smaller head of that drum to the right head of the tabla pair (dahina, dayan, or simply tabla). As the excellent study of tabla by Rebecca Stewart has suggested (The Tabla in Perspective. Unpublished thesis, UCLA, 1974), tabla was most likely a hybrid drum set resulting from experiments with and adaptations of existing drums such as pakhavaj, dholak, and naqqara. The origins of tabla repertoire and technique may be found in all three, and in physical structure and playing technique there are also elements of all three: for example, the smaller pakhavaj head for the dahina, the naqqara kettledrum for the bayan, and the flexible use of the bass of the dholak. Tabla first appears in writings and in miniatures from the 1740s on. We therefore assume tabla to have first appeared sometime in the early eighteenth century. The first tabla players were undoubtedly also experts on other drums. Socially these early tabla musicians were mainly from the Dhari community (Mirasi “caste”). Some were Sunni Muslims, but a large and significant group belonged to (or at some stage had opted to convert from Hinduism to) the Shia Muslim sect. One of these Shias was Sudhar Khan Dhari. Sudhar Khan is the earliest tabla player we know of through genealogical record, and many believe he was responsible for creating this instrument. Sudhar Khan is the forefather to whom members of the Delhi tabla lineage trace their ancestry. It seems natural, therefore, that Sudhar Khan would be attributed with the tabla’s invention by default. Genealogy It is not easy to visualize a family tree from a linear description such as the one I provide below. There is a graphic representation on page 68 my book, The Tabla of Lucknow, Cambridge University Press, 1988. However, it can be quite useful and instructive if readers map out the relationships for themselves on a sheet of paper. Sudhar Khan Dhari had two sons: Chote Khan and Husain Khan. Let us deal with the younger son first, Husain Khan. On the Delhi genealogical chart I saw noted that Husain Khan had four sons, only one of whom was named: Chajju Khan. Both Delhi and Lucknow lore tell of two brothers from Delhi leaving to seek patronage in Lucknow. One of these brothers might well have been the founder of the Lucknow tabla gharana, Miyan Bakhshu Khan Dhari. There is a professed clan linkage between Delhi and Lucknow, and they are both Shia. However, somewhat confusingly, Lucknow lore tells of Bakhshu Khan arriving in Lucknow from Qasur in the Panjab (now in Pakistan, just south of Lahore).  Chote Khan had three sons: Bugara Khan, Chand Khan, and Lalle Masit Khan. Bugara Khan had two sons: Shitab Ali Khan and Gulab Ali Khan. Chand Khan had no sons. Lalle Masit Khan had one son, Nanne Khan, who in turn had no sons. Shitab Ali Khan had two sons: Muhammad Khan and Nazar Ali Khan. Gulab Ali Khan had no sons. Muhammad Khan had one son: Chote Khan. Nazar Ali Khan had no sons. Chote Khan had two sons: Gamay Khan (1883-1958) and Munnu Khan (?1900-90?), who was one of my informants. Gamay Khan had one son: Inam Ali Khan (1924-90), who was my other informant. Inam Ali has several sons, but the only one who plays tabla is Ghulam Haider Khan (though reports suggest he is not particularly accomplished). There is another twist in the genealogy. Remember Bugara Khan had two sons? He also had a daughter (her name not recorded) who was married to one Makkhu Khan. Makkhu Khan had a son, Bare Kale Khan. Bare Kale Khan had a son, Wali Bakhsh Khan (? some uncertainty about the name). Wali Bakhsh Khan had a son, Natthu Khan. Natthu Khan (1875-1940) was one of the great players of his age. Wali Bakhsh Khan also had a daughter who married Gamay Khan. Now perhaps you see what I mean about structural amnesia. Everything in this lineage explains the evolution of Ustad Inam Ali Khan and his links to the two Delhi greats of recent times: Gamay Khan and Natthu Khan. Whether all these other ancestors actually had no sons is debatable. Also, women do not figure in the genealogical tree unless they justify the existence of certain male figures. Many of these female links could indeed be important, specially since there is in Indian Muslim society a pattern of endogamous (i.e. within the clan) marriage. Nevertheless, there is likely to be a high degree of accuracy in the names and relationships that are mentioned, even if it is selective. And as for dates, no one is very clear about this but it seems reasonable to suggest that Sudhar Khan Dhari was born in the early 1700s. By adding 30 years (as an average) for each generation thereafter one obtains a reasonable diachronic mapping of generations to the present day. There has been no mention so far of Latif Ahmed Khan (1941-90), arguably one of the greatest tabla players of the 20th century, though in later years he suffered greatly from alcohol abuse and died an untimely death. A Sunni Muslim, he was a disciple of both Gamay Khan and Inam Ali, though relationships with Inam Ali soured in later years. My assessment is that this tabla tradition died with Inam Ali and Latif Ahmed. They in turn left a number of disciples in India and Europe, but none that I know of has the range of knowledge or the technique to project that knowledge as a living performance tradition into the future. James Kippen teaches a range of ethnomusicology courses at the University of Toronto. He studied Social Anthropology and Ethnomusicology under John Blacking and John Baily at Queen’s University, Belfast. His doctoral research in Lucknow, India, dealt with tabla drumming in its socio-cultural context, particularly as interpreted by his teacher, the hereditary master Afaq Hussain Khan; the study was later published as The Tabla of Lucknow: A Cultural Analysis of a Musical Tradition (Cambridge University Press, 1988). He held two post-doctoral fellowships for computer-assisted musical analysis, and taught Anthropology and Ethnomusicology courses at Queen’s before joining the University of Toronto in January 1990. Since then he has been awarded two major research grants from the Social Science and Humanities Research Council of Canada to pursue an investigation of cultural concepts of time in Indian music and society, and the changing theory and practice of rhythm and metre in Hindustani music. He continues to study and practise both tabla and pakhavaj drums. James Kippen has published in a variety of scholarly journals such as Anthropological Quarterly, Music Perception, Computers and the Humanities, Minds and Machines, World of Music, Journal of the Indian Musicological Society, Asian Music etc., and has contributed a key article on North Indian metric theory and drumming to the Garland Encyclopedia of World Music. His most recent book, Gurudev’s Drumming Legacy: Music, Theory and Nationalism in the Mrdang aur Tabla Vadanpaddhati of Gurudev Patwardhan, translates, transcribes and analyses an early reformist text on Indian drumming, and places the work in rich historical and socio-cultural contexts. It is soon to be published late in 2005 by Ashgate as part of its School of Oriental and African Studies Musicology Series. *

The Gwalior Gharana

In the history of Hindustani classical music Gwalior stands out as prominently as, if not more than Delhi, Luck now, Rampur, Jaipur and Deccan-Hyderabad. The traditions of this music are inextricably associated with Gwalior. Our sources of information about the modes of Indian music prior to the Muslim period are scanty and so our notions on them are rather hazy. The “Bharatha Natya Sastra” of Bharat Muni, the “Brihaddesi” by Matanga and “Sangeetaratnakara” are the earliest treatises we have. It was during the Muslim period that the music that we now call Hindustani music blossomed, thanks to unforgettable names like Amir Khusro, who not only invented and introduced new ragas, tolas and instruments, but effectively blended Persian touches into Indian music. “Art being a living organism, it is bound to expand” and music being pre-eminently an Art, it is of an extremely changing nature. Musical fashions, like all other fashions, have always undergone change after change and have been molded and remolded to suit changed tastes and trends through every era. In this process, Hindustani music, as it is to-day stands inseparably associated with, and deeply indebted to Gwalior. Dhrupad: The inception of music all over the world has been from Religion. In today’s classical music, the ‘Dhrupad” occupies the most exalted place, and this originated from the old “Temple-music”. It has, therefore, had a long and checkered history. Its themes are sometimes devotional, sometimes didactic, sometimes descriptive (of the beauties of creation), sometimes heroic (recital of heroic actions); they may also pertain to Puranic stories or Divine Romances. But these Dhrupads having originated from the ancient Prabandhas (in Sanskrit and other provincial languages), and being sung in temples, we do not know how far these old Dhrupads afforded scope for the display of musical skill. To Raja Man Singh Tomar of Gwalior goes the credit for making them part of classical music and thus popularising them. Rajah Man is remembered to this day as one of the greatest patrons, scholars, and lovers of music we have ever had. Memorials to his patronage of music are still visible in Gwalior. Once, he summoned a great conference of artists and musicians) and the essence of the valuable discussions held there has been compiled by him into a book, “Wanakutuhal.” It throws valuable light on the condition of music in the early Muhammadan period, and is still available for reference in certain State libraries. The Dhrupad-style of singing was a great contribution of the Gwalior school to Hindustani ‘ragdari’ (Classical) music. This brings us to the eve of the brightest period in the history of Hindustani music – the era of Tansen and his illustrious descendants. Tansen In the history of Indian Music, who has not heard the immortal name of Tansen? He was justly idolised in his time, and today we worship him almost as a saint. He was the greatest of all Dhrupadiyas (a Kalawant) and was a product or the Gwalior school of music. Originally he was a Gaud Brahmin and his name was Tanna Misra (son of Makarand Pande). He became the disciple of Swami Haridas Dagur of Brindaban. Still later, he came under the influence of a great Muslim Saint or Pir, Mohammad Ghaus of Gwalior under whose guidance, Tansen achieved unprecedented fame. His fame spread so far and wide. that Emperor Akbar personally fetched him to his Court and kept him in the highest esteem. Tansen and his descendants were strict Dhrupadiyas and have been the leaders of, and authorities on, Hindustani classical music. Adarang and Sadarang Nyamathkhan and Naubatkhati who later on adorned the court of Mohmad Shah of Delhi, were Tansen’s descendants and naturally Dhrupadiyas. But Dhrupad-singing, as it existed then, was bound down by strict and scientific rules which left very little scope for the singer to show his flights of fancy. Moreover, the particular type of voice necessary for Dhrupad singing is very difficult to cultivate. Hence the Khayals. The slow Khayals were patterned very much like the Dhrupads but in such a way as to afford plenty of scope for alap-singing, tanas, and other niceties along with the composition. Khayals, as such, existed long before Adarang and Sadarang. The fast Khayals were based on the Qawwal style and were thus the contribution of the Qawwal Bani. But the credit for composing hundreds of Khayals and popularising thumri forever goes to Sadarang and Adarang. Nyamat and Naubat assumed the pseudonyms Adarang and Sadarang while composing their Khayals, and it is by these pseudonyms, rather than by their real names, that they are known today. In many khayals, they have mentioned the name of their patron Mohammed Shah. They composed hundreds of khayals and taught them to their disciples. These khayals have come down to us, and to-day, not a day goes without our hearing- their immortal names in some khayal or other. 01′ the three kinds of khayals, the slow (vilambit) khayals were modeled after the Dhrupads, whereas the medium (Madhyalaya) and fast (drut) ones were couched in the Qawwal Vani The originator of Qawwalis was Amir Khusru, the versatile poet-cum-musician-cum-statesman. As Islam forbade music strictly, these Qawwalis or Muslim Bhajans were composed for purely devotional recitations are the model of the Hindu Bhajans that existed already. Gradually, however, there arose a class of professionals who earned their livelihood by Qawwali-singing. These singers known as “Qawwals”-began to make free use of “tans” and “paltas” in the course of Qawwal-singing. Out of these “Qawwals”, Adarang, Sadarang and Manarang composed their beautiful rnadhyalaya and drut khayals. What Amir Khusro and his followers contributed to Indian music arc probably the modes of expression, the style, the broad open-mouthed voice-production, tanas, liquid pronunciation of words and so forth which have certainly made the music quite effective. Bye and bye, however, these. khayals became so popular as to oust the Dhrupads! To-day one notes with immense regret that Dhrupad-singing is almost becoming extinct. The day the Dhrupads regain their old popularity will be an auspicious day for our Music. For, training in Dhrupad-singing alone can make the voice at once steady, strong, full-throated and sweet. Lately, however, quite a few seem to have been attracted by the sublime words and meanings of Dhrupads. This is a healthy and hopeful augury. The names of Bade Muhammad Khan; Haddu, Hassu, Nathu and Wazirkhans, Tanaraskhan, Mahmud Ali, Ali Bux, Miyajan, etc., are unforgettable. Of these, Haddu, Hassu and Bade Muhammad Khan were court-musicians of Gwalior. This last was the son of Shakkar Khan and considered peerless in the matter of tan-singing-. He was employed as court-musician (on a four-digit salary) by Daulat Rao Scindia ! He sang khayals in the Qawwali style, i.e., with various delicacies and dexterity. In the same durbar were Kadir Bux’s 3 sons, Haddu, Hassu and Nathu who won precocious mastery in music at very early ages. They were Khayalists of the elaborate Kalavant style. Later on, they evolved a beautiful and exquisite combination of the Kalavant and Qawwali styles of Khayal-singing. It is- interesting to note that this unique combination too should have been evolved in Tansen’s birth place ! Is it then, any wonder that Khayal singers have looked upon Gwalior as a sort of sacred-spot? It was the birth-place of the Dhrupad and the Khayal as well as of all the eminent Dhrupadiyas and Khayalists. Nearly all the reputed musicians of Akbar’s court were from Gwalior. It gave us Tansen. *

Maharashtrian Musicians at Gwalior

The popularization of classical music in Maharashtra began through Gwalior. The Maharashtrian-Brahmin singers of Gwalior were greatly benefited by the current Gwalior school of music. Many of the pupils of Hassu and Haddu were Maharashtrian Brahmins among whom were eminent singers like Babasabib Dixit, Vasudeva Rou Joshi, and Balasoheb Curuji. Their disciples have preserved classical traditions to a great extent. We also owe a lot to the Maharashtrian disciples of Nissar Hussain (of Hassu-Haddu family). The late reputed musician Shanker.Rao Pandit was a favourite pupil of his. Music-lovers still recall Shanker Pandit’s name with great love and respect. His son Krishna Rao Shanker Pandit is today a court musician of Gwalior, and is running a Music school in his father’s name-“Shanker Gandbarv Vidyalaya”. Raja Bhaiyya Poonchwale:-the Principal of the “Madho Sangeet Mahavidyalaya” is another reputed disciple of Shanker Pandit. He had the privilege of learning a large number of Dhrupads from the great Dhrupadiya, Wamanbuva Deshpande ; and later on, Khayals from Shanker Pandit. What was more, since the opening of the Pandit music school, he was fox- a long time able to avail himself of Bhatkhand ji’s valuable association and Guidance -thanks to which today raja Bhaiya is regarded as a skilled singer and a learned scholar in the art of music. Chaturpandit Bhatkhandeji:-The Madho Sangeet Mahavidyalaya is the triumphant fruit of Guruvarya Bhatkhandeji’s selfless endeavours and a proof of Madhav Rao Mahara ‘s lofty musical tastes and patronage of music. This and similar schools of music have contributed in no small measure to the revival of interest in classical music which had cooled down to a deplorable level. Among the long array of Maharashtrian musicians who went to Gwalior and achieved -commendable mastery over the Gwalior-style of ragdari sangeet, comes the name of Balkrishnabuva-a pupil of Vasudevrau Joshi (Hassu’s [pupil)- After under going a prolonged training, he returned to his native town and devoted the rest of his life rekindling musical tastes among his people. The most eminent of his pupils of course was Vishnu Diagambar Paluskar whose name is familiar to all. We all know how ceaselessly lie strove to popularise music by establishing music schools at various places. But his training and efforts were not comprehensive. The limitation may have been due to the queer circumstances of those days when musicians selfishly concealed their art. Anyway Digambar did revive interest in one aspect of our music-namely, the devotional aspect of it (Bhajans) and for this we shall be always grateful to him. Balakrishnabuva’s son Annabuva was a good musician but he died prematurely. The former’s disciples Anantbuva Joshi of Oundh and Mirasibuva of Poona are two of our contemporaries. They have tried to Preserve the musical traditions of their schools. Another pupil is Gunduhiiva whose son is still the court musician of Ichalkaran” Classical music penetrated into Maharashtra from Gwalior, but since its penetration there, it has undergone numerous changes, under various influences. For instance, good musicians of Aera, Delhi, Jaipur etc., migrated into the big cities of India (Bombay, Calcutta and Madras ) when they ceased to get royal patronage ; and in these big cities they were forced to earn their livelihood by giving music performances. The names of Tanaraskhan, Haider Khan, Nath ti Khan, Mahmud Khan, Miyajan, etc., are familiar in this connection. They have influenced music in Maharashtra to a great extent. Though the original G Gwalior-style is rarely to be heard in its pristine purity today, the traditions have been preserved to some extent luckily. Characteristics of the Gwalior style:-Some of the requisites of good Khayal-singing are:-a clear-cut presentation of “Asthai” and “Antara” (the 2 portions of the songs) with proper pauses, a skillfully slow pace, and proper combinations of Swaras (notes) and Sahitya (words). Those who have luckily had training in the Gwalior-style of Khayal singing are very particular about the niffat presentation of the “asthayi” and “antara” at the very outset. Inability to do this, is rightly considered disgraceful by them, and so they pay special attention to the neat presentation of the song with correct pronunciation of the words. “Alap” at the outset is usually done in “akar” (without words) but consistent with the tempo of the song. After finishing slow alaps, the speed is slowly increased, and what is known as Bol-alaps (words of the song deftly presented in various combinations of notes) are started. Cleverly the Bol-tans (words woven into quick combinations of notes) and plain tans are introduced. When the tempo and pace have been somewhat quickened, the skilled musician harmoniously passes on to a quicker song (drut) or a fast “tarana” in the same raga. In the fast Khayal also, the parts of the song are legibly presented at first, after which the singer begins his extempore elaborations, rapid tans and various other beautiful intricacies and delicate embellishments which afford plenty of scope for the display of personal skill, or industry. The tans of the Gwalior school are justly famous and admired. ‘The tans are straight, clear, full-throated and varied. Effective little “running passages of notes” are interwoven into the Khayals. On the whole, there is something extremely dignified and impressive about the Gwalior-style of classical music. “Musical Gwalior” that was! – There had been a time when Gwalior used to be so intensely music-mad that “the very leaves would not tremble but to the sounds of music,”. Music-festivals used to be part of the daily routine in the durbars. The Princes and the people were alike absorbed in the ecstatic enjoyment and appreciation of music day and night. Even half-clad street-urchins would try to hum tans “Will that idyllic state of affairs ever come back to be” one wonders…….. Bye and bye the zeal for khayal-singing and for classical music began to flag and ebb to a very low level, because good musicians (like Nisar Hussain Khan, Rahmat Khan, and other Brahmin singers) began to become thorough stay-at-homes, teaching only those who went to them in their seclusion. Under such circumstances, one cannot guess what would have become of the Gwalior -style of classical music, had not Pandit Bhatkhandeji dedicated his life to the revival of classical music and succeeded in opening the Classical Music colleges at Gwalior and Lucknow whose branches have sprouted up in numerous other cities now, like Bombay, Calcutta and so on. *

