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Home , Hafiz Ali Khan, Imdad Khan, Mushtaq Ali Khan

International Research Journal of Management Sociology & Humanities

ISSN 2277 – 9809 (online) ISSN 2348 - 9359 (Print)

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Shri Param Hans Education & Research Foundation Trust

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Published by iSaRa Solutions

IRJMSH Vol 10 Issue 6 [Year 2019] ISSN 2277 – 9809 (0nline) 2348–9359 (Print)

!! The mutual exchange of style Between vocal and plucked instrumental music in the Khayal-era of Hindustani Classical music !!

Dr. Manimala Bandyopadhyay

Khayal is a type of musical composition which was created following the characteristics of the ancient ‘Prabandhas’. This Khayal was created by Ameer Khasru with the help of the ‘Kabal’ or Muslim Singers in the beginning of 14th century, which again was transformed to ‘Kawali Khayal’ or ‘Sudh Khayal’ by the influence of Sultan Hussen Sharki of Jounpur at the end of 15th century.1

During the reign of Muhammad Shah Rangile (A.D 1719-1748), newer and lighter types of music like Khayal, Thumri, etc. were introduced in the Mughal Court, although was still sung and practiced but not in its earlier glory as during the reign of Akbar. The great musician Nyamat Khan ‘Sadaranga’ is said to be the founder of the Khayal Style. Sadaranga Composed many Khayal but he himself sang only . 2

With the advent of this new era of Khayal the Dhrupad singers of the Mughal Court had to settle mainly at Mathura, Vrindaban, Rampur, Jaipur, , , Vishnupur, Dwarbhanga, Lukhnow etc. Then after the Collapse of the Mughal Empire and the advent of the British Rule, the Khayal singers also had to take refuge to the independent Courts of Lukhnow, , and Jaipur etc. In these places they established schools of music which found good nurturance from the progeny and their growing number of pupils. Because these schools emanated from particular families, these were called ‘’ meaning House or Family. During The 1st half of 20th Century Khayal gained more popularity and became extremely popular in the Second half of 20th Century onwards. 3

Pandit Ravishankar has remarked in his book ‘Rag Anurag’ that with the growing popularity of Khayal, the popularity of , , Sarangi and Tabla also increased to a great extent. The instrumental ‘Gats’ of Khayal style were first introduced in Sitar. Masid Khan of Rababi Gharana first introduced the Vilamvit Gats in Dhima Trital and this style was called ‘Masid Khani Gats’. After some time ‘Gats of Madhya Laya and Drut Laya were introduced by Reza Khan of Lukhnow. Playing Thumri in Sitar was first introduced by . According to him whatever he and pt. Ali Akbar have played during the last forty years are all based on Songs with the exception of ‘Bol’ and ‘Jhala’. 4

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IRJMSH Vol 10 Issue 6 [Year 2019] ISSN 2277 – 9809 (0nline) 2348–9359 (Print)

The musicians of this age, especially the instrumentalists, used to mix different style of Khayal along with the Dhrupad style and thus the technique and ‘Baj’ of the instrumental music became richer in the style. In old days almost all the Sitar Players got their training from ‘Beenkars’ and Dhrupad Singers. On the other hand Sitar playing was greatly influenced by Khayal and Tarana. Therefore, the conclusion remains that almost all the branches of Vocal music had immense influence on the instrumental music. 5

Sri Bimal Mukherjee has remarked in his book “Indian Classical Music Changing Profiles that '' The impact of Khayal on Sitar has been very great indeed. And it is this, perhaps, which can explain the very quick metamorphosis of the old traditional baaz in the last 70/80 years or so with the more recent trends of Khayal music. In one word, the emphasis gradually shifted from the right hand to the left hand making possible rendering of swift passages, phrasas, tanas and adding to melodic beauty of Sitar playing in practically all the departments.

