Wednesday, January 17, 2018
Thursday, January 11, 2018
Monday, October 2, 2017
"The Surbahar's future? Andhakarmoy" অন্ধকারময় says Smt. Annapoorna Devi
Question:
Did Alauddin Khansaheb play the Surbahar? If so who were his teachers?
Question:
It is known that Ayat Ali Khansaheb was a Surbahar player. Who were his
teachers?
Answer:
Baba took Ustad Ayat Ali Khansaheb (his brother) to my Dadaguru Ustad Wazir
Khansaheb, Rampur. Ustad Wazir
Khansaheb then taught surbahar to Ustad
Ayat Ali Khansaheb.
Question:
Did you study the instrument with Baba or Ayet Alai Khansaheb, or both?
Answer:
I studied under Baba.
Question:
Have you trained any students on the Surbahar? Can I have the names, please?
Answer:
Niloufer (Ustad Rais Khan’s sister) did learn from me for some time.
Question:
Would you care to name some of the good Surbahar players she has heard in your times? What was their background? Whose students
were they?
Answer: I hardly went out. Didn’t hear any
surbahar players.
Question:
Were you taught the 3-mizrab, 2 mizrab, or single mizrab Baj of the Surbahar?
With how many mizrabs did you perform? Did you use the little finger for the
Chikari, as on the Been?
Answer:
I have performed wearing two mizrabs as
well as single mizrab. Yes. I use the fingernail of the little finger for the chikari.
Question:
In your gharana, has Surbahar been played only for alap-jod-jhala? Or were
Dhrupad-Dhamar or Masitkhani bandishes also played on the instrument?
Answer: In our Gharana surbahar is for
alap-jod-jhala -- although occasionally we do play tar paran and Dhrupad
compositions.
Question:
Is it right to say that the Surbahar uses only Da (inward) strokes on the Baj
string? Or, are Ra (outward) strokes also used?
Answer:
Yes. As a rule, this is the Surbahar technique. However, when not
playing pure Dhrupad anga, the Ra stroke are used for playing fast passages in some
ragas.
Question:
Is it right to say that the Surbahar melodic idiom is predominantly a
"meend" idiom, with virtually no role for fretwork techniques? My
experience tells me that Surbahar notes sound lifeless on the frets.
Answer: True.
Question:
What is the correct/ most common thickness of the Baj string on the Surbahar?
Niloufer had told me Rais Khan and she used No. 6. Vilayat Khansaheb, and Imrat
Khansaheb use No. 5. What gauge did you use in youth? Is it decided by the acoustic design of
the particular instrument?
Answer:
I think it is a question of preference.
Some sitar players use no. 3 while some use no 4. For surbahar some people feel comfortable
with no. 6. I use no. 5. I do not know much about the acoustic
design but I think the person who does
the jawari needs to do it a bit differently for different gauges.
Question:
At what pitch are most Surbahars tuned for solo performance?
Answer: I tune my Saa to the tivra madhyam of the sitar
Question:
The Surbahar has survived as long as Siatrsists were willing to master two
different instruments. Can you give me your views on the future of the Surbahar?
Answer:
Andhakarmoy!
(c) Deepak S. Raja 2009
Thursday, September 7, 2017
Tuesday, August 15, 2017
Thursday, August 10, 2017
Book Review: Biography of Smt. Gangubai Hangal by Deepa Ganesh
Subtitle:
The musical journey of Gangubai Hangal
Author:
Deepa Ganesh
Publisher:
Three Essays Collective, Gurgaon,
First edition: 2014
First edition: 2014
Pages:
220.
Price: Hard Cover: Rs. 600
Price: Hard Cover: Rs. 600
This
biographical work on the towering Hindustani vocalist, Gangubai Hangal
(1913-2009), is based on a series of visits the author made to the diva’s home,
and extensive interviews with people close to her subject. The author’s
discovery of this extraordinary personality spans a period of 4 years
(2005-2009).
The book traces
the emergence of Northern Karnataka as a powerhouse of Hindustani classical
music during the colonial period. Substantial credit for it goes to the Wodeyar
princes of Mysore, who were patrons to the finest musicians of the Carnatic and
Hindustani traditions alike. Hubli, Dharwad and Belgaum were natural stop-overs
for Hindustani musicians travelling between their homes and the Mysore Court. This
led to an exchange of musical ideas between Hindustani and Carnatic musicians
of the region.