The Sarod Gharanas of India

S. P. Bhattacharyya

In this article we discuss, informally, the evolution of the Sarode and the art of Sarode playing as developed by some outstanding musicians and Gharanas (musical families) of the North Indian classical music tradition, over the last four hundred years. GHARANAS OR STYLES Khayal music is represented by a number of more or less stylistically different schools called Gharanas. These  schools have their basis in the traditional mode of musical training and education. Every  Gharana has a few discernible features, which allow us to distinguish between schools and  also enable us to identify different approaches to interpretation of the ragas. The main  areas where differences arise, relate to the raga repertoire adopted by the Gharana, the  manner in which the notes are sung, particularly the relative emphasis given in the  Gharana philosophy to swara and laya, the role and importance of the Bandish in  the aesthetic viewpoint of the Gharana, the manner in which the raga is presented, and the  type of Tans employed. Gwalior: This is the oldest among all the Khayal Gayaki (vocal) styles.  The distinctive feature of this style of singing has been noted as its lucidity and  simplicity. This gayaki is also characterized by serious mien and slow singing pace. This  Gharana involves presenting familiar and well known ragas such as Alakya Bilawal, Yaman, Bhairav, Sarang, Multani, Sri, Bhoop, Kamod, Hamir, Basant, etc. It also pays great  attention to singing Khayals using traditional Bandishes. This Gharana is also noted for  its straight and simple Tans, while stressing on the use of Meendh and Gamak in its  Dhrupad-style khayals. The best known artistes of this Gharana were Balkrishna BaIchal  Karanjikar (1849 – 1927) and his student Vishnu Digambar Paluskar (1872 – 1931), Pandit  Omkarnath Thakur (1897 – 1967) and in recent times, Veena Sahasrabuddhe and Malini  Rajurkar. Kirana: This Gharana derives its name from the birthplace of Abdul Kharim  Khan (1872 – 1937), Kirana near Kurukshetra. This style of singing was influenced by the distinctive style of playing music on the Bin (Vina), with emphasis on the resonance of  notes and maintaining note continuity through Meendh and Gamak. Importance was also given  to Alap and Vilambit laya in the course of performance. This style also stresses on the  role of individual notes and their study (swar-sadhana). In the Kirana style of  singing, the swara is used to create an emotional mood by means of elongation and use of Kana-s.  This effect is further heightened by tuning the Tanpura (a drone instrument) for certain  ragas to the seventh note, the Nishad, rather than Pancham. In this Gharana, the practice  of rendering the Alap as Bol-Alap using the bols  of the Bandish and not in Akar is  to enable the Alap to be developed gradually. The Gharana repertoire consists mainly of  ragas like Shuddha Kalyan, Darbari, Malkauns, Bhimplasi, Todi etc. Many Carnatic ragas  feature in this Gharana. Another aspect of the Kirana Gharana is that it is one of the few  Gharanas of Khayal Gayaki that includes Thumri singing as a part of its performances. The  important singers in this Gharana are Abdul Karim Khan, Hirabhai Barodekar, Begum Akhtar,  and in recent times, Bhimsen Joshi, Gangubai Hangal and Prabha Atre. Atrauli – Jaipur: Another of the important ones, this Gharana is  associated with Alladiya Khan (1855 – 1943), the great singer of the late 19th and early  20th century. This style has great complexities because of its use of melodic phrases  having Vakra (twisted/crooked) turns. The most distinctive feature of the Jaipur  Gharana can be best described as its complex and lilting melodic form which arises out of  the involuted and undulating phrases that constitute the piece. The Badhat is  very clear and is done in short sequences, each lasting for an Avartan and the Tans are  very intricate. As a consequence the term ‘filigree-like workmanship’ is often  used in the context of the Jaipur Gharana singing. This impression is created by the  linking of successive notes through a particular manner of delivery without blurring their  individual characteristics or shapes, while continuously varying the swara-patterns to  avoid repetition. This is done through a slow tempo, which continues uncharged from the  beginning to the end with the duration of its cycle being kept constant. The Gharana, in  its repertoire, has a dominance of rare and compound ragas such as Sampoorna-Malkauns,  Basant Kedar, Basant-Bahar, Kaunsi-Kanada and Nat-Kamod. This Gharana tends to use the  traditional Bandishes and shuns the creation of new compositions. The Badhat is sung using  the bols of the Bandish instead of the Akar. The Tans are also full of spiral shaped fast  passages or Vakra passages. The important vocalists of this tradition are Alladiya Khan,  Mallikarjun Mansur, Kesarbhai Kerkar and in recent times, Kishori Amonkar, Shruti  Sadolikar, Padma Talwalkar and Ashwini Bhide Deshpande. *

Faiyaz khan

Agra: This style of Khayal gayaki is usually associated with Faiyaz khan  (1886 – 1950). The founders of the Agra gharana were originally singers of Dhrupad. Dhamar  and Khayal singing came to be adopted in the Gharana. It was Ustad Faiyaz Khan who  transformed the traditional and austere Agra style and left his colourful imprint on the Gharana. The Agra Gharana places great importance on developing forcefulness and deepness  in the voice so that the notes are powerful and resonant. This Gharana pays special  attention to ragas like Megh and Darbarikanada. In the Alap, the shape of the raga is  broadly outlined through key phrases and structures, rather than in a note by note manner.  The Bandish plays a very important role. The purity of the Bandish is stressed and the  entire Bandish forms the central point of the performance. The use of the Meendh in order  to make the presentation effective is stressed. The Agra Gharana maintains this aspect of  Dhrupad by the frequent use of Meendh and Gamaks for Alapchari and shuns the use of  ornaments such as Murkis. One of the most notable features of the Agra Gayaki is its  Layakari and the manifestation of rhythm in all the aspects of the khayal presentation.  The important singers of this Gharana are C R Vyas, S N Ratanjankar and of late, Jitendra  Abhisheki, Vijay Kitchlu and Sumati Mutatkar. Patiala: This Gharana is regarded as an offshoot of the Delhi Gharana and  the famous duo ‘Allu-Fattu’, [Ali Baksh (1850 – 1920) and Fateh Ali Khan (1850 –  1909)], are usually acclaimed as the originators of this style. It was Ustad Bade Ghulam  Ali Khan (1901 – 1969), who popularized this style of singing and brought this Gharana to  the public notice. This style was influenced, to a large extent, by the qualities of Bade  Ghulam Ali’s voice and its wide span of three octaves. While the Patiala Gharana  gives pride of place to speed in execution of Tans, the Patiala Gharana repertoire also  includes slow Tans, which are akin to the Gamak. Thus, the Patiala Gharana is characterized by the use of greater rhythm play and by Layakari with the abundant use of  Bols, particularly Bol-tans. As part of its aesthetic approach, this style focusses more  on emotion and sensuality. This style was criticised for neglecting musical form and  organization and also lacking in aesthetic balance. The ragas preferred by this Gharana  are Malkauns, Bhoopali, Gunakali, Megh Malhar, etc. Ek-tal and Teen-tal are usually chosen  by this Gharana. This is another Gharana, which considers Thumri singing as its forte. The  major singers in this style Bade Ghulam Ali Khan, Ajoy Chakravarti, Parveen Sultana and  others. Rampur-Sahaswan: The Rampur-Sahaswan Gharana can be said to have been  established by Ustad Inayat Hussain Khan (1849 – 1919). There is a stress on the clarity  of swara in this style and the development and elaboration of the raga is done through a  stepwise progression. The characteristic features of the Rampur-Sahaswan Gayaki are that  the development of the Alap adheres closely to the structure of the Bandish that is being  sung and is not sung as a free exposition before the Bandish. It is presented in the form  of a Bol-alap. The stress in the Alap is on developing the Bhava (mood) and the rasa  (emotion) of the raga. Singing in Akar is given great importance in training and also the  use of natural voice. The preferred tempo is Madhya laya (medium tempo) and the use of a  very slow tempo is discouraged. This Gharana lays stress on the literary content of the  Bandish. The speciality of the Rampur school lies in its Tans, which cover a much larger  range and are marked by their speed of execution. These Tans, which are noticeable for  their boldness and clarity, are employed to bring out the Layakari. This style is also  marked by a wide variety of Tans and its repertoire consists of ragas like Bhupali-Todi,  Bahaduri-Todi, Gaudsarang, Yaman, Kedar, Chhaya Nat, Bihag, etc. The main representatives  of this Gharana are Ghulam Mustafa Khan, Ustad Nissar Hussain Khan and in recent times,  Ustad Rashid Khan. Mewati: The founder of Mewati Gharana was Ghagge Nazir Khan. This Gharana  adopts the Sapat Tan and Merkhand in its ornamentation. This style gives  importance to developing the mood of the raga through the notes forming it and its style  is Bhava Pradhan. It also gives equal importance to the meaning of the text. The  Gayaki regards words as important and does not believe in stretching words to make the  text and rhythm synchronize. It resorts to Tans and Sargams in case the words fall short.  This Gayaki also adopts Meendh as a prominent ornament. This Gharana presents  semi-classical music in the form of Bhajans and there is a strong Vaishnavite influence in their style. The current exponents of this style are Sanjeev Abhyankar and Rattan Sharma,  both students of Pandit Jasraj. Bhundi Bazar Gharana: This  Gharana is less known in comparison to others. The most distinctive feature of this  Gharana is that their presentations of Khayals are open voice, using Akar. There is a  stress on breath-control and singing of long passages in one breath is highly regarded in  this Gharana. Another feature is the intricate method of Sargam singing in which  permutations and combinations of a given set of notes are made to give rise to complex  note and Tan patterns This Gayaki makes use of this method for the raga Badhat in order to  have an extended Alap. This method also permits play with rhythms. In addition, this  Gharana stresses clear note intonation and word articulation. Ornaments such as Sapat-tans,  Gamak-tans are given precedence along with the use of Meendh. The important singers  are Ustad Aman Ali Khan and Anjanibai Malpekar. *

1. The Evolution of Sarod

The Sarod is one of the most exotic musical instruments in the world today. Its tonal quality, emotional range and dynamics are unmatched by any other instrument. The present form of the Sarode was developed about 200-250 years ago in India. Since then the art of Sarode playing has undergone continuous improvement in the hands of some exceptional and dedicated geniuses and it has now reached a level that seems difficult to improve upon. It is believed that the predecessor of the modern Sarode is the Rabab, an instrument that originated in the Middle East. The Rabab has a wooden fingerboard and strings of catgut and was used mainly as an instrument to accompany military marching bands. The Rabab was already in use in India in the 16th century during the reign of Akbar, and the Akbar-Nama of the 16th century traveler Abul Fazl mentions several Rabab players in Akbar’s court. The Sarod, however is believed to have been developed initially by the Rababiyas of Afghanistan after their migration to India. Ghulam Bandegi Khan of Bangash, Afghanistan, who was a Rabab player, soldier and horse trader, migrated to India about 300 years ago. He was commissioned as a soldier in the army of Raja Vishwanath Singh of Rewa. Bandegi Khan trained his son Haider Khan and grandson Ghulam Ali Khan in the art of Rabab playing. Ghulam Ali also received musical training from Pyar Khan and Jaffar Khan, who were distinguished Rabab players and direct descendents of Tansen. Raja Vishwanath Singh also gave him instruction in Dhrupad singing, the slow, ornate and dignified style of vocal music, that was prevalent then. Ghulam Ali later became a court musician in Gwalior, the most important musical center for North Indian music at that time. His exposure to the Gayaki (vocal music) style of Gwalior as well as the Dhrupad style of the Seni Gharana (Tansen’s musical family) must have influenced him to improve the relatively unsonorous and staccato sounding Rabab into one capable of executing the Meends (glides) and curves necessary in the Gayaki style. He is generally credited with the idea of modifying the Rabab by adding a metal fingerboard and metallic strings and also with the addition of the Chikari (Jhala) and Tarab (sympathetic) strings. Thus the Sarode was born. Further embellishments to the Sarode were made by Ustad Allauddin Khan in this century, and the modern Sarode has 15 Tarab strings, 6 Chikari strings and 4 main strings. The name Sarode is linked to the Arabic “Sahrood” or Persian “Sarood” meaning music, as well as the Sanskrit “Sho-rode” (“good noise”). It is important to mention that Ustad Ali Akbar Khan has stated in recent times that the Sarode was known in ancient India as it has been found depicted in the 2000 year old Champa temple in Madhya Pradesh. *

2. The Rababiya Gharanas

The early Sarode players were the descendents of the Afghan Rababiyas. There were three such families but the most important such Gharana was the one founded by Ghulam Ali Khan (see the accompanying chart). Ghulam Ali Khan had three sons, Hossain Ali (eldest), Murad Ali and Nanhe Khan (youngest) who were all Sarode players. Nanhe Khan’s son was the Late Ustad Hafiz Ali Khan (1988-1972) one of the outstanding Sarode players of the last generation. Hafiz Ali Khan’s musical education was completed by his training under the Late UstadWazir Khan of Rampur who was the leading representative of the Seni Beenkar Gharana in the last century. Hafiz Ali’s son Amjad Ali Khan is one of the most accomplished Sarode players of the present day. Murad Ali Khan was childless, and on a certain occasion, when taunted  about this, decided to leave home, vowing to adopt a son and give him such a Taleem (musical training) that he would “rob the brothers of their sleep”. He moved to Shahjahanpur and adopted an orphan boy, Abdullah Khan, who under his training became an outstanding Sarode player. Murad Ali Khan passed away in 1932, but his musical line continued with Abdullah Khan, whose disciple Mohammed Amir Khan was the Guru of the Late Radhika Mohan Moitra (1917-1981) a brilliant Sarodiya of the last generation. Pandit Buddhadev Das Gupta is the foremost disciples of Radhika Mohan Moitra and is one of three most outstanding Sarode players of India today. His playing reflects the beauty of his Guru’s melodic style which is a perfect blend of the Rababiya and Beenkar traditions. *

3. The Seni Beenkar Gharana

To complete our story we need to establish a most important link, namely the connection between the great Sarode players of the last generation and the Seni Beenkar Gharana. For this let us go back to Emperor Akbar’s court in the 16th century.  The brightest sun in Akbar’s court was Tansen (1520-1589), a musical genius from Gwalior whom the Emperor had brought and installed as one of the Nine Jewels of his court. Tansen composed many new Ragas, such as Miya-ki-Malhar, Darbari Kanhra and Miya-ki-Todi, and laid down the foundations of North Indian classical music through 300 Dhrupad compositions. Although Akbar had a policy to convert talented people to Islam his reverence for Tansen was such that he never forced him to convert, but tactfully gave him the title Miya Tansen. Tansen had a Hindu wife as well as a Muslim wife, called Mehrunissa. From the latter he got a son Bilas Khan (composer of the Raga Bilaskhani Todi) and from the Hindu wife he had three children; Tan-Taranga, Suratsen and Saraswati Devi. Suratsen later founded the Jaipur Sitar Gharana. Saraswati was a famous Dhrupad singer who married Raja Misar Singh, a noted Beenkar (Veena player) of Rajasthan. Misar Singh eventually became a state musician in Akbar’s court and was converted to Islam and renamed Naubat Khan. The descendants of Saraswati and Misar Singh were Beenkars as well Dhrupadiyas and they continued and developed the traditions of Sitar, Sursringar and Rabab playing as well as vocal music. They established what is now known as the Seni Beenkar Gharana, the most important musical family in North Indian music. Although they officially had Muslim names, they also had dual Hindu names; thusWazir Khan, for example was also called Chhatrapal Singh. These descendents include Niyamat Khan (vocalist, also known as Sadarang in many Khayal compositions), Amritsen (Jaipur Sitar Gharana, 1814-1894) , Omrao Khan (Vina, Surbahar, Sarode), Gholam Mohammed Khan (Lucknow Sitar Gharana), Bahadur Hussain Khan (inventor of Tarana) and Ustad Wazir Khan. Ustad Wazir Khan was a brilliant teacher, performer and composer and the leader of the Seni Gharana in the last century. His family line could be traced back directly to Tansen and his musical knowledge included many of Tansen’s original Dhrupad compositions. Perhaps the most important occurence in the history of Sarode playing is the fact that two of the foremost Sarodiyas of the last generation Allauddin Khan and Hafiz Ali Khan came to be Wazir Khan’s disciples. Thus the full power and accumulated musical knowledge of the Seni Gharana was incorporated into the Sarode art of these two outstanding musicians. The result was that a style of Sarode playing developed in which the vocal traditions of Dhrupad and Khyal and the instrumental traditions of Veena (slides and glides) and Rabab (rhythmic, staccato and plucked) came to be blended beautifully and aesthetically into this one majestic instrument. This is why today’s Sarode playing has such a wide dynamic range from the most tender Meends to thunderous Jhalas and lightning speed Taans (musical sentences). Ustad Baba Allauddin Khan (1862-1972) as we know is a legendary figure in Indian music. He was born in Tripura, East Bengal and from a very young age developed a thirst for music and musical knowledge that eventually led to one of the most incredible musical journeys of this century. He mastered many instruments including Tabla, violin, Sursringar and Surbahar but finally turned to the Sarode and became a student of the Sarode wizard Ahmed Ali Khan. After six years of living with Ahmed Ali, Baba had learnt everything that Ahmed Ali had to offer and the teacher recommended that Baba should seek training from his Guru the great Wazir Khan of Rampur. Baba had to confront many difficulties in becoming Wazir Khan’s disciple, but eventually Wazir Khan opened up his treasure house of musical compositions and taught Baba for 12 years after his eldest son, who was being trained to succeed him, died suddenly. Baba Allauddin lived only to serve the cause of music. He was a lifelong devotee of the Goddess Kali and later as a court musician in Maihar worshipped Sharda Devi, also known as Maihar Devi, and a form of Goddess Kali. He avoided fame and wealth, pursued music as a path to spiritual salvation and offered his creations at the feet of Sharda Devi. In later years Baba’s salary was paid from the earnings of the Sharda temple. He was regarded throughout India as a musical saint and many students journeyed to Maihar to learn from him. He himself remained a student of music till the age of 70 completely mastering the Dhrupad and instrumental compositions of the Seni Gharana and adding innumerable new compositions and many new Ragas, such as Hemant, Shobhavati and Durgeshwari. His eventual contributions are so outstanding that today this Gharana is known as the Seni Allauddin Gharana. Baba openly and generously transferred the vast wealth of his musical knowledge to a large number of disciples. Of these the most famous are his son the supreme Sarodist Ustad Ali Akbar Khan and the Sitar Maestro Pandit Ravi Shankar. The dazzling virtuosity, musical depth and brilliance of these two musicians and their extensive touring over the last 40 years have exposed audiences all over the world to the treasures of the Seni Gharana, the art and magic of Sitar and Sarode, and the exquisite beauty, creativity and sophistication of North Indian classical music. With such a fantastic heritage the future of instrumental music and the Sarode in particular is bright indeed! (Portions of this article are based on conversations with Pandit Buddhadev DasGupta.) S.P. Bhattacharyya is Professor of Electrical Engineering and a faculty adviser to SPICMACAY at Texas A&M University.  He is also a disciple of Sarod maestro Ustad Ali Akbar Khan and a performing concert artist *

The Kirana Gharana

The origin of the Kirana gharana is shrouded in an air of mystery and, to some extent, controversy. It is generally believed that Gopal Nayak, a contemporary of Amir Khusru, is the fountainhead of the gharana. He lived on the banks of the Jumna in a town called Dutai. Later, when Dutai was ravaged by floods he moved inland 10 Kirana, a small town in the Muzaffarnagar district. He is believed to have embraced Islam. Four different offshoots of the Kirana dynasty are claimed to have descended from him. One of the branches boasts of great names like Ustad Azim Baksh, Maula Baksh and Abdul Ghani Khan. The second branch is studded with names like Ustad Bande Ali Khan, Nanne Khan, Kale Khan and the legendary Ustad Abdul Karim Khan. Yet another offshoot includes in its Kirana lineage the names of Gafoor Khan, Abdul Wahid Khan, Shakoor Khan, Mashkoor Ali and Mubarak Ali. Finally, the distinguished family tradition of Mehboob Baksh, Rehman Khan, Abdul Majid Khan, Abdul Hamid Khan, Abdul Bashir Khan, followed by his sons Niaz Ahmed and Fayyaz Ahmed Khan, express their allegiance to the Kirana tradition. The precise roots of the gharana are lost in antiquity and shrouded with controversy. There are some who believe that Ustad Abdul Karim Khan is the true fountainhead of Gandharva, Roshanara Begum, Balkhshnabuva Kapileshwari, Behrebuva, Sureshbabu Mane and Hirabai Barodekar. From this mainstream of Ustad Abdul Karim Khan, in turn, came Pandit Sawai Gandharva whose centenary was recently celebrated with great 6clat in Bombay, and the ranks of the gharana have swelled, majestically. The leading lights include Gangubai Hangal, Pandit Bhimsen Joshi, Pandit Feroze Dastoor, Dr Prabha Atre and Pandit Sangame-shwar Gaurav. Among their disciples, Krishna Hangal Shrikant Deshpande, Madhav Gudi, Narayanrao Deshpande, Ramkrishna Patwardhan, Milind Chittal and Alka Joglekar have already made their mark and ensured the continued popularity of the gharana. This phenomenal popularity has been achieved through the characteristic expansive alapchari which unfolds the raga note by note with tantalising languor. The induction of sargams was another alankar which Abdul Karim Khan inducted into Hindustani music with a Carnatic flair Admittedly, the gharana has undergone a vigorous transformation with the vibrant personality of Pandit Bhimsen Joshi, who has brought into play his own stylistic nuances. It is obvious that the Kirana gharana is riding the wave of popularity. the gharana and the lineage that emanates from him is the main stream of the gharana, while the rest are tributaries. Be that as it may, it is an incontrovertible fact that the Kirana gharana remains the most popular and prolific in the sheer number of its practitioners on the contemporary scene.Ustad Abdul Karim Khan ushered in a new era of romanticism in the rendition of Hindustani classical music which was captivating because it was at once sweet, soothing, serene and sensuous. Although the ustad’s own singing seemed to lack fullbodied masculine sonorousness, his romanticism won for the Kirana gharana a strong following which included names that have become legends like Sawai *

