{"id":2496,"date":"2009-08-06T21:29:50","date_gmt":"2009-08-07T04:29:50","guid":{"rendered":"http:\/\/www.parrikar.org\/?page_id=2496"},"modified":"2021-03-19T21:52:04","modified_gmt":"2021-03-19T21:52:04","slug":"kalyan-page2","status":"publish","type":"page","link":"https:\/\/www.parrikar.org\/hindustani\/kalyan-page2\/","title":{"rendered":"Kalyan (Part 2\/2)"},"content":{"rendered":"

by Rajan P. Parrikar<\/strong>
\nFirst published on SAWF on January 14, 2002<\/em><\/p>\n

Part 1<\/a><\/strong> | Part 2<\/strong><\/p>\n

 <\/div>\n

Yaman – The Classical View<\/strong><\/p>\n

Much of the material marshaled on this page remains unpublished. \u00a0So let’s right away hitch our wagon to a star and soak in the ananda<\/em> of Yaman.<\/p>\n

\"\"

Ramashreya Jha “Ramrang” (2007)
(\u00a9 Rajan P. Parrikar)<\/p><\/div>\n

Pandit Ramashreya Jha “Ramrang”<\/strong> ‘s meditations in music have spanned over six decades. \u00a0Raga Kalyan is very dear to him, the milch-cow that keeps his creative urn churning. \u00a0Jha-sahab has fashioned over two score and more compositions of varied designs in Yaman, some of them decidedly among the finest of all time. \u00a0My personal favourite is the\u00a0dheema<\/em> Teentala composition about Lord Shiva –\u00a0devana deva Mahadeva hara<\/em> – with its sam<\/em> located on the mandra nishad<\/em>. \u00a0As the composition unfolds so does the raga. \u00a0The development is organic and systematically moves from one strata to another. \u00a0This manner of elaboration is known in the trade as “asthai bharna<\/em>” (lit. to fill the asthai<\/em>) and is characteristic of the tradition of Jha-sahab’s guru, Bholanath Bhatt<\/strong>. \u00a0Although popular a few decades back, this type of gayaki<\/em> is rarely heard nowadays.<\/p>\n

Jha-sahab<\/a><\/strong> is in fine fettle in what is surely one of the great expositions of Yaman.<\/p>\n

Ramrang<\/strong>‘s bandish<\/em> – ranga de ranga de<\/a><\/strong><\/em> – packs a catchy punch (it is adapted from an older composition from the Patiala repertoire). \u00a0In the latter part of the clip, he engages in shoptalk and concludes with a dramatic flourish. The alert listener will notice the route taken by the tan<\/em> on the word “more<\/em>“:\u00a0GmPDND<\/strong> (i.e. without skipping\u00a0pancham<\/em>).<\/p>\n

The mind of a great vaggeyakara<\/em> is seldom at rest. \u00a0This composition came to be during the course of an evening stroll: tumari aasa lagi aaja.<\/a><\/em><\/strong><\/p>\n

Jha-sahab<\/strong> sketches a khayalnuma<\/a><\/strong><\/em>.<\/p>\n

Take stock of Jha-sahab<\/strong>‘s treatment of\u00a0M<\/strong> in Yaman Kalyan. \u00a0Some of his tonal constructs are novel, not part of the run-of-the-mill routine. \u00a0Only those in whos minds the raga has done time can work this kind of magic. \u00a0The\u00a0text draws on an episode from the Ramayana<\/em><\/strong>: nirakha nirakha gagana.<\/a><\/strong><\/em><\/p>\n

<\/strong><\/em><\/p>\n

\"Bholanath

Bholanath Bhatt<\/p><\/div>\n

Another pleasing instance of\u00a0shuddha madhyam<\/em>: sangata keenhe guniyana ki.<\/a><\/strong><\/em><\/p>\n

The long drawn out vilambit khayal<\/em>, typically set in Ektala, has become the standard vehicle for raga expression today. \u00a0Ramrang<\/strong>‘s composition pits him against the celebrated ‘Sadarang’ with their identical opening bols, mera mana bandha leeno re<\/em>. \u00a0The similarity stops there as the compositions differ significantly in all other respects. \u00a0Jha-sahab‘<\/span>s<\/span> canvas<\/span><\/a><\/strong> is melodically and textually richer.<\/p>\n

