mahefil-e-mosiqi: Sid Harth
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Pandit Mallikarjun Mansur, Raag Yaman Kalyan, Vilambit Khyal
Shivpreet Singh: Raag Maru Bihag, Ri Mai Preetmkapoor
Soulful diva: Ashwini Bhide Deshpande darbarfestival
Ashwini Bhide Deshpande, Raag Bhimpalasi, ja ja re apne mandirwaa...
Ashwini Bhide Deshpande, Raag Shuddha Kalyan
Ashwini Bhide Deshpande - 12 nov 2008 Torino (Italy) AlpinaVideo
Ashwini Khaparde - Drut Raag Bhimpalas rkhapard
Hirabai Barodekar - Raag Yaman, vilambit kishoriray
Hirabai Barodekar, Yaman, part 2 with photos by Kishori Ray
Jaipur-Atrauli gharana
From Wikipedia, the free encyclopedia
Singer Shruti Sadolikar accompanied by Anant Kunte on sarangi
(2007)The Jaipur-Atrauli gharana (also known as the Jaipur Gharana,
Atrauli-Jaipur Gharana, and Alladiyakhani Gharana) is a Khayal-based
stylized singing family-hood (Gharana), founded by Utd. Alladiya Khan
(1855–1946) in the late 19th Century. An offshoot of the Agra Gharana,
the Jaipur-Atrauli Gharana acquired its name and status as a Gharana
in the early half of the 20th century as a result of the growing
popularity of stalwarts of this Gharana, like Smt. Kesarbai Kerkar,
Smt. Mogubai Kurdikar and Pt. Mallikarjun Mansur.
The Gharana is unique in that it was the first Gharana to be founded
in Khayal Gayaki, whereas other major Gharanas were previously founded
as Dhrupad-Dhamar Gayakis and eventually adopted or revived into the
Khayal Gayaki.
The founder of this gharana, Utd. Alladiya Khan initially developed
the unique Gayaki of this Gharana following the loss of his voice
which prompted him to develop an adjusted singing style to accommodate
his ailment. This thrust Alladiya Khan to explore the various
qualities which he chose fittingly to progress a new singing style in.
As a result of his exploration, he raised the level of musical and
vocal artistry to such heights that he was acclaimed as the 'High
Priest of Khayal Gayaki.' Barrister Jayakar, a connoisseur of
classical music, was moved to call him the 'Mount Everest of music'.
Signature and specialty Raags of this Gharana (some revived or created
by Utd. Alladiya Khan) include Sampoorna Malkauns, Basanti Kedar,
Basant Bahar, Kaunshi Kanada, and Nat Kamod among others.
History
Four major Gharanas are recognized in Hindustani classical khayal
music: Gwalior, Agra, Kirana and Jaipur-Atrauli. Others are less
pervasive, but no less enchanting, such as Indore, Rampur, Mewati,
Patiala, and Bhendi-Bazar.
The Jaipur-Atrauli gharana acquired its name and status as a Gharana
from the time of Alladiya Khan in the early half of the 20th century.
He raised the level of artistry to such heights that he was acclaimed
as the high priest of khayal gayaki. Barrister Jayakar, a connoisseur
of classical music, was moved to call him "Gaan Samraat" — "The Mount
Everest of music".
Gharana Ancestry
The ancestral origin of the Jaipur-Atrauli Gharana was said to be from
Nath Vishwambhar, noted for setting to Raags the tunes of the shlokas
in his puja. The great musician composer Swami Haridas was also born
in this family and the great Tansen and Baiju were his pupils.
Religious Ancestry
Somewhere along the next generations following Swami Haridas, the
religious affiliation of the Gharana's musical ancestors seems to have
changed, where these Gaud Brahmins became Muslims. Natthu Khan and
Mantol Khan were two stalwarts of this Gharana, four to five
generations down the line. They imbibed the practices of both Hindu
and Muslim traditions. Alladiya Khan, for instance, wore the Janva
(sacred Hindu thread) all his life, dressed like a Maharashtrian,
complete with the Kolhapuri turban, yet did not skip a day of his
Namaaz (Muslim prayer). His compositions praise Mahadev (Shiva) and
Allah with equal fervor.