From the late 19th
century, the bi-lingual region, (Kannada + Marathi) enthusiastically patronized
Marathi theater, which featured some of the finest Hindustani musicians of the
era. From the dawn of the 20th century, the gramophone record made the
finest Hindustani musicians – from within and outside regional theater – household
names in Northern Karnataka. Simultaneously, the missionary work of Bhatkhande
and Vishnu Digambar – both from Maharashtra -- had begun to democratize the
musical culture. The prestige of
Hindustani music shot up immensely in the region, as religious leaders attached
to the Lingayat monasteries became proficient in Hindustani music, and started
imparting training to young aspirants. This
configuration of forces enabled the emergence of Gangubai as a significant
musical persona.
The Kirana
gharana founder, Abdul Kareem Khan, visited Hubli often, became an admirer of
Gangubai’s mother, Ambabai, a Carnatic musician, and allowed his own music to
be influenced by her musicianship. Young Gangubai was taught Carnatic music at
home, but succumbed to the attraction of Hindustani music, which played from
the gramophones of every neighborhood tea stall. After an aborted apprenticeship with
Krishnamacharya, a local Hindustani vocalist, Gangubai ended up as a disciple
of Rambhau Kundgolkar (Sawai Gandharva) from nearby Kundgol, the foremost disciple
of the Kirana gharana founder, Abdul Kareem Khan.
The book deals adequately
with Gangubai’s family and social circumstance. Her mother, Ambabai, was a
Carnatic vocalist nurtured in the Devadasi tradition. She was greatly respected
for her musicianship, but ostracized socially for her lower-caste birth and her
profession. According to the Devadasi tradition, Ambabai became the subordinate
(non co-habiting) wife of an upper-caste landlord, and headed a matriarchal
family, dependent on her earnings as a musician. For Gangubai, her father,
Chikurao Nadiger, represented an occasional and irrelevant presence during her
mother’s lifetime. Ambabai died while Gangubai was still in her teens.
Gangubai became the breadwinner of the family,
which included her two maternal uncles, and their growing families. Her uncles’
contribution to the household expenses was unstable. At its peak, her family of
dependents numbered 20. Gangubai herself accepted the role of a subordinate
wife to Gururaj Kaulgi, a Brahmin widower, who gave Gangubai three children and
a host of financial problems arising from his incompetence as a breadwinner. For
Gangubai, starvation was the only alternative to success as a musician. The
greatness came because the survival anxiety never left her.
Deepa Ganesh’
work details painstakingly the role of her maternal uncle, Ramanna, in
preparing Gangubai for her career in music with a fatherly presence,
substantially replacing her mother, Ambabai as the anchor of her life. Ramanna
used the good offices of a family friend, Dattopant Desai, to place Gangubai
under the apprenticeship of Rambhau Kundgolkar, and acted as her protector and
companion on her daily trips from Hubli to Kundgol for her tuitions. Rambhau
was the principal disciple of Abdul Kareem Khan, who had enriched his musical
vision by studying with several other maestros from other lineages.
As a
result, he had carved out an illustrious career as a singer-actor in regional
theater. After his withdrawal from the nomadic life of the theater, he became
available as a Guru. Because of Gangubai’s devotion to him, and fastidious
compliance with his teaching, she soon became his favorite disciple. He kept a
hawk’s eye on her commercial recordings, and radio broadcasts for compliance
with his training. Her musicianship flowered under his demanding care. The bond
of devotion between the Guru and disciple was such that Gangubai brought
Rambhau to her own home along with his wife and cared for him for three years
after his paralytic stroke. In return, even during his last days, even as he
was sinking, Rambhau insisted on teaching Gangubai newer Raga-s and
compositions.
Gangubai’s
professional career was virtually launched in the electronic media. By the
1930s, the radio and the gramophone record were fast growing in reach and
popularity, and were hungry for talent. On these platforms, starting in 1936, Gangubai
was able to build a national reputation as a formidable musician. Soon after
her professional debut, she had a serious problem with her throat. The surgery
deprived her voice of its feminity and agility. She was left with a masculine
voice of limited maneuverability and range. (The title of the book, in this
context, is ironic) What ensued was an intense struggle to re-invent her
repertoire and her approach to music. She transformed this setback into a
unique musical asset, and continued to acquire a following.