Shubha Mudgal<\/a><\/strong> parlays her guru’s composition.<\/p>\n

The mere mention of Omkarnath Thakur<\/a><\/strong> is enough to send the fat into the fire. \u00a0The shuddha madhyam<\/em> is liberally courted in this play on Sadarang’s canoncial khayal<\/em>, mera mana<\/em>. \u00a0Omkarnath (sometimes called “Ahamkarnath” for his not inconsiderable ego) steals the thunder from the Gods in this erumpent, high-voltage drama. \u00a0He tops it off with the traditional mandara mana laye.<\/em><\/p>\n

Vasantrao Deshpande<\/a><\/strong>‘s treatment is staid by comparison. \u00a0The shuddha madhyam<\/em> here is sparing.<\/p>\n

In an interesting variation, Vasantrao<\/strong> drops the pancham<\/em> altogether in a raga he brands\u00a0Raj Kalyan<\/em><\/strong>. \u00a0The relief-inducing nyasa<\/em> on the pancham<\/em> is missing, giving this raga a restive persona: araja suno.<\/a> (<\/span>Update<\/strong>: A reader sent feedback saying that Vasantrao thought of this raga as Marwa with a shuddha rishab. \u00a0My description of it as “restive” is apposite in light of this for that is a deliberate effect Vasantrao seems to have aimed for.)<\/span><\/span><\/strong><\/em><\/p>\n

<\/span><\/span><\/strong><\/em><\/p>\n

\"Shubha

Shubha Mudgal
(\u00a9 Rajan P. Parrikar)<\/p><\/div>\n

Ulhas Kashalkar<\/a><\/strong> handles a\u00a0bandish<\/em> favoured by the Gwalior musicians, in Tilwada: jiya manata.<\/em><\/p>\n

Faiyyaz Khan<\/a><\/strong> brings his imperial gayaki<\/em> to bear on Yaman Kalyan as graceful meends<\/em> and a judicious shuddha madhyam<\/em> decorate this unpublished recording.<\/p>\n

Dinkar Kaikini<\/a><\/strong> brings his own compositions – the vilambit, he mana kaise gaoon<\/em>, is followed by the lithe matwari aaja hoon<\/em>.<\/p>\n

This rare item of the Agrawali Zohrabai<\/a><\/strong> singing the well-known cheez<\/em>, piharva tihari<\/em> comes with\u00a0linear SRGmPDN<\/strong> runs.<\/p>\n

The Rampur-Sahaswan statement from its distinguished representative, the late Nissar Hussain Khan<\/a><\/strong>. \u00a0The traditional khayal, kaise ki<\/em>, is followed with piharva tihari<\/em>. \u00a0Notice the explicit SRGm<\/strong> sargam<\/em> beginning at around 8:02 into the clip.<\/p>\n

A supreme master of the ‘big’ ragas, Bhimsen Joshi<\/a><\/strong>‘s is a powerful presence in this raga. \u00a0He is not one to put much store by the textual content but he has an unerring sense of and respect for bandish<\/em> structure. \u00a0The shuddha madhyam<\/em>-laden piyabina ratiya<\/em> in Jhaptala is paired with the scintillating eri aali piyabina<\/em>.<\/p>\n

We turn to Gwalior.<\/p>\n

Rahimat Khan<\/strong> (1852-1922), the second son of the Gwalior pioneer Haddu Khan<\/strong>, was among the most renowned musicians of India in his time. \u00a0Some of the influential names impacted by his artistry include Abdul Karim Khan, Bhaskarbuwa Bakhale, Omkarnath Thakur and – much to the chagrin of dad Alladiya Khan – Manji Khan. \u00a0Rahimat Khan<\/a><\/strong>‘s explosive tans<\/em> are preserved in this invaluable archival recording published recently by HMV.<\/p>\n

