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కొన్ని ఇతర వ్యాసాలు

2012-01-28T05:33:00.000-08:00

http://eemaata.com/em/?page_id=28&aa=%E0%B0%95%E0%B1%8A%E0%B0%A1%E0%B0%B5%E0%B0%9F%E0%B0%BF%E0%B0%97%E0%B0%82%E0%B0%9F%E0%B0%BF+%E0%B0%B0%E0%B1%8B%E0%B0%B9%E0%B0%BF%E0%B0%A3%E0%B1%80%E0%B0%AA%E0%B1%8D%E0%B0%B0%E0%B0%B8%E0%B0%BE%E0%B0%A6%E0%B1%8D%E2%80%8C

2009-12-29T12:42:00.000-08:00

సాంస్కృతిక కార్యక్రమాలు, గంతులూ, చిందులూ

http://sujanaranjani.siliconandhra.org/february2008/manalo_maata.php

2009-02-06T15:44:00.000-08:00

ఆంధ్రజ్యోతి ఇంటర్వ్యూ

http://eemaata.com/rohiniprasadk/

2008-12-20T17:58:00.000-08:00

కొకు రచనాప్రపంచం 16 సంపుటాలు

Oct 28th 1909-Aug 17th 1980

కొడవటిగంటి కుటుంబరావు శతజయంతి సందర్భంగా 2009లో ఆయన రచనాసర్వస్వాన్ని ప్రచురించాలని విప్లవ రచయితల సంఘం నిర్ణయించుకున్నది. తెలుగునాట నిజమైన విప్లవ, ప్రజా సాహిత్యోద్యమాన్ని నిర్మించి విస్తరిస్తున్న విరసం గతంలో శ్రీశ్రీ, చెరబండరాజు సమగ్ర రచనలను, కుటుంబరావు వ్యాసప్రపంచాన్ని ప్రచురించింది. తెలుగు సమాజంలో విప్లవభావాలను వ్యాపింప జేయడంలో అసాధారణమైన కృషి చేసిన కుటుంబరావు వ్యాసాలను మాత్రమేకాక, కథలనూ నవలలనూ కూడ కలిపి రచనాప్రపంచం మొత్తాన్నీ ఆయన శతజయంతి కానుకగా పాఠకులకు అందించడానికి ఈ ప్రయత్నం.
కుటుంబరావు ఇరవై రెండో ఏట 1931లో తొలి కథ అచ్చయిన నాటినుంచి 1980 ఆగస్ట్ 17న మరణించేదాకా రచనే జీవితంగా గడిపారు. రాశిలోనూ వాసిలోనూ గణనీయమైన రచనలు చేసిన అతి కొద్దిమంది తెలుగు మేధావులలో కుటుంబరావు అగ్రగణ్యులు. ఆయన రచనాకృషి కథా, నవల, నాటిక, గల్పికవంటి సృజనాత్మక ప్రక్రియలలో నాలుగువేల పేజీలకుపైగా; శాస్త్రవిజ్ఞానం, రాజకీయాలు, సాహిత్యవిమర్శ, సినిమా, చరిత్ర, సంస్కృతి, తత్వశాస్త్రంవంటి అనేక రంగాలపై వివరణాత్మక, విశ్లేష ణాత్మక వ్యాసాలు మరొక నాలుగువేల పేజీలకు పైగా విస్తరించి ఉంది.
కుటుంబరావు రచనలు గతంలో విడివిడిగా అనేకసార్లు, సమగ్ర సంపుటాలుగా ఒకసారి అచ్చయినప్పటికీ అవేవీ ప్రస్తుతం అందుబాటులో లేవు. అప్పటికి అలభ్యంగా మిగిలిపోయిన రచనలు కూడ కలిపి, ప్రణాళికాబద్ధంగా విభజించి శతజయంతి సందర్భంగా విరసం ప్రచురించబోతున్నది.
కొకు రచనా ప్రపంచం మొత్తం 16 సంపుటాలుగా ఒక్కొక్క సంపుటి 450 పేజీలకు తగ్గకుండా వెలువడుతుంది. ఈ సంపుటాలకు చలసాని ప్రసాద్, కృష్ణాబాయి కూర్పరులుగా ఉంటారు. కొకు రచనాజీవితం కథలతో ప్రారంభమైంది గనుక కథలు అచ్చయిన కాలక్రమానుగతంగా మొదటి ఐదు సంపుటాలలో వస్తాయి. ఆ తరవాతి మూడు సంపుటాలలో నవలలు, ఒక సంపుటంలో నాటికలు, గల్పికలు, ఇతర రచనలు వస్తాయి. ఆ తరవాతి ఏడు సంపుటాలలో సైన్స్ వ్యాసాలు, చరిత్ర సంస్కృతి వ్యాసాలు, రాజకీయ వ్యాసాలు, సాహిత్యవ్యాసాలు, సినిమా వ్యాసాలు, తాత్విక వ్యాసాలు, లేఖలు వెలువడుతాయి.
కొకు రచనాప్రపంచం తొలి నాలుగు సంపుటాలు 2009 జనవరిలో తెనాలిలో జరుగనున్న విరసం సాహిత్య పాఠశాల (కొడవటిగంటి కుటుంబరావు శతజయంతి పాఠశాల)నాటికి వెలువడతాయి. ఆ తర్వాత ప్రతి నాలుగు నెలలకు నాలుగు సంపుటాల చొప్పున ఆ సంవత్సరం పొడవునా అన్ని సంపుటాలు వెలువడతాయి.
ఈ పదహారు సంపుటాల కుటుంబరావు రచనాప్రపంచం ప్రణాళికలో భాగం పంచుకోవలసిందిగా కుటుంబరావు అభిమానులకు, సాహిత్యాభిమానులకు విరసం విజ్ఞప్తి చేస్తోంది. ప్రవాసాంధ్ర సాహితీమిత్రుల సూచనల మేరకు సంపుటాల వెల, రవాణా ఖర్చులు, విరాళం కలిపి ఒక్కొక్క సెట్‌కి $ 200 గా నిర్ణయించడం జరిగింది. (నాలుగు విడతలుగా అందే సంపుటాలకు రవాణా ఖర్చు $ 50 పైనే ఉంటుందని అంచనా.) అమెరికాలో కొకు రచనాప్రపంచం సెట్ కొనుక్కోదలచినవారు జనవరి 1, 2009లోపు డెట్రాయిట్ తెలుగు లిటరరీ క్లబ్ బాధ్యులు శ్రీ ఆరి సీతారామయ్య (ari@oakland.edu), శ్రీ మద్దిపాటి కృష్ణారావు (maddipati@wayne.edu) లను సంప్రదించవచ్చు.

2008-09-26T00:19:00.000-07:00

బాలమురళీకృష్ణ
http://www.eemaata.com/em/issues/200809/1333.html

2008-09-26T00:15:00.000-07:00

88 ఏళ్ళ యువకులు

http://www.eemaata.com/em/issues/200807/1296.html

2008-09-26T00:10:00.000-07:00

హిందోళ రాగం - అనుబంధం

http://www.eemaata.com/em/issues/200805/1252.html

2008-09-26T00:01:00.000-07:00

కల్యాణి రాగం - అనుబంధం

http://www.eemaata.com/em/issues/200803/1209.html

2008-09-25T23:46:00.000-07:00

సర్వోత్తమ సితార్‌ విద్వాంసుడు ఉస్తాద్‌ విలాయత్‌ఖాన్‌

http://www.eemaata.com/em/issues/200801/1191.html

2008-09-25T23:27:00.000-07:00

ఆంధ్రజ్యోతి ఓపెన్ హార్ట్ శీర్షికలో ఇంటర్వ్యూ

28 ఆగస్ట్ 2008 ఆదివారం అనుబంధం

http://www.eemaata.com/rohiniprasadk/

ఉస్తాద్ అమీర్ ఖాన్

2007-11-14T11:19:00.000-08:00

http://eemaata.com/em/issues/200707/1116.html

కీబోర్డ్ మీద రాగాలు

2007-11-14T11:13:00.000-08:00

http://eemaata.com/em/issues/200709/1139.html

హిందూస్తానీ గాత్రసంగీతంలో ఘరానాలు

2007-11-13T12:57:00.000-08:00

http://eemaata.com/em/issues/200711/1161.html

2007-06-09T14:07:00.000-07:00

జుగల్‌బందీ కచేరీలు

ఉస్తాద్ విలాయత్ ఖాన్ (సితార్), ఉస్తాద్ బిస్మిల్లా ఖాన్ (షెహనాయి)

http://eemaata.com/em/issues/200705/1092.html

2007-06-09T13:37:00.000-07:00

ఓ.పీ.నయ్యర్‌

http://eemaata.com/em/issues/200703/1072.html

2007-02-02T17:12:00.000-08:00

సంగీతంతో కుస్తీ

http://eemaata.com/em/issues/200609/905.html

2006-07-15T11:50:00.000-07:00

హా (స్యం) సం (గీతం)

(http://eemaata.com/em/issues/200509/59.html)

2006-07-15T11:28:00.000-07:00

నౌషాద్‌
(http://eemaata.com/em/issues/200607/893.html)

2006-07-14T18:48:00.000-07:00

"చందమామ" జ్ఞాపకాలు
http://eemaata.com/em/issues/200601/33.html

2006-07-14T18:11:00.000-07:00

బొంబాయిలో తెలుగు కార్యక్రమాలు

http://eemaata.com/em/issues/200605/9.html

2006-07-14T17:59:00.000-07:00

హిందూస్తానీ సంగీతం

http://eemaata.com/em/issues/200511/45.html

2006-07-14T17:40:00.000-07:00

మహామహోపాధ్యాయ ఈమని శంకరశాస్త్రి

డా. కొడవటిగంటి రోహిణీప్రసాద్‌

http://eemaata.com/em/issues/200603/16.html

2006-07-14T15:48:00.000-07:00

సితార్‌, సుర్‌బహార్‌ల ఉస్తాద్‌ ఇమ్రత్‌ఖాన్‌
డా. కొడవటిగంటి రోహిణీప్రసాద్‌

ఇమ్రత్‌ఖాన్‌

సుర్‌బహార్‌

రోహిణీప్రసాద్‌, ఇమ్రత్‌ఖాన్‌

సితార్‌ వాయించడంలో విలాయత్‌ఖాన్‌ను మించినవారు లేరని హిందూస్తానీ సంగీతాన్నీ, సితార్‌నూ బాగా ఎరిగిన చాలామంది అంటారు. వారి వంశం అక్బర్‌ పాదుషా కాలంనుంచీ ఎన్నోతరాలుగా సంగీతానికి పేరుపొందినది. విలాయత్‌ఖాన్‌ బాణీలో సితార్‌ వాయించే ఆయన తమ్ముడు ఇమ్రత్‌ఖాన్‌ అన్నగారి శిష్యుడే. ఈ అన్నదమ్ముల సంగీతం అక్షరాలా మూడు పువ్వులూ ఆరు కాయలైనట్టుగా వారి పుత్రుల, శిష్యుల ద్వారా వ్యాప్తిచెందుతోంది. విలాయత్‌ఖాన్‌ కుమారులు శుజాత్‌, హిదాయత్‌, ఇమ్రత్‌ఖాన్‌ కుమారులు నిషాత్‌, ఇర్షాద్‌, వజాహత్‌, షఫాతుల్లాలే కాక విలాయత్‌ మేనల్లుడు రయీస్‌ఖాన్‌, ఆయన బాబాయికి మనమడైన షాహిద్‌పర్వేజ్‌లు ఈ శైలికి అద్భుత ప్రతీకలుగా ఉన్నారు. ఇదే బాణీలో శిక్షణ పొందిన బుద్ధాదిత్య ముఖర్జీ, అరవింద్‌ పారిఖ్‌ వంటివారు కూడా మంచి కళాకారులే. రవిశంకర్‌ శిష్యులు చాలామంది పై విలాయత్‌ఖాన్‌ ప్రభావం ఉంది.

విలాయత్‌ఖాన్‌ బాణీ గాత్రాన్ని పోలే "గాయకశైలి"కిపేరు పొందినది. అంతేకాదు. ఈ "గాయక శైలి" మన దేశపు అత్యుత్తమ హిందూస్తానీ గాయకులైన అబ్దుల్‌ కరీంఖాన్‌, ఫయ్యాజ్‌ఖాన్‌, బడేగులాం అలీఖాన్‌, అమీర్‌ఖాన్‌ తదితరుల బాణీలపై ఆధారపడినది. అందువల్ల ఏరాగం వాయించినా అందులో లోతైన సంప్రదాయమూ, సరైన అవగాహనా,అద్భుతమైన పటుత్వమూ గోచరిస్తాయి.