She enjoyed
immense stature on the concert circuit between 1950 and 1970, but continued to
perform ,as her vitality levels would permit, until a few years before the end
came. The shower of recognition and awards had begun as early as 1948, and grew
into a torrent. This included honorary Doctorates from several Universities,
the fellowships of performing arts academies, nominations to houses of state
and central legislatures, and the Padma awards. As her performing career waned,
Gangubai, a well-informed and well-read lady, allowed herself to evolve into a
public personality, heard with respect on social issues for her wisdom and
simplicity of demeanor.
Besides her
uncle and her Guru, the two anchors of her life after her mother’s demise, the
book deals appropriately with some other special relationships Gangubai
developed during her life. During her
apprenticeship with Rambhau, she developed a warm fraternal relationship with
Bhimsen Joshi, a few years her junior. Two of her seniors in the profession,
Kesarbai Kerkar, and Hirabai Barodekar, developed great affection for Gangubai,
and furthered he career. Mallikarjun Mansoor, a childhood friend, remained a
close friend of her family throughout.
As her career blossomed, she developed a
personal friendship with Mrs. Sushila Ambike, and Professor of Sanskrit in
Delhi University, and earned the admiration of Mr. HY Sharda Prasad, the media
advisor to Mrs. Indira Gandhi. The famous Kannada poet, DR Bendre, who was once
her teacher in school, became her close friend and admirer, giving her access
to a presence in the social and political life of Northern Karnataka.
The author
presents an elaborate picture of Gangubai’s rootedness to her native Dharwad,
to her responsibilities as the head of her household, to her family and to the
kitchen as the object of her lifelong struggle for economic security and the
vehicle for her hospitality. (Appropriately, the book even ends with two of her
favourite recipes). Gangubai accepted all the financial strains of her domestic
responsibilities, and denied herself comforts
and luxuries of all kinds in order to fulfil them. Her only relationship that
the author rightly places under a microscope is the one with her daughter
Krishna.
Krishna was
Gangubai’s first child, born to her when she was only 16. She was never
formally trained in music. But, she had a melodious and agile voice, an exceptional
musical mind, and a natural flair. In addition, she was an extremely
well-organised person. Krishna speedily became Gangubai’s concert planner, and
manager. Her musical role began as an accompanist, but grew into that of a
partner, and as Gangubai’s vitality levels diminished, ended finally as lead
singer. Gangubai evidently found it convenient to deny Krishna her own life,
and found arguments to justify her convenience. Krishna’s marriage was never
considered on the grounds that her constitution was too weak for child-bearing.
Independent concert engagements for Krishna were blocked because her solo
concerts would bring in a much lower fee than a joint concert. The author believes that Gangubai feared the
loneliness that would ensue Krishna’s independence. But, as luck would have it,
Krishna succumbed to cancer in her 74th year, leaving Gangubai, then
90, to face a lonely end.
The author recognizes
that Gangubai’s extra-musical persona is
more firmly etched in the public mind than her musicianship. There is some
merit in the author’s suggestion that Gangubai herself may have shaped this
phenomenon by allowing her humble beginnings and her struggles to dominate
public attention. The purpose of so doing
-- though perhaps unconscious – would have been to highlight the
magnitude of her accomplishments.
The result was that while her formidable musicianship is acknowledged, its distinctiveness has remained largely undocumented. All that is remembered of her music is her androgynous voice, austere musical vision, soulful delivery, deploying a deliberate, unhurried approach to performance. The author attempts to partly enlarge the assessment of her musicality by comparing it to that of her leading contemporaries, especially those of the Kirana tradition. This reviewer believes that this task remains yet to be done satisfactorily, and deserves a survey of several senior musicians who had heard Gangubai in her prime.
The result was that while her formidable musicianship is acknowledged, its distinctiveness has remained largely undocumented. All that is remembered of her music is her androgynous voice, austere musical vision, soulful delivery, deploying a deliberate, unhurried approach to performance. The author attempts to partly enlarge the assessment of her musicality by comparing it to that of her leading contemporaries, especially those of the Kirana tradition. This reviewer believes that this task remains yet to be done satisfactorily, and deserves a survey of several senior musicians who had heard Gangubai in her prime.