This brings us to a rather controversial subject namely the playing of the "Gayaki Ang" on Sitar and claims made by several masters as having introduced this in Sitar playing. One basic point that seems to have been missed is that the source of all instrumental music including the Bin is the human voice as expressed in gayaki. Every instrument, of course, has developed its technique and specialities. But does not every instrumentalist play what he is singing within himself? How can one really differentiate, Segregate or divorce gayaki from the music played on instruments? That is why every Binkar had to be a reasonably good Singer of Dhrupad and Alap that is why the good Sitar players have to have a sound training in vocal music. If this gayaki has always existed in instrumental music why give it a new caption? The truth perhaps appears to be that Sitar is tending to become all gayaki, a replication of all that the voice does. No doubt this opens up new vistas of innovation. But what about the Sitar's own distinctive baaz? And so the golden via media lies in judiciously combining gayaki with tantrakari in the playing of Sitar. What we now see today is a great fascination for the complex, tanas of the voice being replicated on the Sitar and almost an obsession with speed and tayari. Must a musician turn into a machine or remain human with an urge for melody and the Sublime? After a point, every innovation however captivating turns out to be counterproductive. And once again we have to get drawn back into the basics and melody which emerged from the womb of Musical creation. 6 Dr. Sharmistha Sen remarks about Masidkhani Baj, that while Khayal as a musical was gaining popularity, the later senias could not remain unaffected by its impact on instrumental music, Fiqure Bandi, Which Was a characteristic Khayal technique, was introduced to the Sitar.It consisted of a small ‘toda’ employing a variety of bols played with great gusto at the close of the ‘Gat’. According to Pt. Sudarshanacharya fast todas played in a zig-zag pattern in the gat technique of Sitar is called Fiqre -bandi and this was derived from or Kawali. The senias invariably avoided the use of single-note tanas which are so popular with the sitar players today. They excelled in the use of bol-tanas which gave them full scope for displaying mastery of the right- hand technique. In boltanas, the Mizrab or the plectrum plays an important part. It may not be out of place to make a brief mention of kulfidar-tanas of the senias, in this context. Usually

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IRJMSH Vol 10 Issue 6 [Year 2019] ISSN 2277 – 9809 (0nline) 2348–9359 (Print)

played after the Fikras, these kulfis, unlike the Fikras, were longer and sometimes covered the entire range of finger-board. The usual practice was to conclude these tanas with a brief pause on Tar Sa, Madhya pa and madhya Sa.

The Maseet khani Baj of the latter senias followed the following broad patterns: After all the four movements of the gat been played, the artiste is required to attempt a few gat-vistara. This is followed by what is known as Gat - upaj which to all intents and purposes is like Gat - Vistara, but gives the artiste a latitude for more imaginative elaboration of the raga without jeopardizing the structural contour of the original gat. This is followed by Fikras and kulfis. Some players of the traditional senia school also perform on the Sitar same angas like Ladi, Lad - lapet, Lad - guthao etc. of the veena before concluding their recital. It is evident that in Maseetkhani Baj, Alap was derived from Dhrupad Alap, Jod from Veena and Sthai, Antara, gat toda and Fiqre- bandi from khyal. 7 Bimla kanta Roy Choudhury has remarked in his book ‘ Bhartiya Sangeet Kosh’ that the Masidkhani Baj is known as ‘Pacchao ka Baj’ Masid Khan composed Vilamvit Gats suitable for playing on Sitar following the style of Vilamvit Khayal. 8

The contribution of Imdad Khan in Case of instrumental music is unparalleled, because it was he who made many different experiments to take the instrumental music to a special level. Born in 1848 A.D he brought many important changes in his own technique of Sitar playing by learning from many Ustad. At that time the Masidkhani Gats were played mainly in Dhrupad Style. He was the pioneer in mixing the Dhrupad and Khayal style in a unique manner and also introduced the Khayal style Alap in .

He also introduced different types of Tans used in Vocal music and many Boles, Tukra, Parans,Tihais of Tabla and Pakhwaj in Sitar playing.

It was he who gave a full-proof picture and formula of Sitar playing, which is followed by the Sitarists of the modern times. and Inaet Khan, the son of Imdad Khan, got their ‘Talim’ from their father and their performances were influenced by vocal music style. 9

Peter Manuel said in his book "THUMRI IN HISTORICAL AND STYLISTIC PRESPECTIVE" that "Imdad's sons, Wahid Khan (1865- 1961) and Inayat Khan (1894- 1938) perpetuated their father's style and enhanced it with further vocal influence, particularly fast single note tans. Inayat Khan in particular is credited by some with the introduction of the "gayaki" style. Imdad and Inayat Khan both supplemented their father's instruction with further training form vocalists. He again said in the same book that "The Sitar discs are the earliest recorded examples of Raza Khani gats, they reveal, on the other hand, the strong influence of the bandish thumri in the gat itself, the imitation of syllabic text delivery, the occasional use of tan, and the emphasis on layakari. On the other hand, they