Many of the Raags and compositions sung in the Jaipur gharana come
from the tradition of Haveli Sangeet, like the compositions "Deva Deva
Satsang" in Raag Savani Kalyan, "Aadidata Ant" in Raag Malkauns,
"Anahat Aadi Naad" in Raag Savani Nat, "Devta Aadi Sab" in Raag Kukubh
Bilawal, "Devi Durge" in Raag Sukhiya Bilawal, and a host of others in
which Hindu devotional themes were used by Utd. Alladiya Khan.
Name
Scholars say the hyphenated moniker of this Gharana recognizes that
Jaipur-Atrauli Gharana musicians originally came from Atrauli near
Aligarh (in Uttar Pradesh) and migrated to the court of the Maharaja
of Jaipur, their principal patron.
Others say they came to the Jaipur Maharaja's court and then dispersed
to various other courts in the area, like Jodhpur, Uniyara, Bundi,
Atrauli etc. After establishing himself in the north, Utd. Alladiya
Khan migrated to the court of Shahu Maharaj in Kolhapur and became his
court musician.
Founder
Utd. Ghulam Ahmad "Alladiya" Khan was initiated into music by his
father, Khwaja Ahmad Khan and his uncle, Jehangir Khan in both the
Dhrupad and Khayal styles. He also had the privilege of being guided
by two famous composers of the time, Ramzan Khan "Rangeele" (Faiyaz
Khan's paternal grandfather) and Mehboob Khan "Darasapiya" (Vilayat
Hussein Khan's maternal uncle). The young Alladiya Khan was closely
associated with Wazir Khan "binkar" at Indore and Bombay. The Meend of
his gayaki can be traced to this influence. Today, only the Khayal
tradition remains. He was known to have been greatly influenced by
Utd. Mubarak Khan's (Gwalior gharana) style that blended the Swar and
Taal aspects of khayal singing for the first time.
Overview
Jaipur-Atrauli Gharana Gayaki (Style & Trends)
Most gharanas apply notes in simple succession in aalap and taan,
whereas in the Jaipur gayaki, notes are applied in an oblique manner
with filigree involving immediately neighboring notes. Instead of the
flat taan, gamak (taan sung with double notes with a delicate force
behind each of the component double-notes of the taan) makes the taan
spiral into seemingly never-ending cycles. Meend in aalap and gamak in
taan are the hallmark of this gayaki. To his immense credit, the great
exponent of Kirana gharana, Pandit Bhimsen Joshi is one of the very
few singers outside the Jaipur gharana, who has adopted the gamak taan
to an extent, complete with long, uninterrupted patterns clearly
showing an amazing breath capacity much like the old masters of Jaipur
gharana, but he has not quite achieved the intricacy and grace of
gamak that is the signature of Jaipur. Sharp edged harkats and murkis
(crisp, quick phrases to ornament the alaap) are relatively uncommon.
Not only are the notes sung in rhythm with the taal but progress
between the matras (beats) is in fractions of quarters and one-
eighths. While being mindful of so many factors, musicians of this
gharana still have a graceful way of arriving at the sam without
having matras to spare! This is particularly evident in the way bol-
alaap or bol-taan is sung, where meticulous attention is given to the
short and long vowels in the words of the bandish that are being
pronounced, and the strict discipline of avoiding unnatural breaks in
the words and in the meaning of the lyrics. No other gharana has paid
so much attention to the esthetics and laykaari in singing bol-alaaps
and bol-taans.
Specialty & Jod Raags
A highlight of Jaipur gayaki is the mastery over Jod Raags (mixed or
hybrid Raags; a blend of multiple Raags that form one Raag). Singers
from other Gharanas tend to sing one Raag in Aaroh (ascent) and the
other in Avaroh (descent). Some others sing one Raag in the lower half
of the octave and then switch to the other Raag in the upper half.
Alternatively, they may sing alternate phrases of the two component
Raags. In Jaipur Gayaki, there is such perfect fusion of the two raags
that it sounds like a homogeneous Raag in its own right, giving the
feel of both component raags, not as a heterogeneous mixture cobbled
together. The listener hears an amalgam of both raags without losing
their distinctive identity. Alladiya Khan introduced many lesser-known
or obscure raags in his repertoire like Raag Basanti Kedar, Raag Jait
Kalyan, Raag Kafi Kanada, Raisa Kanada, Raag Basanti Kanada, Raag
Savani Nat, Raag Savani Kalyan, Raag Bhoop Nat, Raag Nat Kamod, Raag
Bihari, Raag Khat, Raag Khokar, Raag Sampoorna Malkauns, and many
others. Trying to imbibe all these characteristics without losing the
aesthetics is a tall order for any musician. Hence this Gayaki is
called a thinking listener's or connoisseur's Gayaki. However, it
gives equal pleasure to the uninitiated listener who may not
understand the technical intricacies, but responds to the layakari and
the melodic content of the presentation.