The details this
work provides on Gangubai’s social and economic circumstance, and her grooming under Rambhau Kundgolkar,
have been familiar for long to serious music lovers, especially of the 60+
generation. The author has done well to present these in broad brush strokes
rather than the excruciating detail that has appeared earlier elsewhere. What
makes this work a comprehensive word picture of a towering personality is the
author’s exploration of her life beyond the known. The essential tenor of this biographocal work – and perhaps also its inspiration -- is adulatory, though the author’s
scrutiny of Gangubai’s relationship with Krishna is objective enough to avert
the charge of gaga journalism.
The work does occasionally drift towards
journalistic “editorializing”, with a stance akin to that of a social
scientist. This may irk experienced readers of biographical literature. The
book also reveals a feminist streak, which appears contextually unwarranted,
except for the incidental reality that this is a woman writer’s work on a lady
musician.
The book exposes
some lapses at the Editorial Desk. For instance, Gangubai’s son is mentioned
variously as “Babu” and “Babanna”. Her daughter-in-law is referred to variously
as “Lalitha” and “Lalithakka”. Likewise, Ustad Abdul Kareem Khan is referred to
as “Abdul Kareem Khan”, “Kareem Khan”, and “Abdul Kareem Khan Saab”. The
standardization of nomenclatures would have greatly helped readers unfamiliar
with culture-specific variations. While Kannada words mostly carry translations
in parentheses, there are several cases of usage unaccompanied by translations.
The occasional recourse to musicologically sensitive words may make the serious
reader wince. He will, for instance, wonder what the terms “purity of a note”
or the “purity of music” are intended to connote. The larger issue is whether the lay reader
will understand any better. The connotation of such phrases is seldom made
transparent by the context in which they are used.
The
author’s purpose was to “rediscover a woman who occupied a niche in musical
folklore”. The author admits to the
limitations of her enquiry arising from the advanced age of her subject and
fragility of her recall. Nevertheless, the author’s purpose stands largely
fulfilled. The book is a welcome addition to the reservoir of biographical
literature on towering 20th century musicians. Its timing ensures
that it will attract a readership of young music lovers who may know Gangubai
through her recordings, but remember her either as everybody’s idea of a
Grandmother, or as the Grand Old Lady of Northern Karnataka.
Reviewer: Deepak Raja
Review published in THE BOOK REVIEW
Review published in THE BOOK REVIEW
Monday, July 17, 2017
Monday, February 20, 2017
Wednesday, February 15, 2017
Thursday, February 9, 2017
Sunday, January 29, 2017
Saturday, January 28, 2017
Tuesday, November 1, 2016
Sunday, April 17, 2016
Book Review: The Raga-ness of Raga-s. The Statesman, Kolkata, April 16, 2016
Author presenting the book to Pt. Arvind Parikh |
The book begins with “Perspectives on Raga-ness” by explaining and analysing the concept called raga and its relation with rasas; and then moves on to explore and identify the essence of a raga in a) bandishes: that showcase the features of a raga from several angles; b) alap: which elaborates the raga at slow pace; c) taan: which follows raga movements at fast pace that “emphasise the sameness of all ragas”; and, above all, d) the raga-ness of the musician who performs and composes at once.
Raja admits that since “Hindustani music grants the musician the simultaneous roles of performer and composer”, this creative licence has helped in the evolution of ragas. According to him, the raga is “a melodic structure, tight enough to remain distinct and identifiable and yet loose enough to form the basis for considerable improvisational freedom”. Under the circumstances, “Ragas can, and do change even over time.”
The second part of the book, “The world of the Raga”, contains the analysis of 49 ragas replete with their ascending-descending orders, catch phrases, parental scale, sister ragas, etc, along with their historical evolution and opinions of several legendary musicians and musicologists. The book is further enriched by a foreword penned by eminent vocalist Vidushi Ashwini Bhide, an introduction by Lyle Wachovsky, a guest essay on the concept of “Rasa and Western System of Keys” by Alessandro Dozio and a glossary of terms — nicely explained. The most admirable qualities of the book are the author’s lucid pen, at times dipped in humour. Interesting anecdotes have spiced up the book that opens new vistas of melodic analysis.