The Agra Gharana

The Agra gharana derived from the dhrupad tradition of the Nauhar Bani and was founded by Saras Khuda during the reign of Emperor Aurangzeb. Thereafter, his grandson Ghagge Khudabaksh received rigorous training from Natthan Khan of the Gwalior gharana in khayal gayaki and thus developed a happy synthesis of the majestic dhrupad tradition and the melodious khayal gayaki. Apart from this, a series of alliances between the houses(gharanas)of the original Agra gharana and the Atrauli gharana have further brought together these two great tradition and it would be more correct to describe the gharana as the Agra-Atrauli gharana. It is significant that the gharana now has within its fold no less than three. Banis: the Gobarhar Bani or the Gwalior gharana as derived from Mehboob Khan alias Daas Piya the Dagur Bani of the original Atrauli Dhrupad gharana which underwent a transformation when Ustad Alladiya Khan took to khayal gayaki from Mubarak Ali of Jaipur (since then called Jaipur-Atrauli gharana) and finally the inflow of the Nauhar Bani of the third Atrauli offshoot as derived through Puttan Khan, maternal uncle of Ustad Mushtaq Husain of the Rampur Sahaswan gharana. Probably this is what accounts for the manysplendoured appeal of this ‘Rangeeli’ gayaki as it came to be known, particularly since the advent of Aftab-e-mousiqi Ustad Faiyaz Khan whom many regard as the fountainhead of Agra-Atrauli gharana. *

Great artists of India

Ustad Bade Ghulam Ali Khan 1902-1968

Ustad Bade Ghulam Ali Khan can be described as an artiste who has had the maximum impact on the 20th Century Hindustani Classical Music scenario. Born in 1902 into a great musical lineage from Kasur in the Western Punjab, this great savant amalgamated the best of four traditions; his own Patiala – Kasur style, sculpturesque Behram Khani elements of Dhrupad, the intricate gyrations of Jaipur and finally the robust behlavas (embellishments) of Gwaiior. But what actually characterised Bade Ghulam Ali Khan was an effervescent melodic quality which was concertised in a masterly flow of ideas which were delivered with a unique sense of alacrity, aided by one of the most pliable and dextrous voices ever heard in living memory in this land. Bade Ghulam Ali Khan had a relatively short career span. He blazed the trails of Calcutta in 1938 and in the 1944 All India Music Conference in Bombay, was virtually anointed Lord of all he surveyed in the field of Indian Music. But 24 years later, he was dead, prematurely at 66, having given the World less of himself than it would have wished to have. The maestro’s approach to khyal was essentially traditional – as seen in the medium pace of his vilambit Khayal presentation and his style of straightforward sthaibharana avoiding permutations. The character of his Gayaki was derived from an inclination towards looking beyond the traditional method of intoning a Swara to discover unchartered facets of beauteous melody, often achieved by very subtle inflexions of notes. This approach was bom of a mind which always strove to find that beauty in Indian Music which went beyond the Raga itself. For Bade Ghulam Ali Khan, ‘Taleem’ was but a means to a greater end where sheer melody and freedom of movement became unified His music was the joyous expression of an unfettered musical psyche. In ‘Thumri’, Bade Gliulam Ali Khan looked beyond the tradition of bol-banav where verbal and musical expressions are unified. He saw in Thumri an avenue for playing with notes with even greater abandon than was possible in the raga-restrained Khayal. From this perspective was born the now well-established Punjab-ang of Thumri. *

Pt. Pannalal Ghosh 31 July, 1911 – 20 April, 1960

Born in Barisal, East Bengal (now Bangladesh) on July 31, 1911, Amulya Jyoti (nicknamed Pannalal) Ghosh was a child prodigy. He inherited his love of music and the bamboo flute (bansuri) from his grandfather, Hari Kumar Ghosh who played sitar,tabla,and pakhawaj and learned sitar from his father, Akshay Kumar Ghosh. He also learned music from his maternal uncle, Bhavaranjan Mazumdar who was a vocalist. The family first lived in the village of Amarnathganj and later moved to the town of Fatehpur. Two apocryphal incidents happened to young Pannalal which had an influential bearing on his later life. First, at age 9 while looking for a stick, Pannalal found a flute floating in the river. He retrieved the instrument and so began his lifelong relationship with the bansuri. Two years later at age 11 Pannalal met a sadhu who held both a conch and a flute. The sadhu asked Pannalal if he could play the flute, and young Pannalal obliged. The sadhu gave him the flute and told the boy that music would be his salvation.There was a political unrest in 1928, and every youth was possessed with the freedom movement. Pannalal also joined this freedom movement. He enrolled in a gymnasium where he learned martial arts, boxing, and stick fighting and practiced physical culture. Pannalal was very fond of physical culture. He became the best student and champion of this gymnasium. He became more involved in the freedom movement and the British Government started keeping a watch on his movements. So at the age of seventeen Pannalal left Barisal and went to Calcutta in search of livelihood. In the teeming metropolis he found himself without any credentials except that he was a boxing champion and had won the All Bengal competition in boxing. With his skill as a boxer and martial art expert he landed a job as a coach in an athletic club. One year later, at the age of 18, Pannnalal lost his father. At this time Pannalal, who was already playing sitar, began to focus his attention on bansuri. Economic necessity drove him into performing music for the silent films in Calcutta. At an All India music competition he met music director and composer Anil Biswas and began to play in his musical productions. It was during one such production when Anil Biswas was directing music for a dramatization of a work by the renowned poet Kazi Nazrul Islam that Pannalal decided that he needed a bigger flute who’s pitch and sonority would be more appropriate for both classical and light music. He met an old Muslim toy vendor who was also proficient in making flutes. With his help Pannalal experimented with various materials including metal and other types of wood, but decided bamboo was still the most suitable medium for a larger instrument. He finally settled on a bansuri which was thirty two inches long, with a sa (tonic) at kali doe (the second black key on the old harmonium scale). As a flute of this size was hitherto unknown, a rumor arose that Pannalal had had surgery to cut the webbing between his fingers to facilitate the large span required to cover the finger holes of the instrument. Of course, he had no such surgery, but through dedicated riyaz (practice), Pannalal invented and perfected the technique to play the large instrument. At this time he would get his bamboo to make flutes from discarded packing materials found at Diamond Harbor, the large port of Calcutta. Deforestation had not yet consumed the forest around Calcutta, and the bamboo was believed to have grown close to the city itself. He practiced hard and perfected the technique of vocal music on flute. At this time he realized the need for meend from madhyama swar to nishad or dhaivat shrutis in ragas like Bihag, Yaman, Bageshree and many others. He experimented and invented the seventh hole of madhyama. He became famous for his flute playing and started getting performances at the major music conferences. At this time he came in close contact with great maestros like Ustad Inayat Khan (sitar), Ustad Dabir Khan (Been), Ustad Amir Khan (sarod), Ustad Badal khan (sarangi), and vocalists such as Ustad Faiyaz Khan, Ustad Abdul Karim Khan, Ustad Majid Khan, Pt. Tarapoda Chkraborty, Pt. Bhismadev Chattopadhyay and many others. His quest for knowledge and purity of tradition made him acquire intricacies of music from these erudite musicians. In 1936 Pannalal began working with Raichandra Boral, music director of the well known ‘New Theater’ and one year later he met his first guru, Kushi Mohammed Khan – the ‘Harmonium Wizard’. In 1938 as music director of the dance troupe of the princely kingdom of Seraikella State, Panna Babu (as he was affectionately known) was one of the first classical musicians to visit and perform in Europe, which he found rather agitating and unsettling. Soon after his return to India his guru expired. Thereafter he underwent training from Girija Shankar Chakravarti. In 1940, Pannalal moved to Bombay on the advice of his first disciple Haripada Choudhary (who had himself recently moved to Bombay). There he joined the Bombay Talkies film studio and gave music to quite a few films including ‘Basant.’ Panna Babu’s wife, Parul Biswas, (sister of Anil Biswas), was a graceful singer of kirtans who became one of the first well known playback singers for the new ‘talking’ films. Pannalal first met the legendary Ustad Allaudin Khansahib, (reverentialy known as ‘Baba’) in 1946, when Baba came to Bombay with his disciple, Pandit Ravi Shankar. Initially, when Pannalal asked Baba to teach him Khansaheb replied, “You are already great, you don’t need to study more.” Pannalal implored Baba to please teach him so that he could learn “authentic music and sur.” In 1947, Pannalal’s lifelong yearning to learn music from a true guru was fulfilled when Allaudin Khansaheb , convinced of Pannalal’s sincerity to learn, accepted Pannalal as his disciple. Pannalal then accompanied Baba to his home in Maihar, where he received intensive taalim (training) from Khansaheb for the next six months. Under Baba’s firm yet understanding tutelage, he blossomed into the wizard of the bamboo reed. Panna Babu earned fame through his regular broadcasts on AIR (All India Radio) and his many live performances at music festivals throughout India. The eminent vocalists Ustad Fayaz Khan and Pandit Omkarnath Thakur appreciated his music very much and requested Pannalal to accompany their vocal recitals on bansuri. He was praised for his adaptation and rendering on the bansuri of the khayal-ang- gayaki (the classical vocal style), particularly influenced by the great master of the Kirana gharana, Ustad Abdul Karim Khan. Pannalal also incorporated alap, dhrupad-ang-gayaki, tantrakari, jhala, thumri, dadra and folk music into his performance style on bansuri. Well versed in tabla and rhythm, he would perform in such difficult tals as jhoomra and tilwara. His music was steeped in devotion and had an intangible ethereal element, immense emotional depth and was infused with spiritual profundity. In addition to introducing the larger instrument, Pannalal Ghosh is credited with inventing the bass bansuri and introducing the six-stringed tanpura, high-pitched tanpuri and the surpeti or sruti box into Hindustani music. He created and popularized several new ragas including Deepawali, Pushpachandrika, Hansanarayani, Chandramauli, Panchavati and Nupurdwani, as well as multitudinous vilambit and drut compositions in many well known ragas. Panna Babu practiced daily meditation and observed maun by not speaking on Thursdays. He took the vows of Ramakrishna and put his faith in music. He took Mantra Diksha from Swami Birjanandji Maharaj who was a direct disciple of Swami Vivekananda. Because of his intense spiritual practice he started loosing interest in day to day life and decided to take Sanyasa. When he expressed his desire to Swamiji, his Guru, he was told that he would attain Moksha through music only. He should practice music as religiously as his spiritual practice. His music showed total spirituality, simplicity and purity. Pannalal continued composing and recording music for films, but began to find film work distasteful. Panna Babu’s impressive rendition of Raga Darbari Kannada in his 1956 National Programme broadcast from AIR Delhi fetched him further acclaim and at this time B.B Keskar, director of AIR, awarded him the meritorious post of composer-conductor of the Indian National Orchestra and producer for AIR Delhi. He held the post and maintained his devotion to the interpretation of classical music on the bamboo flute until his untimely and sudden death due to heart attack at the age of 49 on April 20, 1960 in New Delhi. He left his musical legacy in the capable hands of his principal disciples: the late Haripada Choudary, Devendra Murdeshwar, V.G. Karnad and Nityanand Haldipur . References Raga Shree: vilambit (slow) Tilwara Tal (16 beats) and fast Teen Tal (16 beats) This is the entire original HMV Recording – 19 minutes. It was the first LP recording of bansuri, with Rag Yaman on the A side. *