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IRJMSH Vol 10 Issue 6 [Year 2019] ISSN 2277 – 9809 (0nline) 2348–9359 (Print)

also show the persistence of traditional instrumental techniques, including some, like diri - diri tan, which have since largely been replaced by gayaki idiosyncracias." 10

As per Pandit K.G.Ginde “we can see that in alap section, the instrument follows the vocal technique while during the second half, when the laya increases, vocal music follows instrumental patterns. I have heard great Sitar players like Inayat Khan Saheb and Hamid Khan Saheb of Lucknow. They laid stress on alap playing. Hamid Hussein Khan Saheb's Sitar was rather huge, say of the size between ordinary Sitar and Surbahar. It had a broad 'dandi' and therefore seven note meend could be easily produced on his Sitar. He played more of 'been-ang' alap incorporating meend's. His performance showed heavy influence of gayaki (vocal) baj. Some Sitariyas developed the right hand technique very much. By improvising upon the bols like dir, da, ra, dadir, dara, etc.. . Some instrumentalists created a new style showing the dominance of 'laya' aspact. Hyder Khan Saheb of Delhi used to play with two mizrab-s in this style. He had innovated a new technique of playing dir-dir in fast laya using two mizrab-s. During conversation with him, I realized that many gat-s have been composed based on the 'tarana’ from of vocal music that includes phrases like nadirdir, tumdirdir, tantom etc. This kind of vistar has been adopted for 'gatkari'. Meanwhile, I had a chat with Nissar Hussain Khan Saheb and as Premlataji also knows, during the last seminar, Khan Saheb stated that he has adopted certain instrumental techniques to make tarana popular. Thus these kinds of mizrab techniques have been adopted for tarana singing. This has certainly enriched the tarana form, which otherwise suffers from a limited scope of improvising a few phrases and tan-s, Nissar Hussein Khan Saheb has thus made an innovation by adopting the instrumental technique which has helped popularising tarana. In this way there has always been interaction between vocal and instrumental forms of music” 11

The Contribution of Ustad Alauddin Khan and his brother Ayet Ali Khan in the field of instrumental music are unparalleled. They made immense changes in the structure and shape of Sarod for playing Gats in the Khayal style. Then he extended the span of the Baj the style of method of playing, introducing different ‘Drut Tans’ of different rhythms. Beside this, it was Alauddin who introduced widely in instrumental music the ornamentations of ’Khatka’,’Murki’ and Zam-Zama.

As per Thakur Jaydeb Sing “Modern Sarod can be said to have taken its final shape after many experimentations by different masters. The names of Ustad Alauddin Khan of Maihar and his younger brother Ustad Ayet Ali Khan of Tripura (both senia Gharana disciples) are inseparably connected with the instruments further development. Previously, Sarod used to have small sound chambers (DRUM) long - barrel like finger boards and eight to ten resonating strings (Tarafs) placed in a row. But the modern Sarod as innovated by the above nemed maestri cantains much bigger sound chamber. Much smaller finger board to facilitate faster movements required for the Kheyalang music and much more resonating strings placed in two rows.” He again said “ One of

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IRJMSH Vol 10 Issue 6 [Year 2019] ISSN 2277 – 9809 (0nline) 2348–9359 (Print)

Acharya Alauddin khan's contributions was the effort for harmonization between 'Gayaki' and 'Tantrakari' of the instrumental and vocal styles. — He introduced the application of 'Vistar' in the 'Vilambit'gat after the khayal style and in the next section the 'Vistar' of 'Dun' 'Laya'ending in rhythmic layakaris and 'Tehais'. Then he extended the span of the 'Baj',thestyle of mathod of playing, introducing different 'Drut Tans' of different rhythms. Besides this it was Alauddin who introduced widely in instrumental music the ornamentations of 'khatka', 'Murkhi'and 'Zam zama' - so long applied only by the khayal singers or the 'Thumri' singing 'Baijis.” 13

According to Peter Manual "Amir Khan's recording may be taken as Characteristic of the style of the early decades of this century. Bandish thumri, rather than the embryonic bol banao thumri was clearly a predominant inspiration. He again said this traditional approach to playing light ragas persisted in the Music of Sarodiyas like Ishtiaq Ahmad Khan (d. 1967) of the Bulandshahar gharana. A typical light piece of his would consist of a short "alap" ( lasting about a minute), followed by virtuosic tans, first performed solo, and than with tabla in the context of a gat in very fast tempo. The complexity and speed of Ishtiaq's tans, and his avoidance of the easier diri diri technique may be attributed in pert to vocal influence".

