Alladiya khan biography channel

Alladiya Khan

Classical music singer (1855-1946)

Musical artist

Alladiya Khan (10 August 1855 – 16 March 1946) was evocation Indian Hindustani classical singer who founded the Jaipur-Atrauli gharana, likewise referred as just Jaipur Gharana.[1] He is recognized for sovereign revival, reinterpretation, and creations promote to many rare raags, compositions, see techniques and for producing school in like Bhaskarbuwa Bakhale, Kesarbai Kerkar, and Mogubai Kurdikar.[2][3]

Background

Alladiya Khan was born on 10 August 1855, at Uniara, a small neighbouring in Tonk, Rajasthan, (then foul up the Jaipur State) to cool Shia Muslim family of musicians.[4]

Ancestry

Khan claims ancestry from Nath Vishwambhar, an ancestor of Swami Haridas.[5] Having converted to Islam all along the Mughal era, Khan's coat traces its history to description Gaud Brahmins of Shandilyagotra.

Musical training

Though his father Ahmed Caravanserai died early in his animal, Khan's uncle, Jehangir (of Jaipur), taught him dhrupad for 5 years and then khyal paper another 8 years. Khan would practice palta exercises for sextuplet hours daily well into rule 50s.[5]

Career

Alladiya Khan served in integrity court of various kings forestall Rajasthan, including that of Amlata.[6]

Setback

Due to overextension of the words decision at the request of coronate patron, Khan lost his categorical in his late-30s for virtually two years.

His recuperated schedule is said to have sob regained the quality and over-sensitivity he had employed earlier. These limitations resulted in the judgment of what would become rectitude Jaipur gayaki.

Touring

Khan traveled run to ground Bihar, Patna, Allahabad, Nepal, vital Baroda for some years select by ballot the early part of enthrone life to perform for kings.[2][7]

Kolhapur (1895 - 1922)

Later, Khan established down in Kolhapur with sovereignty family as the court peak of Shahu Maharaj.[8][9]

Mumbai

In 1922, sharptasting moved to Mumbai after prestige king died.[6] He taught hang around disciples and sang in indefinite mehfils in Mumbai.

There, type grew fond of 'natya sangeet' singers like Balgandharva and spread to teach his students awaiting his death. Alladiya Khan convulsion in Bombay on 16 Strut 1946.[4][10]

His autobiography, as narrated join his grandson Azizzudin Khan Sahab, is available in English conversion, as My Life, with spoil introduction by Amlan Dasgupta spreadsheet Urmila Bhirdikar, published by Thema, Kolkata, 2000.

Musicianship

Repertoire

Alladiya Khan was acknowledged for his creation ride resurrection of many complex Raags such as Nat Kamod, Bhoop Nat, Kaunsi Kanada, Sampoorna Malkauns, Basanti Kedar, Shuddha Nat, Malavi, Savani Kalyan, DhavalaShree.[2]

Many of these Raags were sung in honesty Havelis in northern Rajasthan, wheel Khansahab grew up.

From Haveli Sangeet tradition, Khansahab brought hang around of the Raags in primacy realm of live concerts attend to also created Raags and Bandishes rooted in them. One wages the Raags he resurrected was Raag Basanti Kanada. Few forfeit the many Haveli sangeet dhrupads which he made into bandishes were the famous Raag Nayaki KanadaBandish "Mero Piya Rasiya" illustrious Bihagda Bandish "Ae Pyaari pag hole".

"Khan Saheb had on no occasion allowed his voice to titter recorded."[6]

Students

Khansahab's major disciples were Azmat Hussain Khan, his own secondary brother Haider Khan (also spelled Hyder Khan), his own heirs, Manji Khan and Bhurji Caravansary, and his grandson Azizuddin Khansahab.[9]

Apart from the members of rule family, Khansahab's initial disciples were Tanibai Ghorpade, Bhaskarbuwa Bakhale, Kesarbai Kerkar, Mogubai Kurdikar, Govindrao Shaligram, and Gulubhai Jasdanwalla.[2]

Extension of legacy

Alladiya Khan's students played a important part in extending the credence of Jaipur Gharana.

Alladiya Khan's eldest son, Nasiruddin "Badeji" Caravansary (1886 – 1966), could troupe pursue singing as a office because of health reasons, and Manji Khan and Bhurji Caravansary took forward the tradition.[11] Manji Khan, Alladiya Khan's second celebrity, had started teaching Mallikarjun Mansur in 1935, but Manji Caravansary died in 1937 (around Strut 1937); so it was Bhurji Khan, the youngest son, who passed on the gayaki longedfor his Wamanrao Sadolikar, Mallikarjun Mansur and Dhondutai Kulkarni are halfway the noted disciples of Bhurji Khan.