                                          Gharanas of Hindustani Music

There is a rich tradition of Gharanas in classical Hindustani music. The music Gharanas are also called styles. These schools or Gharanas have their basis in the traditional mode of musical training and education. Every Gharana has its own distinct features. The main area of difference between Gharanas is the manner in which the notes are sung. The concept of a Guru- Shishya leads to the development of Gharanas. The Gharanas emerge from the creative style of a genius, who gives existing structures a totally new approach, form and interpretation. The new approach, form and interpretation apply to include the tone of the voice, the pitch, the inflexions and the intonations, and the specific application of the various nuances. Let’s have a quick look at popular Gharanas of Hindustani classical music. Gwalior Gharana – This is the oldest among all the Khayal Gayaki (vocal) styles. The distinctive feature of this style of singing has been noted as its lucidity and simplicity. Founders – Ustad Hassu Khan, Ustad Haddu Khan, Ustad Nathu Khan Exponents – Bal Krishna BaIchal Karanjikar, Vishnu Digambar Paluskar, Pandit Omkarnath Thakur, Veena Sahasrabuddhe and Malini Rajurkar Agra Gharana-The Agra Gharana places great importance on developing forcefulness and deepness in the voice so that the notes are powerful and resonant. Founders- Haji Sujan Khan, Ustad Ghagghe Khuda Baksh Exponents-The important singers of this Gharana are Faiyyaz Khan, Latafat Hussein Khan and Dinkar Kakini. Kirana Gharana – It derives its name from the birthplace of Abdul Kharim Khan of Kirana near Kurukshetra. In the Kirana style of singing, the swara is used to create an emotional mood by means of elongation and use of Kana-s. Founders – Abdul Karim Khan and Abdul Wahid Khan Exponents – Hirabhai Barodekar, Begum Akhtar, Bhimsen Joshi, Gangubai Hangal and Prabha Atre. Jaipur – Atrauli Gharana- The most distinctive feature of the Jaipur Gharana can be best described as its complex and melodic form which arises out of the involutedly and undulating phrases that comprise the piece. Founders – Ustad Alladiya Khan Exponents – Alladiya Khan, Mallikarjun Mansur, Kesarbhai Kerkar, Kishori Amonkar, Shruti Sadolikar, Padma Talwalkar and Ashwini Bhide Deshpande. Rampur Sahaswan Gharana- The Rampur Sahaswan Gharana there is a stress on the clarity of swara in this style and the development and elaboration of the raga is done through a stepwise progression. Founders – Ustad Inayat Khan Exponents – Ghulam Mustafa Khan, Ustad Nissar Hussain Khan, Ustad Rashid Khan, Sulochana and Brihaspati. Patiala Gharana – Patiala Gharana is regarded as an offshoot of the Delhi Gharana. The Patiala Gharana is characterized by the use of greater rhythm play and by Layakari with the abundant use of Bols, particularly Bol-tans. Founders – Ustad Fateh Ali Khan and Ustad Ali Baksh Exponents – The major singers of the Patiala Gharana are Bade Ghulam Ali Khan, Ajoy Chakravarti, Raza Ali Khan, Beghum Akhtar, Nirmala Deni, Naina Devi, Parveen Sultana and others. Delhi Gharana – The Delhi Ghaana was represented by Tanras Khan and Shabbu Khan. The highlights of Delhi Gharana are pleasing vistaar and exquisite compositions. Founders – Ustad Mamman Khan Exponents – Some of the notable exponents of Delhi Gharana are Chand Khan, Nasir Ahmed Khan, Usman Khan, Iqbal Ahmed Khan and Krishna Bisht. Bhendi Bazaar Gharana – The most distinctive feature of the Bhendi Bazaar Gharana is the presentation of Khayal, which is open voice, using Akar. There is a stress on breath-control and singing of long passages in one breath is highly regarded in this Gharana Founders – Ustad Chajju Khan Exponents – The important singers of this Gharana are Ustad Aman Ali Khan, Shashikala Koratkar and Anjanibai Malpekar. Benaras Gharana – The Benaras Gharana evolved as a result of great lilting style of khayal singing known by Thumri singers of Benaras and Gaya. Founders – Pt Gopal Mishra Exponents – The chief exponents of the Benaras Gharana are Rajan Mishra, Sajan Mishra, Girija Devi and others. Mewati Gharana – The Mewati Gharana gives importance to developing the mood of the raga through the notes forming it and its style is Bhava Pradhan. It also gives equal importance to the meaning of the text. Founders – The founder of Mewati Gharana was Ghagge Nazir Khan. Exponents – The exponents of the Mewati Gharana are Pandit Jasraj, Moti Ram, Mani Ram, Sanjeev Abhyankar and others. *** The gharanas of khayal gayaki (singing) are : Gwalior gharana Kirana gharana Jaipur-Atrauli gharana Agra gharana Patiala gharana … Rampur-Sahaswan gharana Mewati gharana Bhendi Bazar gharana Gwalior gharana The oldest of the gharanas and one to which most others can and do trace the origins of their style is the Gwalior gharana. Some sources believe that Nathan Khan and Peer Baksh settled in Gwalior and evolved the style features that led to this gharana. Others claim that individuals named Nathan Peer Baksh and Nathe Khan founded the gharana. The accepted version is that Nathan Peer Baksh left Lucknow (in Uttar Pradesh) to escape the professional rivalry with Shakkar Khan that had taken an ugly turn. He arrived in Gwalior with his grandsons Haddu Khan and Hassu Khan. Another great khayal singer, also originally from Lucknow, was Bade Mohammed Khan who brought the t n into khayal singing. Haddu and Hassu Khan further enhanced the style into the Gwalior gharana as we recognize it today. Haddu Khan’s son, Rehmet Khan (1852-1922) was a widely acclaimed singer who liberated the Gwalior style from the methodical form it followed to the emotional style that he preferred. Apart from the emphasis on notes (swara), another distinguishing feature of the gharana is its simplicity because through simplicity alone can the singer and the listener arrive at the full beauty and impact of the raga. One means to this is of course the selection of well-known ragas so that the listener is saved the effort of trying to identify the raga. Attention can be focussed on the raga and the presentation of it. While the khayal singer does include raga vistar (melody expansion) and raga alankara (melody ornamentation to enhance the beauty and meaning of the raga, there is no attempt to include the tirobhava feature i.e. using melodic phrases to obscure the identity of the raga in the interest of adding interest or mystery to the listener’s experience. The singing itself places bandish (the composition) at the heart of the presentation because of the gharana’s belief that the full melody of the raga and guidance on its singing is provided by the bandish. The sthayi section is sung twice before the antara, to be followed by the slow tempo of the swara vistar (note expansion). This slow rendition of the notes is known as the behlava, and is sung from Ma in the lower register to Pa in the higher register, following the pattern of the aroha (ascent) and avaroha (descent) of the raga. The behlava is divided into the sthayi (from Ma to Sa) and antara (from Ma, Pa, or Dha to Pa of the higher register). The dugun-ka-alap follows in which groups of two or four note combinations are sung in quicker succession but the basic tempo remains the same. Thus the drumming pattern of the table (i.e. tabla theka) is left unaltered. The bol-alap is next in which the different words of the text are sung in different ways, to be followed by murkis in which notes are sung with ornamentation to a faster pace. Bol-t ns entail the formation of melodic sequences with the words of the song. The other t ns, including the gamak, follow. The sapat t n is important to the Gwalior style and refers to the singing of notes in a straight sequence and at a slow pace. Both dhrupad and khayal singing evolved in Gwalior and there are many overlaps. In the khayal style there is one form, mundi dhrupad, that incorporates all the features of dhrupad singing but without the mukhda. The Gwalior gharana usually prefers to begin ragas in the medium tempo (madhya laya) rather then the slow tempo (vilambit laya) as is the norm with other gharanas. The chosen ragas include Alahya-Bilawal, Yaman, Bhairav, Sarang, Shri, Hamir, Gaud-Malhar, Miya-ki-Malhar. Renowned singers of this gharana are Balkrishnabua Ichalkaranjikar, Vishnu Digamber Paluskar, Nissar Hussain Khan, Shankarrao Pandit, Krishnarao Pandit, Eknath Pandit, Pandit Vinayakrao Parwardhan, Narayanrao Vyas, Dattaraya Vishnu Paluskar, Sharat Chandra Arolkar, and Pandit Omkarnath Thakur who authored the Sangitanjali (a text on the nature of ragas). Contemporary singers include Pandit V.R. Athavale, Pandit Vinaychandra Maudgalaya, Pandit Jal B8alporia. Others while not performing in the pure Gwalior style nevertheless retain the distinctive features of the gharana. Malini Rajurkar is an example of this. Her singing reveals influences of the Kirana style as well as that of the independent singer Kumar Gandharva but the clear rendition of each word in the manner of a short t n stamps her singing with the Gwalior tradition. Kirana gharana The emphasis on elongating the notes and the importance to their resonance is a distinctive feature of this gharana. The founder, Khan Sahab Abdul Karim Khan (1872-1937), believed in the serene rendition of the notes as when playing the bin (a plucked instrument with resonators at both ends). Rehmet Khan of the Gwalior gharana is believed to have influenced Ustad Karim Khan’s adoption of the direct style of presentation. Some have also indicated the influence of the sarangi (a string instrument) on the voice features of this gharana. Kirana is the birth place of the Ustad, and situated near Kurukshetra. Ustad Karim Khan served as a musician at the Baroda and the Mysore courts and had a tremendous influence on the music of western India. His own somewhat nasal voice led him to adopt the Carnatic style for singing the saptak (the seven notes). He preferred to sing in the slower tempo and stress the bol-alap through consonants because his own voice was not wholly suited to the lower register of notes. The aesthetic appeal was thus never marred and the continuity he desired was achieved. Other singers of the gharana, including his disciple Sawai Gandharva, used the upper register far more often than the lower. Some later singers, including Roshanara Begum and Bhimsen Joshi, sing almost equally in both octaves. This factor has influenced the choice of ragas to those appropriate for the emphasis on the alap rather than the bandish. Karuna rasa (pathetic or sympathetic mood) is the foremost of the sentiments expressed through renditions that extend the notes gradually and use kanas (grace notes ) to fully express the raga. However, the lack of emphasis on voice projection and words led to a blurring of the lines as far as different ragas were concerned. The emphasis on swara has led to a rather subtle tempo and rhythmic pattern, both factors allowing for the sentiment and mood to be highlighted. Due to this, the words of the bandish are not clearly enunciated and there are only a few in the Kirana gharana repertoire. Kirana includes thumri singing in its repertoire, but with the emphasis on swara rather than on emotion and an absence of the characteristic lilt of thumri singing. Contemporary singers like Bhimsen Joshi cannot be said to sing in the pure Kirana style because of the diverse influences apparent in his singing. The swara orientation is not as strong and the tempo is no longer latent as is characteristic of the gharana. However, the emotional appeal of the pure Kirana style remains and so do the Kirana compositions. Ragas traditionally performed by the gharana: Shuddha Kalyan, Darbari, Malkauns, Bhimpalasi, Todi, to name a few. Some ragas of Carnatic music – for example, Jogiya – are included in the repertoire. Renowned singers include: Bhimsen Joshi, Abdul Wahid Khan (he taught Begum Akhtar), Surash Babu Mane, Prabha Atre Malati, Hirabai Barodekar, Gangubhai Hangal, her daughter Krishna Hangal, and Pandit Feroze Dastur. Jaipur-Atrauli gharana Born in Atrauli and singing at the Jaipur court, Alladiya Khan (1855-1943) made both cities famous through the gharana he founded. His training in both dhrupad and khayal genres enabled him to bring the complexities of both into his style that can be best described as filigree. The variation of note patterns serves to enhance the rendition of notes that are linked in a characteristic manner. This in no way impinges on the individual quality of the notes. The tempo is consistently slow (but not as slow as in the Kirana style), with the varying note patterns providing the rhythm. Many feel that the gharana follows an intellectual approach, and this does not lend itself to layakari (the development and play of tempo). However, the intellectual nature of presentation in no way precludes laya. It is very much in existence through the changing pitch and volume and the note patterns themselves: these factors comprise what Deshpande terms ‘functional rhythm’. The time factor permeates every performance. The attention to every beat and half-beat is a vital feature of the Jaipur-Atrauli gharana and requires both singer and musician to co-ordinate on the sam. The sam is the most emphatic beat of the tabla (a drum) and is usually played at the beginning of the rhythm cycle and at other specific moments. The singer maintains this rhythm by coinciding the singing with the sam. In khayal singing, the sam may occur at the end of the mukhada (first melodic phrase) and the singer and musician do not consistently coincide their emphases. The Jaipur-Atraul gharana has elevated this to an art form by arriving at the emphatic beat in a specific but unexpected manner. By remaining aware of every beat and fraction of a beat even at the slow tempo, the singer can impart a great aesthetic value to the experience. Alladiya Khan was a master at this technique. The bandishes are always the traditional ones, and no new compositions are present in the repertoire. The text itself comes second to the melodic movements and tempo of the bandish, the gharana preferring to emphasize the meaning and emotion through note combinations. Thus the musical element dominates. The akar (singing a part of the raga through the vowels ‘aa’) is not traditionally used (the singer Kishori Amonkar is an exception). The bols (words) are sung, and ornamented with t ns and murkis, the ornamentation being in drut laya (fast tempo). The bada khayal is sung spanning all three registers and the antara section is omitted. While vakra t ns (spiralling notes to embellish the raga) are to be found in the presentation, there is a rarity of other t ns like kanas (grace notes) and sargam t ns (sargam – a term comprised of the solfege names of the first four notes, and denoting all seven notes). The choice of ragas reflects the school’s selectivity of manner and presentation: acchob (rare) ragas and jod (compound) ragas like Sampurna-Malkauns, Basant-Kedar, Basant-Bahar, Kaunsi-Kanada and Nat-Kamod. Renowned singers include Kesarbai Kerkar who trained under Ustad Alladiya Khan, Mallikarjun Mansur, Shruti Sadolikar Katkar, Padma Tralwalkar, Padmavati Shaligram Gokhale. Agra gharana The founders of the Agra gharana, Shamrang and Sasrang, were originally dhrupad and dhamar singers, and khayal singing was a later addition by Ghagge Khuda Baksh. The latter was trained by Nathan Peer Baksh of the Gwalior gharana. The emphasis on layakari in the Agra gharana is a result of these beginnings. Ustad Faiyaz Khan (1886-1950), widely regarded as the founder of this gharana, trained under both his maternal grandfather Ghulam Abbas and Natthan Khan of the Agra school. His paternal great-grandfather was Ustad Ramzan Khan ‘Rangile’ and Faiyaz Khan’s singing is often considered the ‘Rangile’ style rather than the Agra style. The Ustad himself had a powerful voice and sang in a low register. Through voice modulation as well as stress on alap and the rhythmic patterns in the bandish, he was able to evolve a distinctive style. The nom-tom alap remains popular with this gharana as does the use of ekar rather than akar. He employed a clear style in the enunciation of words which were sung (many believe they were spoken) according to the mood of the section. To add drama, he would often allow for a break in the rendition – a stylistic device is known as phut. It was Faiyaz Khan’s belief that a raga should commence with the note shadja and that the note be accorded a focal position. While classical texts accepted the shadja as the first note, in practice the opening note (graha swara) was not necessarily the shadja. The current practice of commencing the alap with Sa began with Ustad Faiyaz Khan. This gharana begins a raga with an extended alap replete with ornamentation, and the mukhda and other phrases are sung with equal emphasis. The bandish in medium tempo follows. The words of the text are accompanied by close attention to rhythm and in vilambit laya. The words of the sthayi may be repeated, if the section is deemed too short. Bol tans are next, sung at double or even treble the past tempo, followed by other tans in madhya laya. The ladant (duel with the tabla) is occasionally included, and at the close, a khayal sung in drut laya. Like the Jaipur gharana, the Agra school emphasizes the melodic aspect of the raga, while the importance of the bandish is a legacy of the Gwalior style. Again, the sam (the most emphatic beat of the tabla) and the arrival at it by musician and singer is an interesting and much anticipated feature. Renowned singers of this school include Sharafat Hussain Khan (believed to have a style very close to Faiyaz Khan’s), Ustad Vilayat Hussain Khan ‘Agrawale’, Latafat Hussain Khan, Yunus Hussain, Vijay Kitchlu, Jyotsna Bhole, Deepali Nag, Sumuti Mutatkar. A famous independent singer taught by Faiyaz Khan was Kanhaiya Lal Sehgal. Besides, the Agra gharana had a profound influence on luminaries such as Pandit Bhatkhande. Patiala gharana The well-known Allu-Fattu are often credited with establishing this gharana even though Kale Khan is the person responsible for this achievement. He provided preliminary training to both his son Ali Baksh (Allu) and Ali’s friend Fateh Ali Khan (Fattu), and Kale Khan’s illustrious teachers continued the instruction. The Patiala gharana is considered an off-shoot of the Delhi gharana. Bade Ghulam Ali Khan (1901-69) brought glory to this singing tradition, and brought much of his own style into the gharana’s stamp. His voice had an astounding range and clarity, and the effortless execution of even the most complex ragas is a strength that others owing allegiance to this gharana lean toward. Close attention is paid to swara, layakari, and bols (perfect enunciation being a hallmark of the gharana). Bade Ghulam Ali Khan’s ability to span all three octaves while singing the satta-t ns (short spiralling patterns) and the shortened tonal aspect brought glimpses of the tappa (fast-paced, short, light-classical songs of Punjab) into this classical forte. However, this was appropriately restricted to the chhota khayal. But he did grant a special place to both tappa and thumri (a light classical style) singing, and went on to sing thumris in the tappa style! The clear enunciation of notes notwithstanding, there was and is an abundance of ornamentation that has been criticized as being entirely superfluous. Sargams often replace the text, and note-combinations are used in unconventional placements. The gharana regards these as being integral to the mood and emotion of the raga which became in many ways a means of expressing the singer’s response to the raga. The shringara rasa of the tappas and thumris is a fitting mood for the singing style of this gharana, and the raga selection in its repertoire reflects this. Malkauns, Bhupali, Gunakali were the ragas of Bade Ghulam Ali’s choice, and even today, these and similar ragas such as Megh Malhar predominate. Renowned singers of the Patiala gharana include Munnawar Ali Khan (Bade Ghulam Ali Khan’s son), Pandit Ajoy Charavorty, Raza Ali Khan, Parveen Sultana. Rampur-Sahaswan gharana The founder of this gharana is Ustad Inayat Hussain Khan (1849-1919), son-in-law of Haddu Khan of the Gwalior gharana, and disciple of, among others, Ustad Bahadur Hussain Khan (Tansen’s descendant). Inayat Hussain Khan was born in Sahaswan and lived his professional life in Rampur. The city was an important centre of dhrupad singing, and together with the fact of Haddu Khan’s teaching, there are definite influences of dhrupad, and the Gwalior gharana. For example, the prevalence of ornaments in the Rampur-Shahaswan singing style. Hence, the gharana is regarded as an off-shoot of the Gwalior gharana. The alap of this gharana is structured and uses techniques like the behlava to express the mood of the raga. The bandish section stretches through the sthayi and antara sections, both of which are sung fully. The text is sung clear and strong so as to wholly reveal its literary nature. This is followed by sargams, akars and bols sung in all three tempos – slow, medium, and fast. Madhya laya is the preferred tempo for raga performance. These features are very similar to those of the Gwalior gharana. The t ns of this gharana are executed in the characteristic style, and end on the shadja. The number of t ns popular in the Rampur-Sahaswan style is far more than in the other gharanas, and includes sapat-t ns, halaq-t ns, chut-t ns, bol-t ns, and tappa t ns. Apart from the classical ragas in its repertoire, the gharana favours tarana singing. This is clearly seen in the choice of ragas like Bhupali-Todi, Bahadur-Todi, Yaman, Kedar, Bihag, Gaud-Sarang, Chhaya Nat. The renowned singers of this gharana include Ustad Mushtaq Hussain Khan (trained by Inayat Hussain Khan himself), Ustad Nissar Hussain Khan (Inayat Hussain Khan’s son-in-law), Ghulam Mustafa Khan, Rashid Khan, Ghulam Sadiq Khan, Shanno Khurana, Sulochana Brihaspati. Mewati gharana The semi-classical music of this gharana founded by Ghagge Nazir Khan avoids the accepted norm of elongating words for the sake of rhythm. Sargams and t ns (such as sapat-t ns) are employed to provide the versatile link that is needed. The literary context and the emotional appeal of the raga are stressed, and expressed through the use of techniques such as the murchhana technique (enhancing the raga by changing the tonic). This last is important because of the emphasis on the mood (rasa, bhava) of the raga. This school can be said to be bhava-pradhan (pradhan: of great importance, superior), and as such the ornamentations and the structure of the performance are geared to ensuring a continuity. This, the akar is conspicuous by its absence (as in the Kirana gharana). The bandish section is characterised by the notes and the raga itself that span all three octaves; the mukhda of both sthayi and antara sections is developed through bol alap. This part closes with the mukhda of the sthayi section, to be followed by layakari and ornamental devices particularly the gamak and sapat t ns. The bhajan quality of the performances is a feature unique to this gharana, and reveals a religious influence. The gharana is represented by Pandit Jasraj and his two disciples Sanjeev Abhyankar and Rattan Sharma. This is reminiscent of Ghagge Nazir Khan and his two disciples, Nathulal and Chamanlal. Nathulal’s nephew Pandit Motiram continued the tradition through his sons Pandit Maniram and Pandit Jasraj. Bhendi Bazar gharana A lesser-known but influential gharana, the Bhendi Bazar school was founded by Ustad Chhajju Khan, Ustad Nazir Khan and Ustad Khadim Hussain Khan in the late nineteenth century. They trained under their father Dilawar Hussain Khan, and Inayat Hussain Khan of the Rampur-Sahaswan gharana. The akar sung in an open voice, the prevalence of merkhand (intricate singing of the sargam), and a clear articulation and intonation are the characteristic features of this gharana. Stringent practice of breath control permits the singer to sing a long stretch of the raga without pausing. Renowned singers of this gharana include Ustad Aman Ali (who specialized in complex sargams without sidelining swara and laya, and taught Lata Mangeshwar, known also as ‘India’s nightingale’), Anjanibai Malpekar (who taught Kishori Amonkar). (Courtesy of India Heritage) Gharanas


Selected Audio Probes :


The Gwalior Gharana http://www.itcsra.org/sra_story/sra_story_guru/sra_story_guru_links/sra_story_guru_gharana/gharana.asp?gharanaid=1

* The Agra Gharana http://www.itcsra.org/sra_story/sra_story_guru/sra_story_guru_links/sra_story_guru_gharana/gharana.asp?gharanaid=2 * The Kirana Gharana http://www.itcsra.org/sra_story/sra_story_guru/sra_story_guru_links/sra_story_guru_gharana/gharana.asp?gharanaid=3 * The Jaipur Gharana http://www.itcsra.org/sra_story/sra_story_guru/sra_story_guru_links/sra_story_guru_gharana/gharana.asp?gharanaid=4 * The Rampur Sahaswan Gharana http://www.itcsra.org/sra_story/sra_story_guru/sra_story_guru_links/sra_story_guru_gharana/gharana.asp?gharanaid=5 * The Patiala Gharana    http://www.itcsra.org/sra_story/sra_story_guru/sra_story_guru_links/sra_story_guru_gharana/gharana.asp?gharanaid=6 * The Delhi Gharana http://www.itcsra.org/sra_story/sra_story_guru/sra_story_guru_links/sra_story_guru_gharana/gharana.asp?gharanaid=7 * The Bhendi Bazar Gharana http://www.itcsra.org/sra_story/sra_story_guru/sra_story_guru_links/sra_story_guru_gharana/gharana.asp?gharanaid=8 * The Banaras Gharana http://www.itcsra.org/sra_story/sra_story_guru/sra_story_guru_links/sra_story_guru_gharana/gharana.asp?gharanaid=9 * The Mewati Gharana http://www.itcsra.org/sra_story/sra_story_guru/sra_story_guru_links/sra_story_guru_gharana/gharana.asp?gharanaid=10 *

The   Etawa   Gharana

by Imrat Khan Saheb

A Gharana

Indian Classical music can be described a religion whereby the music, knowledge and musical research was traditionally passed down from guru to disciple by word of mouth. In many old musical families the guru or teacher, is the father and the disciple or student, the son. A Gharana, or Musical Dynasty is formed when this process of teaching is passed down for five or six generations. There are two types of gharana in India, direct gharanas in which music has remained within a family and indirect gharanas, where in the absence of sons or musically talented sons, the teacher chooses to pass on his knowledge to a talented student. In India there are very few direct or true gharanas left. Ustad Imrat Khan’s Etawa Gharana is one of them.

