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31372 of Rec.Music.Indian.Classical Path: Boulder!Parrikar From: Parrikar@Ferrari.Colorado.EDU (Rajan P From boulder!parrikar Sun Oct 18 04:17:10 MDT 1998 Article: 31372 of rec.music.indian.classical Path: boulder!parrikar From: [email protected] (Rajan P. Parrikar) Newsgroups: rec.music.indian.classical Subject: Vignettes from the Past - Part 2 (long) Date: 18 Oct 1998 10:15:55 GMT Organization: University of Colorado at Boulder Lines: 555 Distribution: world Message-ID: <[email protected]> NNTP-Posting-Host: ferrari.colorado.edu NNTP-Posting-User: parrikar From: PILLARS OF HINDUSTANI MUSIC by B.R. Deodhar (Popular Prakashan) [On Aftab-e-Mousiqui Khansaheb FAIYYAZ KHAN]: ...It was around 1924 that I got to know Pandit Bhatkhande. Thereafter, I used to call on him occasionally. His favourite theme whenever we met was the decline and paucity of first-rate musicians. He used to say, "The number of top-notch vocalists and instrumentalists is now small enough to be counted on the fingers of one's hand. The really great dhrupad and khayal singers and been players have all departed. The quality of vocal and instrumental music we people used to hear has become extremely rare now." Being in the prime of life and full of youthful arrogance, I used to dismiss this comment as an elderly person's chatter. Panditji and people of his generation having crossed into their sixties and therefore become incapable of making any substantial contribution of their own would predictably build up the long departed in the presence of young musicians. It gave them a sort of perverse satisfaction because they resented youth and secretly envied us. No matter what progress we made they would refuse to accept us or acknowledge us. That is how I generally looked at all elderly critics then and, needless to say, resented Panditji's oft-repeated comment. One day, a young popular musician who was becoming something of a celebrity gave a recital. There were about 400-500 people in the audience. After the pure classical part was over he turned to stage music. The audience was enthralled and there were continuous outbursts of applause and appreciative exclama- tions. The very next morning I called on Panditji, believing that when I told him about the tremendous ovation the young musician had received, he would have to change his views about up-and-coming artistes. I gave a most colourful account of the previous night's recital, how the singer had held the audience spellbound etc., and waited for his response. I looked at him with triumph and challenge in my eyes - as if to say, "Try to run down young musicians, now!" Panditji listened to me quietly. Then he took up my enthusiastic defence of the young singer point by point and explained how in the context of classical music what I considered virtues were in reality vices. He systematically demolished every one of my arguments. I felt chagrined and angrily asked him, "Panditji, you do not approve of any musician of our generation. Is there anyone at all who comes up to your standards?" Panditji said, "Have you heard Faiyaz Khan of Baroda? You should. Then alone you will understand what the highest type of traditional music is." ...As musicians go, [Faiyaz] Khansaheb was an extraordinarily lucky person. Money came to him from his early childhood. On one occasion, Maharaja Tukojirao, the ruler of Indore, was so pleased with his recital that he promptly took off the expensive necklace - worth some ten or fifteen thousand rupees - he was wearing and presented it to Khansaheb. He received numerous gold medals and cash awards from other princes. A liberal spender, he never accumulated money. He lived in luxury and always in company of his friends. I heard him line up his priorities: eating and drinking, clothes and finally, if there is money left, the household! He closely stuck to his economic priorities. The only exception was the gold medals awarded to him. These he preserved jealously. Whenever he visited an unfamiliar place for a concert he did not feel happy unless he had gone for a stroll on the main street with a silver-handled walking stick in hand and all the medals glittering on his sherwani... ...He was unassuming and without a trace of conceit. Being prone to extraneous influences the simplicity of his behaviour might undergo a change according to the company he was keeping but as soon as the companionship was over his original temperament reasserted itself. At his house in Baroda every musician was treated in a friendly and courteous manner. The visitor would be urged to stay with him or at least partake of tea or snacks at his house. He felt uneasy unless such hospitality had been extended to every caller. Once a friend, concerned about his extravagant habits, persuaded him to keep proper accounts. He agreed - that is to say whenever he paid out any sum of money he would scrupulously