1936లో కోల్‌కతాలో జన్మించిన ఇమ్రత్‌ఖాన్‌ రెండున్నరేళ్ళ వయసులోనే ఆనాటి ప్రసిద్ధ సితార్‌ నిపుణుడైన తన తండ్రిని కోల్పోవడంతో అన్నగారైన ఉస్తాద్‌ విలాయత్‌ఖాన్‌ ఆయనకు సితార్‌ నేర్పే గురువుగా బాధ్యతను చేపట్టవలసి వచ్చింది. అలాగే బాబాయి ఉస్తాద్‌ వహీద్‌ఖాన్‌ "సుర్‌బహార్‌" అనే వాయిద్యాన్ని నేర్పారు. "సుర్‌బహార్‌" సితార్‌కన్నా మంద్రస్థాయిలో గంభీరంగా మోగే వాయిద్యం. దాదాపు సితార్‌లాగే కనబడే ఈ వాయిద్యాన్ని వీరి ముత్తాత సాహబ్‌దాద్‌ఖాన్‌గారు మొదటగా తయారు చేశారు. దీనికీ సితార్‌కీ ఉండే తేడా పాశ్చాత్య వాయిద్యాలైన వయొలిన్‌, చెల్లోలకు ఉన్నటువంటిదే. రాగాలాపన ధ్రుపద్‌ శైలిలో వినిపించడానికి ఇది ఉత్తమ సాధనం. వీరి తాతగారూ, ముత్తాతగారూ దీన్ని కచ్ఛపవీణ అనే పేరుతో వాయించి ప్రఖ్యాతి గడించారు. సితార్‌ తీగల కన్నా సుర్‌బహార్‌ తీగలు దళసరిగా ఉంటాయి. సితార్‌లో ఒక మెట్టు మీద అయిదు స్వరాలు (స నుంచి ప దాకా) గుంజి పలికించవచ్చు. సుర్‌బహార్‌ మీదనైతే ఏడు స్వరాలు పలుకుతాయి. ఈ కారణంగా గమకాలూ, జారుడు స్వరాలూ సుర్‌బహార్‌ మీద అద్భుతంగా వినిపిస్తాయి.

అయిదారేళ్ళ లేత వయసునుంచీ చేసిన రాక్షస సాధన ఫలితంగా ఇమ్రత్‌ చేతి వేళ్ళకూ,పాదాలకూ కూడా గాయాలవుతూ ఉండేవి. మామూలు కుటుంబాల్లో అటువంటిది జరుగుతుందని ఊహించడం కూడా అసంభవం. నాలుగు శతాబ్దాలుగా సంగీతానికి పేరుమోసిన వంశానికి అప్రతిష్ఠ రాకూడదనే పట్టుదలతో ఆ అభ్యాసం కొనసాగింది. ఈనాడు సితార్‌, సుర్‌బహార్‌ రెండింటిలోనూ అద్వితీయమైన విద్వత్తు ఉన్నది ఒక్క ఇమ్రత్‌ఖాన్‌కు మాత్రమే అంటే అతిశయోక్తి కాదు. ఇమ్రత్‌ఖాన్‌ ఒకే కచేరీలో రెండింటినీ వాయించిన సందర్భాలు ఎన్నో ఉన్నాయి. విలాయత్‌ఖాన్‌ సితార్‌, ఇమ్రత్‌ఖాన్‌ సుర్‌బహార్‌ జుగల్‌బందీ కచేరీలు నాలుగైదు దశాబ్దాల క్రితమే శ్రోతలను ఉర్రూతలూగించాయి.

ఇమ్రత్‌ఖాన్‌ ఎన్నో దశాబ్దాలుగా భారతదేశమంతటా పర్యటించి అనేక కచేరీలు చేశారు. ఆయన ఖ్యాతి ప్రపంచంలోని దేశాలన్నిటికీ వ్యాపించింది. 1956లో సోవియట్‌ యూనియన్‌, తూర్పు యూరప్‌ దేశాల పర్యటనతో మొదలైన విదేశ యాత్రలు ఆయన అంతర్జాతీయ ఖ్యాతికి నాంది పలికాయి. అమెరికా, కెనడా, బ్రిటన్‌, దక్షిణ అమెరికా, యూరప్‌, హాంకాంగ్‌ వగైరా ప్రదేశాల్లో ఎన్నో సంగీతోత్సవాల్లో ఆయన పాల్గొన్నారు. సంగీతకచేరీలే కాక ఇమ్రత్‌ఖాన్‌ అనేక దేశాల్లో భారతీయ సంగీతానికి ఉపాధ్యాయుడుగా,ఉపన్యాసకుడుగా పనిచేశారు. 1960లలో ప్రారంభించి ఇంగ్లండ్‌లోని డార్టింగ్‌టన్‌ కాలేజ్‌లో, బీబీసీ రేడియో,టెలివిజన్‌లో, హాలండ్‌, స్వీడన్‌, ఇటలీ,జర్మనీ మొదలైన దేశాలలో ఎన్నో ప్రతిష్ఠాకరమైన సమావేశాలూ, యూనివర్సిటీల్లో, అమెరికాలో సియాట్‌ల్‌ యూనివర్సిటీ ఆఫ్‌ వాషింగ్‌టన్‌, హార్వర్డ్‌, యూనివర్సిటీ ఆఫ్‌ కాలిఫోర్నియా లాస్‌ ఏంజెలిస్‌ ఇలా ప్రపంచమంతటా ఎన్నో కోర్సులు నిర్వహించి, విడేశీయులకు మన సంగీతంపట్ల అవగాహనను పెంచారు. ఉత్తమ సంగీతకారుడై ఉండి విషయాలను చక్కగా వివరించగలిగిన నేర్పు ఉండడంతో ఆయనకు ఇటువంటి ఆహ్వానాలు ఎన్నో వచ్చాయి. ప్రస్తుతం ఆయన ఆయనకు ఎందరో అమెరికన్‌ శిష్యులున్నారు. వారిచేత ఆయన "ఇమ్రత్‌ వయొలిన్‌", "ఇమ్రత్‌ గిటార్‌" అనే కొత్తరకాల వాయిద్యాలను సాధన చేయిస్తున్నారు. ఇటీవల ఇమ్రత్‌ఖాన్‌ ముంబాయికి వచ్చిన సందర్భంగా ఆయన కొన్ని విషయాలు ముచ్చటించారు.

"కొందరు పబ్లిసిటీ కోసం సాధన చేసి దాన్ని సంపాదించుకుంటారు. అదీ ఒక కళేనేమో. నా వంటివాళ్ళు సంగీతాన్ని సాధించే ప్రయత్నంలోనే మునిగితేలుతూంటారు. వారికి పబ్లిసిటీ అంతగా రాకపోవడంలో ఆశ్చర్యం లేదు. "ఎటొచ్చీ అంగాంగ ప్రదర్శనతో సితార్‌ కళాకారిణులుగా పేరు సంపాదించడానికి ప్రయత్నిస్తున్న నేటి యువతులను కొందర్ని చూస్తే ఆశ్చర్యం, బాధా కలుగుతున్నాయి" అంటారు ఇమ్రత్‌ఖాన్‌.

గాయకీ శైలిని గురించి చెపుతూ "మెట్లూ, మీటే పద్ధతీ వగైరాల వల్ల సితార్‌వంటి తంత్రీవాయిద్యాల శబ్దానికి సామాన్యంగా పరిమితులు ఉంటాయి. ఒకసారి మీటాక తీగ కొంతసేపు మాత్రమే మోగుతుంది. పాటలో సాగినట్టుగా ఎడతెగని సంగతులు పలికించడం కష్టం. వీణ, సితార్‌వంటి వాయిద్యాలకు సహజంగా ఉండే సమస్యలివి. వాటిని అధిగమించి గాత్రాన్ని పోలినట్టు గమకాలతో వాయించడం చాలా కష్టం. మేము ప్రయత్నించే వాటిని తొలిసారిగా సితార్‌పై పలికించగలిగిన ఘనత విలాయత్‌ఖాన్‌దీ, నాదీను" అన్నారాయన.

చిన్నప్పటి విశేషాలు చెపుతూ "వాద్యసంగీతం కాక చిన్నవయసులోనే మా తల్లిగారు బషీరన్‌ బేగమ్‌, మాతామహుడైన బందేహసన్‌ ఖాన్‌లవద్ద నేను గాత్రసంగీతం అభ్యసించాను. నాకు సంగీతం తల్లి పాలతోనే సంక్రమించింది. అన్నట్టు 1940లలో బాల గాయకుడిగా నేను కొన్ని సినిమాల్లో పాడాను. అవి హెర్క్యులిస్‌, ఖిడ్కీ, హాఫ్‌ టికెట్‌ వగైరా చాలా పాతసినిమాలు. నాది చిన్న పిల్లవాడి గొంతు కనక ఆ రోజుల్లో నేను నూర్జహాన్‌ని ఇమిటేట్‌ చేస్తూ పాడేవాణ్ణి. పెద్దయి కీచుగొంతు పోయాక ఆ అధ్యాయం ముగిసింది" అన్నారు.

ఆయన కొన్నేళ్ళు బొంబాయి సినీపరిశ్రమలో నేపథ్య సంగీతానికి సితార్‌ వాయించారు. గంగా జమునా చిత్రంలో నౌషాద్‌కు "ఢూంఢో ఢూంఢోరే సాజ్‌నా" అనే పాటకు ట్యూను తానే నేర్పారు. రోషన్‌, మదన్‌మోహన్‌ వంటి పాత స్వరకర్తలతో కూడా పనిచేశారు. కోహినూర్‌ వగైరాల్లో నటించిన దిలీప్‌కుమార్‌ కొన్నాళ్ళు సితార్‌ నేర్చుకున్నాడు కూడా. కాని త్వరలోనే సినీ వాతావరణంతో విసుగెత్తి శాస్త్రీయ విద్వాంసుడుగా కొనసాగారు. తరవాత సత్యజిత్‌రాయి తీసిన "జల్‌సాఘర్‌", 1968లో జేమ్స్‌ ఐవరీ చిత్రం "గురు", 1976లో షబానా నటీంచిన "కాదంబరి", "విల్‌బీ కాన్స్పిరసీ" అనే హాలీవుడ్‌ సినిమా వగైరా చిత్రాలకు వాయించారు.

"మనవాళ్ళు ఫ్యూజన్‌ అంటూ శాస్త్రీయ సంగీతాన్ని సంకరం చేస్తారు. పాశ్చాత్యులు తమ శాస్త్రీయ సంగీతాన్ని యథాతథంగా కాపాడు కుంటున్నారు. జాజ్‌, పాప్‌,రాక్‌ వగైరాలన్నీ వారు సృష్టించుకున్నవే. దేనికదిగా వాటిని అభిమానించేవారున్నారు. అంతమాత్రాన బెఠోవెన్‌, మొజార్ట్‌ల సంగీతంతో రాక్‌,పాప్‌, జాజ్‌ వంటివాటిని కలపడం ఎప్పుడైనా చూశారా? పశ్చిమదేశాల్లో జరిగే ఇటువంటి ఫ్యూజన్‌ కచేరీలకి హాజరయేది మనవాళ్ళే. అక్కడివారు పట్టించుకోరు" అన్నారు ఇమ్రత్‌ఖాన్‌.

కర్ణాటక సంగీతం గురించి మాట్లాడుతూ "సంగీతం ప్రొఫెసర్ను గనక అమెరికాకు వచ్చే దక్షిణాది పండితుల సంగీతం వింటూనే ఉంటాను. అంత గొప్ప సంగీతం ఉన్నప్పుడు ముగ్గురేసి, నలుగురేసి తాళవాద్యకారులు వచ్చి యాంత్రికంగా ఒకరి తరవాత ఒకరు ముందుగా అనుకున్న పద్ధతిలో తాళవరసలూ, ముక్తాయింపులూ వాయించడం ఒక్కొక్కప్పుడు "అతి"గా అనిపిస్తుంది. వీణ విద్వాంసులైన ఈమని శంకరశాస్త్రి, చిట్టిబాబుల మీద నాకు చాలా గౌరవం ఉంది. చిట్టిబాబుతో జుగల్‌బందీ వాయిస్తే బాగుంటుందని అనుకునేవాణ్ణి" అన్నారు.