The Etawa Gharana

The Etawa Gharana, also fondly know as the ImdadKhani Gharana after Ustad Imrat Khan’s grandfather Ustad Imdad Khan, is one of the oldest, most illustrious gharanas of Indian classical music. It traces its origins back through an unbroken line of celebrated musicians to the 16th Century where music has been passed down from father to son for almost 400 years. With its roots in Agra, the Gharana was later moved to Etawa on the outskirts of Agra before finally moving to Calcutta with Ustad Inayat Khan, the father of Ustad Imrat Khan. The true value of the Gharana can be understood by looking at its accomplishments. The ancestors of Imrat Khan were fascinated with musicology and searching for the most perfect and purest sounds. Through their research modern Indian Classical music has been redefined. The Gharanas major achievements are the development of the surbahar, major structural changes to both the sitar and surbahar and the creation and development of the instrumental style known as the gayaki ang. Not only has the true art and knowledge of music been preserved by this Gharana despite external pressures of a changing country but it has also produced the most legendary names in Indian classical music through each generation. ***                              The Vishnupur Gharana Gharana, as the word suggests, is a school of thought or a particular system or a style in music. Presentation of the same raga with stylistic variations led to the origin of these gharanas or schools of music. These gharanas formed the nucleus of demonstrative art. The glorious heritage of Hindustani music, as we find it to this day, has been preserved by great musicians of the past who have handed down their rich resources in the classic tradition of guru-shishya parampara, maintaining in each case the individual trends of their gharanas. The Vishnupur Gharana of Bengal has a prestigious past, the history of which has little been revealed. Vishnupur, the town of Lord Vishnu, is at present a subdivision town of Bankura district in West Bengal. The historic name of the Rarh region of West Bengal is Mallabhum. Though not vast in area, the region holds a significant position in matters such as political vigour, civilization and culture. Historians suggest that Mallabhum had once been the cultural centre of Eastern India. Among its cultural achievements, music had the highest honour. Here I am to discuss some features of the Vishnupur Gharana, along with a few major historical references, that have left indelible impressions upon the music of Bengal. In the later part of the eighteenth century and towards the early and mid-nineteenth century, when music of different gharanas were gradually having their assimilation in the city-centre of Calcutta, the dhrupad style flourished among the musicians of Vishnupur. To recapitulate history, the Maharaja of Vishnupur was a contemporary of Emperor Aurangzeb. The Senia Gharana was then in full bloom and its reputation spread throughout India. Its influence on the music of Vishnupur was enormous. It was around this time that the famous dhrupad singer Bahadur Khan of the Senia Gharana, descendant of Tansen, came at Vishnupur and made his gharana popular. The next Maharaja of Vishnupur, Raghunath Singh Deo II, steered his attention towards popularizing Bahadur Khan. At this time, the Ustad expressed his desire to settle down in Vishnupur and the Maharaja made all arrangements to honour him as his court singer. The Maharaja also announced that anyone having a sweet voice and interested in music could learn from Bahadur Khan without any fees. He also bore the financial liability for the poor students. In time, a good number of students became the disciples of Bahadur Khan. Among the disciples of Bahadur Khan, the name of Gadadhar Chakravorty is noteworthy. Bahadur Khan was not only a vocalist but could also efficiently play on such instruments as the veena, the rabab and the sursringar. Gadadhar Chakravorty learned from his master both vocal and instrumental music. Among his worthy disciples were such talents as Ram Shankar Bhattacharya and Jadu Bhatta, whose name spread throughout India. Most of the exponents of Vishnupur learned dhrupad song and instrumental music simultaneously. Vishnupur was at that time the cultural capital of India. Shri Anantalal Banerjee of Vishnupur was an illustrious musician who had his training from Shri Ramshankar Bhattacharya in both vocal and instrumental music. Anantalal’s sons, Shri Ramprasanna Banerjee, Shri Gopeswar Banerjee and Shri Surendranath Banerjee, were prodigies of this gharana. Shri Radhika Prosad Goswami, disciple of Anantalal Banerjee, earned great fame as a dhrupad singer. Among the students of Shri Radhika Prosad were Shri Girijashankar Chakravorty, Jogendra Nath Banerjee and Dhirendra Nath Bhattacharya who won their acclamation in the early conferences of Calcutta. Sangeetacharya Tarapada Chakravorty, Jamini Ganguli, Sailen Banerjee and many others learned from Girijashankar Chakravorty. Our great poet, Rabindranath Tagore had his trainings in the dhrupad style from Radhika Prosad Goswami and Jadu Bhakti of Vishnupur. The dhrupad style of Vishnupur had a good deal of influence on many of the songs composed by Tagore. Shri Ramprasanna Banerjee, the guru of my father the late Gokul Nag, also received his training from Sajjad Muhammed, son of Gulam Muhammed. Sajjad Muhammed was then staying at Jorasanko Rajbati of Raja Sourendra Mohan Tagore of Calcutta. During that time Shri Nilmadhab Chakravorty, the grandson of Gadadhar Chakravorty was teaching Raja Jotindra Mohan Tagore. Ustad Allauddin Khan of Maihar took his lessons in surbahar from Shri Nilmadhab Chakravorty. Shri Ganendra Prosad Goswami, the nephew of Radhika Prosad Goswami was a very famous musician. He recorded many songs for the Gramophone Company of India. I have mentioned before the name of Shri Gopeswar Banerjee, a great pioneer of the music of Vishnupur. He was the court musician of the Maharaja of Burdwan, Narajol and Mayurbhanj. He wrote a number of books on musicology as Sangeet Chandrika, Geet-Darpan, Geet-Praveshika, Sangeet Lahari and others. Shri K. C. Dey, the uncle of Manna Dey, the popular light music singer of Bengal, also learned dhrupad from Shri Gopeswar Banerjee. Kshetramohan Goswami, another maestro in this area, was a disciple of Ramshankar Bhattacharya. It was he who invented the Dandamatrik system of notation in Bengal. Until a few years ago the name of the late Satyakinkar Banerjee was well-known among the music lovers of Calcutta. Besides vocal music, he was adept in surbahar and sitar: the late Pandit Nikhil Banerjee and myself, have listened to his playing in his house at Calcutta. His sons, Shri Amiya Ranjan Banerjee, ex-professor of Rabindra Bharati University, Shri Nihar Ranjan Banerjee, Professor of Rabindra Bharati University and Shri Monoranjan Banerjee, are now representing the Vishnupur Gharana, almost in its twilight days, bearing just a few glimpses from its age-old tradition. I would like to draw the conclusion of my discussion with this opinion that, although every gharana has its own distinctive style of presentation, no creative art can develop within any rigorous binding. Music is the highest among fine arts. Every individual has his own build-up of the mind, his own environmental influences that will leave remarkable traces upon his music. Through his creation the artist, in a sense, manifests his soul – the Atma. While presenting his art, he is in a state of emotional exaltation. Hence, two artistes, belonging to the same gharana, need not necessarily have the same way of presentation. Variations must be accepted, otherwise creative music would have become identical with composed music. The artiste’s quest should not be after what genre he belongs to but after what he is. — (A paper presented by Pandit Manilal Nag at the Seminar on Sitar organized by the Sangeet Research Academy, 23 September 1990, Bombay.) (For a demonstration Please note also :  http://www.youtube.com/watch?v=J-oW2w4zYd8  ) ***                             The Bishnupur Gharana INTRODUCTION The Bishnupur Gharana (alternatively spelt Vishnupur Gharana) is a form of  the Drupad tradition of Hindustani music. It originated in Bishnupur, which derived its name as “city of Vishnu” in Bengali. In the ancient past, this area, known as Mallabhum was the abode of Malla Kings, once the cultural centre of Eastern India. Bishnupur Gharana was established in 1370 A.D. by the court musicians Bahadur Khan of Malla Kings.Bahadur Khan was not only a vocalist but could also dexterous instrumentalist. Historical evidence points to Pt. Ramachandra Bhattacharya, a disciple of Ud. Bahadur Khan as the founder of the gharana. Bishnupur Gharana therefore has a strong link to Betia Gharana through this unbroken relationship. In the later part of the eighteenth century and towards the early and mid-nineteenth century, when music of different Gharanas were gradually assimilating around the Khayal style, the Dhrupad style continued flourishing among the musicians of Bishnupur. In this style, the artist excels in unfolding the beauty of the Raga through the alap. It is simple, devoid of heavy, cumbersome ornamentation. It is free from intricate play with the rhythm. Layakari is however allowed in Dhamar, another form of vocalization. The Khayal of the Bishnupur School is noted for its sweet, lilting melody. It is adorned with the usual ornaments, which add variety to the melodic presentation of the Raaga. The dhrupad of the Bishnupur gharana uses shuddha dhaivata in raga vasanta, a touch of komal nisada in the descending notes of Raga bhairava. It has abandoned kadi madhyam (proper center) in raga ramakeli, and uses suddha dhaivata in raga puravi and komal nisad in raga vehaga. It has also developed its own character with regard to rhythm. Its origins and the development have led to a great openness in the teaching and evolution within this gharana. Gadadhar Chakraborty, his main disciple helped him to create Bishnupur Gharana. Later Krishna Mohan Goswami, Ram Sankar Bhattacharya and his son Ram Keshab Bhattacharya continued the tradition. During this period appeared Jadu Bhatta (Jadunath Bhattacharya), who took this music to a higher region and made a well known through out India. Other important contributors are Dinabandhu Goswami, Ananta Lal Bandyopadhyay. Rama Prasanna Bandyopadhyay, Radhika Prasad Goswami, Gopeshwar Bandyopadhyay, Surendranath Bandyopadhyay are the next generation musicians, who were the great exponents of Bishnupur Gharana. The disciples of Rama Prasanna Bandyopadhyay, Sri Gokul Nag (Sitar) and Asesh Chandra Bandyopadhyay (son, Esraj) carried the reputation of Bishnupur Gharana to higher standard. Poet and Nobel laureate, Rabindra Nath Tagore had his training in the Dhrupad style from Radhika Prosad Goswami. The Dhrupad style of Bishnupur had a good deal of influence on many of the songs composed by Tagore. One of the great exponents of this Gharana was the famous Jadubhatta. Bishnupur Gharana has not only enriched the Hindusthani classical music but also brought a subtle variation in style. Its Dhrupad is unmatched. Ranadhir Roy (1943 – 1989) was a noted connoisseur of Esraj. Further Surendranath Bandyopadhyay son of Anantalal Bandyopadhyay and Bindubasini Devi, daughter of Surendranath are the names to be mentioned. Sri Manilal Nag son of Gokul Nag is an acclaimed Sitar player today, who hails from Bishnupur Gharana. Dr. Debabrata Singha Thakur, a disciple of Gopeswar Bandopadhaya and a direct descendent of Kuchiakol lineage of Malla dynasty is another exponent of Bishnupur Gharana. At present, Ram Saran Music College is dedicatedly popularizing the Bishnupur Gharana before the world community. The Ramsaran Music College was established in the year of 1897 by Sangeet Guru Ramsankar Bhattacharyay, after the name of Late Ramsaran Mukhopadhyay, who contributed Rs.40,000.00 at that time. It is considered to be the oldest Music college in India. Initially it was constituted as a music school. Desikottam Dr. Gopeswar Bandopadhyay was the founder principal of this college. in the year of 1943, he converted this institution as College. After his death, his brother Padmasree Sangeet Ratnakar Surendranath Bandopadhyay succeeded as the Principal of this college. OBJECTIVES The primary objective of this college is to preserve, popularize and improvise the rich cultural tradition of Bishnupur Gharana and present before the world community. It devotes in integrating Bishnupur Gharana with other Indian Gharanas. It devotes on training of Bishnupur Gharana by observing strict discipline of Guru-Sishya Parampara. It renders financial assistance to the meritorious scholars for continuation of studies in music. *** The Bishnupur Gharana: an interview with Pandit Sujit Gangopadhyay Arijit Mahalanabis (1) Of all of the Dhrupad traditions in India, perhaps the most obscure is the Dhrupad tradition of Bishnupur. The Bishnupur Gharana has significantly influenced the popular, urban and folk music of Bengal. However, its contributions to the world of classical music have not necessarily been well understood, or indeed, even appreciated. One of the difficult realities of Indian classical music today is that one’s geographic location, to a great extent, limits one’s ability to be heard or appreciated. This is certainly the case with the musicians who practice in Bishnupur. Removed from the urban musical stronghold of Kolkata many of these musicians toil in obscurity without the benefit of popular acclaim. It is difficult to say that Pandit Sujit Gangopadhyay is one such musician. As a prolific and accomplished performer, active teacher and able administrator, Sujit Babu is a well established figure of the Gharana. However, as a musician living and performing in Bishnupur, his views on the issues related to the gharana’s present, past and future are rather enlightening, and perhaps more thought-provoking than those of his contemporaries who perform Bishnupuri music in Kolkata and elsewhere. In this interview conducted on 5th September, 2009, I asked Pandit Gangopadhyay about a variety of different aspects of his gharana. Arijit Mahalanabis [AM]: Namaskar Panditji. Thank you for taking the time to talk to me about the Bishnupur Gharana. Can you begin by saying a few words about the gharana’s present state and its past achievements? Sujit Gangopadhyay [SG]: The Bishnupur Gharana passed through a golden age a long time ago. Many great musicians from the gharana practiced music contemporaneously, and the gharana was famous throughout India. This may not be the case today, but the gharana is seeing something of a revival. More students are studying this music, and demand amongst audiences too is growing. Of course, musical giants are not born every day. However those who are involved with the gharana at present are doing their work, practicing music, and teaching and learning the tradition. Our age-old tradition manages to continue. AM: Can you tell me something about your gurus? What contributions did they make to the gharana especially with regard to Dhrupad and Dhamar? SG: My father, Amarnath Gangopadhyay, practiced both Khayal and Dhrupad. He was my first guru. He studied with Atulkrishna Bandhopadhyay, one of the great musicians of our gharana. Atulkrishna in turn, was a student of Gopeshwar Bandhopadhyay[2], and Ustad Tusiruddhujin Khan. He studied Dhrupad and Dhamar from Gopeshwar Babu, and Khayal from the Ustad.[3] As for me, I went on to study with Amiya Ranjan Bandhopadhyay, a major figure in our gharana at present. Amiya Babu is considered to be the senior-most artist in the state of West Bengal today. He belongs to a much respected family in our gharana. His father was Satyakinkar Bandhopadhyay, a great exponent of both Khayal and Dhrupad. I should point out that a very significant aspect of Satyakinkar Babu and Amiya Babu’s music is that they have both put equal emphasis on the practice of Dhrupad and Khayal, and have maintained both styles side-by-side.[4] This was true of Gopeshwar Babu’s music also. It is a common notion that Bishnupur Gharana is a Dhrupad gharana. But really, it is a gharana that puts equal emphasis on both Dhrupad and Khayal. Certainly Dhrupad occupies a hallowed ground in the gharana. But the great musician Ramprasanna Bandhopadhyay, who was Gopeshwar Babu’s elder brother and guru, and the son of Anantalal Bandhopadhyay, was an accomplished instrumentalist. His student was sitarist Gokul Nag, the father of Manilal Nag, and one of Ravi Shankar’s gurus. Sitar, as you know, is a Khayal ang instrument. Ashesh Badhopadhyay, the son of Ramprasanna Babu, was a great Esraj player. In fact, Rabindranath was very fond of him, and he spent his life at Vishwa Bharati. So although Dhrupad is very important in the Bishnupur Gharana, it is not the only music found in the gharana. Bishnupur as a gharana encompasses Dhrupad, Khayal and Instrumental music in a very complete and exhaustive way. As a member of this gharana, I personally practice both Dhrupad and Khayal.[5] AM: Can you describe the process of receiving talim from your gurus? SG: As I said I received my training from my father. As you know, our guru-shishya parampara requires us to sit with the guru, learn the chalan, roop and overall emotion of the raga, and then repeat the guru’s musical phrases over and over again. I too learned in this traditional way. For example, my father might say to me, look at the komal re and ga in Todi. Both these are somewhat flatter than the usual komal re and komal ga. One might say they are atikomal. Many ragas use these notes, but Todi is special. These things are best learned by listening to and repeatedly singing with one’s guru. It is very difficult to write such things down on a sheet of paper. See how the komal re in Bhairav is different than Todi! It is a bit higher than the usual komal re. Also as you know Bhairav has andolit Re and Dha. They are andolit in Ramkali also. But the Re-Dha andolan in Bhairav is somewhat wider, with a more Tivra bent. For this reason, when Dha is taken andolit in Bhairav, a small touch of Komal Ni also appears, from the extensive upswing of the note. It now shows as a vivadi swar regularly in performances of the raga. The same is true of Re. Its upswing in the andolan places it at a shruti that is quite a bit Tivra from the usual Komal Re. While we wouldn’t say these vivadis are part of the raga, in performance they do happen. Ramkali on the other hand has these andolans, but they are not nearly as Tivra, and as a result these vivadi chhayas of the Re and Dha do not arise. The only way to learn such subtleties is through the medium of the guru. One cannot learn these from a page. This is the kind of training I received in the Guru-Shishya Parampara. AM: Did your gurus describe such subtleties in words, the way you have just done, or were these principles that you gleaned by singing with them? SG: First they would speak about it, and then demonstrate musically.[6] AM: As you know, some gharanas like the Agra Gharana are known for Bolbant and Layakari. Others like the Dagar Bani are known for their work with the shrutis. What would you say are the stylistic characteristics of the Bishnupur Gharana? SG: Vaishnav thought is central to the Bishnupur Gharana. Our kings were adherents and philosophers of Vaishnavism. Hence the entire culture revolved around the idea of Bhakti. When you come to Bishnupur, you will see there are uncountable numbers of temples devoted to Krishna and Radha. For this reason, the music of our gharana, instead of focusing on virtuosity and ustadi, is centered more on Bhakti ras, and giving rise to feelings of devotion in both the musician and the listener. This is why Rabindranath found this musical style more to his liking. Because many Dhrupad gharanas do not focus on the Bhakti aspect of the composition, some musicians belonging to such gharanas do not even sing the four parts of the composition clearly! Many musicians start by singing the sthayi and then begin doing bolbant and layakari on the sthayi. Then they sing the antara and launch into bolbant and layakari on the antara. And often the sanchari and abhog are dropped altogether! Here, we sing all four parts clearly first. After that, we do some Bolbant. Because of this approach, the gravity of the composition stands out.[7] By the way, the word Dhrupad refers to a composition. Alap is not part of a Dhrupad. It is a separate genre altogether. We sing it before a Dhrupad because when Dhrupad is sung on its own, the presentation is too short. The ras that is within the raga that can attract the human mind becomes obscured. Therefore, by singing the Alap, the beauty of the raga becomes apparent, and the direct appeal of the raga to the heart becomes clear. But Alap is a totally different form of music from Dhrupad. It is anibaddha first of all. Dhrupad by its very name and nature cannot be anibaddha.[8] But coming back to your question, singing the four parts clearly and without distortion is very important in our Gharana, so that the depth of meaning and feeling, the resonance of bhakti that is in the text, in full measure finds a home in the listener’s mind. In my limited experience, most other gharanas do not treat the four parts clearly. And as I said, musicians start doing Bolbant in the middle without first showing the full composition. But another issue is that sometimes the Bolbant becomes too much and overwhelms the composition and its intent. There is a lack of a sense of proportionality in this respect. So, to sum up, in the Bishnupur Gharana, the full form of the composition is more important than a display of virtuosity in Bolbant. AM: But it is not the case that you don’t do any Bolbant at all, is it? SG: No, no. It is definitely a part of the performance. But it is secondary in importance. You see, the Bolbant is the alankar or the ornamentation of Dhrupad. In Dhrupad one cannot do ornamentation that is often associated with other musical genres, because these reduce the overall gravity of the composition. So the Bolbant is the only way to ornament the composition. But it is a secondary feature of the performance, and we don’t let it overwhelm the Dhrupad.[9] AM: Is there a particular manner in which the Bolbant of Bishnupur is meant to unfold in a performance? SG: When you first start learning Bolbant, you learn to move in dugun, tigun, chaugun, chhegun, and so on, in a very methodical manner. But when we perform, we don’t progress in such a systematic manner from dugun to tigun, to chaugun, etc. I, for one, mostly improvise in dugun and tigun. I try to be as creative as possible in my own way in these layas, keeping in mind the positioning of the taal. Bolbant in Dhrupad is like Taankari in Khayal. In Khayal, you set a tempo and move as per your thinking. Just like that, a Dhrupadiya unfolds his creativity in the present tempo using Bolbant as a device. On the odd occasion I might sing one pre-determined movement. But it is largely extemporaneous in nature. AM: But in teaching students, you systematically teach them dugun, tigun, chaugun and so on? SG: Yes, when basic training is being done, we teach fixed movements in each type of laya. Often the focus is on retaining the melody of the composition while changing the laya.[10] But as I said, in performance, it is done extemporaneously. AM: Can you tell me more about the compositions that make up the Bandish repertoire of the Bishnupur Gharana? What is their origin? Were they mostly written by Bishnupur musicians? SG: No, no, not at all. The Bishnupur Gharana is really an offshoot of the Seni Gharana. It is differentiated stylistically because after Tansen’s descendent Bahadur Khan, the founder of our gharana, came to Bishnupur, he imparted his knowledge to Gadadhar Chakrabarty, and he in turn taught Ramshankar Bhattacharya, and in the process the Seni style changed into something distinctive and quite able to stand on its own. But the majority of the compositions are attributable to Tansen, Baiju Bavara, Bahadur Khan’s son, etc.[11] AM: But a little while ago, you mentioned that the Bishnupur Gharana is characterized by Bhakti ras. Then, where did these texts come from? It seems unlikely that Bahadur Khansaheb would write these compositions. SG: No, some of these came from Gopeshwar Bandhopadhyay, Surendranath Bandhopadhyay, Ramprasanna Bandhopadhyay and others. But there are many compositions of Tansen’s and Baiju Bavara’s as well.[12] AM: If I remember correctly, the Bishnupur Gharana had another line of musicians that included the vocalist Gyanendra Prasad Goswami. SG: Well, the truth is that Gyanendra Prasad Goswami was not that involved with classical music. He did not sing Dhrupad, Dhamar and Khayal as much, and therefore is somewhat removed from the gharana. His uncle, Radhika Prasad Goswami was a classical musician of Bishnupur Gharana. But Gyanendra Prasad Goswami, although he had studied everything, was better known for Ragashray Bangla Gaan.[13] He had an incredibly beautiful voice that together with his command of Ragashray Bangla Gaan created a somewhat different stream of music from the classical Bishnupur Gharana. Further Gyanendra Prasad had taken talim from Ustad Faiyaz Khan, and as a result had veered somewhat towards the Agra Gharana.[14] AM: Is the Ragashray Gaan tradition continuing in your gharana? SG: Well, actually, the gharana tilts more towards the classical side. There is more emphasis put on Dhrupad and Khayal.[15] AM: In many gharanas, there is no real differentiation between Dhrupad and Dhamar. The Dhamar is sung like a Dhrupad, just in a cycle of 14 beats. What is the position of the Bishnupur Gharana on the differentiation between Dhrupad and Dhamar? SG: Dhrupad and Dhamar are completely separate genres. Khayal and Thumri are not the same, are they? Similarly Dhrupad and Dhamar are not the same. Dhamar is sung after Dhrupad, to appeal to the heart of the common listener, just like Thumri is sung as a light piece after Khayal. Dhamar is called “Hori Gaan”, a song sung to represent the color play of Radha and Krishna. On the other hand, we think of classical Dhrupad as being sung in praise of Brahma, Vishnu and Shiva. There are certainly Dhrupad compositions that are dedicated to Radha and Krishna, or to some historical figure, a king or an important person. But those aren’t considered classical Dhrupad compositions. The truly classical ones are in praise of one of the Hindu trinity.[16] AM: Do you do Bolbant in Dhamar? SG: We not only do bolbant in Dhamar, it is often found to a greater degree in Dhamar than in Dhrupad. We also often do not sing all four parts in Dhamar. It is limited to two, to appeal more to the common listener. In my opinion, one can say that Dhamar is a Dhrupad ‘ang’ song, but not a Dhrupad. Dhamar is the ‘laghu’ of Dhrupad. Dhamar has a lower status than Dhrupad, and is meant to follow up after the heavy dhrupad to lighten the mind and mood. At least this is what I feel.[17] AM: I am a little confused about the history of your gharana. In a number of sources the beginning of the gharana is attributed to Ustad Bahadur Khan. But in a number of other sources, the beginning of the gharana is dated to the 12th or 13th century.[18] SG: No, such an early date would be inaccurate. Before Bahadur Khan came to Bishnupur, there was indeed music here. But it was in the form of kirtan, musical storytelling, and folk music. Classical music was not present. The enthusiasm that King Raghunath Singha II showed for classical music must have had an origin somewhere in the music of the region. But it was only after he brought Bahadur Khan to Bishnupur that classical music took hold. Further, it is only after the transmission of musical knowledge to Gadadhar Chakrabarty and Ramshankar Bhattacharya that a coherent and distinctive style of musical presentation formed and became known as the Bishnupur Gharana. Therefore, the Bishnupur Gharana can only be spoken of after the time of Ustad Bahadur Khan. You see, at that time, there was no communication with classical musicians. There was no way for them to visit and perform their music in Bishnupur on a regular basis. As a result, no classical music culture formed. It was for this reason that King Raghunath Singha II brought Bahadur Khan to Bishnupur and had him settle here and teach here. As a result a culture of classical music began to develop that finally found full expression in the music of Ramshankar Bhattacharya. For this reason, in the Bishnupur Gharana, Ramshankar Bhattacharya is referred to as Sangeet Guru. And in turn, he trained a generation of great musicians: Anantalal Bandhopadhyay, Kshetramohan Goswami, Jaddu Bhatta, and others.[19] AM: In many gharanas you see a slight differentiation in style between artists. For example in the Atrauli-Jaipur Gharana, the approach taken by Mallikarjun Mansur is distinct from the approach taken by Kishori Amonkar. Do you see differentiation of this sort in Bishnupur Gharana as well? SG: Let me address a broader question. Take Mallikarjun Mansur as an example. He had a very distinctive style. But after him very few if any have followed his way of singing. There has been a total change in Hindustani music across India after Amir Khansaheb. Khayal music, in the time of Faiyaz Khansaheb was sung in a Dhrupad ang, and didn’t sound at all like the Khayal that is heard across India today. The Agra Gharana today has come to an end. You’ll find no one singing that old style of music. After Amir Khansaheb, the very nature of Ragadari has changed. The way we hear ragas—and why just us, all of India for that matter—take the case of Bhimsen Joshi who is a great admirer of Amir Khansaheb’s music and once even approached Khansaheb about learning from him—it is all different today.[20] See, progress and development are ever present. Each human being interprets change based on his/her musical thinking, timbre of the voice, emotional expression, and musical training. As a result no two musicians will sound the same. It is impossible to hold things in a static state. Because of the changes that are happening to our environment, even the way human beings look is changing. So why won’t the music change? Changes in attitudes and societal expectations, what is considered aesthetic, how audiences receive music inevitably impact the music of musicians. So what we can say is that there is an emerging new style of music. And there are deviations from this style by each musician to some extent that take into account his/her experience. Now coming to the Bishnupur Gharana, if you listen to Satyakinkar Bandhopadhyay, you will find a distinct style. If you listen to Ramesh Bandhopadhyay, you will find a different style. Ramesh Babu’s is more moderate in nature, just as his nature was moderate. I have not heard many of the old time musicians of the gharana, although I have heard Gopeshwar Babu. I must say that the approach taken by his descendants was rather more moderate than Gopeshwar Babu’s. And there is good reason. As time passes, progress happens and thinking changes. These younger musicians had access to Gopeshwar Babu’s innovations at a young age, and could build on his thinking. But despite the differences, we are all trying to understand and follow the main aesthetic of the gharana in the best way we each can. If I were to describe my own approach, you see, I sing both Khayal and Dhrupad. So when I do Alap, my approach is informed by both. There are so many musicians today who sing Alap that might be technically very difficult, but fails to bring the raga alive. I don’t think of Alap as just a tool for showing the raga swaroop. It is a form of song, just like the other genres. The only thing is that it is anibaddha. Therefore, it should not be a dry exercise. It should enliven the mind and make the listener happy and satisfied. In fact, I would go as far as to say that the only form of song that allows us to express our inner feelings in the medium of the raga fully is Alap. It is that important! AM: You have made clear that the Bishnupur Gharana has a very clear relationship with the Seni Gharana. Are there other gharanas of Dhrupad to which the Bishnupur Gharana is related? SG: It seems like there is some sort of a relationship with Bettiah Gharana. There are some shared characteristics between the two gharanas musically, so it would seem to me that there must have been some sort of a relationship. But I really don’t know for sure. I don’t think there is much of a relationship with other Dhrupad gharanas. AM: What relationship did Rabindranath have to the Bishnupur Gharana? I had heard that he had studied with Jaddu Bhatta. SG: Yes, in a manner of speaking he did. But very importantly we should examine Rabindranath’s connection to Gopeshwar Bandhopadhyay. Although Gopeshwar Babu was much younger, Rabindranath respected him very much. Gopeshwar Babu provided the musical notation for many of Rabindranath’s songs, and through him Rabindranath modeled many of his songs on Dhrupads from the gharana. Rabindranath himself said that he didn’t learn from Jaddu Bhatta in the traditional manner. He never had that opportunity. But he would stand by the window and listen to Jaddu Bhatta as he sang in their house. The Tagore household always had musicians and music in the house. And when Jaddu Bhatta visited, Rabindranath was always at the ready to listen and be influenced by the music. AM: Do you consider Rabindranath to be an artist of the Bishnupur Gharana? SG: Rabindranath wasn’t a musician or artist of the gharana. But he took songs and music from the gharana. Certainly the text of some of his Bengali compositions would hew closely to some traditional compositions of the gharana. But we cannot say he is from the Bishnupur Gharana. One can say that he was deeply influenced by the gharana certainly. Rabindranath said that he didn’t like the Ustadi of the other gharanas. He very much appreciated the Bhakti ras that was part of the Bishnupur approach to music. And further, since he was a poet and writer and his main concern was literature, he needed a musical framework that respected the depth of the literary content. From this perspective Bishnupur Gharana was ideal. AM: As you have said many times, the Dhrupad and Dhamar genres of Bishnupur are full of Bhakti ras. So, was this music performed in the temples or in the darbars? SG: They were most definitely performed in the temples! If you come to Bishnupur you will see that the kings and rulers of the land were extremely powerful. But even then, they did not build a royal palace.[21] Instead they put their wealth into the building of temples. Here you will find uncountable numbers of stone temples, each decorated with terracotta sculptures depicting music and musical activity. One of the major landmarks of the city is Ras Mancha, a temple of 108 doors, where music and the playing of ras holi were an integral part of the temple life. AM: And what about music at the royal court? SG: Since there was no royal palace, the king held his court in front of the temple of Ma Mrinmayee.[22] There is a very old Banyan tree in front of this temple, which has a stone courtyard around its base. The king would sit in this courtyard and hold his court. That’s how strong their belief in Vaishnavism was! For them there were two main responsibilities. One was to maintain their Vaishnav faith. And the other was to maintain the culture of classical music in the kingdom. They seldom indulged themselves in the manner of other royal families. AM: Today, where is Dhrupad performed in Bishnupur? SG: There are a number of yearly concerts that are held purely for Dhrupad. There is an annual Dhrupad conference during the time of the Dol Festival. Musicians from Kolkata and elsewhere come to Bishnupur for this conference. We have a very good auditorium in town named after Jaddu Bhatta where this conference is held. In the last few years, we have had performances by Ritwik Sanyal, Falguni Mitra, Fahimuddin Dagarsaheb, Bahauddin Dagar, to name a few. I too participate in this conference. The whole conference is sponsored by the Central Government. Dr. Sanyal did an excellent workshop on Dhrupad. He expressed the opinion that Alap is an ang of Dhrupad. But I prefer to think of Dhrupad and Alap as separate types of music. This difference came up in the question-answer session after the workshop. But it was on the whole a very well-done workshop. These types of programs are often held in Bishnupur.[23] AM: Is there still music in the temples? SG: No, the governmental department that looks after the temples has forbidden music in the temples. We are not allowed to sing within 100 meters of any temple. This is to protect the structural integrity of the temples. At Ras Mancha, there used to be a lot of music making and playing of colors during the festival of Dol. But not so anymore! Now we do our music next to Ras Mancha, outside of the required perimeter. [Continued in Part III] Notes: 11. There is a basic disconnect here between the idea that the gharana is deeply rooted in Vaishnav philosophy, and the idea that the majority of its compositions come from non-Vaishnav sources. This is the contradiction I was trying to get at with the subsequent question. 12. My sense of the situation is that while a number of Vaishnav texts were contributed by gharana musicians, much of the legitimacy of the gharana derives from its possession of compositions by Tansen, Baiju Bavara and their contemporaries. It would be interesting to see how many compositions of these individuals have been syncretized into a Vaishnav mold to suit the philosophy of the gharana. 13. Ragashray Gaan are Bengali songs set in ragas. 14. The distancing from Gyanendra Prasad Goswami is quite interesting. Clearly Gyanendra Prasad was not classical enough to warrant inclusion (at least to the same degree) as someone like Gopeshwar Bandhopadhyay, in the gharana. Further, the fact that he took talim from Faiyaz Khan is seen as a polluting influence on his Bishnupur credentials. 15. This is interesting because SG has described the Bishnupur Gharana as a collection of various song types: Alap, Dhrupad, Khayal and Instrumental music. However, Bengali songs, even based in classical music are considered to be non-classical. Hence the need for a complete, comprehensive gharana appears to be limited to song types that are considered very strictly classical. 16. SG establishes increasingly higher standards of classicism in describing the repertoire. Dhrupads in praise of the trinity alone are considered truly classical. The remainder falls into another class of somewhat less classical songs. And in SG’s opinion, therefore, Dhamars are less classical than Dhrupads. 17. It is interesting to note that certain sections of the Dagar Gharana actually treat Dhamar in a very deliberate and classical manner, quite to the contrary of what SG is describing. It is fairly clear that this is an artistic choice that arises from the different philosophical directions of these two gharanas. 18. For example, see the Wikipedia entry on Bishnupur Gharana. 19. Here SG acknowledges that musical styles that cannot be considered classical existed in Bishnupur prior to the arrival of Bahadur Khan. Again, these he treats as distinct from the classical tradition, which he considers to be the proper Bishnupur Gharana. Because of the direct lineage from the Seni Gharana, in a sense the claim being made is that the Bishnupur Gharana preserves the repertoire of the Seni tradition which, as far as vocal music, has largely died out elsewhere in India. 20. My sense was that while SG would never state it this way, there was a certain musical oppression in operation. The aesthetic that Amir Khan espoused appears to be so ingrained in the connoisseur population that stylistic alternatives are not even under consideration in this part of India. The apparent uniformity of stylistic approach that one sees amongst the newer set of musicians (including those from the Bishnupur Gharana) appears to be an attempt to cater to the “mean” aesthetic established by Amir Khan. This is purely my analysis of the situation based on what SG had to say. He did not espouse this position himself. 21. This does not seem to fit with the impression I’ve gotten from sources on the ground. There does appear to be some sort of a “Rajbari” structure, suggesting the existence of a royal palace. I didn’t question SG on this issue as I felt he was trying to make a larger point. Even if there is a Rajbari, there is one structure, as opposed to hundreds of temples. The intent of Bishnupuri kings was clear. 22. Curiously, for all of the belief in Vaishnavism, court was held in front of the oldest temple in Bishnupur, a shrine to the goddess Mrinmayee. 23. This divergence in perception of Alap as an independent art form (Bishnupur) as opposed to an integrated portion of the Dhrupad (Dagar) appears to be a result of the distinct view these two schools hold on the place of the composition. The depth, form and meaning of the composition seem to be central to Bishnupur, while this is the case with only some Dagar Bani musicians. The deconstruction of a raga down to its microtones is something that preoccupies the musical intellect of the Dagar musicians to a much greater extent. Notes: 1. Director, Seattle Indian Music Academy. The author would like to thank Tanmoy Ganguly for his invaluable assistance. 2. Gopeshwar Bandhopadhyay (1880-1963) is one of the most notable names of the gharana, and achieved all-India fame as a Dhrupadiya and composer of much merit. 3. SG credits Atukrishna Bandhopadhyay’s Dhrupad training to Gopeshwar Babu and his Khayal training to the Muslim Ustad. This is interesting. Although Ustad Bahadur Khan is credited with starting the Gharana and thus importing the majority of Dhrupads into Bishnupur, I felt there might be a slight distinction here between the Hindu keeper of the tradition, who provided the Dhrupad repertoire and the Muslim keeper of the tradition, who provided the Khayal repertoire. This may not have been a distinction SG wanted to make, but it was something that struck my mind while I talked to him. 4. Here SG begins to lay out the characteristics of the gharana. This is the first characteristic. The gharana takes pride in its equal contributions to Dhrupad and Khayal. 5. In SG’s view therefore, the gharana itself is distinguished by the fact that it never limited itself to one or the other discipline. Dhrupad, Khayal and Instrumental music all found homes in Bishnupur. His views on other musical styles fostered in Bishnupur appear later in the interview. 6. This seems like a significant bit of insight in to pedagogy in Bishnupur. A number of traditional musicians in my experience frown on speaking about the music explicitly. Repeated demonstration through music is used as the only tools of instructing the student. Here SG indicates that verbal discourse was an integral part of the training. 7. There are two very interesting things about these statements. First, a key differentiator between Bishnupur and other gharanas according to SG is that the Bishnupur Gharana is centered on the idea of Bhakti as the main driving force for presentation. Thematic differentiation of this sort across gharanas, as far as I know is never seen. But what legitimizes this claim is his subsequent description of this ideology’s impact on musical style. There is a certain coherence of intent that is not found in what musicians of other gharanas have to say on this topic. 8. Setting Alap aside as a separate ‘song type’ is an unusual view. But this also bolsters the idea of Khayal being an integration of Nibaddha (Dhrupad) and Anibadhha (Alap) into a single form. Here SG seems to be arguing that Dhrupad is a deconstructed form, in which the ‘bhaav’ of the composition in the form of a Dhrupad, is maintained quite distinctly from the ‘ras’ of the raga in the form of the Alap. 9. SG here is drawing a parallel between Bolbant in Dhrupad and Taankari in Khayal, something he will elaborate on later in the interview. 10. That is, the fixed melody and the words of the Dhrupad are sung in dugun, tigun, etc. The composition is essentially sped up while retaining the tempo of the taal. * (For demonstration Please note also: http://www.youtube.com/watch?v=E9_5cEvX-B4) * ***





