Raga Kedar - A Perspective (v.1.1)
Rajan P. Parrikar
inserted. Yesterday's quick first draft has been refurbished
with a few additional remarks and some typos eliminated.
In other news: Arrangements are underway to make available
Thirakwa's ektAl solo on a website from where it can be
accessed and downloaded for free. The hosts of the website
will post a notice here once things are in place.
*****
Namashkar. Named after Lord Shiva, the hoary Raga
Kedar occupies a pride of place in the Hindustani
pantheon. It enjoys wide embrace in the ranks of both the
laity and the connoisseur. The architectonics of this rAga
reveals a kaleidoscopic panorama of complex melodic devices,
punctuation and charming, if somewhat elusive gestures.
Seldom are the core values of Indian music united under
one roof as they are in Kedar. It is a product of the
highest musical imagination and genius. In the ambience
surrounding a master the rAga dispenses food for the soul,
in lesser climes it can be intolerable (I have temporarily
overcome the temptation to be more specific about these
climes).
Raga Kedar is of ancient vintage and finds representation
in every conceivable genre: dhrupad, dhamAr, kHayAl, thumri
and so on. Given its 'abstract' nature it is notoriously
resistant to capture on paper; it doesn't get much easier
in realtime instruction either. There is, to paraphrase
an ancient philosopher, "no royal road to Kedar." It has
to be internalized by accretion over a length of time.
With the caveat that writing about Kedar is akin to chasing
an ignis fatuus, here goes:
The rAga employs all shuddha swaras and the teevra madhyam.
The komal nishAd is optional. Throughout the discussion,
M=shuddha, m=teevra madhyam. The heart of Kedar lies in the
following turn of phrase (pun intended):
m P D M, S R, S
uuuu---> meenD
The meenD from D-->M is of the essence. The tonal centre of
the rAga alternates between the shuddha madhyam and pancham,
with the shuddha madhyam serving as a nyAsa swara in both Arohi
and avarohi movements. Let us briefly look at some of the
supporting melodic contours. The accompanying sound clips will
hopefully reinforce these ideas.
1) S R S M, M, M G P - the gandhAr is used but briefly to
vault from the madhyam to the pancham. A variation on the
above phrase could be: S M (G)m, P, which illustrates the
subtle interplay of the two madhyams, a highlight of the
rAga. In the avarohAtmak movement it may assume the following
form: P m M. It must be emphasized that although the madhyams
appear chromatic in written form the intonation is not so:
the slide is always via a meenD or a swara grace. In some
older dhrupads and dhamArs one comes across phrases such as
G M R S or M G R S but they have fallen out of favour in
recent times.
2) On approach to the pancham there are two options: One,
relapse simply to the shuddha madhyam via m. Two, execute
a meenD via dhaivat along the D-->P-->m-->M locus. To launch
an uttarAng foray there are several tracks available of which
we need mention a few:
PDPP S", S " (N)R" S or mPDNS"R"S" or P N (N)D S". Appearances
are deceptive since every step of the way is laden with a meenD
or a mild curve or a grace.
3) The swoop from the tAra shaDja back to the shuddha madhyam
is a tricky maneuver, with whistle-stops along the way on the
dhaivat and pancham: S"--> D--> M. Also characteristic is the
dhaivat to tAra rishab and back sortie: D R" (S"N")D. The
dhaivat is piquant but is not singled out for nyAsa. It is
often tugged with the tAra shaDja in a downward meenD. Several
famous compositions place the 'sam' on the dhaivat.
4) The role of the shuddha nishAd is ambivalent. It is never
used for nyAsa but the proportion and manner of its use is an
idiosyncrasy of the performer's background. Likewise for the
degree of curvature in the subsidiary meenDs. The abstractness
of Kedar obtains primarily in the attempt to pin down these
ambiguous strands into a definite pattern. Each stylistic school
or region, therefore, has conceived its own manner of putting
flesh and bone on the main common idea. In this sense, Kedar
furnishes an apt metaphor for Indian tradition in the wider
context.
5) The komal nishAd is optional and when introduced, is kept
weak in a vivAdi-like role: m P D n D P. A final remark on
tAnbAzi - no straight tAns are possible in this rAga. Typically,
the hammered doublets (SS MM PP etc) and triplets (SSS MMM PPP)
have to be executed, not a trivial undertaking.