At the same time, Ishtiaq's technique was traditional in that the single-note tans were evidently executed almost entirely with downward ("da") strokes of the plectrum. The ekhara technique of playing single-note melodic runs with alternating strokes difficult on the sarod because of the awkward right-hand motion involved in playing on different strings - was developed only in the last few decades and cultivated by only a few sarodiyas. The ekhara method, which affords much greater speed, began to appear in the music of Hafiz Ali Khan (1888 - 1973), albeit in a somewhat rudimentary and unpolished form. Since ekhara tans can approach vocal tans in speed, Hafiz Ali's innovation has led some to credit him with initial introduction of the gayaki ang on Sarod. Hafiz Ali's particular foudness for Thumri and dadra and his avoidance of layakari could also be cited as vocal characteristics.

Vocal influence, however, is not readily apparent in his limited use of mind and melisma. In the thumri style of the succeeding generation of sarodiyas, however, vocal music became more influential, both directly through bol banao thumri and indirectly through the music of the sitarist . This influence took the forms of, first, use of long and complex gayaki melismas, and second, the perfection of ekhara tans.

With the adoption of the gayaki-style melismas, sarodiyas could now play thumri in a style more akin to the bol banao thumri than the archaic tan based Raza Khani baj. Hence a sarodiya like or Radhika Mohan Moitra (d. 1981) might play a long, leisurely alap in thumri style before concluding with a drut (fast) gat. The melismatic vocal style is even more evident in the music Moitra's two most prominent students (in his own estimation), Buddhadav Dasgupta, and my own teacher, Dr. Kalayan Mukherjea. Both these sarodiyas acknowledge the prodigious influence of Vilayat Khan, as well as singers like on their music.

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IRJMSH Vol 10 Issue 6 [Year 2019] ISSN 2277 – 9809 (0nline) 2348–9359 (Print)

Mukherjea, indeed, has complemented his own guru's teaching with instruction from a vocalist of the kirana gharana, Mohammad Dilshad Khan (the husband of Parween Sultana. 14

The introduction of the ‘Gayki’ style in Sitar Playing is indeed a great contribution. Dr. Sabyasachi Sarkhal has remarked in his book that Vilayet Khan Sahab was greatly influenced by the contemporary Khayal singers of his time, particularly Abdul Karim Khan of Kirana Gharana and Faiaz Khan of . In fact, by introducing the Gayaki style in Sitar Playing, Vilayet Khan really did a marvellous contribution in Sitar Baj. It is true that instrumentalists play Gayaki in Alap. Beenkars play Alap in Dhrupad style. 15

According to Peter Manual Vilayat Hussein khan (b.1927) received his initial training from his father ;but the latter died when Vilayat was only twelve, and hence Inayat was unable to complete his son's musical training. This proved to be in its own way a boon to vilayat, who developed his own innovative style under new, and primarily vocal influences. Vilayat continued to learn, whether formally or informally, from various musicians including Dhruva Tara Joshi of Calcutta, who had studied the Sitar from Inayat Khan and dhrupad from Faiyaz Khan. (The drut gat in Khambaj played by Vilayet Khan on EMI EALP 1266 is a composition of D. T. Joshi.) According to some sources, however, the bulk of Vilayat's training came not from Sitarists, but from vocalists, and in particular from khayaliyas Bande Hasan and Zinda Hasan Khan (of Saharanpur and Nahan), who were his mather's father and brother respectively. Vilayat also appears to have been influenced by vocalists of the kirana Gharana. Under these influences, vilayat gradually developed a style which has come to be popularly known as the 'gayaki - ang'. 16 Pt-Ravishankar also played Alap in ‘Been Ang’, but that Alap was not totally of Dhrupad style, but a mixed style of Dhrupad and Khayal. Vilayet Khan used to accept the Rag-Vistar of Kirana style in Kirana-Gayaki-Ang. 17