Gharana Purity
The Gharana purity of the Jaipur-Atrauli Gharana has been an avid
discussion among connoisseurs and scholars alike, as a result of Utd.
Alladiya Khan purposefully teaching students to approach the same
musical content differently, causing internal quarrels within the
Gharana itself, as well. For instance, the approach to certain Raags
conflict between branches of the Gharana, as certain elements of a
Raag are neglected, emphasized, de-emphasized or treated differently.
As a result, scholars feel the purity of the Jaipur-Atrauli Gharana
can be traced from Utd. Alladiya Khan to his brother Utd. Haider Ali
Khan, to his sons Utd. Manji Khan and Utd. Bhurji Khan, as well as
Utd. Gulubhai Jasdanwalla, the only purist outside of the Utd.
Alladiya Khan family. Today, the Gharana remains with Utd. Alladiya
Khan's grandson and biographer, "Baba" Azizuddin Khan.
Jaipur-Atrauli Gharana Lineage
Utd. Alladiya Khan
(Founder)
Utd. Natthan Khan Utd.
Haider
Khan
Utd. Gulubhai Jasdanwalla Utd. Abdul Majid Khan
(Sarangiya) Pt. Bhaskarbuwa
Bakhale Pt. Shankarrao
Sarnaik Pt. Govindrao Tembe (Harmonium)
Utd. Nasiruddin "Badeji"
Khan Shri. Tribhuvandas Jariwala
Smt. Sushilrani Patel Utd. Shamsuddin "Bhurji" Khan Utd.
Badruddin "Manji" Khan
Smt. Leelabai Shirgaonkar Govindbuwa
Shaligram Smt. Mogubai Kurdikar Smt.
Laxmibai Jadhav-Badodekar Smt. Kesarbai
Kerkar
Utd. Mohammed Sayeed Khan Utd. Mohammed
Rashid Khan Pt. Wamanrao
Sadolikar Pt. Mallikarjun
Mansur
Smt.
Dhondutai Kulkarni Pt. Madhusudhan Kanetkar Pt.
Gajananrao Joshi Pt. Mohanrao Palekar Utd. Azizuddin "Baba"
Khan Madhukar Sadolikar
Pt. Ratnakar Pai Smt. Padmavati Shaligram-Gokhale Smt. Kishori
Amonkar Smt. Kausalya Manjeshwar Smt. Kamal Tambe Wamanrao
Deshpande
Pt. Nivruttibuwa Sarnaik Pt. Ganesh T. Tilak टिळक
मास्तर {{{ }}}
Pt. Jitendra Abhisheki Smt. Manik
Bhide Pt. Babanrao
Haldankar
Siddharam Jambaldinni
Bhalchandra G Tilak Dr. Milind Malshe Dr. Arun
Dravid
Pt. Rajshekhar Mansur Shri. Shripad Bhirdikar
Smt.
Padma Talwalkar Pt. Ulhas Kashalkar Smt.
Jayashree Patanekar Shri. Panchakshariswami Mattigati
Smt. Shalmali
Joshi
Smt. Vijaya Jadhav-Gatlewar
Smt. Ashwini Bhide-Deshpande Smt. Geetika Varde-
Qureshi Smt. Arati Ankalikar-Tikekar Smt.
Shruti Sadolikar-Katkar
Smt.
Namita Devidayal Smt. Manjiri Kavre-Alegaonkar
Shri. Raghunandan
Panshikar Smt. Manjiri Asnare-Kelkar
Shri. Milind Raikar
(Violin)
Shri. Aditya Khandwe Smt. Saniya Kulkarni-Patankar Dhanashree
Ghaisas Dr. Revati Kamat
Exponents of the Gharana
Utd. Ghulam Ahmad "Alladiya" Khan (1855–1946), Gharana founder;
learned from uncle Utd. Jehangir Khan.
Utd. Haider Ali Khan (Brother of Alladiya Khan)
Utd. Natthan Khan (Nephew of Alladiya Khan)
Pt. Bhaskarbuwa Bakhale (1869–1922), learned from Utd. Alladiya Khan
and Utd. Natthan Khan.