With that preamble it is now time to get our feet wet. We
open with the famous prArthanA from "Guddi" (1972) in Vani
Jairam's voice. Music: Vasant Desai, Lyric: Gulzar, 'humko
mana ki shakti denA' -
http://www.parrikar.prohosting.com/guddi.ram
The exceptionally gifted (but untrained) composer O.P. Naiyyar
had the unusual habit of plucking a rAga-based tune out of
thin air, something which always surprised his distinguished
admirer Amir Khan. This from "Ek Musafir Ek Haseena" (1961)
dealt by Mohammad Rafi and Asha Bhonsle -
http://www.parrikar.prohosting.com/ekmusafir.ram
Lata Mangeshkar provides an object lesson in what it means
to handle the swara gently in this "Munimji" (1955) number
tuned by S.D. Burman, 'sAjan bina neenda na Aye' -
http://www.parrikar.prohosting.com/munimji.ram
Next, Manna Dey "sweats blood and produces rubbish" whereas
Lata swings by effortlessly. The film is "Tel Malish Boot
Polish" (1961), the tunesmith, Chitragupta -
http://www.parrikar.prohosting.com/telmalish.ram
The purist might wince on hearing the next clip, at the
contamination Kedar is subjected to. Kedar shares some
of its genetic material with rAgas such as Kamod and
Hameer, and film composers, driven by exigencies of the
lyric, are often wont to stray. Nevertheless, there are
clear Kedar vistas to be had in this Madan Mohan beauty,
superbly delivered by Mohammad Rafi in "Jahanara" (1964).
The third and final antarA is quite unKedar-like but it
seemed perverse to erase what is lyrically the piece de
resistance. Rajinder Kishen's words convey well what is
often termed "the divine nonsense of romantic love" -
http://www.parrikar.prohosting.com/jahanara.ram
Another quasi-Kedar number from "Shagun" (1964), music by
Khaiyyam, the singers are Talat Mehmood and Mubarak Begim -
http://www.parrikar.prohosting.com/shagun.ram
And now, a vintage 1942 number from "Bhakt Soordas" in
Khursheed's voice, 'panchee bAwarA.' The composer is Gyan Dutt -
http://www.parrikar.prohosting.com/bhaktsoordas.ram
To complete the 'light' round, a marAthi nATyageeta from
the play "Shakuntala" by Vasantrao Deshpande -
http://www.parrikar.prohosting.com/deshpande.ram
Fruitful consultation with Sir Vish Krishnan and Dr. Ajay
Nerurkar in compiling the above selection is gratefully
acknowledged.
Onward now to the classical arena. Two pickings from Gwalior
should set the ball rolling. D.V. Paluskar sings the vilambit
bandish "jogi rAwalA." Note the play on the two madhyams about
15 seconds into the clip. The druta composition is the
popular "kAnhA re Nand nandana" -
http://www.parrikar.prohosting.com/dvp_kedar.ram
Sample another popular traditional druta cheez (a favourite of
Kumar Gandharva) in Malini Rajurkar, "kanganwA morA atahi
amolA" -
http://www.parrikar.prohosting.com/rajurkar.ram
Very few in our time have attained the heights Bade Ghulam Ali
Khan "Sabrang" did in the mastery of Kedar. We are pleased to
offer a live mehfil recording of his own vilambit composition.
The clip begins with the great man reciting the text -
http://www.parrikar.prohosting.com/bgak_vil.ram
Bade Ghulam Ali Khan's 3-minute commercial recording of his
drut cheez "E naveli nAra" is too good to pass up -
http://www.parrikar.prohosting.com/bgak_druta.ram
In Fateh Ali Khan we have another accomplished Patiala
exponent (incidently, performing next Saturday in the Bay
Area of San Francisco) -
http://www.parrikar.prohosting.com/fateh.ram
The magnificent Mogubai Kurdikar brings home the
canonical Jaipur-Atrauli composition "pAyo pAyo Rama nAma" -
http://www.parrikar.prohosting.com/mogubai.ram
We pause briefly to remark on the Kedar/Chandni Kedar
imbroglio. There is no consensus on just what Chandni
Kedar is. It is, in my considered opinion, an unnecessary
distraction and gives one the opportunity to flaunt his/her
cassette with the label "Rare Raga." In the estimation of
some, strengthening of the komal nishAd and shuddha
gandhAr in standard Kedar gives rise to Chandni Kedar.