According to Smt. Sharmistha Sen Vilayet Khan has carried the researches of his fore fathers still further and has brought the sound of Sitar very close to human voice. He has thus added a new dimension to the Sitar. With him, the left and the right hands are equally important. He is capable of bringing out all the subtle mances of Vocal music on the Sitar. His tans and Firats are mostly based on Upaj. His creative mind has evolved a new style of ‘gat’ which lays special stress on the layakari along with tans. He has borrowed the peshkar Ang from Tabla and used it with great imagination in Masidkhani gats. His Sapat tanas are almost inimitable. 18 Professor Dr. Sabyasachi Sasrkhel said in his book that one special feature of baj of Gayaki ang of Bilayat Khan sahib was that he plays many vocal bandish of Khayal and Thumri as a gat of Sitar. As example he said that in his record EMIEASD 1350 he plays one bilambit gat of Imon raga which was actually a bandish of Kirana Gharana of Niyaj Ahamed and Faiyaj Ahamed of their record EMIEALP 228. Again in one record EMIEALP 1298 Khan Saheb plays gat on Shankara Raga which was a famous bandish of Abdul karim Khan. He also said that often we found that Khan sahib in his program plays sweet vocal music and that he plays the same dhun (tune) on his sitar, mainly when he plays Thumri. 19

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IRJMSH Vol 10 Issue 6 [Year 2019] ISSN 2277 – 9809 (0nline) 2348–9359 (Print)

Peter manual said " Very often, Vilayat will, simply sing a bol banao coposition in the course of playing a thumri, which not only demonstrates the gayaki element in his playing but complements the 'vocal style' with actual vocal music. Vilayat may sing the composition in free rhythm, without tabla accompaniment, and then continue the Sitar alap, improvising around the mukhra. Alternatively, he may sing the composition in its original tala (usually cancar, dadra, kaharva), with tabla accompaniment. This practice is undoubtedly the most controversial aspect of Vilayat khan's music. 20

He again said "Vilayat Khan's influence has been even more crucial in the development and refinement to ekhara tans. These were initially introduced into sarod style by Hafiz Ali Khan's, a 1934 recording of raga Tori by Radhika Mohan Moitra indicates that he had also started developing the technique, following Hafiz Ali Khan. Indeed, for over forty years, Radhika Mohan used to teach students rote exercises, roughly one third of which were ekhara tans. His students Mukherjea, Dasgupta's 1957 recordings of Maluha Kedar and Jhinjhoti are largely ekhara tans. But it is Hafiz Ali's son , who, inspired by Vilayat Khan, refined the art of ekhara tans to a level of speed and clarity unprecedented on the sarod. At the same time, the fact that other sarodiyas have independently cultivated the technique neveals that its development and popularity are best attributed to ever- rising technical standards and a general trend toward vocal influence, rather then to the dominating influence of one or two instrumentalists.

Finally, many sarodiyas, including those mentioned above, continue to tap the rich store of vocal compositions as a source of gats, both for khayal and thumri. They may convert bol banao thumris into gats in vilambit tintal, or, increasingly, artists like Mukherjea may play them in their original talas (often concern), intermittent and/or concluding laggi sections. Gayaki melismas and tans were also extremely prominent in the style of sitarist , who received most of his training from Radika Mohan Moitra, sitarist and sarodia Ali Akbar Khan. 21 Vilayet Khan’s influence has been even more crucial in the development and refinement to ‘Ekhara’ tans. These were initially introduced into Sarod by Hafiz Ali Khan, Sri Radhika Mohan Maitra also started developing the technique. But it is Hafiz Ali’s son Amjad Ali Khan, Who inspired by Vilayet Khan, refined the art of Ekhara tans to a level of speed and clarity unprecedented on the Sarod. Finally many Sarodiyas, including those mentioned above continue to top the rich store of Vocal Composition as a source of gats, both for Khayal and Thumri. 22

After the advent of Khayal, Thumri, etc. the corresponding instruments like Sitar, Sarod etc are very much influenced by these new forms of vocal music. Therefore these instruments has been developed some evolutionary changes in their structures and baj. On the other hand instrumental music also influenced the vocal music. The vocal music has adopted the different types of tana, tihai, khatka, murki, jam jama etc of different types of instrumental music. In this way in the era of khyal there is a close relation between vocal and instrumental music rather they are complementary to each other.