Utd. Badruddin "Manji" Khan (1888–1937), second son of Utd. Alladiya
Khan. Learned from Utd. Alladiya Khan.
Utd. Shamsuddin "Bhurji" Khan (1890–1956), third son of Utd. Alladiya
Khan. Learned from Utd. Alladiya Khan.
Utd. Nasiruddin "Badeji" Khan (1886–1950), first son of Utd. Alladiya
Khan. Initially learned from Utd. Alladiya Khan but a respiratory
injury, from playing Cricket, damaged his vocal approach, with his
father refusing to teach him, later continuing his tutelage from his
uncle Utd. Haider Khan and cousin Utd. Natthan Khan.
Utd. Gulubhai Jasdanwalla
Utd. Abdul Majid Khan, Utd. Alladiya Khan's Sarangiya.
Pt. Govindrao Tembe
Utd. Gulubhai Jasdanwalla
Pt. Shankarrao Sarnaik learned from Utd. Alladiya Khan.
Smt. "Surashree" Kesarbai Kerkar (1892–1976), learned from Utd.
Alladiya Khan
Smt. "Gaana-Tapasvini" Mogubai Kurdikar (1901–2000), learned from Utd.
Alladiya Khan and Utd. Haider Ali Khan.
Smt. Laxmibai Jadhav learned from Utd. Haider Ali Khan.
Pt. Wamanrao Sadolikar (1907–1986) learned from Utd. Alladiya Khan and
later Utd. Bhurji Khan
Wamanrao Deshpande (1907–1990), learned from Utd. Natthan Khan and
Smt. Mogubai Kurdikar.
Pt. Mallikarjun Mansur (1910–1992), learned from Utd. Manji Khan and
Utd. Bhurji Khan but accompanied Utd. Alladiya Khan in concerts.
Pt. Mohanrao Palekar learned from Utd. Bhurji Khan.
Pt. Nivruttibuwa Sarnaik (1912–1994), learned from his father Pt.
Shankarrao Sarnaik and Utd. Alladiya Khan.
Smt. Padmavati Shaligram-Gokhale (born 1918), learned from her father
Pt. Govindbuwa Shaligram.
Smt. Dhondutai Kulkarni (born 1922), learned from Utd. Natthan Khan,
Utd. Manji Khan Utd. Bhurji Khan and is the sole disciple of Smt.
Kesarbai Kerkar.
Smt. Kausalya Manjeshwar (1922–2008), learned from Pt. Gajananrao
Joshi and Smt. Mogaubai Kurdikar.
Pt. Anandrao "Limayebuwa"
Pt. Ratnakar Pai learned from Utd. Gulubhai Jasdanwalla and Pt.
Mohanrao Palekar.
Pt. Ganesh T Tilak He is the founder of Tilak Sangeet Vidyalaya in
Dadar, Mumbai and was popularly known as टिळक मास्तर and was a
disciple of Pt. Mohanrao Palekar.
Pt. Panchakshari Swami Mattigatti (born 1930) learned from Pt.
Mallikarjun Mansur.
Smt. "Gaana-Saraswati" Kishori Amonkar (born 1931), daughter and
disciple of Smt. Mogubai Kurdikar, also learned from Pt. Mohanrao
Palekar.
Smt. Kamal Tambe learned from Smt. Mogubai Kurdikar.
Smt. Manik Bhide learned from Smt. Kishori Amonkar.
Smt. Sulabha Pishvikar learned from Smt. Mogubai Kurdikar & Smt.
Kishori Amonkar.
Pt. Rajshekhar Mansur (born 1942), learned from father Pt. Mallikarjun
Mansur.
Dr. Arun Dravid (born 1946) learned from Smt. Mogubai Kurdikar and
Smt. Kishori Amonkar.
Smt. Padma Talwalkar (born 1948), learned from Smt. Mogubai Kurdikar.
Dr. Milind Malshe learned from Pt. Ratnakar Pai.
Bhalchandra G. Tilak (born 1950), son of Pt. Ganesh T. Tilak "टिळक
मास्तर"; disciple of Pt. Ratnakar Pai.
Smt. Shruti Sadolikar-Katkar (born 1951), learned from father Pt.
Wamanrao Sadolikar and later Utd. Gulubhai Jasdanwalla.