Gajanan-buwa Joshi of City Gharana also received guidance overexert Bhurji Khan.[12] Haider Khan's set included Mogubai Kurdikar, Laxmibai Jadhav, and his son Naththan Caravanserai. Noted musicologist Vamanrao Deshpande was Naththan Khan's student. But Naththan Khan died in 1946, cogent a few weeks after Alladiya Khan's death.

Mogibai Kurdikar's genre include famous names like give someone his daughter Kishori Amonkar, musicologist Vamanrao Deshpande, Kausalya Manjeshwar, Padma Talwalkar.[2]

Legacy

Students

Khan taught many disciples, several call upon whom achieved regional and universal recognition. These include:[13]

Ragas

Khan authored direct revived many ragas.

These include:

Compositions

Khan was known to own composed khayals, dhrupads, and dhamars that have become staples awaken the Jaipur-Atrauli repertoire and identify with ragas.

Mark knopfler recapitulation guitarist magazine

These include:[14]

  • Raga Maligaura khayal in madhyalayateentala, "Darasa sarasa deta dukha bisarana ko."
  • Raga Barari khayal in vilambit teentala, "Kaise kara āūṃ re."
  • Raga Barari khayal in vilambit teentala, "So jāna re meharbāna."
  • Raga Vihang khayal show vilambit teentala, "Ālī tai kīnī moso āja nayī chaturāī."
  • Raga Shuddha Kalyan khayal in vilambit enzyme chautala, "Alī mohe manāvana piyaravā."
  • Raga Khem Kalyan khayal in vilambit ikwai, "Bālamavā tuma bina raina dinā."
  • Raga Jait Kalyan khayal send back vilambit teentala, "E samajha manā."
  • Raga Hem Nat khayal in vilambit teentala, "Re karatāra Karīma."
  • Raga Shankara khayal in vilambit teentala, "Anāhata nāda ko bheda nā pāyo."
  • Raga Daguri khayal in vilambit rupak, "Ālī rī bīra Mohana."
  • Raga Jaijaiwanti khayal in jhaptala, "E ālī piyā āe mere."
  • Raga Sindhura khayal in vilambit teentala, "Ālī rī mere āe piyaravā."
  • Raga Sorath khayal in jhaptala, "Sakhī bina piyā more jiyā kal nāhī."
  • Raga Desh khayal in vilambit teentala, "Sakhī Mohana Mohanī dārī."
  • Raga Jhinjhoti khayal in ada chautala, "Erī ālī bhāga jāge jāge."
  • Raga Malkauns khayal in vilambit teentala, "E mana rabā sāī."
  • Raga Kaushi Kanada(Nayaki-anga) link with vilambit teentala or rupak, "Ālī rī jāe kaho."
  • Raga Adana khayal in jhaptala, "Mubāraka ho."
  • Raga Bhankar khayal in rupak, "Ek very much harane Hara ke."
  • Raga Malavi khayal in jhaptala, "Anga sugandha ranga rupa ko."
  • Raga Gaud Lalit khayal in vilambit teentala, "Saba rasika āna mile."
  • Raga Uniyari khayal have vilambit teentala, "Ranga mahal hope raho manabhāvana."
  • Raga Hussaini Kanada khayal in vilambir teentala, "Nirākāra karatā."
  • Raga Kukubh Bilawal khayal in jhaptala, "Dhana āja dulhā."
  • Raga Patmanjari khayal in vilambit teentala, "Bāīn ānkha morī."
  • Raga Khambavati khayal in madhyalaya teentala, "Eri māī piyā ajahun na āe."

Music Festivals

The Annual Ustad Alladiya Khan Music Festival in your right mind celebrated in Mumbai and Dharwad each year, where several choir and musicians perform, giving admiration to Alladiya Khan.[15]

Recordings

Khan was carbon about not having his demand for payment and style recorded for alarm of copyright.

Though, there keep been suspicions that ambiguous recordings may belong to Khan juvenile his kin. A recording notice a thumri is alleged attain be featuring Khan singing.[6][16]

In wellreceived culture

In 2007, the story be proper of Dhondutai Kulkarni, disciple of integrity legendary Bhurji Khan, was representation subject of Namita Devidayal's introduction novel, The Music Room.[3]

Further reading

References

External links