ask the person to itemize all he spent on a piece of paper. But since he kept all these bits of paper in his pocket without ever looking at them, he never did know how much money had been actually spent. To his mind, his accounting responsibility had been discharged in that he had these bits of paper with him... From boulder!spot.Colorado.EDU!parrikar Mon May 22 09:56:19 MDT 1995 Article: 12556 of rec.music.indian.classical Path: boulder!spot.Colorado.EDU!parrikar From: [email protected] (Rajan P. Parrikar) Newsgroups: rec.music.indian.classical Subject: Great Masters 22: Aftab-e-Mousiqui Faiyaz Date: 22 May 1995 15:54:59 GMT Organization: University of Colorado, Boulder Lines: 259 Message-ID: <[email protected]> NNTP-Posting-Host: spot.colorado.edu Keywords: Faiyaz Khan Namashkar. Today's offering: Faiyaz Khansaheb, honcho of the (alas! now-dilapidated) Agra Gharana. Rajan Parrikar ============== -------------------------------Begin Article--------------------------- From: "Great Masters of Hindustani Music" by Smt. Susheela Misra. Ustad Faiyaz Khan by Susheela Misra The various gharanas in Hindustani music constitute a rich heritage of artistic traditions, which has been transmitted to us orally through generations of great musicians. The Gwalior, Agra, Kirana, Delhi, Jaipur, Atrauli, Patiala and other gharanas have produced some of our greatest maestros such as Haddu-Hassu Khans, Tanras Khan, Ghagge Khuda Bux, Rahmat Khan, Alia-Fattu, Umrao Khan, Ghulam Abbas Khan, Nathan Khan, and so many others. Ustad Faiyaz Khan popularly called "Aftab-e-Mousiqui", was "the ultimate flowering of the genius of the Agra or Rangila Gharana." He summed up in himself the finest traditions of his gharana and was its greatest exponent in recent times. He belonged passionately to his age, "and yet, he belonged to an infinitely more glorious past of our music and its traditions". Faiyaz Khan's musical lineage goes back to Tansen himself. His family is traced back to Alakhdas, Malukdas and then to Haji Sujan Khan (son of Alakhdas who became a Muslim.) Genius, musical ancestary, and training combined to give us this wonderful artist-one of the most reputed and respected exponents of Hindustani classical music in recent times. He had the exceptional good fortune of receiving his talim in Dhrupad singing from his grand father, Ghulam Abbas Khan; and in Dhamar from his grand uncle, Ustad Kallan Khan, both of whom were leading musicians of the rangila gharana in the second half of the last century. Kallan Khan was the younger brother of Ghulam Abbas Khan and, therefore, the grand-uncle of Faiyaz Khan Sahib. Ghulam Abbas Khan was his maternal grandfather, and Rangeela Ramzan Khan his paternal great grandfather. Faiyaz Khan's uncle, Fida Hussain was a court musician in Tonk (Rajputana). Faiyaz was born at Sikandra near Agra in 1880 and he died in Baroda on 5th November 1950. As his father Safdar Hussain died very early, his grandfather adopted him and brought him up as his own son. Ghulam Abbas Khan, the son of the great Ghagge Khuda Bux and an intimate friend of Bairam Khan, not only imparted to the boy the authentic taleem of his gharana, but also took the promising young Faiyaz on a "pilgrimage of music", visiting all the important centres o f music, listening to great contemporary musicians, and bringing him practical experience in concert singing. By the time he was 18, Faiyaz Khan had become such a "polished" artist that he began to give recitals in places like Bombay, Calcutta and Gwalior. Once at Bombay, 24 year-old Faiyaz got a chance to hear the great Miyanjan Khan, a pupil of the great Fateh Ali Khan of Patiala. Immediately after him, Faiyaz was asked to sing. At first he copied Miyanjan Khan's Multani in the latter's style and then he demonstrated in his own style-both in such a masterly way that Miyanjan Khan embraced the young singer and exclaimed in genuine appreciation: "Tum hi ustad ho" (you are a true descendant of the masters of the art.) It was an age of gentlemen-musicians. In addition to all the valuable training and experience given to him by his loving grandfather-(Nana)-cum-Ustad, there was Faiyaz's own native genius "an eternally intangible factor" that shapes the destinies of great men. Ghulam Abbas Khan, who is said to have lived to the incredible old age of 120, saw his favourite grandson mature into a maestro with a grand future ahead of him. Once when certain mischief mongers tried to arrange a competition between the great Bhaskar Buwa Bhakle and the young Faiyaz Khan, the former is reported to have been so impressed with Faiyaz's performance that he refused to stand up as a rival, and to the utter disappointment of the men behind the mischief, embraced him "as a brother." In 1908, a grand competition was arranged in Mysore between Ustad Faiyaz Khan and Ustad Hafiz Khan of the Mysore Durbar.
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