This precept is not always evidenced in practice. It is
true that most of the people run some minor variation
in their canonical version and call it "Chandni Kedar."
But these changes are academic and of not much consequence.
So we will leave it at that and when necessary interject
with our comments.
The following observations may be made on the Jaipur-Atrauli
brand of Chandni Kedar. The gandhAr is articulated more strongly
in Aroha, the meenD from D-->P-->M is de-emphasized. The madhyam
is accorded much more strength than the pancham. I recently
raised the issue with a Jaipur-Atrauli Maharashtrian lady who
has recorded the rAga but she was unable to shed any light
except to say "I got this bandish as Chandni Kedar from my
guru and we elaborate based on that."
At any rate the following mehfil recording of Kesarbai
Kerkar in Chandni Kedar is a treasure. She seems to be in
an unusually jolly mood and even pauses to outline the text
of the Alladiya Khan composition ("Eri ina naina") in
vilambit ADA chautAla -
http://www.parrikar.prohosting.com/kesarbai_vil.ram
It is not often that Kesarbai sang a druta. But there she is -
http://www.parrikar.prohosting.com/kesarbai_druta.ram
Among the younger set Ashwini Bhide shows promise. What
is most likely a "Saras Piya" composition - the well-known
"chatura sughara balmA" - in druta ektAla is elegantly rendered.
Saras Piya was the nom de plume of Kale Khan of Mathura (1860-
1926). He was fluent in Persian, Sanskrit and Braja and one of
the great composers of his time, besides being a top-notch
vocalist and sitAriyA. His end was shrouded in mystery. It is
said that around 1926 he suddenly lost interest in all wordly
things and vanished one day, never to be sighted again. His
lovely compositions survive and thrive (eg. the one in
Raga Paraj - "Manmohan Braja ko rasiyA" - immortalized by
Faiyyaz Khan) -
http://www.parrikar.prohosting.com/bhide.ram
There has been no greater spectacle in Hindustani music than
Aftab-e-Mausiqui Faiyyaz Khan in full flow. The first clip
features a nom-tom style AlAp. Note the subtlety, certainty and
power in intonation - it doesn't get any better than this. The
second segment contains the famous dhamAr "mAna taja de" (documented
by Bhatkhande) followed by the Saras Piya cheez treated earlier
by Ashwini Bhide -
http://www.parrikar.prohosting.com/faiyyaz_nomtom.ram
http://www.parrikar.prohosting.com/faiyyaz_dh_kh.ram
From the "Chandni Kedar - A Rare Raga" (see my point?)
tape of Amir Khan. Brilliant artistry, of course, from
the all-time great -
http://www.parrikar.prohosting.com/amirkhan.ram
The next stop is Basavraj Rajguru's Chandni. Curiously, he
sings the traditional Kedar kHayAl, the same as the one
above by D.V. Palukar, albeit conceived differently, "jogi
rAwalA" -
http://www.parrikar.prohosting.com/rajguru.ram
Finally here is some real dirt on Chandni from
Agrawale Asad Ali Khan. Notice the peculiar manner of
komal nishAd -
http://www.parrikar.prohosting.com/asadali.ram
Kedar is essentially the vocalist's territory. The tantuvAdya
fellas, however brilliant, cannot get all the ingredients
together. The blowers fare better. Bismillah Khan pulls some
delectable meenDs in this one. Notice also his peculiar
manner of lacing the madhyam with gandhAr -
http://www.parrikar.prohosting.com/bismillah.ram
An exquisite Chandni Kedar piece on the flute by Vijay Raghav Rao -
http://www.parrikar.prohosting.com/vijayraghavrao.ram
The basic Kedar prakArs are Shuddha Kedar, Maluha Kedar
and Jaladhar Kedar and then there are several hybrids or
variations such as Basanti Kedar (a Jaipur-Atrauli staple),
Kedar Bahar, Deepak Kedar, Tilak Kedar, Shyam Kedar, Anandi
Kedar, <insert your tanker-tush'ed aunt's name here> Kedar,
Nat Kedar and so on.