                                               The Kotali Gharana

The Chakraborty family of Kotalipara, Faridpur, of the then East Bengal (now in Bangladesh), is believed to have been originated from Kanauj (U.P.). They were Mishra Brahmins and later migrated to Kotalipara and settled there for about thousand years. Somehow they inherited with them a musical trend specially oriented by Prabandha geeti, Saam gaan and some folk tradition. One of the ancestors of the family, Acharya Biswambhar Chakraborty was drawn towards the mainstream of Indian Classical Music long time ago. He was initiated to Seni Gharana and brought the trend. Tarapada Chakraborty’s father Late Pandit Kulachandra Chakraborty and his uncle Late Pandit Ramchandra Chakraborty had their training from Ustad Jahur Khan of Khurja gharana. Ramchandra had the honour of being the Dwarpandit (court scholar) and the distinguished musician at the court of Maharaja of Natore. Thus, both the brothers had a wide contact with many leading musicians of their time and had a phenomenal collection of musical wealth. Having moved to Calcutta with this rich inheritance, Tarapada Chakraborty first took lessons from Late Pandit Satkari Malakar of Gwalior and Betia gharana especially in Khayal and Tappa. Later, under the guidance of the Great Maestro Late Sangeetacharya Girija Sankar Chakraborty he acquired the distinguished features of various Ragas, styles and traditional Dhrupad, Dhamar and Khayal Bandishes of different gharanas, mainly Seni, Vishnupur, Betia, Delhi, Gwalior, Rampur, Agra, Rangila, Jaipur and Kirana. Girijashankar being a pioneer of Thumri style of singing at that time gave Tarapada Chakraborty an intensive training on the Thumri style of mainly Banaras and Kirana as well. In fact, it is quite discernibly evident that Khayal received a rare authenticity and completeness in the heralding Gayaki of Tarapada Chakraborty in his own way. Sangeetacharya Tarapada Chakraborty, the pioneer of this Kotali Gayaki is the legend adored all over India for his contribution towards Hindustani Classical Music. His worthy son Pt. Manas Chakraborty, the devout pursuer of various sources and streams of Indian Classical Music is enriched by his keen interest in Indian Philosophical traditions of all the existing Gharanas and Gayakies. Exposure to the corresponding confluences of his family’s assertively partisan art of music has focused his attention on the necessity of discarding in order to select and the necessity of differentiating in order to unite. The musical phenomenon of Pt. Manas Chakraborty has attained a new altitude which is his very own and individual and has initiated a new dynamics of allegiance to the human efforts towards life and its values. He sets his Khayal Gayaki in accordance with the character of Raga. His recitals have earned an enviable distinction as an’ “Artist of Artists ”, in various concerts in both at home and abroad. ‘Talim’, ‘tabiat’ and ‘taiari’ with inborn artistry, profound knowledge, intellectuality and cerebral ability has given a new dimension to his unique style of rendition which is now being followed by many artists along with his own disciples. Thus presenting the obscure reality of music in a tangibly graceful elocutionary form with his kalawant gayaki, nayaki and majestic mizaaj has made him an institution by himself in the international realm of Hindustani Shastriya Sangeet. His contribution towards the Hindustani Classical Music for the last fifty years is undoubtedly worth-mentioning and as a ‘Guru’ he is great. The schooling of Indian Classical Music through the mentors of his family and the torchbearers, established around the globe has already entered the seventh- generation and now the new trend of ‘Kotali Gayaki’ is his single handed orchestration, which with the synthesis of diversities has finally created and defined the ultimate shape of ‘ Kotali Gayaki’. His highly technical and eclectic approach though different from his father’s individuality, is finally convergent to the philosophical end of the essence of ‘Kotali Gharana’ ***


The Great Heritage…

Origin of the Kotali Gharana

The Chakrabarti family of Kotalipara, Faridpur, East Bengal, is believed to be the pursuers of art, culture and education from the ancient times. The musical tradition starts glooming when one of the ancestors of the family was introduced to Vishnupur Gharana (school), and achieved prominence. Biswabrata’s great grandfather Late Kulachandra Chakraborty and his brother Late Pandit Ramchandra Chakraborty had their training from Ustad Jahur Khan of Khurja Gharana (school).