"పాశ్చాత్యులకు మన సంగీతాన్ని తొలిగా వినిపించినది రవిశంకర్‌గారే కదా?" అని అడిగితే ఆయన ఇలా అన్నారు. "అది తప్పు. అంతకు ముందు కొందరు చేసిన ప్రయత్నాలకు పబ్లిసిటీ రాలేదు. ఆ మాటకొస్తే మా అన్నగారూ, నేనూ రవిశంకర్‌ కంటే ముందే వారి ఆదరణ పొందాం. రోలింగ్‌ స్టోన్స్‌ గిటారిస్ట్‌ రోజర్‌ విలియమ్స్‌ నా దగ్గిర సితార్‌ నేర్చుకున్నాడు. అప్పటికి బీట్‌ల్స్‌కి పేరు ప్రఖ్యాతులు లేవు. నా సితార్‌ విన్నాక జార్జ్‌ హారిసన్‌ (బీట్‌ల్స్‌ గిటారిస్ట్‌) సితార్‌ నేర్చుకోవటానికి నా దగ్గరికి వచ్చాడు. అప్పటి హిప్పీ సంస్కృతి గురించీ, డ్రగ్స్‌ గురించీ కొందరు శ్రేయోభిలాషులు నన్ను గట్టిగా హెచ్చరించినందువల్ల నేనతన్ని అంతగా ప్రోత్సహించలేదు. ఆ తరవాత అతను రవిశంకర్ని ఆశ్రయించాడు."

రవిశంకర్‌, విలాయత్‌ఖాన్‌ల మధ్య జరిగిన ఒక పోటీగురించి ఆయన చాలా ఆసక్తికరమైన విషయాలు చెప్పారు. 1954లో ఢిల్లీలో శంకర్‌లాల్‌ ఫెస్టివల్‌కు ఆహ్వానం అందుకుని అక్కడికి వెళ్ళిన విలాయత్‌, ఇమ్రత్‌ఖాన్‌లను రిసీవ్‌ చేసుకోవటానికి రైల్వే స్టేషన్‌కు ఎవరూ రాలేదట. దాన్ని గురించి విలాయత్‌ఖాన్‌ నిర్వాహకుల ఎదుట మందిపడగా వారు నిర్లక్ష్యంగా వ్యవహరించారట. "మీ కన్నా గొప్పవారు చాలామంది ఇక్కడికి వస్తారు. అందర్నీ నెత్తిన పెట్టుకోవడం మాకు వీలవదు. మిమ్మల్ని మించినవారు లేనట్టుగా మాట్లడకండి" అని వారనడంతో విలాయత్‌ఖాన్‌ స్వాభిమానం ఉట్టిపడేలా తాను ఎవరికీ తీసిపోననీ, ఎవరితోనైనా తలపడగలననీ సవాలు చేశారట. మాటామాటా పెరిగి ఉస్తాద్‌ అల్లాఉద్దీన్‌ ఖాన్‌ శిష్యులైన రవిశంకర్‌, అలీఅక్బర్‌లతోబాటు విలాయత్‌ఖాన్‌ సితార్‌ తీసుకుని స్టేజి మీద కూర్చున్నారట. కిషన్‌ మహారాజ్‌ తబలా వాయించిన ఆ కచేరీలో విలాయత్‌ఖాన్‌ రకరకాల "తాన్‌"లు వాయించి రవిశంకర్ని సవాలుచేశారట. ఎంత ప్రయత్నించినా అందులో రవిశంకర్‌కు పరాజయం తప్పలేదట. ఇదంతా చూసిన ఉస్తాద్‌ అల్లాఉద్దీన్‌ మండిపడి వెళిపోయారట. ఇది జరిగాక మొహం చెల్లని రవిశంకర్‌ విదేశాలకు వెళిపోయాడని ఇమ్రత్‌ఖాన్‌ అన్నారు.

"1960లలో రవిశంకర్‌ వుడ్‌స్టాక్‌ ఉత్సవంలో పాప్‌ కళాకారుల, హిప్పీల మధ్య సితార్‌ వాయించి పేరు తెచ్చుకున్నాడు. ఆ అవకాశాన్ని కోల్పోరాదని హరిప్రసాద్‌ చౌరసియా, శివకుమార్‌ శర్మ తదితరులు రవిశంకర్‌ శిష్యులమని చెప్పుకుని అక్కడికి వెళ్ళారు. బీట్‌ల్స్‌ సాంగత్యం రవిశంకర్‌కు చాలా లాభించిందనేది అందరికీ తెలుసు. నా ప్రశ్నల్లా జార్జ్‌ హారిసన్‌ రవిశంకర్‌ నుంచి ఏపాటి సితార్‌ నేర్చుకోగలిగాడని" అన్నారు ఇమ్రత్‌ఖాన్‌.

తన చిన్నతనం నుంచీ ఎందరో ఉద్దండుల సంగీతం విన్న ఇమ్రత్‌ఖాన్‌ వారి గురించిన విశేషాలు చెప్పారు. పాత తరంవారిలో ఉస్తాద్‌ ఫయ్యాజ్‌ఖాన్‌ గురించి చెపుతూ చివరిరోజుల్లో గానకచేరీ చేస్తూ ఆయన రక్తం కక్కుకునేవారనీ, అయినా లక్ష్యపెట్టకుండా పాడేవారనీ అన్నారు. ఒక కచేరీలో బడేగులాం అలీఖాన్‌ అద్భుతమైన సంగతి పాడి మరెవరూ అది పాడలేరని ఫయ్యాజ్‌ఖాన్‌ ప్రేక్షకులలో ఉన్నప్పుడు పరోక్షంగా సవాలు చేశారట. అది విన్న ఫయ్యాజ్‌ఖాన్‌ దిగ్గున లేచి స్టేజి మీదికి వెళ్ళితాను కూడా అలా పాడగలనని నిరూపించారట.

ఇమ్రత్‌ఖాన్‌కు ఉస్తాద్‌ బడేగులాం అలీఖాన్‌ అంటే వల్లమాలిన గౌరవం. ఉస్తాద్‌గారు ఆస్పత్రిలో పక్షవాతంవచ్చి, కోలుకుని, కళ్ళు తెరవగానే గొంతు విప్పి ఒక సంగతి పాడుకుని, "అల్లాకా శుకర్‌ హై" అనుకున్నారట. ఒకరోజు సాయంత్రం చీకటి పడేవేళకు ఇమ్రత్‌ఖాన్‌ ఆయన్నుచూడ్డానికి బొంబాయిలోని ఆయనింటికి వెళితే ఒంటరిగా పక్షవాతపు లక్షణాలతో కూర్చుని కనిపించారట. ఆయనను ఆ స్థితిలో చూసిన ఇమ్రత్‌ఖాన్‌కు కన్నీరు ఆగలేదట. ఖాన్‌ సాహెబుగారు మాత్రం ఏమీ అనకుండా వంకర నోటితో నవ్వి, కాస్త దూరంలో ఉన్న స్వరమండల్‌ను తన కిమ్మని సైగ చేశారట.దాని తీగలన్నిటినీ ఒంటిచేత్తో ముప్పావు గంటసేపు ట్యూన్‌ చేశారట. ఆ అవస్థ చూడలేక ఇమ్రత్‌ఖాన్‌ తాను సహాయం చేద్దామని చెయ్యిజాపితే ఖాన్‌ సాహెబుగారు నిప్పులు చెరిగే కళ్ళతో చూశారట. అలాగే తానే కష్టపడి శృతిచేసి నెమ్మదిగా గొంతు స్వాధీనంలోకి తెచ్చుకుంటూ పాడసాగారట. పాటే ఆయనకు ప్రాణం.

"బడేగులాం అలీగారి పాటలో పర్ఫెక్షన్‌ ఉంటుంది. ఆయన గొంతు వింటే ఏ స్వరం, ఏ గమకం ఎలా వినబడాలో తెలుస్తుంది. అతి సామాన్యంగా అనిపించే ఆయన రాగాలాపనలో ఇతరులకు సాధ్యం కానివెన్నో కనిపిస్తాయి" అంటారు ఇమ్రత్‌ఖాన్‌. అమీర్‌ఖాన్‌ శైలిలో ఎంతో ఆలోచన కనిపిస్తుందనీ, రాగం పోకడలు ఎప్పటికప్పుడు కొత్తమలుపులు తిరుగుతూంటాయనీ అన్నారు.

తన ప్రస్తుత వ్యాపకాలను ప్రస్తావిస్తూ ఇమ్రత్‌ఖాన్‌ "అమెరికాలో ఉంటున్నా నా ఆత్మ మన సంగీతాన్నే ఆశ్రయించుకుని ఉంది. ఎటొచ్చీ ఆదాయానికి లోటులేదు. నాకు మన దేశంలో పేరూ, డబ్బూ కోసం పాకులాడే ధోరణీ, ఓపికా లేవు. మరొక ప్రణాళిక ఉంది. మొగలుల కాలం నుంచీ మన సంగీతంలో జరిగిన, జరుగుతున్న పరిణామాల గురించి, సంగీత శాస్త్రవేత్తలా కాకుండా సంగీతకారుడి దృక్పథంతో ఒక గ్రంథం రాయదలిచాను. అందులో నాకు తెలిసిన విషయాలను సంగీతాభిమానులతో ముచ్చటించుకుంటాను" అన్నారు.

గురువులకు గురువు అబ్దుల్‌ కరీమ్‌ ఖాన్‌

2005-09-22T12:34:00.000-07:00

డా. కొడవటిగంటి రోహిణీప్రసాద్‌

ఉస్తాద్‌ అబ్దుల్‌ కరీమ్‌ఖాన్‌

కచేరీలో కరీమ్‌ఖాన్‌

సవాయా గంధర్వ, కరీమ్‌ఖాన్‌

పాత దేవదాస్‌ సినిమాలోని ఒక సన్నివేశంలో కె.ఎల్‌.సైగల్‌ తాగి వీధుల వెంట పడి "పియా బిన్‌ నహీఁ ఆవత్‌ చైన్‌" అనే ఒక ఠుమ్రీ పంక్తి పాడతాడు. అది ఝంఝూటి (ఉత్తరాదివారు రిXంఝోటీ అంటారు) రాగం. దాన్ని మొదట పాడినది ఉస్తాద్‌ అబ్దుల్‌ కరీమ్‌ఖాన్‌. జగత్ప్రసిద్ధమైన కిరానా ఘరానా (సంప్రదాయాని)కి వ్యవస్థాపకుడుగా పేరుపొందిన కరీమ్‌ ఖాన్‌ 1872లో ఒక సంగీతకారుల వంశంలో జన్మించారు. ఆయన జన్మస్థలమైన కిరానా పంజాబ్‌ ప్రాంతంలోని కురుక్షేత్రలో ఉంది. 1937లో కాలం చేసిన ఈ గాయకుడి మరణవార్త విన్న రవీంద్రనాథ్‌ ఠాకుర్‌ సంతాపం ప్రకటిస్తూ "ఆయన పాడినదంతా సంగీతమే" అన్నారట. మరొక గొప్ప గాయకుడు ఫయ్యాజ్‌ఖాన్‌ "హిందుస్తాన్‌ సే సుర్‌ మర్‌గయా" (భారతదేశపు స్వరమే మరణించింది) అన్నారట.

కరీమ్‌ ఖాన్‌ కుటుంబం మొదట సారంగీ వాద్య సంప్రదాయానికి చెందినది; ప్రసిద్ధ వైణికుడు ఉస్తాద్‌ బందే అలీఖాన్‌, గ్వాలియర్‌ సంప్రదాయానికి చెందిన ఖయాల్‌ గాయకద్వయం హస్సూ, హద్దూ ఖాన్‌ తదితరులతో వియ్యమందినటువంటిది. కరీమ్‌ ఖాన్‌కు మొదట ఆయన తండ్రి కాలేఖాన్‌, తండ్రికి సోదరుడైన అబ్దుల్లాఖాన్‌లు సంగీతం నేర్పారు. హైదరాబాద్‌ నిజాం సంస్థానంలో పనిచేసే మరొక బంధువు నన్హేఖాన్‌నుంచి ఆయనకు సంప్రదాయ సంగీతపు మెళుకువలు పట్టుబడ్డాయ. చిన్నతనంనుంచీ గొప్ప ప్రతిభ కనబరిచిన కరీమ్‌ పాటతోబాటు వీణ, సితార్‌, తబలా, జలతరంగం, సారంగీ, నగారావంటి వాయద్యాలను కూడా బాగా వాయంచేవాడు. ఆయన వీణమీద వాయంచిన దర్బారీ, పిలూ రాగాల రికార్డులు కూడా వెలువడ్డాయట. (ఆయన రేడియోలో వీణ వాయంచడం మా నాన్నగారు విన్నారట).

కిరానా సంప్రదాయపు మరొక దిగ్గజం అబ్దుల్‌ వహీద్‌ఖాన్‌. కరీమ్‌ ఖాన్‌ మొదట అబ్దుల్‌ వహీద్‌ఖాన్‌ సోదరి గఫూరన్‌ బీబీని పెళ్ళాడి తరవాత వదిలెయ్యడంతో వారిద్దరికీ విరోధం ఏర్పడిందట. అబ్దుల్‌వహీద్‌ఖాన్‌ లాహోర్‌లోనే ఉండి ఇదే బాణీలో బేగం అఖ్తర్‌ తదితరులకు సంగీతం నేర్పాడు. ఆయనవల్ల గొప్పగా ప్రభావితుడైన మరొక మహా గాయకుడు ఇందోర్‌కు చెందిన అమీర్‌ఖాన్‌.