Raga Shuddha Kedar de-emphasizes the meenDs, the teevra
madhyam, and brightens the Arohatmaka shuddha nishAd, as
exemplified in the following Bhimsen clip -
http://www.parrikar.prohosting.com/bhimsen_shuddhakedar.ram
The above medley is by no measure comprehensive. Several
traditional bandishes and dhrupads exist. There is, for instance,
Dagar's marvellous recording that I would have liked to include.
We conclude with a fresh-sounding, compelling composition
of Ramashreya Jha "Ramrang." It talks about baby Krishna
playing about the courtyard under the loving and admiring
gaze of Jashoda and the rest of the household. It is a delightful
experience to hear Jha-sahab merely describe in his dramatic
and lyrical manner the backdrop of his compositions. The
text is as follows:
paiNjani bAje jhanana jhanana
kaTi bajata madhura mrudu kinkina
nirakhata chhabi janani balihAri
kilakata bolata hasata mana harata
'rAmrang' Nanda ajira viharata mohata nara-nAri
http://www.parrikar.prohosting.com/jha_kedar.ram
Warm regards,
r
*****
maha...@my-deja.com
downloading these clippings took a lot of time. Vilayat Khan - Imrat
Khan Chadani Kedar jugalbandi will be a another good addition.
I really love your raga perspective series. As I have been new to the
group, I could get only last 4 or 5 postings. Where can I find the
archive of other series postings ??
Thanx for the treat,
Maha
In article <8cc165$31...@drn.newsguy.com>,
Sent via Deja.com http://www.deja.com/
Before you buy.
Rajan P. Parrikar
>
>Thanx Mr. Rajan for excellent posting. But unlike your other postings,
>downloading these clippings took a lot of time.
The clips are on a fast server. Perhaps there was a lot of traffic
in your neighbourhood at the time.
>I really love your raga perspective series. As I have been new to the
>group, I could get only last 4 or 5 postings. Where can I find the
>archive of other series postings ??
Most Usenet postings are archived at http://www.dejanews.com and
may be retrieved via a Power Search.
Warm regards,
r
sum...@yahoo.com
Thanks to RP for that enjoyable compilation of kedars.
A recommendation for v.1.2 -- a wonderfully sung bhajan based on Kedar by
Kumar Gandharva and Vasundhara Komkali (Triveni - HMV) - Main Gaoon Pad
Gaoon.
Suman
vimal aga
>may be retrieved via a Power Search.
while the previous postings are available thru deja.com, i have been unable
to download the older soundclips. is there any way to remedy that or am i
doing something wrong?
regards,
vimal.
vimal aga
>Most Usenet postings are archived at http://www.dejanews.com and
>may be retrieved via a Power Search.
while the older postings are certainly available thru deja.com, i was unable
to download the older sounclips. are those not longer available?
vimal.
vimal aga
>
>Most Usenet postings are archived at http://www.dejanews.com and
>may be retrieved via a Power Search.
i was able to access the older postings thru deja. com but was unable to
download the older soundclips.
vimal.
Rajan P. Parrikar
>Saras Piya was the nom de plume of Kale Khan of Mathura (1860-
>1926). He was fluent in Persian, Sanskrit and Braja and one of
>the great composers of his time, besides being a top-notch
>vocalist and sitAriyA. His end was shrouded in mystery. It is
>said that around 1926 he suddenly lost interest in all wordly
>things and vanished one day, never to be sighted again. His
>lovely compositions survive and thrive (eg. the one in
>Raga Paraj - "Manmohan Braja ko rasiyA" - immortalized by
>Faiyyaz Khan) -
>
>http://www.parrikar.prohosting.com/bhide.ram
In his record "SangeetagoN ke SansmaraNa" (1959), Vilayat
Hussein Khansahab ("prANpiyA") provides a short sketch of
Saras Piya which I've translated:
*****
Kale Khan "Saras Piya:
"Kale Khan was the son of Guldeen Khan. He was born in 1860
in Mathura. He received early training in music from his
father. Concurrently he was also taught Hindi and Farsi.
