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The Gwalior Gharana: Music Profiles | ||
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Susheela Mishra | ||
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In the history of Hindustani classical music Gwalior stands out as prominently as, if not more than Delhi, Luck now, Rampur, Jaipur and Deccan-Hyderabad. The traditions of this music are inextricably associated with Gwalior. Our sources of information about the modes of Indian music prior to the Muslim period are scanty and so our notions on them are rather hazy. The "Bharatha Natya Sastra" of Bharat Muni, the "Brihaddesi" by Matanga and "Sangeetaratnakara" are the earliest treatises we have. It was during the Muslim period that the music that we now call Hindustani music blossomed, thanks to unforgettable names like Amir Khusro, who not only invented and introduced new ragas, tolas and instruments, but effectively blended Persian touches into Indian music. "Art being a living organism, it is bound to expand" and music being pre-eminently an Art, it is of an extremely changing nature. Musical fashions, like all other fashions, have always undergone change after change and have been molded and remolded to suit changed tastes and trends through every era. In this process, Hindustani music, as it is to-day stands inseparably associated with, and deeply indebted to Gwalior. Dhrupad: The inception of music all over the world has been from Religion. In today's classical music, the 'Dhrupad" occupies the most exalted place, and this originated from the old "Temple-music". It has, therefore, had a long and checkered history. Its themes are sometimes devotional, sometimes didactic, sometimes descriptive (of the beauties of creation), sometimes heroic (recital of heroic actions); they may also pertain to Puranic stories or Divine Romances. But these Dhrupads having originated from the ancient Prabandhas (in Sanskrit and other provincial languages), and being sung in temples, we do not know how far these old Dhrupads afforded scope for the display of musical skill. To Raja Man Singh Tomar of Gwalior goes the credit for making them part of classical music and thus popularising them. Rajah Man is remembered to this day as one of the greatest patrons, scholars, and lovers of music we have ever had. Memorials to his patronage of music are still visible in Gwalior. Once, he summoned a great conference of artists and musicians) and the essence of the valuable discussions held there has been compiled by him into a book, "Wanakutuhal." It throws valuable light on the condition of music in the early Muhammadan period, and is still available for reference in certain State libraries. The Dhrupad-style of singing was a great contribution of the Gwalior school to Hindustani 'ragdari' (Classical) music. This brings us to the eve of the brightest period in the history of Hindustani music - the era of Tansen and his illustrious descendants. Tansen: In the history of Indian Music, who has not heard the immortal name of Tansen? He was justly idolised in his time, and today we worship him almost as a saint. He was the greatest of all Dhrupadiyas (a Kalawant) and was a product or the Gwalior school of music. Originally he was a Gaud Brahmin and his name was Tanna Misra (son of Makarand Pande). He became the disciple of Swami Haridas Dagur of Brindaban. Still later, he came under the influence of a great Muslim Saint or Pir, Mohammad Ghaus of Gwalior under whose guidance, Tansen achieved unprecedented fame. His fame spread so far and wide. that Emperor Akbar personally fetched him to his Court and kept him in the highest esteem. Tansen and his descendants were strict Dhrupadiyas and have been the leaders of, and authorities on, Hindustani classical music. Adarang and Sadarang: Nyamathkhan and Naubatkhati who later on adorned the court of Mohmad Shah of Delhi, were Tansen's descendants and naturally Dhrupadiyas. But Dhrupad-singing, as it existed then, was bound down by strict and scientific rules which left very little scope for the singer to show his flights of fancy. Moreover, the particular type of voice necessary for Dhrupad singing is very difficult to cultivate. Hence the Khayals. The slow Khayals were patterned very much like the Dhrupads but in such a way as to afford plenty of scope for alap-singing, tanas, and other niceties along with the composition. Khayals, as such, existed long before Adarang and Sadarang. The fast Khayals were based on the Qawwal style and were thus the contribution of the Qawwal Bani. But the credit for composing hundreds of Khayals and popularising thumri forever goes to Sadarang and Adarang. Nyamat and Naubat assumed the pseudonyms Adarang and Sadarang while composing their Khayals, and it is by these pseudonyms, rather than by their real names, that they are known today. In many khayals, they have mentioned the name of their patron Mohammed Shah. They composed hundreds of khayals and taught them to their disciples. These khayals have come down to us, and to-day, not a day goes without our hearing- their immortal names in some khayal or other. 