కరీమ్‌ఖాన్‌ తన పదకొండో ఏట మొదటి కచేరీ చేశారట. తొలి దశలో కరీమ్‌ఖాన్‌ తన తమ్ముడు అబ్దుల్‌హక్‌తో కలిసి పాడేవారు. వీరిద్దరూ బరోడాలో సయాజీరావు గయక్వాడ్‌ మహారాజు దర్బారులో పటియాలా సంప్రదాయానికి చెందిన అలీబక్ష్‌ఫతేఅలీ సోదరులతో పోటీపడి నెగ్గారట. మొదట అలీబక్ష్‌ ఫతేఅలీలు అద్భుతంగా పాడిన బసంత్‌ రాగాన్ని అంతకంటే బాగా పాడిన కరీమ్‌ఖాన్‌ అబ్దుల్‌హక్‌ ద్వయం త్రిస్థాయలలో అద్వితీయంగా పాడి, తారస్థాయ షడ్జమంనుంచి పిలూ రాగంలోని "సోచ్‌ సమర్‌X నాదాన్‌" అనే తమ పాట అందుకున్నారట. ఎంతో ఆనందించిన మహారాజు వారిని తన ఆస్థానగాయకులుగా నియమించాడట.

బరోడాలో రాజమాతకు సోదరుడైన సర్దార్‌ మారుతీరావు మానే అనే అతని కుమార్తె తారాబాయకి కరీమ్‌ఖాన్‌ సంగీతం నేర్పడం మొదలెట్టాడట. త్వరలోనే వారిద్దరూ ప్రేమలో పడడంతో కరీమ్‌ఖాన్‌ సోదర ద్వయానికి బరోడానుంచి ఉద్వాసన తప్పలేదట. తరవాత బొంబాయలో వారి వివాహం జరిగిందట. వారికి పుట్టిన పిల్లలు హీరాబాయ, సురేశ్‌బాబు,సరస్వతి, కమలాబాయ.

బరోడానుంచి ఆయన బొంబాయ, మీరజ్‌ నగరాలకు వచ్చారు.ఆ తరవాత హూబ్లీ, ధార్వాడ వెళ్ళారు. అక్కడున్న తన సోదరుడు అబ్దుల్‌హక్‌తో కచేరీలు చేశారు. సవాయాగంధర్వ అక్కడే ఆయనకు శిష్యుడయారు. పాట్నా వెళ్ళినప్పుడు అక్కడ రోషనారాబేగం తల్లి ఆయనకు శిష్యురాలయంది. ఇలా వెళ్ళిన చోటల్లా ఆయనకు శిష్యవర్గం, అభిమానులు పెరగడం జరిగింది. 1913లో ఆయన పూనాలో ఆర్యసంగీత విద్యాలయం స్థాపించి, గురుకుల పద్ధతిలో పేదవిద్యార్థులకు ధన, వస్త్రదానాలు సైతం చేస్తూ, గాత్ర, వాద్య సంగీతాల్లో శిక్షణ నిచ్చారు. వారిని తన వెంట తీసుకెళ్ళి ప్రదర్శన లిప్పించారు. వాద్యాలకు మరమ్మత్తు చెయ్యడానికి ఆయన తన వెంట పనిముట్లను కూడా తీసుకెళ్ళి, వాద్యాలు చక్కగా మోగేట్టు చూసేవారట. ఎంతోకాలంగా సితార్‌, తంబురాల తయారీకి పేరుపొందిన మీరజ్‌కు ఆయన వెళ్ళినప్పుడు అక్కడి వృత్తి పనివారు ఆయన నైపుణ్యాన్ని గుర్తించి, ఆయన సలహాలను సగౌరవంగా స్వీకరించేవారట.

మొదట పటియాలా శైలి ప్రభావానికి గురైన కరీమ్‌ఖాన్‌ పాటలో వేగవంతమైన సంగతులతో విజృంభించే లక్షణం కనబడేదట. తరవాత కురుండ్‌వాడ్‌లో అతను రహమత్‌ఖాన్‌ పాట వినడం తటస్థించిందట. తత్ఫలితంగా మాల్‌కౌఁస్‌, సింధుభైరవివంటి రాగాలను అతి మృదువుగా, భావయుక్తంగా పాడడం అలవాటు చేసుకున్నారట. ఎడతెగని అభ్యాసం ద్వారా తన గొంతులో మార్దవంగా, శృతిశుద్ధంగా, వినసొంపుగా స్వరాలు పలికించడం నేర్చుకున్నారు. తబలా వాయంచగలిగినా విలంబిత్‌ ఖయాల్‌ను తాళప్రధానంగా కాక గమక భూయష్టంగా పాడసాగారు. ద్రుత్‌ ఖయాల్‌లో మాత్రం "బోల్‌తాన్‌"లు (సాహిత్యాన్ని లయ ప్రకారంగా విరవడం) పాడేవారు. మంద్రస్థాయలో ఎంతో అభ్యాసం చెయ్యడం వల్ల పదునెక్కిన కరీమ్‌ఖాన్‌గారి శృతి శుద్ధత ఎంత గొప్పదంటే ఆయన పాటను బట్టి తంబురా శృతి చేసుకునేవారట!

ఇరవయ్యో శతాబ్ద ప్రారంభంలో కరీమ్‌ఖాన్‌ ఒక తరాన్ని తన సంగీతంతో ఉర్రూతలూగించి, కొత్త సంప్రదాయానికి ప్రతీకగా నిలిచారు. ఆయన స్థాపించిన కిరానా సాంప్రదాయం ఖయాల్‌, ఠుమ్రీలు పాడే పద్ధతులలో విప్లవాత్మక మార్పులు తెచ్చింది. తక్కిన శైలులకు భిన్నంగా సంగీతాన్ని ఆహ్లాదకరంగా, ఒక చల్లని ఉద్యానవనంలో శ్రోతలు విహరిస్తున్న భావనను కలిగించేదిగా, హృద్యంగా, తాదత్మ్యత కలిగిస్తూ సాగే ఆయన గానం అందరినీ ఆకర్షించింది. ఈనాడు కేవలం ఆయన రికార్డుల్లో మనం వినేది కొందర్ని అంతగా ఆకట్టుకోకపోవచ్చునేమోగాని ఆయన కచేరీలు ప్రత్యక్షంగా విన్న అదృష్టవంతుల అభిప్రాయాలు చదివితే ఆయన ప్రతిసారీ తన గానంలో ఎప్పటికప్పుడు కొత్త పోకడలు వినిపించేవారని తెలుస్తోంది. అది విని ఆనందించిన వారికి ఆయన కొన్ని పాటలను పూర్తిగా పాడకపోయనా అభ్యంతరం ఉండేదికాదట! ఆయన సమక్షంలో విన్నదంతా దివ్యగానమే అనిపించేదట.

ఆయన తొట్టతొలిగా 1906లో పాడిన దుర్లభమైన రికార్డులు దొరికాయనీ, అప్పటి సాంకేతిక పద్ధతుల్లో వాటిమీద ఒక పక్కనే పాట రికార్డయ ఉందనీ ఈమధ్యనే పత్రికలలో వార్తలు వచ్చాయ.

కరీమ్‌ఖాన్‌ శిష్యపరంపర అసామాన్యమైనది. బరోడా సంస్థానంలో కొన్నాళ్ళు గడిపిన ఈ విద్వాంసుడు మహారా్రషలో స్థిరపడి ఎందరో శిష్యులను తయారు చేశాడు. ఆయన శిష్యవర్గంలో ప్రసిద్ధులైన సురేశ్‌బాబూ మానే, హీరాబాయ బడోదేకర్‌, ఆమె చెల్లెలు సరస్వతీ రాణే, వారివద్ద శిక్షణ పొందిన ప్రభా అత్రే తదితరులూ ఉన్నారు. బెహెరేబువా, బాలకృష్ణబువా కపిలేశ్వరి, దశరథ్‌బువా ముళే జయనకు శిష్యులు. రోషనారా బేగం (అబ్దుల్‌హక్‌ కుమార్తె) కూడా ఒక శిష్యురాలు. ఖాన్‌సాహెబుగారి మరొక శిష్యుడైన సవాయా గంధర్వ (రామ్‌భాఊ కుందగోళ్‌కర్‌) వద్ద గంగూబాయ హంగల్‌, బసవరాజ్‌ రాజ్‌గురు, ఫిరోజ్‌ దస్తూర్‌, భీమ్‌సేన్‌జోషీవంటి దిగ్గజాలు సంగీతం నేర్చుకున్నారు. (సవాయా గంధర్వ పేర ప్రతి ఏటా పూనాలో భీమ్‌సేన్‌జోషీ గత రెండు మూడు దశాబ్దాలుగా మూడు రోజుల సంగీతోత్సవం నిర్వహిస్తున్నారు) వీరుకాక ఈ శిష్యవర్గంలో జితేంద్ర అభిషేకీ, రసిక్‌లాల్‌ అంధారియా, కృష్ణా హంగల్‌, మాధవగుడి తదితరు లున్నారు.

కరీమ్‌ఖాన్‌ చివరకు మీరజ్‌లోనే స్థిరపడి, అక్కడినుంచి ఉత్తరాదికీ, దక్షిణాదికీ సంగీతయాత్రలు చేశారు. హైదరాబాద్‌కూ, మద్రాసు ప్రెసిడెన్సీ ప్రాంతాలకూ వెళ్ళారు. ప్రతిచోటా అభిమానులు ఆయనను పూలహారాలతో సత్కరించి, చక్రవర్తిలాగా ఊరేగించేవారట. ఆయన మాత్రం నిరాడంబరంగా, సాధువులాగా జీవించారు. జీవితమంతా సంగీత తపస్విగా గడిపారు. ఇస్లాంను గౌరవిస్తూనే హిందూ మతాభిమానిగా తన కీర్తనలను "ఓం తత్సత్‌ సామవేదాయ నమః" అనే వాక్యంతో ప్రారంభించేవారట. ఆధ్యాత్మిక చింతన కలిగిన కరీమ్‌ఖాన్‌కు షిర్డీ సాయబాబాతోనూ, నాగపూర్‌లోని తాజుద్దీన్‌బాబాతోనూ పరిచయం ఉండేది. రాజా మాన్‌సింగ్‌కు సమకాలికుడుగా పదిహేనో శతాబ్దంలో జీవించిన తన పూర్వీకుడు నాయక్‌ ధోండూ గురించి ఆయన గర్వపడేవారట.

ఆయన అభిమానుల్లో లోకమాన్య తిలక్‌, గోపాల కృష్ణ గోఖలే, దక్షిణాదిలో టైగర్‌ వరదాచారి, వీణ ధనమ్మాళ్‌, ముత్తయ్య భాగవతార్‌ తదితరులుండేవారు. ఒక సభలో సర్‌ సి.వి.రామన్‌ సమక్షంలో ఆయన రెండు వీణల సహాయంతో 22 శృతులను వినిపించి, క్లెమెంట్స్‌ అనే బ్రిటిష్‌ సంగీతజ్ఞుడి సహకారంతో శృతి సంవాద్‌ అనే తన సిద్ధాంతాన్ని నిరూపించారట.

కరీమ్‌ఖాన్‌ సన్నగా, బలహీనంగా కనిపించినా ఎప్పటికప్పుడు వ్యాయామం చేస్తూ, మితాహారంతో ఆరోగ్యంగా జీవించారు. చేతిలో పొన్నుకర్ర, జరీ తలపాగా, అచ్‌కన్‌ కోటు, బుర్ర మీసాలతో ఆయన దర్జాగా ఉండేవారు. తన గొంతు విని మెచ్చుకున్న ఒక అభిమానికి తన చేతికర్ర పిడి వాడకంతో నునుపెక్కి ఉండటాన్ని ఉదాహరణగా ఆయన చూపారట. ఎప్పుడూ అర్ధనిమీలిత నేత్రాలతో పాడే కరీమ్‌ఖాన్‌ వాలకం గమనించిన ఆనీ బెసంట్‌కు అనుమానం వచ్చి, ఆయన మాదక పదార్థాలు పుచ్చుకుంటారా అని ఒక శిష్యుణ్ణి ప్రశ్నించిందట. అదంతా సంగీతాస్వాదనలోని మత్తు మాత్రమే అని అతను జవాబిచ్చాడట.