He was fluent in these languages and wrote Hindi poetry
for which his nom de plume was "Saras Piya." The kHayAls
and thumris he has composed are popular even today.
In addition to his proficiency in vocal music he had
extensive knowledge of sitAr, which he had imbibed from
his father. No department of music was unknown to him. His
passion for poetry and literary study was so intense that at
the age of 50 he began learning Sanskrit grammar from a
panDit. In return he taught sitAr to the panDit. The
mahArAjA of Loonavada was his disciple and had provided him
all material comforts. In particular, the rAjA had made
arrangements to procure for him books in Farsi, Hindi and
Sanskrit from all over. One day in 1926, in the state of
Bharatpur, he vanished. Since then no one has seen or heard
of him."
The venerable Khansahab also reveals something about his own
training.
"Finally, I think it proper that I should comment on my own
training in connection with this account of the Agra Gharana.
Although it is inappropriate to talk about one's own self I
do so only to place before my reader a historical perspective.
I am the fourth child of Agrawale Natthan Khan and I was
born in 1895 in Agra. The first 6 years of my life were spent in
Mysore with my father. But he passed away in 1901 and I went
to live with my granduncles Kallan Khansahab and Jaipurwale
Mohammad Bakshsahab. It was from them that I received my first
instruction not only in music, but also in Urdu, Hindi and Farsi.
Subsequently I learnt from several elders.
I have studied music from 42 gurus out of which the first two
instilled in me a thorough knowledge of swara, tAla and rAgadAri,
and helped lift the veil of ignorance surrounding me. From the
others I learnt new rAgas and compositions.
1) My first ustAd was Karamat Hussein Khansahab, descendent of
the court singers of Delhi. He was employed in the Jaipur court.
From him I imbibed the fundamentals of swara and tAla. He started
me off in Raga Bhairav with AlAp and a dhrupad. Then he trained
me in Asavari, Bhimpalasi, Yaman Kalyan, Bihag, Darbari, Malkauns,
Jaunpuri, Multani, Sarang, Pooriya etc. During this tAleem period
he also encouraged me to accompany him in mehfils. As a result
I received blessings and words of praise from many a worthy musician.
2) My second guru was Kallan Khansahab, who taught me the basics of
kHayAl. He trained me in the following rAgas: Bhairav, Ramkali, Lalit,
Deshkar, Bibhas, Asavari, Darbari, Todi, Bilaskhani Todi, Alhaiya
Bilawal, Shuddha Bilawal, Jaij Bilawal, Desi Todi, Gurjari Todi,
Bhairavi, Brindavani Sarang, Badhans Sarang, Gaud Sarang, Multani,
Bhimpalasi, Poorvi, Pooriya Dhanashree, Shree, Pooriya, Yaman Kalyan,
Shuddha Kalyan, Hameer, Kedar, Kamod, Bageshree, Chhayanat, Jaijaivanti,
Malkauns, Sohani, Paraj, Lacchasakh, Marwa, Bihagda, Lankeshree, Desh,
Sorath, Sughrai, Husseini Kanada, Shivmat Bhairav, Samant Sarang,
Sindhura, Malgunji, Hem Kalyan and so on. In addition he passed on to
me horis and dhamArs in several rAgas. I benefited enormously from
his tAleem. The development of asthAi-antarA and the characteristics
of each rAga became known to me, as also the finer points of layakAri.
He would teach me sargam patterns and with with sargam itself, the
techniques of improvisation. With this kind of training my swara-dynAna
was honed to such an extent that I could see the constituent swaras of
any tAna right away. Sometimes I would provide vocal and tAnpurA
accompaniment to my cousins, Tassadduq Hussein Khan and Faiyyaz Khan,
and to my brother Abdullah Khan. I would complement their tAns with
my sargam.
3) My third guru was my grand-uncle Mohammad Baksh "Sonji" who adopted
me as his son. He taught me AlApi as well as dhrupad and horis, in the
following rAgas: Todi, Jaunpuri, Bhimpalasi, Multani, Poorvi, Yaman,
Pooriya, Bhoopali, Bihag, Darbari, Malkauns, Malashree, Adana, Sohani,
Bihagda, Miyan Malhar, Patdeepaki, Sindhura etc.