01' the three kinds of khayals, the slow (vilambit) khayals were modeled after the Dhrupads, whereas the medium (Madhyalaya) and fast (drut) ones were couched in the Qawwal Vani The originator of Qawwalis was Amir Khusru, the versatile poet-cum-musician-cum-statesman. As Islam forbade music strictly, these Qawwalis or Muslim Bhajans were composed for purely devotional recitations are the model of the Hindu Bhajans that existed already. Gradually, however, there arose a class of professionals who earned their livelihood by Qawwali-singing. These singers known as "Qawwals"-began to make free use of "tans" and "paltas" in the course of Qawwal-singing. Out of these "Qawwals", Adarang, Sadarang and Manarang composed their beautiful rnadhyalaya and drut khayals. What Amir Khusro and his followers contributed to Indian music arc probably the modes of expression, the style, the broad open-mouthed voice-production, tanas, liquid pronunciation of words and so forth which have certainly made the music quite effective. Bye and bye, however, these. khayals became so popular as to oust the Dhrupads! To-day one notes with immense regret that Dhrupad-singing is almost becoming extinct. The day the Dhrupads regain their old popularity will be an auspicious day for our Music. For, training in Dhrupad-singing alone can make the voice at once steady, strong, full-throated and sweet. Lately, however, quite a few seem to have been attracted by the sublime words and meanings of Dhrupads. This is a healthy and hopeful augury. The names of Bade Muhammad Khan; Haddu, Hassu, Nathu and Wazirkhans, Tanaraskhan, Mahmud Ali, Ali Bux, Miyajan, etc., are unforgettable. Of these, Haddu, Hassu and Bade Muhammad Khan were court-musicians of Gwalior. This last was the son of Shakkar Khan and considered peerless in the matter of tan-singing-. He was employed as court-musician (on a four-digit salary) by Daulat Rao Scindia ! He sang khayals in the Qawwali style, i.e., with various delicacies and dexterity. In the same durbar were Kadir Bux's 3 sons, Haddu, Hassu and Nathu who won precocious mastery in music at very early ages. They were Khayalists of the elaborate Kalavant style. Later on, they evolved a beautiful and exquisite combination of the Kalavant and Qawwali styles of Khayal-singing. It is- interesting to note that this unique combination too should have been evolved in Tansen's birth place ! Is it then, any wonder that Khayal singers have looked upon Gwalior as a sort of sacred-spot? It was the birth-place of the Dhrupad and the Khayal as well as of all the eminent Dhrupadiyas and Khayalists. Nearly all the reputed musicians of Akbar's court were from Gwalior. It gave us Tansen. Maharashtrian Musicians at Gwalior:- The popularization of classical music in Maharashtra began through Gwalior. The Maharashtrian-Brahmin singers of Gwalior were greatly benefited by the current Gwalior school of music. Many of the pupils of Hassu and Haddu were Maharashtrian Brahmins among whom were eminent singers like Babasabib Dixit, Vasudeva Rou Joshi, and Balasoheb Curuji. Their disciples have preserved classical traditions to a great extent. We also owe a lot to the Maharashtrian disciples of Nissar Hussain (of Hassu-Haddu family). The late reputed musician Shanker.Rao Pandit was a favourite pupil of his. Music-lovers still recall Shanker Pandit's name with great love and respect. His son Krishna Rao Shanker Pandit is today a court musician of Gwalior, and is running a Music school in his father's name-"Shanker Gandbarv Vidyalaya". Raja Bhaiyya Poonchwale:-the Principal of the "Madho Sangeet Mahavidyalaya" is another reputed disciple of Shanker Pandit. He had the privilege of learning a large number of Dhrupads from the great Dhrupadiya, Wamanbuva Deshpande ; and later on, Khayals from Shanker Pandit. What was more, since the opening of the Pandit music school, he was fox- a long time able to avail himself of Bhatkhand ji's valuable association and Guidance -thanks to which today raja Bhaiya is regarded as a skilled singer and a learned scholar in the art of music. Chaturpandit Bhatkhandeji:-The Madho Sangeet Mahavidyalaya is the triumphant fruit of Guruvarya Bhatkhandeji's selfless endeavours and a proof of Madhav Rao Mahara 's lofty musical tastes and patronage of music. This and similar schools of music have contributed in no small measure to the revival of interest in classical music which had cooled down to a deplorable level. Among the long array of Maharashtrian musicians who went to Gwalior and achieved -commendable mastery over the Gwalior-style of ragdari sangeet, comes the name of Balkrishnabuva-a pupil of Vasudevrau Joshi (Hassu's [pupil)- After under going a prolonged training, he returned to his native town and devoted the rest of his life rekindling musical tastes among his people. The most eminent of his pupils of course was Vishnu Diagambar Paluskar whose name is familiar to all. We all know how ceaselessly lie strove to popularise music by establishing music schools at various places. But his training and efforts were not comprehensive. The limitation may have been due to the queer circumstances of those days when musicians selfishly concealed their art. Anyway Digambar did revive interest in one aspect of our music-namely, the devotional aspect of it (Bhajans) and for this we shall be always grateful to him. Balakrishnabuva's son Annabuva was a good musician but he died prematurely. The former's disciples Anantbuva Joshi of Oundh and Mirasibuva of Poona are two of our contemporaries. They have tried to Preserve the musical traditions of their schools. Another pupil is Gunduhiiva whose son is still the court musician of Ichalkaran" Classical music penetrated into Maharashtra from Gwalior, but since its penetration there, it has undergone numerous changes, under various influences. For instance, good musicians of Aera, Delhi, Jaipur etc., migrated into the big cities of India (Bombay, Calcutta and Madras ) when they ceased to get royal patronage ; and in these big cities they were forced to earn their livelihood by giving music performances. The names of Tanaraskhan, Haider Khan, Nath ti Khan, Mahmud Khan, Miyajan, etc., are familiar in this connection. They have influenced music in Maharashtra to a great extent. Though the original G Gwalior-style is rarely to be heard in its pristine purity today, the traditions have been preserved to some extent luckily. Characteristics of the Gwalior style:-Some of the requisites of good Khayal-singing are:-a clear-cut presentation of "Asthai" and "Antara" (the 2 portions of the songs) with proper pauses, a skillfully slow pace, and proper combinations of Swaras (notes) and Sahitya (words). Those who have luckily had training in the Gwalior-style of Khayal singing are very particular about the niffat presentation of the "asthayi" and "antara" at the very outset. Inability to do this, is rightly considered disgraceful by them, and so they pay special attention to the neat presentation of the song with correct pronunciation of the words. "Alap" at the outset is usually done in "akar" (without words) but consistent with the tempo of the song. After finishing slow alaps, the speed is slowly increased, and what is known as Bol-alaps (words of the song deftly presented in various combinations of notes) are started. Cleverly the Bol-tans (words woven into quick combinations of notes) and plain tans are introduced. When the tempo and pace have been somewhat quickened, the skilled musician harmoniously passes on to a quicker song (drut) or a fast "tarana" in the same raga. In the fast Khayal also, the parts of the song are legibly presented at first, after which the singer begins his extempore elaborations, rapid tans and various other beautiful intricacies and delicate embellishments which afford plenty of scope for the display of personal skill, or industry. The tans of the Gwalior school are justly famous and admired. 'The tans are straight, clear, full-throated and varied. Effective little "running passages of notes" are interwoven into the Khayals. On the whole, there is something extremely dignified and impressive about the Gwalior-style of classical music. "Musical Gwalior" that was! - There had been a time when Gwalior used to be so intensely music-mad that "the very leaves would not tremble but to the sounds of music,". Music-festivals used to be part of the daily routine in the durbars. The Princes and the people were alike absorbed in the ecstatic enjoyment and appreciation of music day and night. Even half-clad street-urchins would try to hum tans "Will that idyllic state of affairs ever come back to be" one wonders........ Bye and bye the zeal for khayal-singing and for classical music began to flag and ebb to a very low level, because good musicians (like Nisar Hussain Khan, Rahmat Khan, and other Brahmin singers) began to become thorough stay-at-homes, teaching only those who went to them in their seclusion. Under such circumstances, one cannot guess what would have become of the Gwalior -style of classical music, had not Pandit Bhatkhandeji dedicated his life to the revival of classical music and succeeded in opening the Classical Music colleges at Gwalior and Lucknow whose branches have sprouted up in numerous other cities now, like Bombay, Calcutta and so on.
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