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Detailed Study and Analysis of Some Gwalior Gharana Vocalists from the 20Th Century CHAPTER IV

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Chapter IV Detailed Study and Analysis of some Gwalior Gharana Vocalists from the 20th Century CHAPTER IV Detailed Study and Analysis of some Gwalior Gharana Vocalists from the 20th Century In the previous chapter, I have enumerated the salient features of the Gwalior gharana with special emphasis on the strong points pertaining to each feature. We will now look into the gayaki of some Gwalior gharana vocalists. Gwalior gharana practitioners are trained on the basis of the salient features of their core gharana. There are certain aspects in their gayaki which accord them the status of being a member of the gharana. But each has interpreted and evolved an individual gayaki to the best of their ability. It is this individualism that lends diversity within the gharana. The individual gayaki is due to the difference in the treatment of the core features of the gharana. The thrust of my work has been to study this individualism in seven vocalists belonging to the Gwalior gharana.1 Rehmat Khan was the son of Haddu Khan and an illustrious representative of the founding family of the Gwalior gharana. The study of his gayaki also acquires greater significance since after Rehmat Khan’s generation, the Gwalior gayaki was dissipated and propagated principally by the disciples of Haddu Khan, Hassu Khan and Natthu Khan. His influence on other vocalists was felt not only amongst later practitioners of the Gwalior gharana like Omkarnath Thakur, Sharad Chandra Arolkar and Gajananbua Joshi but also on Kirana gharana exponent Abdul Karim Khan and many others. 1 The need to select a finite number of vocalists for analysis purpose is to maintain the focus of this study. Additionally, the observation of considerable diversity in their gayaki has validated the selection of these vocalists. 51 Ramkrishnabua Vaze was a disciple of Nissar Hussain Khan (who was the son of Natthu Khan) and also someone who had myriad influences from a large number of musicians that he interacted with. His vast repertoire of bandish-s, command over rare raga-s, penchant for jhaptala and use of intricate patterning and unpredictable melodic movements are some aspects which contributed to making his performances engaging. Anant Manohar Joshi staunchly adhered to the general features of his gharana more pronounced in his choice of medium tempo laya for vilambit khayal-s, improvising and unfolding a raga through phrases of the raga and in his preference for sapaat tana-s often rendering straight tana-s even in raga-s involving tonal material which is vakra (non- sequential). Having said this, he created a niche for himself by adopting the vocalization of Rehmat Khan to some extent. Krishnarao Pandit was a prolific performer of the Gwalior gharana and also one who enjoyed a long career as a concert artiste. His command over many other forms besides khayal naturally influenced hiskhayal renditions. Gifted with a voice which was cultivated further to perform virtually the way he desired gave his music a high degree of virtuosity and flair. Omkarnath Thakur was an illustrious representative of the lineage of his guru Vishnu Digambar Paluskar. He provided a very different dimension to the gharana by exploring the effect of voice modulation and employing it in his khayal gayaki. Sharad Chandra Arolkar was a perceptive vocalist of the Gwalior gharana. His interpretation of the khayal form is unique and approach to music was also philosophical. His emphasis 52 on meend as a powerful melodic expression in rendition brought about an expansive interpretation to an otherwise fast-paced Gwalior gayaki. D.V. Paluskar was one of the most popular vocalists of the Gwalior gharana and is revered for the quality of his voice. He largely confirmed to the basic features of his parentgharana but while doing so, he also had the uncanny ability to seamlessly blend certain features from other gharana-s and vocalists’ styles as well. Each of the above vocalists enjoyed a wide repertoire in terms of the genres performed. The focus of this work however has been on the analysis of the khayal gayaki of the chosen artistes. Starting with a brief biography which gives an overview of the music training and influences, a detailed analysis of two raga-s is given, though a larger sample of recordings have been used for study. This is followed by general observations for each vocalist, based on his individual interpretation and treatment of each of the features of the Gwalior gharana. 53 4.1 Rehmat Khan Rehmat Khan was a direct descendant of the founding family of the Gwalior gharana and is the only representative from the family whose music was recorded in the early twentieth century. Rehmat Khan’s music stood out for its emotive appeal. Sharad Chandra Arolkar, a veteran vocalist of this gharana, stated that the Gwalior gharana can be distinguished into two categories; the first that gave an aggressive connotation and the other that is marked by sweetness in appeal, simplicity and softer approach towards elaboration.1 He associated Rehmat Khan’s gayaki with the latter quality. Rehmat Khan was the younger son of Haddu Khan. His uncles Hassu Khan and Natthu Khan along with his father were the most illustrious musicians in the Gwalior court under the rule of Daulatrao Scindia and later Jankojirao Scindia during the latter half of the nineteenth century. Rehmat Khan was primarily trained in the family by his father and uncles. He began accompanying his father in concerts since a young age. His other major influences were Bande Ali Khan, a beenkaar of the Kirana gharana and Baba Dixit, who was a direct disciple of Haddu Khan. In fact Haddu Khan thought very highly of his disciple Baba Dixit, so much so that he is even said to have remarked to Rehmat Khan to listen to Baba Dixit in order to have a better understanding of his own (Haddu Khan’s) music (Arolkar 1995: 86). Temperamentally, Rehmat Khan was a very sensitive person. Being extremely attached to his family, he could not cope up after the demise of his father Haddu Khan and the 1 Arolkar’s lecture demonstration on khayal, May 16 1972. Sharad Chandra Arolkar, disciple of Krishnarao Pandit and Eknath Pandit, was influenced by Rehmat Khan’s gayaki. 54 untimely death of his brother chote Muhammad Khan. He left Gwalior to lead a largely reclusive life and was accidently discovered by Vishnupant Chatre in Banaras. Chatre was one of the main disciples of Haddu Khan. Rehmat Khan, by this time, was an opium addict. Vishnupant Chatre operated a circus company and while touring Banaras, he heard of a beggar who could sing very well. Upon examining, he was distressed to see his own co-disciple and the son of his guru, Rehmat Khan in a pitiable condition. Chatre from then on, took up the responsibility to take care of Rehmat Khan and invited him to join his circus company. It was Chatre who was instrumental in reviving the career of Rehmat Khan and arranged his soirees throughout the country. This fact is also corroborated by Ramkrishnabua Vaze in his book ‘Sangeet Kala Prakash’ (1938:164). Vaze writes highly about Rehmat Khan, having also heard him live on a few occasions. He first saw him in Banaras and was witness to his rehabilitation process by Chatre in the latter’s circus company. His (Vaze’s) own guru Nissar Hussain Khan was also a member of the company during this period. He also mentions that Rehmat Khan was adjudged as the foremost musician in a music contest in Nepal. According to Vaze, Moijuddin Khan was a disciple of Rehmat Khan, as told to him by Gauhar Jaan. After the demise of Chatre in 1905, his younger brother Kashinathpant Chatre took on the responsibility of taking care of Rehmat Khan.2 He shifted to Kurundawad, a princely state in western Maharashtra. During this time, he was persuaded to record for The Gramophone 2 Deodhar 2007a : 73. 55 Company Limited in Bombay, thanks to which his gayaki is accessible to the present generation. He died in 1922 in Kurundawad. 4.1.1 Analysis of Selected Recordings: Raga Malkauns and Raga Yaman The recording corpus of Rehmat Khan comprises of short three minute 78 rpm recordings published around 1920. The raga-s reviewed include Malkauns (peera na jaani, vilambit khayal in tilwada); Bhoop (jab se tumisana laagari, drut khayal in teentala); Yaman and Bhairavi (jamuna ke teer, thumri in deepchandi). Rehmat Khan enjoyed a wide repertoire in terms of forms/genres, a fact corroborated through the discography given above. It must be noted that the available recorded material is not representative entirely of the gayaki of the artiste. However glimpses of the gayaki from the founding family of Gwalior gharana are obtained from these samples of recordings. The detailed analysis of two recordings from this sample is given below. A: Delineation of Raga Malkauns in Bhatkhande’s and Patwardhan’s texts The analysis of the two clips will also be supplemented by a description of Raga Malkauns sourced from two authoritative works namely ‘Kramik Pustak Malika’ and ‘Raga Vigyan’ by Bhatkhande and Patwardhan respectively. This would also give a perspective on the raga grammar and deviation, if any, by the vocalist. This selection is justified by the fact that Bhatkhande’s was one of the earliest comprehensive work on raga-s and also a compilation and study of bandish-s from musicians of different gharana-s and Patwardhan was the earliest amongst the Gwalior gharana musicians to have authored texts on raga grammar and documented many traditional bandish-s in his texts. 56 Bhatkhande describes Raga Malkauns in ‘Kramik Pustak Malika Part 3’, a text comprising of notated compositions in different raga-s along with musicological details for each raga (1934: 694-95).
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  • Artifacts and Representations of North Indian Art Music [*Ecompanion At