మరొక విశేషమేమంటే కరీమ్‌ఖాన్‌ కర్ణాటక రాగాలను అధ్యయనం చేసిన తొలి ఉత్తరాది కళాకారుడు. మైసూర్‌ సంస్థానపు సారంగీ విద్వాంసుడు హైదర్‌బక్ష్‌ కరీమ్‌ఖాన్‌ సోదరికి భర్త. అతని ద్వారా మైసూర్‌ సంస్థానానికి వెళ్ళిన కరీమ్‌ఖాన్‌కు కర్ణాటక సంగీతంతో పరిచయం కలిగింది. ఆయనకు వారి స్వరకల్పన పద్ధతి నచ్చి, స్వారాలు పాడే "సర్‌గమ్‌" హిందూస్తానీ సంగీతంలో ప్రవేశపెట్టారు. ఆయన ఖరహరప్రియ (ఆయన పాడిన రామ నీ సమానమెవరు రికార్డు ఉంది), సావేరి, హంసధ్వని, ఆభోగివంటి కర్ణాటక రాగాలు పాడారు. సరిగమలతో స్వరకల్పన చేశారు. రెండు పద్ధతుల మధ్య ఆరోజుల్లోనే సమన్వయానికి ప్రయత్నించారు. ఎంతో పేరు గడించిన తరవాత కూడా దక్షిణాదికి వెళ్ళి ఒక కర్ణాటక విద్వాంసుడి వద్ద వినమ్రతతో సంగీతం నేర్చుకున్నారు. ఆయన సంగీతం విన్న దక్షిణాది అభిమానులు చాలామంది హిందూస్తానీ సంగీతం పట్ల ఆకర్షితులై, అందులో ప్రవేశం పొందారు.

అభిమానులు వీడ్కోలు చెప్పగా మద్రాసునుంచి పాండిచ్చేరి వెళ్ళడానికి రైలెక్కిన ఆ మహాగాయకుడు మధ్యలో నలతగా అనిపించి దారిలో ఒక స్టేషన్‌లో దిగారట. దర్బారీ రాగంలో భగవద్య్ధానం చేసుకుని విశ్రమించి, మరి లేవలేదట. ఆయన భౌతిక కాయాన్ని మద్రాసుకూ, ఆతరవాత మీరజ్‌కూ తీసుకెళ్ళారట.

కిరానా శైలి లక్షణాలన్నిటినీ కరీమ్‌ఖాన్‌ గాత్రం వ్యక్తీకరిస్తుంది. సుఖంగా,భావస్ఫోరకంగా, కరుణరసం ఉట్టిపడేలా సాగే రాగ విస్తారానికి ఈ సంప్రదాయం పెట్టింది పేరు. కరీమ్‌ఖాన్‌ పాడుతూంటే ఆయన అంతరాత్మలోని ఉత్తమగుణాలన్నీ శబ్దరూపంలో ద్యోతకమయేవి. శ్రోతలు ఆనందాశ్రువులు రాల్చే రాగభావమూ, సున్నితమైన గమకాలూ, ఆర్తీ, ఆవేదనా ఆయన పాడిన అనేక రికార్డులలో మనం వినవచ్చు. సింధుభైరవిలో జమునా కే తీర్‌, రిXంఝోటిలో పియా బిన, జోగియాలో పియా కే మిలన్‌కీ ఆస్‌, (పంచమ్‌సే) గారాలో నైనా రసీలే, గోపాల కరుణా, ఇలా ఎన్ని ఉదాహరణలైనా ఉన్నాయ. ఠుమ్రీలూ,హోరీలేకాక, మరాఠీ నాటకాల్లోని పాటలు కూడా ఆయన పాడారు. గ్వాలియర్‌ శైలిలోనూ, తక్కిన సంప్రదాయాల్లోనూ సాహిత్యానికీ, లయకూ, స్వరాలకూ సమాన హోదా ఉంటుంది కాని కిరానా శైలిలో స్వరమే ముఖ్యం."తాల్‌ గయాతో బాల్‌ గయా. సుర్‌ గయాతో సర్‌ గయా" (తాళం తప్పితే వెంట్రుక రాలిందనుకోవచ్చు. స్వరం తప్పితే తల తెగినట్టే) అనే ఛలోక్తి కరీమ్‌ఖాన్‌దే నంటారు.

ఈనాటి గాయకులలో భీమ్‌సేన్‌ జోషీ లాగా ఎక్కువ ప్రజాదరణ పొందినవారు చాలామంది కిరానా సంప్రదాయానికి చెందినవారే. వారి ప్రతిభకు కారణభూతుడైన అబ్దుల్‌ కరీమ్‌ఖాన్‌ ఆధునిక హిందూస్తానీ సంగీతానికి పితామహుడివంటివాడు.

సంగీతానికి స్పందన

2005-09-13T11:10:00.000-07:00

http://www.eemaata.com/issue34/applause.pdf

తబలా మాంత్రికుడు అహ్మద్ జాన్ థిరక్వా

2005-09-13T11:09:00.000-07:00

http://eemaata.com/issue35/thirakwa.pdf

సార్థక నామధేయుడు సంగీతరావు

2005-09-13T11:07:00.000-07:00

http://eemaata.com/issue36/sangitarao.pdf

ఘంటసాల ప్రతిభకు మచ్చుతునక కుంతీకుమారి

2005-09-13T11:05:00.000-07:00

http://eemaata.com/issue37-unicode/kuntikumari.html

సంగీతరావుగారి చిన్ననాటి సంగతులు

2005-09-13T11:04:00.000-07:00

http://eemaata.com/issue38/tradition.html

ఓహో యాత్రికుడా!

2005-09-13T10:50:00.000-07:00

http://www.eemaata.com/issue8/saaluuri-rp.html

శ్రుతిమించిన రాగం

2005-09-13T10:49:00.000-07:00

http://www.eemaata.com/issue9/rohinii.html

మన శాస్త్రీయ సంగీతం

2005-09-13T09:59:00.000-07:00

http://www.eemaata.com/issue10/rOhiNii.html

రాగాలూ స్వరాలూ

2005-09-13T09:58:00.000-07:00

http://www.eemaata.com/issue14/raagaalu.html

సంగీతరస పానశాల ఘంటసాల

2005-09-13T09:57:00.000-07:00

http://www.eemaata.com/issue19/ghantasala.html

సారంగీకి మారుపేరు పండిత్‌ రామ్‌నారాయణ్‌

2005-09-13T09:56:00.000-07:00

రోహిణీప్రసాద్‌, రామ్‌నారాయణ్‌

http://www.eemaata.com/issue23/RamNar1.pdf

శ్రుతిలయల నందనవనం

2005-09-13T09:55:00.000-07:00

శృతినందన్‌ (కొల్‌కత్తా)

అజయ్‌ చక్రవర్తి

http://www.eemaata.com/issue24/srti.pdf

Prabha Atre

2005-09-13T09:53:00.000-07:00

http://www.eemaata.com/issue26/guru.pdf

అసామాన్య సంగీతదర్శకుడు సుబ్బరామన్‌

2005-09-13T09:50:00.000-07:00

http://www.eemaata.com/issue27/subbaraaman.htm

పాటల్లో లయవిన్యాసాలు

2005-09-13T09:49:00.000-07:00

http://www.eemaata.com/issue29/laya.pdf

సినిమా పాటల్లో తాళం నడకలు, విరుపులు

2005-09-13T09:47:00.000-07:00

http://www.eemaata.com/issue30/taalam.pdf

Bade Ghulam Ali Khan

2005-09-13T09:44:00.000-07:00

http://www.eemaata.com/issue31/BGA.pdf

Seshanna, his first name was Veena

2005-08-11T13:31:00.000-07:00

Dr. K.Rohiniprasad

Veena, the Indian lute has a long history in the annals of our culture. While the Rudra Veena was popular in the North, Saraswati Veena continues to have a pre-eminent place in South Indian music. Historical evidence indicates that the music schools of the North and South parted ways after the decline of the Vijayanagar empire. Thereafter, South Indian culture and art forms found refuge in the princely courts of Tanjore, Madurai and other centres.

The Tanjore tradition of Carnatic music continued to flourish at the court of Mysore under the Wodeyars who were appointed rulers after Tippu Sultan’s defeat. A well-known Veena player named Venkatasubbayya (d 1838) was brought to Mysore from Tanjore to teach music to one of the princes. Royal patronage continued to Venkatasubbayya's grandson Subbanna (1855-1938) and grand-nephew Seshanna (1852-1926).

Seshanna was initiated into the art of Veena playing by his father, Bakshi Chikka Ramappa. He turned out to be a child-prodigy, performing by the age of ten a complex Pallavi in front of the king and other court musicians. The young genius continued to win accolades and soon rose to eminence. At the age of sixteen Seshanna lost his father but continued with music lessons from a relative named Dodda Seshanna. He also learnt singing from Mysore Sadashiva Rao (1802-82), who was trained earlier by the Walajapet group of Tyagaraja’s disciples. Seshanna learnt Tyagaraja’s compositions from Sadasiva Rao, who was the first to bring Tyagaraja's musical tradition to Mysore. Apart from Veena, Seshanna mastered violin, sitar, organ, piano, jaltarang and performed on all these instruments. He also learnt Hindustani and European music.

The reign of Krishnaraja Wodeyar (1902 to 1940) saw the rise of eminent artists and great composers like Veena Seshanna, Bidaram Krishnappa, Vasudevacharya, Muthiah Bhagavathar and others. Other great musicians including Veena Dhanammal, Ariyakkudi Ramanuja Iyengar and Tiger Varadachariar, as well as Hindustani musicians like Abdul Karim Khan regularly performed at the Mysore Court.

Seshanna was a colossus and an innovative performer of the Veena. A brilliant composer, he left behind several swarajatis, varnams, kirtanas, Devarnaamas and tillanas that are based on complicated rhythmic patterns like Sankirna Triputa, Misra Chaapu, Chaturasra Triputa and Khanda Mathya Tala. His wrote his Kritis in Telugu and Devarnamas in Kannada. The king bestowed upon him the title Vainika Sikhamani and soon Veena became his first name.

Seshanna became a legend in his own life-time and other princely states vied with each other in inviting to perform and showering gifts and titles on him. Many sabhas, institutions, Mutts and temples honoured him. The Maharaja of Baroda invited Seshanna to a music festival in Baroda and took him in procession in a golden palanquin. The Raja of Ramnad arranged a week-long concert of the maestro in his durbar. Seshanna reportedly received more than 40 gold pieces, innumerable necklaces, hundreds of diamond rings, countless number of shawls and titles. King George V was spell-bound by his music at the Delhi Durbar. Highly impressed, he carried a portrait of Seshanna to adorn the Buckingham Palace. In 1924, Gandhi heard Seshanna's Veena playing at the Belgaum Congress session. Captivated by the music, the Mahatma cancelled all his engagements and heard him with rapt attention for five hours.

A man of great humility, Seshanna used to say that his fingers were yet to capture in full the grandeur of some of the classical ragas. He would happily and readily perform for any genuine music-lover. One of Seshanna’s disciples, Venkatagiriappa was the guru of the well-known contemporary Veena player Mysore Doreswami Iyengar. An auditorium built in Mysore is dedicated to Seshanna’s memory and hosts classical music performances.

Sangeeta Ratnakara Ariyakudi

2005-08-11T13:25:00.000-07:00

Dr. K. Rohiniprasad

Musical performances in Carnatic style usually feature more items or ragas compared to Hindustani concert format that treats fewer ragas more elaborately. This trend was mainly initiated by Ariyakudi Ramanuja Iyengar (1890-1967). Born into a family of astrologers in Ariyakkudi near Karaikudi (Tamilnadu), Ramanuja was told early that his destiny lay in music. Accordingly he took early lessons in music from Pudukottai Malayappaier and later from Namakkal Narasimha Iyengar and Ramanthapuram (Poochi) Srinivasa Iyengar. He made his debut at the Tyagaraja Aradhana in 1918 and started giving concerts in Madras from 1920.

Ramanuja Iyengar was influenced by great performers like Tirukkodikaval Krishna Iyer, Tiruchi Govindasami Pillai, Sarabha Sastri, Sakharam Rao, Vina Dhanammal and others. Traditional Carnatic music concerts consisted of elaborate and leisurely renderings better suited to audiences with a lot of time to spare. In the early decades of the twentieth century classical music moved from the royal courts and temples to the public platform. In a metropolis like Madras, the audiences mainly consisted of salaried middle-class who had to divide their time between music and daily routine. Though Ariyakudi was traditional and conservative, he brought modernity to his music and adapt it to the changing needs of the listeners without transgressing the limits of tradition.