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IRJMSH Vol 10 Issue 6 [Year 2019] ISSN 2277 – 9809 (0nline) 2348–9359 (Print)

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IRJMSH Vol 10 Issue 6 [Year 2019] ISSN 2277 – 9809 (0nline) 2348–9359 (Print)

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IRJMSH Vol 10 Issue 6 [Year 2019] ISSN 2277 – 9809 (0nline) 2348–9359 (Print)

Reference Book List

1. Sangiti Sabdokosh, Dr. Bimal Ray, Publisher: Rajya Sangeet academy, 36 Prince Anwar shah Road, - 700 003, 2. Bharatio Uchchango Sangeet Prasongo, Dr.Utpala Goswami, Publisher: Aboniranjan Roy, 19, Shayama Charan Street, Kolkata-700 012, Page no:186-187, 3. Tantrabadye anirudha raga rupayan o alaper kromobiborton, Dr. Arati Das, Page No:143 4. Rag Anurag, Pandit Ravishankar, Ananda Publishers, 45 Beniatola Lane, Kolkata- 700 009, Page No: 60-61 5. Ibid ….Page No: 61-62, 6. Indian classical Music, changing profiles, Bimal Mukherjee, publised by : Shri A. K. Dutta Direetor of culture Govt. of west Bengal, 36 Anwar Shah Road, Calcutta 700 033. Pg No.: 208 - 209 7. String Instruments of North , - Sharmistha Sen, Eastera Book Linkers, Delhi 1st edition 1992, Vol.II, Pg No.: 35 -36 8. Bhartio Sangeet Kosh, Bimalakanto Roychowdhury, 88 Mur Avenue, Kokata-700 040, Page No: 121, 9. Sitarer Bibortone Jaipur, Senia o Imdadhani Gharana, Dr. Sabyasachi Sarkhel, Publisher- Balmiki Prakashoni, Kalna Road, Bardwan-1, 10. THUMRI IN HISTORICAL AND STYLISTIC PERSPECTIVES, Piter Manual, Motilal Banarasidass, Bungalow Road, Jawhar Nagar, Delhi, 1st Published, 1989. Pg No.: 169 11. Interction Between vocal & Instrumental Music, Pandit K. G. Ginde, S. R. A seminer. Pg No.: 2 12. Musings on Music, Ajay Sinha Roy, First Publised Septambar 1992, Publised by Sri Adinath Bhattachrya, Director of culture Govt. of West Bengal, Pg No.:40 13. Ibid Pg No.: 63 14. THUMRI IN HISTORICAL AND STYLISTIC PERSPECTIVES, Piter Manual, Motilal Banarasidass, Bungalow Road Jawhar Nagar, Delhi, 1st Published, 1989. Pg No.: 175 15. Sitarer Bibortone Jaipur, Senia o Imdadhani Gharana, Dr. Sabyasachi Sarkhel, Publisher- Balmiki Prakashoni, Kalna Road, Bardwan-1, Page No:125-126 16. Thumri in Historical and stylistic Perspectives, Peter Manual.Motilal Banarasidass Bungalow Road, Jauwhas Nagar, Delhi, First Published, Delhi. Pg No.: 170 17. Kudrat Rangibirangi, Kumar Prasad Mukhopadhyay, Ananda Publishers Ltd, Kolkata, Page No: 237, 18. String Instruments of North India, Sharmistha Sen. Eastern Book Linkers, 5825 New Chandrawal, Jawhar Nagar, Delhi, First Edition 1992. Pg No.: 46.

19. Sitarer Bibortone Jaipur, Senia o Imdadhani Gharana, Dr. Sabyasachi Sarkhel, Publisher- Balmiki Prakashoni, Kalna Road, Bardwan-1, Page No:131 20. Thumri in Historical and stylistic perspective, peterManual, Motilal Banarasidas, Bunhgalow Road, Jawhar Nagar , Frist published, Delhi, 1989.Pg No.: 172. International Research Journal of Management Sociology & Humanity ( IRJMSH ) Page 220 www.irjmsh.com

IRJMSH Vol 10 Issue 6 [Year 2019] ISSN 2277 – 9809 (0nline) 2348–9359 (Print)

21. Ibid Pg. No. 176.

22. Komol Gandhar, Ustad Vilayat Khan, Publisher- Nirmal Kumar Saha, Sahityam, 18 B, Shayamacharan Dey Street, Kolkata-700 073, Page No: 29.

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