    Artifacts and Representations of North Indian Art Music [*Ecompanion At

    Oral Tradition, 20/1 (2005): 130-157 Shellac, Bakelite, Vinyl, and Paper: Artifacts and Representations of North Indian Art Music [*eCompanion at www.oraltradition.org] Lalita du Perron and Nicolas Magriel Introduction Short songs in dialects of Hindi are the basis for improvisation in all the genres of North Indian classical vocal music. These songs, bandiśes, constitute a central pillar of North Indian culture, spreading well beyond the geographic frontiers of Hindi itself. Songs are significant as being the only aspect of North Indian music that is “fixed” and handed down via oral tradition relatively intact. They are regarded as the core of Indian art music because they encapsulate the melodic structures upon which improvisation is based. In this paper we aim to look at some issues raised by the idiosyncrasies of written representations of songs as they has occurred within the Indian cultural milieu, and then at issues that have emerged in the course of our own ongoing efforts to represent khyāl songs from the perspectives of somewhat “insidish outsiders.” Khyāl, the focus of our current research, has been the prevalent genre of vocal music in North India for some 200 years. Khyāl songs are not defined by written representations, but are transmitted orally, committed to memory, and re-created through performance. A large component of our current project1 has been the transcription of 430 songs on the basis of detailed listening to commercial recordings that were produced during the period 1903-75, aspiring to a high degree of faithfulness to the details of specific performance instances. The shellac, bakelite, and vinyl records with 1 An AHRB-funded (Arts and Humanities Research Board) project, “Songs of North Indian Art Music” (SNIAM), carried out by the two authors in the Department of Music at the School of Oriental and African Studies (SOAS).