Having studied the works of Vaggeyakaras and musicologists like Purandaradasa, Ramamathya, Venkatamakhi, Akalanka, Govindacharya and others, he devised a format for his concerts keeping in mind the variety that was required. He realised that the performer must be conscious of his strengths and weaknesses and keep the listeners spell-bound, making them stay on to the very end, asking for more. His guiding principle was to provide a wider choice of classical items. A good knowledge of the lyric was needed to express emotions. He strove to elevate and educate the listeners and improve their tastes. To this end, his fare would typically consist of short and crisp alapana of two or three of the ragas with. Kalpana-svaras limited and restricted to a few items based on different talas, with some measure of niraval (improvised variations in the rendering of the song). Towards the end of his performance he would include popular items from Gita Govinda, Taranga, Kshetrayya, Arunachala Kavi, Nandanar Charitram, Muthu Tandavar Padam, Vedanayakam Pillai's compositions, Kavikunjara Bharathi's pieces, Tiruvachakam, Tevaram, Prabhandam, Arutpas or Patrinthar or Thayumanavar and Subramanya Bharati. He chose a well-tuned tambura for sruti in his concerts instead of harmonium. He disproved the myth that traditional music was not pleasing to the ear. Soon others began to follow his style of presentation that brought classical music closer and made it popular with the layman.

Ariyakudi attained great reputation that lasted for over half a century. His style was such that he would not pause for long between songs or between the stanzas of a composition. Even his alapana was fast-paced. Nevertheless his poise and presentation were great. On one occasion his eminent contemporary G.N.Balasubramaniam prostrated himself at his feet out of respect. Ariyakudi could play the mridangam and became a close friend and admirer of Palghat Mani Iyer, the great mridanga vidwan. The liking and respect were mutual. When Ariyakudi passed away in 1967, Mani Iyer said "In his death, what has been lost is not only his great music but also my inspiration for creativity". Many awards and titles were bestowed upon him including Padmabhushan, Sangita Kalanidhi (Music Academy, Madras 1938), Gayaka Shikhamani (Mysore Durbar), Sangita Kala Shikhamani (Indian Fine Arts Society, Madras), Sangita Ratnakara (Vellore Sangeeta Sabha, 1932), Isai Perarignar (Tamil Isai Sangham 1950), Fellow of Sangeeta Nataka Academy (New Delhi) and so forth. His disciples include B.Rajam Iyer K.V.Narayanasvami.

Ustad Inayat Khan, the great sitar maestro

2005-08-11T13:17:00.000-07:00

Dr. K.Rohiniprasad

Ustad Inayat Khan

Inayat Khan playing the sur bahar

Inayat Khan's father Imdad Khan on the sur bahar

While Ravi Shankar popularized the sitar all over the world, several connoisseurs consider Vilayat Khan’s artistry unparalleled as asitar player and a complete musician. Vilayat Khan belongs to an illustrious line of sitar players from Bengal and received his initial training from his father Inayat Khan (1895-1938). Their forefathers were musicians for several generations from the 16th century Mughal era. Inayat’s grandfather Sahabdad Khan and father Imdad Khan (1848-1920) were sitar players of great repute. Sahabdad invented surbahar (bass sitar) and as a sitar player, he was influenced by Haddu and Hassu Khan (Gwalior gharana). Dhrupad and khayal vocal styles were also reflected in his playing style and choice of ragas. He also incorporated been, rabab and other new techniques in his presentation. Sahabdad was trained in the Senia sitar gharana of Nirmal Saha and initiated his son Imdad to both the surbahar and the sitar. He died when Imdad was young and the boy learnt music from Bande Ali Khan, the beenkar (Kirana gharana) and Rajab Ali Khan (Jaipur gharana). At Banaras Imdad learnt thumri style also. Imdad Khan became a court musician at Indore. Some of Imdad Khan’s old records are available today.Later his sons, Inayat and Wahid, carried on with the tradition. Inayat became a great sitar and surbahar artist. His brother Wahid Khan became a great surbahar player.

After his father's death Inayat was trained by Alladiya Khan, Allah Bande Khan and Zakiruddin Khan (Jaipur). Initially a court musician of Indore, Inayat went to Calcutta and in 1924, shifted to Gouripur in Mymensingh (now in Bangladesh), where he became court musician for Brajendra Kishore Roy Choudhury.

Inayat Khan had a great command over the ragas and the sitar, which could express any emotion. He introduced the khayal gayaki style on the sitar in what is now known as the Etawah gharana. In his 78RPM records we can glimpse his wonderful vocal-style presentation of ragas on the surbahar as well as the incredible speed and power of his sitar playing. On the surbahar he used to render alap, jod and jhala without percussion in dhrupad style, followed by the khayal type composition on the sitar with tabla accompaniment, with great improvisation in rhythm and notes with excellent layakari. His bols and right hand strokes became trend-setters for future generations. He wore his hair long and put in long hours of practice with his hair tied to a window behind him. It would jerk him awake in case he dozed off with the sitar in his hands. The rigorous training he received was handed down to his sons and thus paltas of immense speed and complexity were passed on from generation to generation. At the same time, the lyrical quality of music was preserved in the form of exquisite meends, murkis and gamaks.

Inayat Khan became a regular performer and leading sitar player at music festivals, receiving accolades from his peers as well as senior musicians. In his youth Ravi Shankar was planning to learn from Inayat Khan when the Ustad suddenly passed away. Inayat Khan’s wife Basheeran Begum belonged to a family of great vocalists and helped train her young sons after her husband’s untimely death.

Inayat Khan’s style and artistry is preserved in the music of his sons, grandsons and followers. His compositions, his jhala patterns and his right hand technique are often reproduced by his illustrious son Vilayat Khan. In his concerts, Vilayat Khan sometimes demonstrates several gats in the raga Piloo that were composed by his father and fore-fathers. This illustrates the glorious tradition as well as the evolution in sitar playing techniques and innovation.

Gana samrat Ustad Alladiya Khan

2005-08-11T13:15:00.000-07:00

Dr. K.Rohiniprasad

Alladiya Khan with the famous harmonium player Govindrao Tembe

Alladiya Khan (1855-1946) is the founder of Jaipur-Atrauli gharana to which several modern titans belong. Born into a family of musicians in Atrauli (Rajasthan) he lost his father early. His uncle Jehangir Khan taught him dhrupad for 5 years and khayal for another 8. Until he was 25 Alladiya Khan learnt and practised music, occasionally performing but yet to take it up as profession. After initial success at Ajaygad court as singer, Alladiya Khan set off on a concert tour visiting Patna, Mujaffarpur, Allahabad, Calcutta and other places with successful recitals everywhere. His concert at Motihari resulted in an invitation by the king of Nepal, where the ustad spent two years until he felt homesick. Even during travel Alladiya Khan would not neglect music. He practised hard literally from dusk to dawn even at 51.

Alladiya Khan enjoyed royal patronage at several places. He was the court musician for the Kolhapur king, until the king died in 1922 and later moved to Bombay. At Amlata, he almost lost his voice due to hours of singing daily for a couple of years. His voice lost sweetness and he had to depend on taans. So he adopted a new style which helped him sing without compromising the purity of raga. His main disciples were his famous younger brother Haider Khan, Bhaskarbuwa Bakhale and his own sons. Khansaheb invariably started training with dhrupad-dhamar and took up khayal only after their voices stabilized and became tonally perfect. While the second son Manji Khan died in 1937, the youngest son Bhurji Khan continued to teach his father’s disciples like Kesarbai Kerkar. Among the others Mogubai Kurdikar (Kishori Amonkar‘s mother) learnt from Haider Khan while Mallikarjun Mansur learnt from Manji Khan and Bhurji Khan.

Alladiya Khan, who won the title Gana Samrat, represented what is considered by some a dissident branch of the Agra gharana. His style was in contrast to the rather straightforward Gwalior gharana. He was an artiste par excellence and knew thousands of compositions by heart and a collection of hundreds of rare ragas. Alladiya Khan developed taans that require exceptional voice control. He brought in the complexities of both dhrupad and khayal into his music. Though not as slow as Kirana gayaki, the varying note patterns provide the rhythm and enhance the characteristic relationship between the notes. He employed oblique alaps and taans without deviating from the chosen rhythm making fresh improvisations with accent on different beats during layakari. The intellectual style of presentation of traditional compositions pays a lot of attention to the beats of the taal as the first one (sam) is reached. The second stanza (antara) is usually omitted. Rare and composite ragas such as Sampurna-Malkauns, Basant-Kedar, Basant-Bahar, Kaunsi-Kanada and Nat-Kamod are preferred. In his time the ustad was revered by the likes of Bal Gandharva, Govindrao Tembe (harmonium artist), B.R.Deodhar and others while Bhatkhande considered his style of music his own and not handed down by his ancestors.

Alladiya Khan had a striking figure, tallish, somewhat spare frame, white moustache and whiskers. Like Maharashtrians, he wore snow-white dhoti, a spotless white shirt underneath an open collar dark jacket, a pink turban with a long tail, and slippers. He claimed his ancestors were Adya Gaud Brahmins who had to convert to Islam when the emperor in Delhi had obliged them by releasing their Hindu king from prison. He called himself Brahmin Muslim and therefore unfortunately, when he died after prolonged illness, other Muslims were too indifferent to attend his funeral in large numbers.

Followers of the gharana include Ashwini Bhide, Arati Ankalikar, Padma Tralwalkar, Padmavati Shaligram, Shruti Sadolikar, V R Kadnekar, Vinayakrao Kulkarni and others.

Siddheswari Devi, Queen of Banarasi thumris

2005-08-11T13:07:00.000-07:00

Dr. K.Rohiniprasad

When a competent singer sings light classical music like thumri, it can sound as expansive and rich as a khayal. Siddheswari Devi (1903-1977) who popularised the Poorab style of the thumri endowed it with classical dignity while maintaining its lyricism and expressiveness. With a vast repertoire she became an institution by herself.

Thumris were originally sung with abhinaya but classical musicians replaced gestures with the emotional content of the song brought out by musical expression. The beauty of notes and their combinations, voice modulation and emotion-charged style of singing came to mark thumri renderings. These modern performers included Bhaiya Ganpatrao, Moizuddin, Shyamlal Khatri and others.

Born into a famous musical family in Varanasi, Siddheswari lost her parents very early in life. Her maternal grandmother Maina Devi was a reputed singer. Siddheswari was brought up by her maternal aunt, Rajeswari, herself a famed disciple of Maina Devi, Mithailal, and Moizuddin. Other famous singers from her family included Vidyadhari Devi, Kamaleswari Devi and others. Thus Siddheswari could imbibe a great deal of music, occasionally depending on the neighbours’ gramophone. She was captivated by popular singers like Janakibai, Gauharbai and others. The talent and enthusiasm of the young girl prompted Siyaji Maharaj to teach her. Having no children of his own, he was generous and affectionate, treating her like his own daughter. She practised all the basic ragas and several khayals, tappas and taranas with intense concentration and devotion. After the death of Siyaji Maharaj, she learnt from Rajab Ali Khan (Dewas), and Inayat Khan (Lahore) and later, from Bade Ramdasji (Varanasi).

Siddheswari made her unforgettable debut at a Calcutta at the age of 18 and soon received invitations to perform at Rampur, Jodhpur, Lahore, Mysore and other places. Music was her passion. She practised music all the time even as she was cooking, washing clothes, or doing any household chore. She sang in several royal durbars, music conferences and radio broadcasts. Veterans of the time such as Omkarnath Thakur, Dilipchandra Vedi, Faiyaz Khan and others had high praise for her. Once Faiyaz Khan heard her Bhairavi thumri in Bombay and was too moved to perform after her, saying “After Gauhar, the crown of the thumri rests on your head".

As her fame grew, Siddheswari joined the Bharatiya Kala Kendra in Delhi as a professor, where she was known as a sincere and conscientious teacher. She received the Presidential Award (1966), Padmasri (1967), D.Litt. from Ravindra Bharati University, Calcutta, and Desikottama from the Viswa Bharati University. She performed in Rome, Kabul, and Kathmandu. In spite of all this, she remained simple and unassuming. She admired contemporaries like Kesarbai Kerkar and M.S. Subbalakshmi. With age her voice became "temperamental and thick" but she could offset that with her emotional fervour and intensity of feeling. With simple charm, purity of notes and voice modulation, she brought out all the salient features of the Banaras style.

Siddheswari was warm-hearted, simple, and loveable, full of innocence, courage, humour, generosity, youthful zest for life and rare dignity. Her religious temperament had a great impact on her singing. She believed that music was the medium for pleasing and attaining god. Not proud of her success and always humble, her music attained mellowness and maturity. With twinkling eyes, the solitary diamond in her big nose ring flashing points of light, a warm smile on her paan-reddened lips, she was very popular among music-lovers. Her last performance was a couple of years before her death. With an unhappy childhood, she suffered from ill-health towards the end of her life too. Her tradition is carried on by her younger daughter Savita Devi and Girija Devi.

Dwaram – portal to heavenly music

2005-08-11T13:01:00.000-07:00

Dr. K. Rohiniprasad

Dwaram Venkataswamy Naidu in his younger days

Lighting up

Lighting up the world of music

Violin, the early sixteenth century Italian instrument reached India in the mid-17th century through European military bands. Early Indian violinists included Vadivelu and Balu (1786-1859), brother of the great composer Muthuswami Dikshitar. By the end of the 19th century Carnatic violin solo performances by Tirukodikaval Krishna Iyer and Govindaswami Pillai became popular as the instrument was thoroughly indigenised in technique and spirit. One of the great violinists of all time was Dwaram Venkataswamy Naidu (1893-1964).