4) My eldest grand-uncle Ghulam Abbas Khansahab taught me several
cheezs in Todi, Chhayanat, Megh, Bageshree, Ramkali, lalit, Gurjari,
Bahar, Barari and other rAgas.
5) My eldest brother Mohammad Khansahab gave me training in kHayAl in
the following rAgas: Sundarkali, Gunkali, Chaiti Gunkali, Lachari Todi,
Bahaduri Todi, Husseini Todi, Devsakh, Bhavsakh, Barwa, Sawani Kalyan,
Gara, Adana, Shahana, Bihari Kalyan, Rageshree, Sorath, Kukubh Bilawal,
Gaud Malhar, Mirabai ki Malhar, Shyam Kalyan, Ahiri Todi, Laxmi Todi,
Deshkar, Jait, Nat Narayan, Paraj, Mangala Bhairav, Bhatiyar, Bhankar,
Maligoura, Ramgouri, Hindol, Hemkalyan, Jhinjhoti, Durga, Bilaskhani
Todi and others.
6) From my elder brother Abdullah Khansahab I learnt bandishes in
Shankara, Basant, Gurjari Todi, Yaman Kalyan, Jaijaivanti, Lachari Todi,
Bhimpalas, Bangal, Bihag, Nat, Nand and other rAgas.
7) My maternal uncle Mohammad Khansahab taught me outstanding
compositions in Hindol, Pancham, Patmanjari, Jait Kalyan, Patdeep,
Chandrakauns, Savani, Jog, Savani Nat, Khambavati and Rageshree.
8) Another maternal uncle Puttan Khansahab taught me Husseini Todi,
Lalit, Jaladhar Kedar, Sarparda Bilawal, Shankara, Barwa, Sundarkali and
Malati Basant.
9) My younger maternal uncle was Jamal Ahmad Khan who was employed in
the Awagadh court. He passed on to me kHayAls in Shukla Bilawal, Hameer,
Chhayanat, Bilaskhani Todi and Gaud Sarang.
10) The aged Atrauliwale Inayat Khansahab taught me Jaitashree, Chaiti
Gauri, Bibhas and other rAgas.
11) Khansahab Kudratullah Hyderabadi gave me training in the
following rAgas: Hameer, Suha Kanada, Mudriki Kanada and Poorba.
12) Fida Hussein Khansahab of Kota taught me kHayAls in Maluha Kedar
and Nayaki Kanada.
13) My cousin Tassadduq Hussein Khan taught me Shuddha Bilawal, Shuddha
Kalyan, Asavari and other rAgas.
14) I have been the beneficiary of several compositions from Ustad
Alladiya Khansahab. They are in: Kafi Kanada, Nayaki Kanada, Bihagda,
Gauri, Bahaduri Todi, Poorba, Shuddha Sarang, Shuddha Nat, Shuddha
Kalyan, Gurjari Todi, Shree, Lachari Todi, Roopakali, Savani, Raisa
Kanada and Lankadahan Sarang. Khansahab also taught me several horis.
15) Alladiya Khansahab's brother Haider Khansahab gave me a
comprehensive understanding of Raga Dhanashree.
16) Dilliwale Umrao Khansahab gave me a lesson in Raga Soordasi Malhar
and a tarAnA in Bhoopali.
17) Abdul Karim Khansahab blessed me with tarAnAs in Miyan ki Todi,
Gurjari Todi and Darbari Kanada.
18) Badruzzama Khansahab taught me a kHayAl in Lachari Todi and
tarAnAs in Bahar, Bhimpalas, Marwa, Poorvi and other rAgas.
19) I got Raga Hem Kalyan from Hyderabadwale Nissar Ahmad Khansahab.
20) Janab Altaf Hussein Khansahab of Khurja gave me kHayAls in Marwa,
Jait, Shree, Bheem, Suha, Tilak Kamod, Bhoopali and Bahar.
21) My cousin Faiyyaz Hussein Khansahab trained me in Jaijaivanti,
Gara, Lalit, Poorvi, Barwa and several other prachalit rAgas. Singing
alongside him gave me confidence, skill and an in-depth knowledge
of rAgas.