Reviewer: Meena Banerjee
Reviewer: Meena Banerjee
Book Review: The Raga-ness of Raga-s. The Hindu, April 15, 2016.
FRIDAY REVIEW: April 15, 2016
Musicologist Deepak S. Raja explores “the Raga-ness of Ragas” in his latest book.
It is a fact that as compared to the art of music, its philosophy is a dry subject. Even highly educated practicing
Author with Ustad Shujaat Khan |
But exceptions are there who straddle both music and musicology with delighting clarity. My Guru Pandit Amarnath, inspired by the analytical aptitude of his legendary ustad, Amir Khan Sahib, never accepted anything without weighing its values. This, according to him, would give additional thrill and confidence as what-s and why-s always enrich the how-s. He would often tell us to think beyond the clichéd Ranjayate iti ragah and explore the tattwa (matter) that resides behind the façade of a given raga, that makes it a living thing, that dies with the end of a concert to be reborn in another – and in a new avatar!
All those cherished memories dawned upon me gleaming with new discernments when I read “The Raga-ness of Ragas” authored by well-known musicologist Deepak S Raja. The title of the book has the tagline “Ragas beyond the Grammar”. It was obvious that the book’s domain is empirical – beyond the tangible periphery of mere academics. It had to be; because those who know Deepak Raja, are aware that he is a sitar and surbahar exponent (Etawah Gharana) and learnt khayal (Jaipur-Atrauli Gharana) apart from studying musicology under the guidance of eminent scholars. He is a repertoire analyst for India Archive Music Ltd., New York and writes extensively about his experiences as a musician-cum-researcher. Far away from the scholastic dryness, his works (this one is his fourth book in a row) are steeped in tried-and-tested melodic recipes.
The author admits that since “Hindustani music grants the musician the simultaneous roles of performer and composer” this creative license has helped in the evolution of ragas. The raga is “a melodic structure, tight enough to remain distinct and identifiable and yet loose enough to form the basis for considerable improvisational freedom.” He reiterates a well-known fact that “Ragas can, and do, change even over time.” Under the circumstances, standardisation of ragas’ features becomes necessary. But being a sensitive musician himself, the author did not try to shackle the beautiful body of the raga; instead he approaches the core of its heart from a totally different angle of a mystic.
Divided into two parts this book begins with ‘Perspectives on Raga-ness’ by explaining and analysing the concept called raga and its relation with rasas; and then moves on to explore and identify the essence of a raga in a) bandishes: that showcase the features of a raga from several angles; b) aalap: which elaborates the raga at slow pace; c) taan: which follows raga-movements at fast pace that ‘emphasise the sameness of all ragas’; and above all d) the raga-ness of the musician who performs and composes at once.
According to the author, musician’s own personality reflects through his art as he relates to his music according to his saatwik (pristine pure), raajasik (passionate) or taamasik (impure) mindset. Saatwik chooses to treat the raga as the Almighty. Raajasik follows the commonly accepted form of raga to win mass approval. Taamasik remains oblivious to raga’s soul; only entertainment becomes his goal to earn money. Any one or all can influence an artiste’s psyche.
To add to the melodic content in the real ‘practical’ sense, the second part of the book, ‘The world of the Raga’, contains the analysis of 49 ragas replete with their ascending-descending orders, catch phrases, parental scale, sister ragas etc. along with their historical evolution and opinions of several legendary musicians and musicologists.
The book is further enriched by eminent vocalist Vidushi Ashwini Bhide’s soul-searching foreword, an introduction by Lyle Wachovsky, a guest essay on the concept of ‘Rasa and Western System of Keys’ by Alessandro Dozio and a glossary of explicated terms. The most admirable qualities of the book are the author’s lucid pen, at times, dipped in humour, and an eye for apt melodious anecdotes. It opens new vistas of melodic views, no doubt.
Reviewer: Meena Banerjee
Monday, April 11, 2016
Book Review: The Raga-ness of Raga-s. by Shuchita Rao
Title: The Raga-ness of Ragas
Author: Deepak S. Raja
Hardcover 366+ pages,
ISBN 978-81-246-0835-7
Published in India, 2016 by D.K Printworld
Available on Amazon.com Price: $62.50
Author: Deepak S. Raja
Hardcover 366+ pages,
ISBN 978-81-246-0835-7
Published in India, 2016 by D.K Printworld
Available on Amazon.com Price: $62.50
Growing up in India and learning about “ragas” from master musicians, I learned how to sing several ragas with ease. I never felt the need to explain the concept of a raga (a key melodic concept in Indian classical music) to anyone. Every listener was already familiar with it. After moving to the United States, I found my listeners asking for an explanation for the term “raga” even before listening to it. “What is a raga?” they asked.