Venkataswamy, born in Bangalore, belonged to a Telugu family. His grandfather and father were commissioned army officers and his father Venkatarayudu, who played violin in the military band, settled down near Anakapalle in Andhra after retirement. As a boy Venkataswamy left school due to poor eyesight. He initially learnt violin at the age of six from his elder brother Venkatakrishnaiah and later from his brother’s teacher the great Veena vidwan Tumarada Sangameswara Sastry. Venkataswamy’s mental discipline helped him practise music for hours at a stretch. Many years later, he would warn his disciples “If you don’t practice for one day, you will notice your mistakes; if you don’t practice for two days the audience would notice your mistakes!”

Venkataswamy, a child prodigy, became an expert violin player at fourteen, winning critics’ acclaim. His attention to detail, dedication, keen grasp and intuition resulted in an extremely melodious and deceptively simple style that soon became very popular. On one occasion, the veteran Govindaswami Pillai recommended the young man as a stand-in for himself at a concert in Kakinada.

In 1919 Adibhatla Narayanadas, the multi-faceted genius and principal at the Vijayanagaram Music College appointed Naidu the professor of violin. In 1929 he was offered Music professorship at Annamalai University with good salary. But Dwaram, loyal to his patron the Raja of Vijayanagaram, declined. He succeeded Narayanadas as principal in 1936. With profound knowledge of both Indian and Western styles, he would play compositions of Mendelssohn, Bach and others for his friends.

In 1927 Dwaram made his debut in Madras through music performances that coincided with the Congress session. He regularly accompanied almost all the great vocalists of the time and performed his first solo recital at Vellore in 1938. Music critics wrote that he was too great to be a mere accompanist. A traditionalist and innovator, Venkataswamy developed a soft bowing technique combined with firm finger-play. His manodharma as well as the choice, placement and rendering of the compositions proved for the first time that violin could be as good as Veena or Nadaswaram for Carnatic music.

Dwaram’s familiarity with Hindustani music was reflected in his treatment of ragas like Subhapantuvarali, Kapi and Hindolam. Yehudi Menuhin was greatly impressed by his playing. Rabindranath Tagore, in spite of his busy schedule, sat mesmerised by his music and happily sang along with the virtuoso. Several Telugu poets wrote in praise of his music.

In 1949 Dwaram was felicitated at Madras by Governor. He performed at Delhi in 1952 in aid of the Blind Relief Association. In 1962, the President of India honoured him. Because of the war with China, all official functions had to be cancelled, but the President made an exception in this case. Later Dwaram bought a house and settled down in Madras. As an old man, he would regale little children in the neighbourhood with his violin.

Dwaram won several awards and titles including Gandharva Vidya Bhushanam, Ganakala Visarada, Sangita Kalanidhi (1941), Padma Shree (1959), Sangita Ratnakara, Kala Prapurna (1950) etc. but he never sought favours. His disciples include his daughter Mangatayaru, Marella Kesavarao, T R Mahalingam, Ammula Satyavathi and others. Statues of Venkataswamy Naidu have been erected in Vishakhapatnam and Madras. As Dr. Balamuralikrishna remarked in a TV interview, Dwaram was born for the violin.

The resonance of Omkar

2005-08-11T12:55:00.000-07:00

Dr. K.Rohiniprasad

One of the important vocalists of Gwalior gharana was Omkarnath Thakur (1897-1967). Mahatma Gandhi heard him once and said “Omkarnathji can achieve through a single song of his, what I cannot achieve through several speeches."

Born in Jahaaj in the Cambay area, Omkarnath was the fourth child of Gaurishankar Thakur, a warrior turned spiritual recluse. Brought up by his toiling mother, Omkarnath had a very tough childhood but led a disciplined life. This helped him continue with physical exercises, swimming, and wrestling apart from music right up to his old age. He worked as a cook and later as mill-hand to supplement his mother’s meagre earnings. He learnt to read and write from some Jain monks and learnt later several languages including Hindi, Marathi, English, Sanskrit, Bengali, Punjabi, Urdu and Nepali on his own.

Omkarnath’s musical talent prompted a philanthropist to help him join Vishnu Digambar Paluskar's music school in Bombay. The boy served his teacher like a devoted son for about six years and became his favourite disciple. He used to spend nearly 18 hours a day teaching and practising. In 1916 he was appointed principal of the Gandharva Mahavidyalaya in Lahore at the age of 20. In 1918 he went to Baroda as music examiner and impressed the Maharaja. His concert at the Harvallabh-mela of Jalandhar made as much impression as that of the veteran Bhaskarbuwa Bakhle. With his compelling, resilient voice and wide tonal range Omkarnath became a highly successful concert musician, performing all over the country. His presentation of music with appropriate hand gestures was a visual treat too.

In 1924 and 1930 Omkarnath visited Nepal and won admiration, honours and awards from the Maharaja there. Refusing the post of a court musician, Omkarnath returned home to take care of his mother. As his fame spread far and wide he was invited to sing in music conferences in Mysore, Hyderabad, Bengal and other places. In 1931 he went to Italy to participate in the International Music Conference in Florence and reportedly cured Mussolini of his insomnia with music. He gave music recitals and lecture-demonstrations in Germany, Holland, Belgium, France, London, Wales, Switzerland, Afghanistan etc. As he was proceeding to Russia he learnt of his wife’s demise during childbirth and returned home.

In Bombay Omkarnath started Sangeet Niketan but took over as the first Dean of the music faculty at the Benares Hindu University in 1950. He wrote musical treatises like Sangeetanjali and Pranav Bharati. His magnetic personality, high musical calibre both as a singer and as a musicologist, compassion, administrative acumen, oratory, infinite patience and deep love for his disciples made him a larger-than-life personality as performer, composer, educationist and theoretician.

He won the Padma Sri (1955), Sangeet Prabhakar from Madan Mohan Malaviya, Sangeet Martand from the Calcutta Sanskrit Mahavidyalaya (1940), and Sangeet Mahamahodaya from Nepal (1930). His disciples include Premlata Sharma, Yashwantrai Purohit, Balwantrai Bhatt, Kanakrai Trivedi, Shivkumar Shukla, Phiroj Dastur, Bijonbala Ghosh Dastidar, Dr. N. Rajam, Rajbhau Sontakke, Smt. Subhadra Kulshreshta, Atul Desai, P.N Barwe, Nalini Gajendragadkar, and others.

Omkarnath was a great patriot and his Vande Mataram won wide acclaim. He was elected President of the Bhadoch Congress Committee, and member of the Gujarat Provincial Congress Committee. A deeply religious man, Omkarnath studied the Ramcharitamanas and recited it daily for 25 years continuously. His life was an example of morality, self-discipline and austerity. A moderate eater, strict vegetarian, fastidious in cleanliness, absolutely free from vices of any kind, and a stickler to punctuality, he set an example to other musicians and teachers. He suffered paralysis and passed away in 1967 and a postage stamp was issued in his memory.

Nadaswara Chakravarti Rajaratnam Pillai

2005-08-11T12:52:00.000-07:00

Dr. K. Rohiniprasad

Like its North Indian counterpart the shehnai, nadaswaram is an ancient musical instrument closely associated with temples and auspicious social occasions like weddings. The strident notes of nadaswaram beckon people from afar and invite them to the location of the festivities. Generally played in the open air, the nadaswaram tradition is so ancient that specific ragas and compositions would be played at specific times in the temples. Besides worship inside temples during service, special processions of the deities are taken out on the streets, always accompanied by nadaswaram music. Nadaswaram has also become a concert instrument in Carnatic music with immense following. In fact several eminent vocalists have been inspired by nadaswaram music. There have been several great players of this wind instrument in the South, one of the best among them being Rajaratnam Pillai.

Born in 1898 in Tanjavur district, Rajaratnam belonged to a great tradition of famous nadaswara vidwans. As a youngster, he started singing very well. He underwent rigorous training in nadaswaram from his uncle Thirumarugal Natesa Pillai, the well-known nadaswaram artist. He was later taught by the violinist Thirukodikaval Krishna Iyer, Ponnu Pillai, Konerirajapuram Vaidynatha Iyer and Manpoondia Pillai. His association with the great percussionist Needamangalam Meenakshisundaram Pillai helped to improve his stature as a musician.

Rajaratnam Pillai’s name and fame spread far and wide very quickly in spite of the presence of other very eminent nadaswaram vidwans such as Semponnarkovil brothers, Keeranur brothers, Tiruveezhimizhalai brothers, Tiruvengadu Subramanya Pillai, Kuzhikkarai Picchayappa, Tiruvidaimarudur Veeruswamy Pillai, Tirumarugal Natesan and Madurai Ponnusway. Rajaratnam Pillai’s elaboration and embellishment of ragas, flawless rendition of the works of great composers and his perfect grasp and control over tala were unparalleled.

Ragas like Todi, Simhendramadhyamam, Shanmukhapriya, Ramapriya, Vachaspati, Pantuvarali and Kalyani as rendered by Rajaratnam Pillai on his a medium-sized instrument with a pleasant timbre regaled countless fans of his. His short gamaka-laden phrases, twists, swooping glides and lightning speed techniques made Todi his speciality and an all-time favourite. It was a divine experience to listen to him playing ragas such as Saveri, Bilahari, Dhanyasi, Sri and Natakuranji. The attractive timbre in the tone of his instrument was an added advantage. With limitless imagination, he became a source of inspiration not only to nadaswara vidwans but to musicians in general. His music was rich with creativity and he was always bursting with new ideas.

His fresh and invigorating music was the main attraction in the three hour-long procession of the decorated car festival of Saibaba in Madras. He would walk all the way performing delectable classical melodies on his nadaswaram to the delight of all the people around him. Similarly he used to perform at the annual Tyagaraja festival at Tiruvayyaru during the palanquin procession.

Rajaratnam Pillai’s larger-than-life image as a musician elevated nadaswaram from temple processions and to the concert platforms. His eminence as a performer in India and Ceylon led to his being called Nadaswara Chakravarthi and Nadaswaram Everest. Fellow musicians considered that the sky was the limit for Rajaratnam Pillai in playing raga alapana. He won the Sangeet Natak Akademi Award. He trained the eminent nadaswaram player Karukurichi Arunachalam.

Rajaratnam Pillai is supposed to have led a very adventurous life. He was an admirer and friend of S.G. Kittappa, the famous stage singer and personality. He also praised M.S. Subbulakshmi’s singing. After climbing to fame and fortune, Rajaratnam Pillai’s vices reportedly caused his fall from grace and early demise in 1955. With his departure it was felt that the sun had set on the nadaswaram music. There have been several generations of eminent nadaswaram players but Rajaratnam occupies a unique place among them.

Sawai Gandharva and Sureshbabu Mane, torchbearers of Kirana gharana

2005-08-11T12:43:00.000-07:00

Dr. K. Rohiniprasad

Sureshbabu Mane

Sawai Gandharva

Kirana gharana, the renowned style of singing established by Ustad Abdul Karim Khan, was popularised by two eminent disciples of his, namely Sawai Gandharva and Sureshbabu Mane. Of the two, Sawai Gandharva (1886-1952), born Rambhau Kundgolkar, is supposed to be the first direct disciple of the maestro, while Sureshbabu (1902-1953) was the Ustad’s son. These two singers carried forward the tradition that lays stress on the purity of the notes and raga bhava.

Rambhau belonged to Kundgol, a town near Dharwar in North Karnataka. Though he did not belong to a family with musical background, Rambhau was always interested in music from childhood. In his early years, he learnt dhrupad-dhamar from a local kirtankar. During his travels, Abdul Karim Khan visited their house when Rambhau was a teenager and listened to his singing. The youngster sang Bhairavi in Khansahib’s style after listening to him just once. This impressed the Ustad very much and he agreed to teach the boy. He taught with patience helping the youngster cope with problems with his voice that was cracking as he grew up. This long and arduous training in voice culture helped Rambhau regain his confidence and control as a vocalist. The training mainly consisted of listening to the Ustad as he practised and performed. Later, he learnt from other renowned teachers like Bhaskarbuva Bakhale and Nasir Hussain Khan of Gwalior gharana. All this further polished his voice and his music.

After this training, Rambhau returned to Kundgol to get married. He initially joined a drama company and became a popular singer like the great Bal Gandharva and thus earned the title Sawai Gandharva. Later he became a well-known classical vocalist and was called the “King of Mehfils”. However, he never blindly followed the footsteps of his mentor. Even as he continued with his performances, Sawai Gandharva trained several students who turned out to be luminaries of Kirana Gharana. They include famous singers like Bhimsen Joshi, Basavaraj Rajguru, Feroze Dastur and Gangubai Hangal. Sawai Gandharva passed away following a paralytic stroke in 1952. Before his demise, he entrusted the training of some of his disciples to Sureshbabu Mane. The Arya Sangeet Prasarak went on to institute the Sawai Gandharva Festival in Pune. Led by Bhimsen Joshi, this three-day festival pays homage to Sawai Gandharva and several prominent musicians participate regularly.