22) Pandit Vishwambardeen aka Vishwanath-ji who was with the Jaipur
court taught me two dhrupads in rAgas Bhairav and Lacchasakh.
23) The spiritual guru of the Jaipur maharaja, Acharya Harvallabh-ji,
taught me dhrupads in Hindol, Alhaiyya Bilawal, Bhimpalasi, Multani,
Yaman Kalyan, Bihag, Jaijaivanti, Shree, Gaud Malhar and other rAgas.
24) From Master Ganpatrao Manerikar I obtained knowledge of Sindhura,
Shuddha Malhar and Nayaki Kanada. From him I also learnt Gorakh
Kalyan and Bageshree Bahar.
25) Brother Bhaskarrao Bakhale taught me Malkauns, Adana, Poorvi,
Kafi and one Karnataka rAga.
26) Fida Hussein Khan of Rampur gave me one kHayAl in Chhayanat.
27) Rampur's Mushtaq Hussein Khansahab taught me a tarAnA in Des.
28) From Chhote Khansahab of Fatehpur Sikri I got dhrupads and
dhamArs in Kukubh Bilawal, Desi Todi, Kamod and Shuddha Malhar.
29) Fateh Deen Khansahab Punjabi gave me cheez in Pancham and Shree.
30) Agrawale Kale Khansahab taught me a sAdrA in Shuddha Sarang.
31) One dhrupad in Todi I received from Ghulam Rasool Khansahab.
32) Another dhrupad in Sindhura was passed on me by Ishmail Khansahab
of Jodhpur.
33) Abdul Aziz Khansahab taught me bandishes in Mangala Bhairav,
Jaunpuri, Multani and Alhaiya Bilawal.
34) Atrauliwale Nasir Khansahab taught me a cheez in Bageshree.
35) Jodhpurwale Natthan Khansahab gave me one cheez in Marubihag.
36) I learnt a hori in Jhinjhoti from Inayat Abbas Khansahab of
Fatehpur Sikri.
37) Natha Bhai Kachhee taught me a dhrupad in Bhimpalasi in Firdaust
tAla.
38) Sher Khan taught me a dhrupad in Adana.
39) A dhrupad in Sughrai and a tarAnA in Sohani was given to me by
Fatehpur Sikri's Ghulam Nazaf Khansahab.
40) From Atrauliwale Aijaz Hussein Khansahab "Vamik" I had the
opportunity to learn a kHayAl in Raga Bhairav.
41) Rampur's Ahmad Khansahab gave me a kHayAl in Gunkali.
I have given these details of my training with my ustAds to extend
to them my gratitude. The skills I have today are due to their
generosity and I myself have never hesitated to pass on what I
know to others. That is the reason for my large pool of disciples
of which the following deserve mention:
Shareen Doctor, Qaumi Lakdawala, Gulbai Tata, Heera Mistry, Indira
Wadkar, Saraswatibai Fatarpekar, Mogubai Kurdikar, Vatsala Parvatkar,
Anjanibai Jambolikar, Shrimatibai Narvekar, Shyamala Mazgaonkar,
Ragini Phadke, Susheela Varadarajan, Durga Khote, Malati Pande,
Susheela Ganu, Vasanti Shirodkar, Menaka Shirodkar, Balabai
Belgaumkar, Tungabai Belgaumkar, Girijabai Kelekar, Jagannathbua
Purohit, Dattubua Ichalkaranjikar, Ratnakant Ramnathkar, Sitaram
Faterpekar, Tara Kalle, Abdulaziz Belgaumkar, Gajananrao Joshi,
Ram Marathe, Mukundrao Ghatekar, A.B. Abhyankar, Maharaj Kumari,
Bapusahab Ratlam and Karan Singh of Kashmir.
In addition I wish to mention my two sons. The elder one, Sharaf
Hussein, was born in Agra. He received training from me and other
gharAnA elders. He was extremely promising and would sing beautiful
kHayAls. He passed away in 1945, even before he had attained
adulthood. My other son is Younus Hussein. He has learnt from me,
his maternal uncle Azmat Hussein Khansahab, and other gharAnA elders.
I have high expectations from him."
Warm regards,
r