For decades (if not centuries), the exercise of defining the term “raga” has challenged academicians, teachers and practicing musicians alike. The noted Indian musicologist and author Deepak Raja started out on a journey several years ago with the mission to explore the subject of what constitutes the essence of ragas (what the author terms as “raga-ness”) and to articulate it to the best possible extent through the medium of language. His reflections on this topic have taken the form of a book titled “The Raga-ness of Ragas” published in early 2016.
In this beautifully bound hardcover book, the author Deepak Raja examines the concept of a raga and its raga-ness from the points of view of their melodic and aesthetic grammar. The author’s personal observations on Hindustani music, quoted excerpts from ancient classic treatises as well as contemporary books on Indian music and the scholarly perspectives of practicing musicians make the book an interesting read. By relating funny stories and anecdotes, the author manages to infuse liveliness in what could otherwise be a dry and theoretical study.
The book is divided into two parts. The first part contains eleven comprehensive essays on the foundational concept of the raga, and how the essence of a raga can be established through the proper and effective use of elements such as bandish (composition), alaap (slow, meditative movement that unfolds the raga), taans (faster melodic movements performed during the rendition of the raga) as well as special techniques used by vocalists and instrumentalists. In his capacity as a repertoire analyst for India Archive Music Ltd based in New York, the author analyzed over one hundred ragas performed by 50 prominent musicians. A survey of 49 of these 100 ragas are presented in the second part of the book.
A brilliant foreword by the eminent Hindustani vocalist and composer, Dr. Ashwini Bhide Deshpande, a succinct introductory chapter by Lyle Wachovsky of New York based India Archive Music Ltd, an illuminating guest essay on the concept of “Rasa and Western System of Keys” by Alessandro Dozio, a detailed glossary of terms and explanatory notes as well as a comprehensive bibliography are great additions to the book.
The opening chapter of the first part of the book introduces the concept of a raga as a specialist vehicle in communicating emotional ideas. In the remaining ten chapters of Part I of the book, the fact that the raga takes on a new shape each time it is performed, the examination of the socio-economic context in which music practice evolved up until the 19th century, the consideration of ragas in terms of chemical metaphors such as allotropes, compounds and emulsions, a discussion about suitable performance times for ragas unique to the Hindustani system of music, the evaluation of the theory of Rasa in Hindustani music and the exploration of the concept of raga-ness manifested in the melodic elements of bandish, alaap and taans are discussed at length.
The second part of the book is an analysis of 49 ragas in terms of attributes such as melodic ascents, descents, parent family, musical notes of importance and the critical skeletal phraseology that establishes the center of melodic gravity for each of the ragas. The author looks at the evolution of these ragas from a historical perspective and quotes the opinions of several well known scholars such as Bhatkhande, Manikbuwa Thakurdas, Peter Manuel, vocalists such as Faiyyaz Ahmed Khan and instrumentalists such as sitarist Ustad Vilayat Khan.
“I feel that raga-tattva or raga-ness of ragas is the most important facet of our musical culture requiring comprehension and preservation” said Deepak Raja to this book reviewer. Deepak Raja has authored two other books on Hindustani music titled “Khayal Vocalism” and “Hindustani Music Today”. His blog on ragas http://www.swaratala.blogspot.com commands a dedicated following from Hindustani classical music lovers.
Deepak Raja’s fine analytical and writing skills as well as the application of his knowledge from a wide variety of disciplines such as art, history, culture, linguistics, mathematics, physics, chemistry, economics and psychology to the study of Hindustani music are praise-worthy. His reputation for serious research in Hindustani music, critical thinking skills, sound analytical approach and brilliant articulation shine through this book. “The Raga-ness of Ragas” is one of the most enjoyable books on raga music that I have read in the recent times.
Reviewer: Shuchita Rao in Lokvani E-Paper
Subscribe to:
Posts (Atom)