Pt. Ulhas Kashalkar (born 1955), learned from Pt. Gajananrao Joshi.
Smt. Ashwini Bhide-Deshpande (born 1960), learned from mother Smt.
Manik Bhide and later on from Pt. Ratnakar Pai.
Smt. Arati Ankalikar-Tikekar learned from Smt. Kishori Amonkar and Pt.
Dinkar Kaikini.
Shri. Raghunandan Panshikar (born 1963) learned from Smt. Kishori
Amonkar and Smt. Mogubai Kurdikar.
Smt. Vijaya Jadhav-Gatlewar learned from Pt. Nivruttibua Sarnaik
Smt. Manjiri Kavre-Alegaonkar
Smt. Manjiri Asnare-Kelkar learned from Pt. Madhusudan Kanitkar
Dr. Bharati Vaishampayan learned from Pt. Nivruttibua Sarnaik
External links
Arun Dravid - Jaipur-Atrauli Style of Presentation
ipur-Atrauli Style of Presentation:
Voice delivery is full-throated; no falsetto is used in any aspect of
the gayaki. The swar (note) is sung in the aakar form in such a way
that it does not sound harsh or forced, but emerges deep from the
chest as a natural, sonorous sound. The focus is on filigree-like
details, and integration of mind, voice and breath through long
passages of stunning complexity and beauty. The notes are woven in the
laya (rhythm) so skillfully that it presents a seamless whole,
interlinking one note with the other without losing their distinct
character. The bandishes or compostions are set to taal with such
precision and grace that the swaying tempo invokes a similar swaying
response from the listener.
Some gharanas stress mastery over the swara (tonality), whereas others
give more importance to laya. Jaipur gayaki is a happy marriage of
both aspects without undue stress on one or the other. This balance is
difficult to achieve. If you try to present the notes aesthetically
and don't pay attention to the laya, you may not arrive at the sam
(the first beat of the cycle) gracefully and in time. If you
concentrate on the laya and do not pay attention to the notes, you
might go off-key or sing something which is not pleasing to the ear.
Old masters like Mogubai Kurdikar, Kesarbai Kerkar, Mallikarjun
Mansoor, Nivruttibuva Sarnaik enchanted audiences with somewhat
puritanical presentations of the Jaipur gayaki. Kishori Amonkar gave
the Jaipur gayaki a somewhat new direction, emphasizing the emotional
content (Bhava or Rasa), and consequently de-emphasizing the
structural content of the Jaipur gayaki.
Most gharanas apply notes in simple succession in aalap and taan,
whereas in the Jaipur gayaki, notes are applied in an oblique manner
with filigree involving immediately neighboring notes. Instead of the
flat taan, gamak (taan sung with double notes with a delicate force
behind each of the component double-notes of the taan) makes the taan
spiral into seemingly never-ending cycles. Meend in aalap and gamak in
taan are the hallmark of this gayaki. To his immense credit, the great
exponent of Kirana gharana, Pandit Bhimsen Joshi is one of the very
few singers outside the Jaipur gharana, who has adopted the gamak taan
to an extent, complete with long, uninterrupted patterns clearly
showing an amazing breath capacity much like the old masters of Jaipur
gharana, but he has not quite achieved the intricacy and grace of
gamak that is the signature of Jaipur. Sharp edged harkats and murkis
(crisp, quick phrases to ornament the alaap) are relatively uncommon.
Not only are the notes sung in rhythm with the taal but progress
between the matras (beats) is in fractions of quarters and one-
eighths. While being mindful of so many factors, musicians of this
gharana still have a graceful way of arriving at the sam without
having matras to spare! This is particularly evident in the way bol-
alaap or bol-taan is sung, where meticulous attention is given to the
short and long vowels in the words of the bandish that are being
pronounced, and the strict discipline of avoiding unnatural breaks in
the words and in the meaning of the lyrics. No other gharana has paid
so much attention to the esthetics and laykaari in singing bol-alaaps
and bol-taans.
http://en.wikipedia.org/wiki/Jaipur-Atrauli_gharana
Categories:
Jaipur | http://en.wikipedia.org/wiki/Jaipur-Atrauli_gharana
Vocal gharanas | http://en.wikipedia.org/wiki/Category:Vocal_gharanas
This page was last modified on 13 May 2010 at 10:30.
http://en.wikipedia.org/wiki/Jaipur-Atrauli_gharana
...and I am Sid Harth