Ramchandra had the honour of being the court musician and scholar at the court of Maharaja of Natore. Thus both the brothers had a wide contact with many leading musicians of their time, and had a phenomenal collection of musical wealth.

Having moved to Kolkata (Calcutta) with his rich musical wealth, Biswabrata’s grandfather, son of Kulachandra, the great legend Late Sangitacharya Tarapada Chakraborty started taking his lessons from the Maestro Late Pandit Satkari Malakar, especially in Kheyal and Tappa and later under the guidance of the Maestro Late Pandit Girijasankar Chakraborty.

Adaption of the other Gharanas

Tarapada Chakraborty acquired and explored the distinguished features of different Ragas and styles, traditional Dhrupad, Dhamar and Kheyal bandish of different Gharanas (schools) like Vishnupur, Betia, Gwalior, Seni, Rampur, Delhi, Agra, Rangila, Jaipur and Kirana.

Pandit Girijasankar being a pioneer of Thumri style at that time gave Tarapada Chakraborty an intensive training on the Thumri style of Benaras and Kirana Gharana (school) as well.
But apart from the training he received, it is quite discerningly evident that Kheyal and Thumri received a rare authentic character and completeness in the heralding Gayaki (style) of Tarapada Chakraborty in its own way. His brother late Pandit Haripada Chakraborty had a golden voice and took training from his ancestors as well as Tarapada Chakraborty.

The next generation of great musicians of the family, Pandit Bimalendu Chakrabarty, Pandit Manas Chakraborty and Srimati Sreela Bandopadhyaya got their training from Sangitacharya Tarapada Chakraborty. They are carrying onward the legacy of this great tradition with their own distinguishable marks and adding new treasures everyday to enrich it.

Biswabrata Chakrabarti…

The musical journey

Biswabrata is the present generation of this great tradition. He was introduced to classical music by his grandfather, the legend Tarapada Chakraborty, in his early childhood. He started vocal training under his guidance; later on he was guided by his father, Pandit Bimalendu Chakraborty, uncle, Pandit Manas Chakraborty and aunt, Srimati Sreela Bandopadhyaya. He also studied tabla under the guidance of Pandit Basudev Mukherjee a disciple of Ustad Keramatulla Khan.

In the age of twelve years he was introduced to Sitar by his mother, Late Srimati Meena Chakraborty who was a fine Sitarist and was the student of Sitarist Pandit Santosh Bandopadhyaya, the disciple of Ustad Dabir Khan of Seni Gharana (school).

He took his early lessons from his mother and Santosh Bandopadhyaya. Later on he started taking lessons from the Sitarist Pandit Ajoy Sinha Roy, the disciple of legendary Ustad Allauddin Khan and his son Ustad Ali Akbar Khan.

In this period Biswabrata explored the styles and applications of these two great Gharanas (schools). But his father Pandit Bimalendu Chakrabarty consistently trained him and played a great role in the formation of this unique style what he is playing now. He was also deeply inspired by the experimental approach of his uncle Pandit Manas Chakraborty, who’s constant training & guidance is invaluable in his making.

Making a musician to an artist

Apart from inheriting the huge wide range of colours of his own ancestors, Biswabrata adopted and assembled the styles of other instrumental Gharanas (schools) to create a unique style of his own and started a new instrumental tradition within his own family tradition.

It could be said that he is a sitarist with a soul of a vocalist and he lifts the instrument to the nearest of the vocal essence of Indian classical music. Apart from the philosophy and depth he is also gifted with phenomenal skill, which is easily traced in his Taans, Gamak, Meer etc. played in difficult vocal approach.

In this long journey since childhood, in the making of a musician to an artist, he has undergone a number of changes in terms of technicality, philosophy and spiritualism, which is an indication of his experimental & perfectionist nature. The aesthetic sense he is gifted with, helps to present his music with the vision of a poet. The depth and the philosophy within helps to represent a new sound and at the same time the deepest spiritualism with rare antique emotions.

Courtesy of Chakraborty family

Kotali Gharana…

The musical heritage of Kotali gharana (the schooling) emerges from a unique historical background, that spans beyond a millennium. At that time King Chandra Burma used to rule over a wide area of southwest Bengal during the reign of emperor Samudragupta. Kotalipara in the Faridpur Zilla of East Bengal (presently Bangladesh) owes its origin to “Chandraburmankot”, erected circa 315 AD, the remains of which are still extant. “Kot” stands for fort, “Ali” signifies “wall and area surrounding the fort”, and “para” means a settlement or “a neighbourhood”. Kotalipara was known as the second ‘Naimisharanya’ of India. It was inhabited predominantly by the Brahmins and was like a hermitage fostering advancement of the Sanskritic culture and philosophy in its various aspects. In the beginning there was a dearth of Sagnik Brahmins in this region. In 1019 AD Shyamal Burma (or Samal Burma), the king of this region invited Yashodhar Mishra, the son of Maheedhar Mishra of Kanyakubja and gave him 14 villages to settle down. In the following period on Shyamal Burma’s request Yashodhar Mishra brought thirteen more Sgnik Brahmins from Kanauj. According to the “Vaidik Kuladeepika” Yashodhar Mishra retained Kotalipara, Samantasar and Chandradweep in his own account and settled there with some Brahmins of other Gotras. He distributed the other villages among the rest of the Brahmins to settle down. He gave him fourteen villages for settling down. As far as history is concerned he retained Kotalipara for himself and settled down there. Gradually Kotalipara became a nucleus of musical and other cultural practices. Harihar Mishra, the 18th generation of Maheedhar Mishra received the title “Chakraborty” on performing the “Goshthipati Yag”.

Various forms of music have been practised in this gharana from ancient times. Vaidik samgan, Marga/Natyageeti [Magadhi, Ardhamagadhee, Sambhaavita, Prithula and Dhruva] Prabandhageeti and many other kinds of ‘geet’ were in vogue. Later Biswambhar Chakraborty, a descendant of Harihar Chakraborty came in touch with the famous Veenkar and Rabaab player of his time, Saadik Ali Khan, son of the renowned Zafar Khan, a direct descendant of Tansen. Biswambhar learnt some dhrupad ‘Bandishes’ and ‘alaap’ as well as some Khayal bandishes through his association with Saadik, his nephew, Kasim Ali Khan and his disciple, Ganesh Vajpeyee [Source: Kalidas Chakraborty, son of Nyayaratna Ramchandra Chakraborty]. Since Biswambhar Chakraborty was directly involved with the mainstream Hindustani classical music he was naturally drawn to Dhrupad and Khayal. A near contemporary of Bishwambhar Chakraborty and a descendant from another stream of this large family Taraprasanna Chakraborty became a disciple of Jadubhatta of the Bishnupur gharana. The two streams of Seni and Bishnupur gharana from these two sources were carried forward through Biswambhar’s son Sheetalchandra Chakraborty, and his sons Ramachandra (Nyayaratna) and Kulachandra. Ramachandra (Nyayaratna) during his official sojourn in Berili received Taalim from Jahur Khan of Khurja gharana. Jahur Khan in turn took lessons in Sanskrit from Ramchandra. Kulachandra too joined these musical sessions for a short time. Nyayaratna Ramachandra Chakraborty was the Dwar Pandit (court scholar) and a court singer at the state of Natore. Kulachandra had three sons the younger two being Tarapada Chakraborty and Haripada Chakraborty. Their elder brother died at a very early age.

Tarapada’s preliminary training was under his father and uncle. Later he came to Calcutta and received ‘taalim’ from Satkari Malakar, a pre-eminent exponent of the Gwaliar gharana. Finally he received taalim from Girija Shankar Chakraborty who was trained in various gharanas like Betia, Rampur, Jaipur, Seni, Banaras, Kirana, Agra, Delhi, and so on. In his sheer individual endeavour Tarapada earned many musical treasures which adding to his ancestor’s collection created a huge musical treasure trove. There were dhrupad, dhamar, khayal, tappa, thumri and other semi classical musical forms in this collection. Alongside he practiced various folk music and Keertan, which can be considered as a form of classical tradition unique to Bengal. His individual and ethereal style has etched a unique place for him in the realm of Hindustani Classical music. Sangeetacharya Tarapada Chakraborty became a legend in his lifetime. In truth he is the prime architect of the Kotali Gharana.

Pandit Manas Chakraborty, the son and disciple of Sangeetacharya Tarapada Chakraborty is a living legend in the realm of Hindustani Classical Music. With his multifaceted talent, creativity, intellectuality and philosophical views and research on other classical Gayaki of musical traditions, semi classical and folk-forms of India, in alliance with his own tradition opened a new vista in the Kotali gayaki. The Kotali gharana was named after the name of the place of its origin in the phase following 2000 by him in accordance with his father’s wish.

Gaan Saraswati Shreela Bandyopdhyay, an able disciple and the eldest daughter of Sangeetacharaya Tarapada Chakraborty received training under her elder brother Manas Chakraborty too. She established herself as an outstanding vocalist of the Kotali Gharana. Haripada Chazkraborty and his elder son Bimalendu Chakraborty also received Taalim under Sangeetacharya Tarapada Chakraborty. Evidently Manas and Shreela were the prime ambassadors of this gharana who with their recitals kindled the light, essence and the multidimensional gayaki of this gharana in other parts of the world. Currently the vocal and instrumental artistes of this gharana are widely appreciated and established at home and abroad.

Ruchira Panda , an outstanding vocalist and one of the senior disciples of Pandit Manas Chakraborty groomed in the Kotali gharana has earned an enviable distinction amongst the younger musicians in the realm of Hindustani Classical Music. Her gayaki speaks out for her keen interest in aesthetics, spiritual awareness and serenity which is seldom found in modern days. She carefully keeps up with the purity and nuances of the Kotali Gharana aligning with the multifarious gayaki of her Guru and his predecessors.

Courtesy of Ruchira, an outstanding vocalist groomed in the Kotali gharana


Kotali Gharana : The Heritage & Philosophy

Kotali Gharana’s musical heritage was deep rooted in history. It goes nearly a thousand years back. Or maybe even more.

At the times of Samrat Samudragupta, Raja Chandrabarma used to rule over a vast territory in south-western Bengal. He built a fort and named it Chandrabarmakot. It is believed that the year was 315 AD. It was a settlement of Sagnik Brahmins and became famous as a centre of cultural learning especially music. However due to natural calamities, the community didn’t survive or migrated and the fort became derelict and it was reduced to ruins.

Several hundred years later and about 1019 AD, the ruler of the land Raja Shyamal Barma directed Jasodhar Misra, the son of Mahidhar Misra to establish a community which was set up around the ruins of the fort and this was christened as Kotalipara (kot = fort, ali = the wall and the land encircling the fort, para = neighbourhood). Later on Jasodhar Misra invited 13 Sagnik Brahmin families to settle in Kotalipara. Soon it was re-established as a centre of musical learning.

Eighteen generations after Mahidhar Misra, Harihar Misra earned the title ‘Chakraborty’. Tarapada was the twentyninth generation of this Chakraborty family.

His father Kulachandra and uncle Ramchandra were students of Zahur Khan of Khurja gharana. Naturally, young Tarapada learned his ropes from these two skilful exponents of Hindustani music. Later in life, he came to Calcutta and received talim from Satkari Malakar of Gwalior and Benaras gharana. His last Guru was Girijasankar Chakraborty who himself was a treasure house and melting pot of many well known gharanas like Kirana, Agra and Jaipur. But the mark of the true artist is originality. Tarapada’s music education was not limited to what he learned from his gurus; he ranged far and wide, dived deep and flew high wherever music would lead him to. Thumri, dhrupad, dhamar, tappa were just a few of his seemingly endless repertoire of musical skills. His originality was an indication of the variety and richness of Hindustani classical music. As years went by, Tarapada’s creativity came out of its shell. The distinct nuances that are not so easy to shed and those that bear the mark of a guru and the gharana were gone and were replaced by a style so rich and original that very soon he was able to establish himself as a supreme artist recognized for his unique presentation.

Baba Alauddin Khan was deeply impressed by Tarapada’s music as indicated in one of his letters. Ustad Fayaj Khan said in an interview aired from Lucknow Radio Station that Tarapada was in his list of top three khayalists.

Tarapada also enjoyed the popularity of the people. He made his mark at an early age of 20, in the year 1929 at the Albert Hall in Calcutta. In the early thirties, he started his career as radio artist but curiously as a tabla player with the recommendation of Raichand Baral. Talent needs a break and Tarapada got his break one evening when the vocalist Jnan Goswami was absent and Raichand Baral asked him to take his place. After that Tarapada did not have to look back. His popularity spread like wildfire throughout India. He started performing for national radio programs and prestigious music conferences with renowned artists like Abdul Karim Khan, Fayaz Khan, Mazaffar Khan, Baba Alauddin Khan, Hafiz Ali Khan, Onkarnath, Ananth Manohar Joshi, Kesarbai, Hirabai, Roshanara Begum, Bade Gulam Ali Khan and many others.

Tarapada was the originator of Bengali khayal, which was just yet another instance of his creativity. There was something different in the way he used sing classical based Bengali songs. It was as different was it was remarkable. It was original.

Tarapada, a maverick, named the style he evolved as the Kotali gharana and thus permanently established a musical heritage that goes back more than 15 centuries to the days of Emperor Samudragupta. His son, Manas Chakraborty kept this heritage alive.

Manas Chakraborty, the devout pursuer of various sources and streams of Indian Classical Music is enriched by his keen interest in Indian Philosophical traditions of all the existing Gharanas and Gayakies. The musical phenomenon of Manas has attained a new altitude which is his very own and individual and has initiated a new dynamics of allegiance to the human efforts towards life and its values. He sets his Khayal Gayaki in accordance with the character of Raga. Gifted with deep sonorous and vibrant voice when he enters the actual territory of the Raga with bandish-gayan and vistaar he uses the method of modal variation of inflection of several notes for the particular ‘Ras’ demands. With ‘Kakuswara’ prayog and also various other suggestively rich ‘meend’(glides), ‘Kan’,‘Khatka’ and by some rare applications of meer-khand process he builds up an aesthetic edifice with his majestic mizaaj and serenity. His innovative and intricate Bahalwa and sargam structures create bridge of transition between the mid-phases of Gayaki of his vistaar and taan. Finally he makes deep into the complex area of taan with thundering gamaks and halaks, culminating in kut, jamjama, sapat and other patterns with such an amazing ease in gradual speeds in extempore that at the very juncture of penetration while rendering in tremendous speed he practically captivates the audience in a state of climatic anxiety. The Maestro boldly makes the manifold moves of his style to achieve an integrated oneness of the eternal Indian ethos, to enrich the dimensions of a particular raga.

His Thumris have created a landmark in the evolution of Hindustani-Music. The abstract soul of the Artist comes out with musical expressions by bol-banana and unfolds his fecund mind with delicacy in his delineation. Although, he was initiated in lachao and Banarasi Thumris by his father he is not at all orthodox and has accepted improvisations and fusions with the Punjabi style and some folk elements in his thumri gayan. In his thumri gayaki one can notice the evolution of styles that has come through the ages and reached an ensemblic height in his style with lyrical values and poetic sensibilities of his own.

Manas is a versatile genius who has unsurpassed mastery of all languages of Khayal, Thumri and various other semi-classical styles of music such as Tappa, Bhajan, Ragpradhan etc. Most of his own created bandishes can be noted by his pseudonym ‘Sadasant’ and he is distinctively adored among the music-lovers while rendering these for his emotional expression essentially romantic, with a great control over his voice with which he can pass-over whatever message he likes to attribute.

Manas’s musical journey started at the tender age of seven along with his illustrious father participating in several conferences. He distinctly remembers the metamorphic initiation as he recalls his performance at the All India Music Conference, at Roxy Cinema Hall, Calcutta around the age of twelve. His astonishing maturity at that age attracted spontaneous praises even from the great exponents of classical music like Ustad Alauddin Khan, Sreemati Kesharbai Kerkar, Pt. Omkarnath Thakur and of course Narayan Rao Vyas who used to affectionately call him the ‘Little Tiger’. Since then he had never looked back, his recitals have earned an enviable distinction as an’ “Artist of Artists ”, in various concerts in both at home and abroad. ‘Talim’, ‘tabiat’ and ‘taiari’ with inborn artistry, profound knowledge, intellectuality and cerebral ability has given a new dimension to his unique style of rendition which is now being followed by many artists along with his own disciples. Thus presenting the obscure reality of music in a tangibly graceful elocutionary form with his kalabant gayaki, nayaki and majestic mizaaj has made him an institution by himself in the international realm of Hindustani Shastriya Sangeet. His contribution towards the Hindustani Classical Music for the last fifty years is undoubtedly worth-mentioning and as a ‘Guru’ he is great. The schooling of Indian Classical Music through the mentors of his family and the torchbearers, established around the globe has already entered the seventh- generation and now the new trend of ‘Kotali Gayaki’ is his single handed orchestration, which with the synthesis of diversities has finally created and defined the ultimate shape of ‘ Kotali Gayaki’. His highly technical and eclectic approach though different from his father’s individuality, is finally convergent to the philosophical end of the essence of ‘Kotali Gharana’.

Courtesy of Pandit Manas Chakraborty

Nawab Sayyid Hamid Ali Khan Bahadur


During the past two decades, when music conferences became very popular, every musical artist proclaimed that he came front a particular famous Gharana, that is, a particular line of hereditary musical tradition and particular school of musical styles created or followed by great music teachers and their disciples.