\"Amir

Amir Khan<\/p><\/div>\n

The khayalnuma<\/em>, a form where tarana<\/em> bols are dressed up in khayal<\/em> clothing, is a Gwalior specialty \u00a0Sharatchandra Arolkar<\/a><\/strong>‘s rendition in vilambit<\/em> Jhoomra is followed by the now-familiar piharva tihari.<\/em><\/p>\n

<\/em><\/p>\n

\"Rahimat

Rahimat Khan<\/p><\/div>\n

The traditional cheez<\/em>, langarva turaka jina chhuvo<\/em>, comes alive in the pliant voice of D.V. Paluskar.<\/a><\/strong><\/p>\n

Interestingly, Jha-sahab<\/a><\/strong> sketches the same cheez<\/em> with a small twist: he transposes the second word “turaka<\/em>” to “tu kara<\/em>.”<\/p>\n

Jha-sahab<\/strong> has composed a jod<\/em> (match) of the foregoing composition, co-opting its key phrases. \u00a0Nachiketa Sharma<\/a><\/strong> gives an account: banwari na karo na karo.<\/em><\/p>\n

Kashinath Bodas<\/a><\/strong> puts to good effect a composition of his guru Balwantrai Bhatt<\/strong> “Bhavrang”:\u00a0sukha data sabana ke Shankara<\/em>.<\/p>\n

Kumar Gandharva<\/a><\/strong> always has an ace or two up his sleeve. \u00a0Notice the soup\u00e7on of shuddha madhyam<\/em> served with a khatka<\/em> in his own composition: mukha tero karo.<\/em><\/p>\n

Master Krishnarao<\/strong> places the sam<\/em> on the tar saptaka shadaj <\/em>in his composition rendered by\u00a0Shaila Datar<\/a><\/strong>: preethama saiyyan lagi re.<\/em><\/p>\n

Whenever you run a ‘big’ raga by Amir Khan<\/a><\/strong> he cannot help but erect a monument. \u00a0In this unpublished recording the great man sings a khayal<\/em> in vilambit<\/em> Jhoomra, kajra kaise darun<\/em>, which has its sam<\/em> located on the mandra nishad<\/em>, and follows it up with the breezy aiso sughara sundarava balamava.<\/em><\/p>\n

Basavraj Rajguru<\/a><\/strong> emphasizes teevra madhyam<\/em> in the earlier half of the clip, its solidity furnishing a contrast to the weak and circumspect shuddha madhyam.<\/em><\/p>\n

A prized recording of the sarangi-nawaz<\/em> Bundu Khan.<\/a><\/strong><\/p>\n

<\/strong><\/p>\n

\"Bundu

Bundu Khan<\/p><\/div>\n

In this 1966\u00a0mehfil<\/em> in Hyderabad, Bade Ghulam Ali Khan<\/a><\/strong> begins gingerly before warming up.<\/p>\n

Salamat Ali Khan.<\/a><\/strong><\/p>\n

A couple of offerings from the Dagar dudes. \u00a0First, Rahimuddin Khan Dagar<\/a><\/strong>‘s alap<\/em>.<\/p>\n

The resounding tones of Z.M. Dagar<\/a><\/strong>‘s rudra beena in this unpublished recording.<\/p>\n

We pick up on a jhala<\/em> in an old jugalbandi<\/em> of Vilayat Khan<\/strong> and Mr. Alubhai Khan<\/strong><\/a>, the (naked) Emperor of San Rafael who has been resting on his oars for a few decades now.<\/p>\n

Vilayat Khan and<\/span> Bismillah Khan.<\/a><\/strong><\/p>\n

Nivruttibuwa Sarnaik<\/a><\/strong>, compelling as usual.<\/p>\n

Kishori Amonkar<\/a><\/strong>‘s extended rendition of eri aali piya bina<\/em> is severely enchanting, and there is perhaps no better elaboration of the chestnut on tape.<\/p>\n

When queried about the shuddha madhyam<\/em> in Kalyan’s midst, Kishori Amonkar<\/a><\/strong> is known to unload a great deal of hocus-pocus on the unsuspecting. \u00a0In this tarana<\/em> the first instance of M<\/strong> is around 1:41. \u00a0Then at 2:02 comes an ungainly m-M<\/strong> slide.<\/p>\n