Actually, there were two main Gharanas of Hindusthani music worthy to be considered, during and after the reign of Allauddin Khilji, the Pathan Emperor of Delhi. These were : — (1) The kalawanta Gharana, founded by Baiju Bawra and propagated by Nayak Gopal which included the singers of the Dhrubapada style of music and the instrumentalists who played on Saraswat veena in accompaniment to the vocal Raga Alap and Dhrubapada songs. (2) The kawal Gharana, founded and propagated by Amir Khusru and later on by Sultan Hussain Sarki of Jaunpur. These Gharanas included the singers of Kawali songs and the instrumentalists who played on Sitar in accompaniment to the Kawali songs and Taranas. Later on, a third Gharana was formed by the instrumentalists who used to play on Shanai and Tabla. With the increase of the number of female singers and dancing girls in the Court, there arose a fourth Gharana of instrumentalist accompanying them. The Ostads of the third and fourth Gharana were called Mirasis and Dhadis. SWAMI HARIDASJI OF BRINDABAN During the reign of Md. Adil Shali at Delhi, there were more than one hundred musicians in the Court, who were mostly the Kawals, Mirasis and Dhadis. After the fall of the Pathan Empire, Haridas Swami, the great saint of Brindaban was the main personality in the golden age of Hindusthani music, when the system of Rag-Alap and the Dhrubapada style of music founded by Baiju Bawra, attained perfection of expressions, and was held in the highest estimation by the royal courts existing in that period. Under the influence of his inspiration, Raja Man Tomar of Gwalior brought four Nayaks or authorities of Dhrubapada Hindusthani music in his court,who were named – (I) Bhanu, (2) Chharju, (3) Dhundi. (4) Chanchal Sashi. Really, the Gharanas of Hindusthani classical music were formed by Swami Haridasji and these four Nayaks, who were all Kalawantas. During the reign of the Emperor Akbar, Mian Tansen, the disciple of Swami Haridas, was called the greatest of all musicians and was the main centre of a great musical upheaval. All the disciples of other Nayaks became his disciples and his style of Alap and Dhrubapada was regarded and accepted as the best ever known. He enriched the Dhrubapada style with some Persian ornamentations. Mian Tansen was the leader of a group of famous musicians, namely :- (1) Khoda Bux, (2) Masnad Ali, (3) Ramdas, (4) Chand Khan, (5) Suraj Khan, (6) Khande Rao, (7) Suragnan Khan, (8) Jagapat (Mridangi). SAINT HARIDAS’S DISCIPLE – MIAN TANSEN Mian Tansen was the greatest disciple of Swami Haridas and a foster child of Pir Md. Ghaus of Gwalior while others were either his colleagues or disciples of other Nayaks of Gwalior. All these musicians were attached to the Court of Delhi. The other notable disciples of Haridas Swami were (1) Brija Chand. (2) Gopal Lall, (3) Maharaja Samokhan Singh of Ajmir, Singhalgarh, who was the greatest Veena player of that period. From the period of Akbar, notable Gharanas of Northen India were formed by the descendants or disciples of the above-mentioned musicians. But as Mian Tansen was accepted as the greatest of all musicians by Emperor Akbar, his influence on other musicians was paramount. He formed the main Gharanas, that is, the Seni Gharanas of Hinduathani music. After the death of Mian Tansen, three Gharanas representing his traditions were notable. The first Seni Gharana was formed by his youngest son, Bilas Khan ( Tan Tarang ) at Delhi Darbar. This Gharana represented the choicest Dhrubapada style in Goudi Bani. The second Seni Gharana was formed by another son of Tansen named Surat Sen, who used to sing Dhrubapadas in Dagar Bani and whose descendants subsequently settled at Jaipur, The third Seni Gharana was formed by Misri Singh, the celebrated Veena player, who was the son of Maharaja Samokhan Singh and married Saraswati Devi, the daughter of Tansen. His descendants formed the main Gharana of Veena music and used to sing Dhrubapadas in both Dagar and kahandar Bani. Besides these three Seni Gharanas, the other famous Gharanas were formed by Brija Chand and Suradas at Mathura, whose disciples were the Brahmin priests while Chand Khan and Suraj Khan were the founders of Tilmandi Gharana of Dhrubapadas in Punjab. We find the name of the Agra Gharana specializing in Dhamar style formed by Hazi Sujan Khan, Which was famous during the reign of Emperor Shah Jahan. With the decline of classical music, musicians of all the Gharanas underwent severe hardships during the reign of Aurangjib. But Mahammad Shah Rangile, the Badsha, revived the Delhi Darbar in the early eighteenth century with the musicians of all Gharanas assembled at Delhi. GREAT VEENKAR AFTER TANSEN Niamat Khan Veenkar who was a descendant of Misri Singh (son-in-law of Tan Sen) and later on received the title ‘Shah Sadarang’ in the Darbar of Md. Shah is ranked as the second great musician of India after Mian Tansen. He was the high priest of Md. Shah’s Darbar and invented new techniques of the veena music and Dhamar. He also created the classical Kheyal and founded the famous kawal Gharana through his disciples, whom he taught classical Kheyal. The Kawal Gharana thus formed, was regarded as the authoritative line of Kheyal. Other Gharanas like Agra Gharana and Gwalior Gharana of Kheyal, grew up from the main Kawal -Gharana. During the latter part of eighteenth century, progressive disintegration of the great Mughal Empire was followed by the provincial Subadars and the subordinate Rajas becoming virtually independent and the Emperor of Delhi had only the symbolic possession of supreme authority and honour. As the financial position of the Delhi Darbar became precarious, the most famous musicians of Delhi took shelter in other courts. At this stage the Seni musicians who came attached to different courts of India, devoted themselves more and more to the culture of instrumental music. Although they were authorities on the Dhrubapada songs, they were divided into two camps. The descendants of Bilas Khan and Niamat Khan made Banaras their home town, but were attached to the courts of Lucknow and other states. They were called Eastern musicians. The other camp which was formed of the descendants of Surat Sen settled at Jaipur and were called Western musicians. The Eastern musicians of the Seni Gharana used to play on Rabab and Veena beside singing Dhrubapadas while Western Seni musicians specialised in Sitar and Veena and also sang Dhrubapadas. The kawal Gharana was for a period attached to the Delhi Court. THE MAIN GHARANAS During the middle of the eighteenth century, the main Gharanas of Hindusthan, which were founded by the Seni musicians and their disciples took final shape. The main Gharanas were as followes: (1)Seni Gharana of Dhrubapa and Rabab, formed by three great brothers, Jaffar Khan, Payar Khan and Basat Khan of Lucknow and Banaras. (2)Seni Veenkaras, laid by Nirmal Sha of Lucknow. (3)Kawal Gharana laid by Bade Md. Khan Kawal, of Lucknow and Gwalior. (4) Gwalior Gharana of Kheyal formed by the three great Kheyali brothers;- Huddu Khan, Hassu Khan and Nathu Khan. (5) Agra Gharana of Kheyal and Dhamar, formed by the descendants of Hazi Sujan Khan (Dhamar) and who later on became disciples of Shah-Sadarang. (6) Betia Gharana of Dhrubapada formed by the disciples of Haidar Khan seni of Lucknow, who were the kathaks of Banaras, as well as Muslim Ostads of Kalpi. (7) Bishnupur Gharana of Dhrubapada formed by Bahadur khan Seni, through his disciple Ramshankar Bhattacherjee. (8) Tilmandi Gharana of Punjabi Dhrubapada singers. (9) Lahore Gharana by Punjabi kheyalias, disciples of Shah-Sadarang. (I0) Ataruli Gharana of Dhrubapada and Kheyal founded by the Brahmins of Mathura who embraced Islam later on. (11) Dagar Gharana, founded by Bairam Khan, a great scholar and Dhrupad singer, who was a descendant of a priestly line of Mathura. (12) The Seni Gharana of Sitar of Jaipur, founded by the celebrated Amrita Sen. (13) The Sarod Gharana of Saharanpur, disciples of Omrao Khan, a son of Nirmal Sha Seni. (14) Sarod Gharana founded by Niamutulla Khan, a disciple of Basat Khan Seni. (15) The Sitar Gharana of Lucknow founded by Golam Md. Khan, a disciple of Omrao Khan Seni. BIRTH OF RAMPUR GHARANA Now we come to the origin of Rampur Gharana which is the latest and last of the greatest Gharanas of India. After the end of the Sepoy Mutiny, Wazed Ali Shah, the great patron of music settled at Calcutta from Lucknow. He brought with him here great musicians like Sadeque Ali Khan, Kasem Ali Mian of the Tansen Line and Murad Ali Khan and Taj Khan of Kulpi School and some outstanding kheyalias also. Among the other great musicians of the Tansen line, Sadeque Ali Khan, the great Rababi and scholar, settled in Benaras and trained some priestly musicians like Mithailallji and Bajpayeji. Benaras thus became a prominent centre of classical music. But there were two shining luminaries of Hindusthani music were invited with great respect and promise of princely allowances by Nawab Kalwe Ali Khan of Rampur State (U.P.), which was founded by the Pathans of Rohilkhand. These luminaries were named Bahadur Hussain Khan Bahadur Khan of Bishnupur) and Amir Khan. Bahadur Hussain was a nephew of Payar Khan Seni, the celebrated Surasringar player, while Amir Khan was the son of Omrao Khan Seni, the renowned Veenkar. Thus he first used to play on the Surasringar and the second on the Veena. Both, however, were the masters of Dhrubapada singing of the Tansen Line. Bahadur Hussain concentrated more on the instrumental music and had such a charming style of play that people used to say that his fingers were made of diamonds. Not only the lovers of classical music, but even uninitiated laymen were overwhelmed with rapturous joy by the sound of his instrumental displays. He introduced many new Alankaras (embellishments) in the instrumental music and variations of Jhala or Jhankar which are unequalled even up to now by any instrumentalist of India playing Sitar or Sarod. CUCKOO-VOICED SANADA PIYA Amir Khan Veenkar, on the other hand, had a very melodious voice and though originally an instrumentalist his concentration was on vocal music. In the Rampur Darbar, he seldom played on Veena in the presence of Bahadur Hussain Khan who, by the way, was his uncle-in-law. But he used to sing in the Darbar, vocal Alap, Dhrupads and Dhamars. In that period classical Thumri was created by the famous composers Kadar Piya, Sadar Piya, and Sanada Piya, who were attached to the Court of Lucknow during the reign of Wazed Ali Shah. With the departure of Nawab of Lucknow to Calcutta the Lucknow Darbar broke up and Sanada Piya accompanied Bahadur Hussain and Amir Khan to Rampur. Sanada Piya had a voice like that of the “cuckoo” or Kokil and his style of Thumri was very fascinating. But Amir Khan sang Dhamar in such a way that the charms of his voice and styles, overpowered even the best specimens of Thumri. Amir Khan not only used Meend and Alankaras, but also used some Alankaras which sounded like Murki and Firat. RAMPUR    GHARANA’S SPECIAL   CHARMS The Rampur Gharana of music founded by Bahadur Hussain and Amir Khan, was characterised by some special charms in the use of Alap, Dhrupad, Dhamar and in the instrumental music which were not found anywhere in India. Both of these great musicians gave all their theoretical and practical knowledge to Nawab Haidar Ali Khan, a brother of the then riuling Nawab of Rampur. Haidar Ali was a unique musician in the vocal and instrumental music and had a very valuble collection of musical scripts containing the teachings of the great masters. These collections are still carefully preserved in the court of Rampur. Rampur State, during tho time of Haidar Ali Khan had a galaxy of musicians. All of them became disciples of Bahadur Hussain or Amir Khan. Although they belonged to other Gharanas before they came to Rampur, they changed their old style and were influenced by the styles of their masters and thus became identified with the Rampur Gharana. Bahadur Hussain composed many Taranas, which were demonstrated by the kheyal singers of Rampur State. SOME GREAT MUSICIANS OF TANSEN SCHOOL The following outstanding musicians became initiated in the Tansen tradition by Bahadur Hussain or Amir Khan 1. Md. Hussain (Veena) 2. Nabi Bakash (Veena) 3. Kutubuddaulla (Sitar) 4. Enayet Khan (Kheyal) 5. Ali Hussain (Veena) 6. Bakar Ali Khan (Kheyal) 7. Assad Khan (Surasringar) 8. Fida Hussain Khan (Sarod) 9. Boniat Hussain Khan (sarangi) All these musiciains of different styles of music adopted the Raga system and the ways of execution of Tansen Gharana. So, the Rampur Gharana may be said to be a special formation of the original Tansen Gharana During the early part of this century Nawab Hamid Ali Khan of Rampur emulating the examples of the previous musical Darbars, formed a unique musical association presided over by Sangeet Nayak Wazir Khan, son of Amir Khan (Veenkar). Wazir Khan learnt Veena from his father and Surasringar from Bahadur Hussain in his prime and Nawab Haidar Ali Khan as his guardian, developed his extraordinary musical genius. Wazir Khan also learnt Dhrupad, Dhamar and was both a melodious vocalist and a great instrumentalist. Nawab Chhamman Saheb, the son of Nawab Haidar Ali, was a colleague of Wazir Khan and excelled in Dhrupads and Surasringar display. WAZIR KHAN OF RAMPUR Thus Wazir Khan and Chhamman Saheb were the successors in the line of music of Amir Khan and Bahadur Hussain. Wazir Khan by musical teachings built up the musical career of the following outstanding musicians. 1. Allauddin Khan (Sarod) 2. Hafiz Ali Khan (Sarod) 3. Mehdi Husssain Khan (Dhrupad & Kheyal) 4. Mustaque Hussain Khan (Kheyal) 5. Pramathanath Bandopadhya (Ruddraveen) 6. Jadabendra Mahapatra (Surbahar) 7. Pandit Vatkhandeji (The great Musicologist) It may be noteworthy that Wazir Khan who was in Calcutta in his youth, had special liking for the Bengalees and helped a good deal for the development of classical music in Bengal. Nawab Chhamman Saheb also gave lessons to Pandit Vatkhandeji. Among the Nawab’s other disciples we may cite the names of : 1. Raja Nawab Ali Khan of Lucknow-(Sitar). 2. Girija Sankar Chakrabarty of Bengal-(Dhrupada, Kheyal and Thumri) In conclusion, we should not forget the fact that the Vatkhande College of Music, Lucknow, which is now the Centre of Vatkhande University, got tremendous support from Nawab Hamid Ali Khan of Rampur, and Nawab Chhamman Saheb, who helped this great institution both financially and also with the precious teachings of the Rampur Gharana. For every song and each Tana and each Dhrupad he (Raja) gave a crore of rupees to this musician (Kalavid), namely Tansen, who was the embodiment of the art of music. Though these statements of Badaoni and that of the author of the Virabhanudaya Kavyam seem to be exaggeration, to some extent, yet it is clearly understood that Rewa and even its adjacent places were famous for the culture of classical type of Prabandha-Gitis. VRINDAVANA’S CONTRIBUTION Vrindavana was also a famous seat of culture of Prabandha-Gitis. From the history of Bengal Vaishnavism we come to know that most of the Vaishnava savants were headed by Swarupa-Damodara, Ray Ramananda, Swami Krishnadasa, Swami Haridasa, Krishnadasa Kaviraja, Raghunathdasa Goswami, Thakur Narottamadasa and others were well-versed in the lofty or sublime Prabandha type of Gitis. It is said that Thakur Narottama devised the Padavali-Kirtana on the ideal of the classical Dhruvapada, in slow tempo at Khetari, West Bengal. It might be the fact that Vrindavana drew its inspiration and impetus of the culture of Dhruvapada from Gwalior and its adjacent places, but yet it cannot be denied that Vrindavana and afterwards Mathura, created the schools of their own. And those schools were maintained by a host of Kalavids like Krishnadasa, Haridasa and others. These celebrated exponents of music were all upholders of Dhruvapada. BIJAPUR AS CENTRE OF CULTURE Bijapur was also a seat of culture of classical music, and specially of Dhruvapada. Sultan Ibrahim Adil Shah II of Bijapur was a contemporary to the Emperor Akbar. He devoted the best part of his life to the cause of classical music, in which he took interest from his early age. From Asad Beg’s mission to Bijapur, we learn that Bijapur was so famous for its culture of classical music that Akbar was also attracted to this kingdom. From the editorial comments of the journal, Lalitakala, April 1955 – March 1956 and Joshi’s article on ‘Asad Beg’s Mission,’ in the ‘Potadar Commemoration Volume’, 1950, we come to know that Asad Beg went on his Mission in 1603-1604 A.D. It hals been stated thus: “Speaking about the events of 1603-04, Asad Beg says that he was invited to the royal palace to bid farewell to Ibrahim Adil Shah II of Bijapur on the night of 27th Sh’aban. A grand music party had been arranged for the occasion. Asad Beg found Ibrahim so rapt in listening to music that be could hardly reply to Asad Beg’s question. The conversation for sometime was mainly concerned with music and musicians”. It should be remembered in this context that Dhruvapada the most prominent feature of musical culture of that time i.e. in the sixteenth – seventeenth century A.D. Dr. Nazir Ahmed has written as follows in the Introduction to the book, Kitab-i-Nauras by the said Sultan : “Ibrahim was a master of Dhrupada and his book in the same style became so popular as to attract even the Moghal Emperor Jahangir, and the Emperor claimed the Kitab-i-Nauras to be in form of Dhrupada which §ultan learnt from Baktar. It has been stated that about four thousand skilled musicians thronged on an occasion, and the Sultan wished that skillful musicians should always adorn his court by their presence.” From the fact it is proved that Dhruvapada used to play a prominent part in every musical function not, only in the royal court,but also in the kingdom of Ibrahim Adil Shah II. The Emperors Jahangir and Shajahan were also great patrons of Dhruvapada. The names of Jagananath Kaviraj, Dirang Khan. Gunasamudra Lal Khan, the son-in-law of Bilas Khan are worth-mentioning. in this connection, asnoted exponents and connoisseurs of Dhruvapada Prabandha. In the beginning of the eighteenth century A.D. when Mohammed Shah was on the throne of Delhi, Dhruvapada was also held in high esteem in his court. The name of Mohammed Shah’s court-musician, Niyamat Khan Sadaranga is worth-mentioning. in this connection. Niyamat Khan Sadaranga was a Veenkara as well as a Dhrupadiya. Though he devised a new style of Kheyal in slow tempo, yet he was noted as an exponent of Dhrupada of the pure Seni school. The decadence in the culture and appreciation of Dhruvapada came probably during the British rule in India. It came to a climax, when the last titular Mughal Emperor Shah Alam II ascended the throne of Delhi, and granted by a Firman, the Diwani of Bengal, Bihar and Orissa to the East India Company. VISHNUPUR AS CENTRE Vishnupur (Bankura) and different parts of Bengal were also recognised as the Seats of culture ofDhrubapada. When the noted musicians of the Seni school found no help and support from the Emperor, Shah Alam II they began to seek refuge in the Durbars of other ruling Princes including those of Lucknow, Banaras, Betia and Bishnapur. Before the end of the eighteenth century, Bahadur Khan of the Seni Gharana and Peer Bux, the Pakhowaji, were invited by Raja Raghunath Singh II of Bishnapur and were appointed in his court. And from that time onward the intensive culture of Dhruvapada, started in Bengal. HERITAGE OF PRE-CHRISTIAN ERA It may, therefore, be said that the Prabanda type of Giti undoubtedly originated during the pre-Christian era, and evolved out of the ancient Jatiraga and different Gramaragas as depicted in the Natyasastra, Brihaddeshi, Sangita-Sama.yasara, Sangita Ratnakara, etc., through ages, and attained development, assuming novel modes, new names and phases. It still survives in the form of modern Dhrupada i,e Dhruvapada, though lacking in its prestine glory and traditional ideal. The term “Dhruvapada” connotes sacred or celestial Giti or song; for “Dhruva” means ‘sacred’ or ‘that which Is everlasting and celestial’ and ‘Pada’ means Giti or Gana. Originally its literary composition or Sahitya was graceful, majestic and contemplative by nature. It breathed an air of sublimity and grandeur in laudation of the gods and godesses, and the Father in Heaven, though in Iater days, it lost that lofty ideal to some extent. During the time of Akbar the Great, the four styles or methods of presentation of Dhruvapada centered on the regionol utterances or Vani (Bani), and as a result thereof, differeiit Vanis such as Khandara Vani, Dagar Vani, Naohara Vani and Lahar Vani evolved. They were merely the outward features or “Nibaddha Prabandha Gitis. However, Dhruvapada of Dhrupada require to be maintained and sustained in all their characteristic purity, supreme value and importance, even in these days, so as to preserve the glorious heritage of classical music, and to enrich the priceless treasure of art and culture of India. (Courtesy of Indian Music and Mian Tansen by Pandit Birendra Kishore Roy Choadhury ) *

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