\"Kesarbai,

Kesarbai, Mogubai and Dhondutai<\/p><\/div>\n

Mogubai<\/a><\/strong>‘s tarana<\/em> is set in Gatala (15.5 beats), a tala<\/em> designed by “Layabhaskar” Khaprumama Parvatkar<\/strong>. \u00a0The story is told that Mogubai went through numerous takes without success and had to finally request Khaprumama’s presence in the studio to get through to her satisfaction.<\/p>\n

Another Atrauli-Jaipur lady, Laxmibai Jadhav<\/a><\/strong>: eri eka najara.<\/em><\/p>\n

<\/em><\/p>\n

\"Laxmibai

Laxmibai Jadhav<\/p><\/div>\n

The crowning Atrauli-Jaipur offering –\u00a0Mallikarjun Mansur<\/a>.<\/strong> Like a hen on a hot girdle, he gets down to business in less than no time: beeta gaye.<\/em><\/p>\n

Mallikarjun<\/a><\/strong> spins an old cheez<\/em> for a round of hijinks: mukuta para vara ja’oon.<\/em><\/p>\n

Mallikarjun Mansur<\/strong> did not mix his Yaman and Yaman Kalyan. \u00a0The latter now, through the traditional bandish<\/em>, pata tore kavana.<\/a><\/em><\/strong><\/p>\n

Any account of Yaman would remain incomplete if we didn’t acknowledge Vilayat Hussain Khan<\/strong>‘s popular and busy cheez<\/em>, main vari vari ja’oongi<\/em>. \u00a0His colophon, ‘Pranpiya,’ is heard in the antara<\/em> in this rendition by K.G. Ginde.<\/a><\/strong><\/p>\n

<\/strong><\/p>\n

\"Pannalal

Pannalal Ghosh<\/p><\/div>\n

We conclude the our Yaman adventure with the empyrean artistry of Pannalal Ghosh<\/a><\/strong>, the greatest Hindustani flautist of our times.<\/p>\n

 <\/div>\n

Acknowledgements<\/strong><\/p>\n

I cannot adequately discharge my debt to Romesh Aeri<\/strong> whose kindness in sharing his vast treasure of unpublished recordings has enriched this series immeasurably. \u00a0My good friend, Sir Vish Krishnan<\/strong>, compiled much of the ‘light’ material. \u00a0Ajay Nerurkar <\/strong>and Ashok Ambardar<\/strong> have always been at hand, ready to help.<\/p>\n

The driving force behind this enterprise is Anita Thakur<\/strong> of SAWF<\/a><\/strong> without whom none of this would have come to pass.<\/p>\n

 <\/div>\n

Part 1<\/a><\/strong> | Part 2<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"

by Rajan P. Parrikar First published on SAWF on January 14, 2002 Part 1 | Part 2   Yaman – The Classical View Much of the material marshaled on this page remains unpublished. \u00a0So let’s right away hitch our wagon to a star and soak in the ananda of Yaman. Pandit Ramashreya Jha “Ramrang” ‘s...<\/p>\n","protected":false},"author":2,"featured_media":0,"parent":25,"menu_order":0,"comment_status":"closed","ping_status":"open","template":"","meta":{"pp_embeds":""},"_links":{"self":[{"href":"https:\/\/www.parrikar.org\/wp-json\/wp\/v2\/pages\/2496"}],"collection":[{"href":"https:\/\/www.parrikar.org\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.parrikar.org\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.parrikar.org\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.parrikar.org\/wp-json\/wp\/v2\/comments?post=2496"}],"version-history":[{"count":36,"href":"https:\/\/www.parrikar.org\/wp-json\/wp\/v2\/pages\/2496\/revisions"}],"predecessor-version":[{"id":5816,"href":"https:\/\/www.parrikar.org\/wp-json\/wp\/v2\/pages\/2496\/revisions\/5816"}],"up":[{"embeddable":true,"href":"https:\/\/www.parrikar.org\/wp-json\/wp\/v2\/pages\/25"}],"wp:attachment":[{"href":"https:\/\/www.parrikar.org\/wp-json\/wp\/v2\/media?parent=2496"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}