Sureshbabu Mane was born Abdul Rehman, the son of Tarabai Mane and Abdul Karim Khan. Tarabai Mane was the daughter of Sardar Maruti Rao Mane, who was the brother of Rajmata of Baroda state where Abdul Karim Khan was the court musician who taught Tarabai. They got married and were forced to migrate to Bombay where Tarabai Mane settled down. The couple had three daughters: Hirabai Barodekar (Champakali), Kamalabai Barodekar (Gulab) and Sarswati Rane (Sakina or Chotutai) and two sons: Sureshbabu Mane (Abdul Rehman) and Papa (Abdual Hamid or Krishna Rao Mane). Sureshbabu had his initial training from his father and later from his uncle Abdul Wahid Khan as well as Sawai Gandharva. Thus he imbibed the essential elements of kirana style directly from the originators themselves.

Sureshbabu became an expert in khayal, thumri, Marathi natyageet and bhajan. He had a successful career as a singer and also sang for several Marathi plays and films. He scored music for films like Savitri, Savkari pash, Nandkumar, Bhagawa zenda and Devyani Before he passed away at the age of 51 he trained his sister Hirabai Barodekar and Prabha Atre. Like Sawai Gandharva he passed on the tradition to the next generation so that kirana gayaki remains very popular even today.

Vinayakarao Patwardhan, great performer and teacher

2005-08-11T12:35:00.000-07:00

Dr. K. Rohiniprasad

Vinayakrao Patwardhan (1898-1975) the eminent vocalist from Gwalior gharana was born in Miraj in south Maharashtra. His uncle Keshavrao provided him with initial training in music. Those days musicians were associated with various vices and never received due respect in the society. To dispel these notions, Vishnu Digambar Paluskar set up music schools so that boys from respectable families could take up music as a profession. Vinayakrao was one of the first products. In 1907, he went to Gandharva Mahavidyalaya at Lahore, where he was taught by Paluskar directly. His guru not only taught music to his students but also inculcated good habits in them. Under Paluskar's tutelage young Vinayak imbibed his principles and discipline. As a result he became one of the important singers of his times and also earned due respect for his austere lifestyle and dedication to the art of music.

Paluskar wanted his disciples to emulate his example and take up the teaching profession. Vinayakrao accepted teaching assignments at the various branches of the school at Bombay, Nagpur and Lahore.

Vinayakrao’s sweet and high-pitched voice impressed everyone including the legendary actor-singer Balgandharva. On one occasion the great Gwalior veteran Ramkrishnabuwa Vaze had thrown a challenge to singers in Pune. Vinayakrao accepted it and learnt complex ragas from Vazebuwa. Vinayakrao's fellow-students such as Omkarnath Thakur did not like this. But Vinayakrao considered the idea of learning from a veteran singer like Vazebuwa much more important than standing on false prestige. His ability to take the right step at the right time benefited others also. In the late forties as Bhimsen Joshi was searching for the right teacher he happened to meet Vinayakrao in Jalandhar. The latter advised Joshi to learn from Sawai Gandharva and it proved to be an invaluable suggestion.

Vinayakrao took up roles in Marathi musicals and was perhaps the first classical vocalist to have sung for a film. However, heeding his teacher’s admonition and advice, he later went to Pune and established a branch of the Gandharva Mahavidyalaya there. Though he was young, he decided to dedicate himself to teaching music and ignored the lure of the drama and films. He trained a number of disciples who became famous singers and teachers in their own right. They include his guru’s son D.V.Paluskar, the eminent singer.

At the time of his father's death, D.V. Paluskar was only 10 years old. Even as Vinayakrao Patwardhan and Pandit Narayanrao Vyas taught him music they noticed in the young boy a reluctance to conform fully to the Gwalior gharana. They encouraged the youngster to develop his own independent style and D.V.Paluskar grew up to be a legendary vocalist.

Vinayakrao Patwardhan’s singing reflected the simple and straightforward approach to ragas, which is the characteristic of the Gwalior style. As a singer Vinayakrao specialized in taranas which proved very popular with the audiences in India and overseas. His favourite ragas included Bahar, Adana, Multani, Malhar, Jaijaivanti, Hamir and Bhairavbahar. The energy and effervescence in his music made him a much sought-after performer. He went around the country performing in most of the important music festivals. He was a great success with the audiences. He was also one of the few practising musicians of the time who took the trouble of writing textbooks on music. In his seven-part Raag Vigyan series, Vinayakrao described the important aspects of various ragas as well as their grammar.

In his concerts and recordings his fellow-student Narayanrao Vyas accompanied Vinayakrao. Their duet concerts became very popular. Vinayakrao received the Padmabhushan in 1972. Vinayakrao also led the Indian cultural delegation to USSR and other countries. One of his disciples, Pt. L.R.Kelkar settled down in Madras and the present author happened to learn sitar from him initially. Among Kelkar’s better known disciples is the violin virtuoso N.Rajam.

Ahmad Jan Thirakwa, Tabla wizard

2005-08-11T12:09:00.000-07:00

Dr. K.Rohiniprasad

Thirakwa as a young man

The tabla wizard

Even in the prime of one’s youth, Tabla-playing requires stamina and endurance. Ustad Ahmad Jan Thirakwa (1878-1976) defied age and continued to perform solo recitals till the end of his long life. No wonder Palghat Mani Iyer, the great mridangam artist described Thirakwa the reincarnation of Saraswati.

Hailing from Moradabad in Uttar Pradesh, Ahmed Jan learnt vocal music from Mithoo Khan and sarangi from his father Hussain Bux at a young age. Attracted by the tabla playing of Ustad Munir Khan, the boy initially learnt tabla from his uncles before he became a disciple of Munir Khan at the age of 12. Practising nearly 16 hours daily with half-hour breaks and barely six hours of sleep, Ahmed Jan managed the gruelling regimen with the help of nutritious food. As a result his stamina as a performing artiste remained unimpaired till the last year of his life.

Ahmed Jan soon became the favourite disciple of Munir Khan. His fingers on the tabla resembled the feet of a kathak dancer and soon he was called “Thirakwa”. His playing represents the Laliyana style of the Farukhabad gharana to which tabla players like Amir Hussain (nephew of Munir Khan), Nizamuddin Khan, Ghulam Hussain, Shamsuddin and others belong.

After his debut to thunderous ovation at Khetwadi, in Bombay at the age of 16, Thirakwa’s fame spread far and wide and he accompanied the greatest musicians of his time. He was appointed the court-musician of Rampur in 1936. After 30 years of service he became the head of the tabla Faculty and later Professor Emeritus at the Bhatkhande College of Music, Lucknow. Later he became Visiting Professor at the National Centre for Performing Arts and provided inspiration for Nikhil Ghosh's School of Music. He witnessed the pomp and leisurely life in royal courts, where art enjoyed sensitive appreciation and high esteem. With the end of royal patronage, he adapted himself to the hectic tempo of the modern age thus becoming a vital link between two eras in Indian music.

A popular and frequent performer on the radio, Thirakwa was constantly in demand at various music conferences all over the country. Though a solo tabla artist, he accompanied maestros like Allahbande Khan, Rajab Ali Khan, Alladiya Khan, Wahid Khan, Allauddin Khan, Bhaskarbuwa Bakhle, Faiyaz Khan, Mushtaq Hussain, Hafiz Ali, Ali Akbar, Bismillah Khan, Begum Akhtar and others. His favourite was Faiyaz Khan. The admiration was mutual as Ustad Faiyaz Khan used to say of other accompanists "Na huva Thirakwa" (Thirakwa is irreplaceable).

Proficient in all the styles of tabla including his favourites Delhi, Farukkabadi as also Poorab and Ajrada, Thirakwa epitomised success due to correct and sincere training, long and continuous years of practice, regular physical exercises, and nourishing food. His fame resulted from his authority on music as well as his dignified and accommodating nature. Thirakwa’s popularity never waned since he practised rigorously, maintaining his unmatched mastery even after he crossed ninety. Although his voice in normal conversation grew shaky with age, he could recite complicated and jaw-breaking tabla-bols and parans with steadiness and strength. His disciples include Lalji Gokhkale, Prem Vallabh, Ghulam Ahmad, Chhote Gokhale, Nikhil Ghosh, Ahmad Ali, Ram Kumar Sharma and others. Honours like the Padma Bhushan came to him naturally. With a wealth of reminiscences and a good sense of humour, Thirakwa could imitate many vocalists as he recounted interesting episodes and anecdotes about the colourful events of the past. He wore black achkan and cap and would appear with blackened moustache, surma-lined eyes and a silver-capped walking stick. His death in Lucknow on the eve of his departure to Bombay saddened all music lovers.

Dhanam – the riches of Veena

2005-08-10T09:24:00.000-07:00

Dr. K. Rohiniprasad

Veena Dhanammal (left) with her daughter T. Lakshmiratnam
and grandson T. Vijayakrishnan

Dhanammal (1868 -1938), the great veena-player belonged to a lineage of musicians and dancers at the Tanjavur court. Her grandmother Kamakshiamma was a well-known vocalist and dancer while her mother Sundaramma was trained by Subbaraya Sastry, son of Shyama Sastry. A precocious child, Dhanammal had a fine, sweet voice that blended with the veena. Dhanam learnt music from her mother as well as Sathanur Panchanada Ayyar, Alasingarayya, Balakrishnayya, Dharmapuri Subbaraya Ayyar, Baldas Naidu and Saidapet Tirumalachariar. Though veena was considered a family heirloom, it was felt it had some inadequacies. However young Dhanam was inspired and enlightened by two distinguished veena artists, Ramachandra and Kalyanakrishna. The youngster noticed endless possibilities on the veena for higher musical expression. Neelakantha Sastri, another great contemporary of Dhanam, helped to train her.

With the veena as the only interest in her life, Dhanam’s boundless energy and dynamism brought her fame even while in her teens. Her repertoire of more than a thousand songs by seventy composers in six languages outlined her musical perspective and aesthetic sensitivity.

Dharmapuri Subbarayar, a composer of javalis became a great fan and patron of Dhanam and placed at her disposal his wealth and powerful influence. Similarly, the blind musician Baladas Naidu of Wallajahpet, an expert on Kshetrayya’s padams and Saidapet Tirumalachariar helped Dhanam fashion new patterns as it were, on old fabric.

Dhanam’s concert in Madras (1900) and other recitals in Malabar, Vijayanagaram and Bombay established her as the greatest veena player and a musician among musicians. She would play on a small veena without plectrums and the resulting volume would be low. But her clear and flawless technique was devoid of any metallic clang. With systematic and profound raga elaboration that were based on exalted tradition, elegant poise and the measured cadence of tuneful notes she became the greatest exponent of slow and majestic music.

Dhanammal’s raga alapana was brief but very suggestive, its various facets shining with glorious lustre. She would render complex ragas like Athana, Surati, Begada, Darbar and Khamaj, alternating her playing with her singing. With clear grasp of the raga system she could expound the beauty and grandeur of every raga on the veena. Her sublime tanam rendered in a deliberate, well-ordered plan and perfect resonance showcased her genius and supreme mastery over the instrument. Perfect in thought, word and deed, she developed an individual veena-playing style of her own, with delicate gamakas and emphasis on the mood of the raga. She avoided tanpura and mridangam accompaniment, believing veena to be a complete instrument.

With prolific creative faculty, Dhanammal often sang while playing on the veena. Her voice was sweet, clear and powerful and remained uniform over three octaves, merging admirably with the veena. Her pronunciation in six languages was flawless and she rendered them with feeling.

Great musicians and music lovers frequented her house for her Friday concerts. Raja Nawab Ali Khan Chowdary, a participant in the Simon Commission and the Raja of Tehri heard her performances in Madras and appreciated her proficient rendering of Hindustani ragas. Abdul Karim Khan visited Dhanammal’s house regularly in spite of the language barrier. Before performing Khansaheb would say "Buddhi ma ko bulao!”

Dhanammal’s brother Narayanaswami was a famous violinist. She taught music to her four daughters and her grandchildren Balasaraswathi (bharatanatyam), Brinda and Mukta (vocal), T Viswanathan (flute) and T. Ranganathan (mridangam) rose to fame. Her style is perhaps considered too pure and profound to satisfy today’s preference for speed and fireworks.

Towards the end of her life Dhanammal’s eyesight failed. There were some recordings, but due to some dispute, the originals were later destroyed by the recording company.

Ustad Abdul Karim Khan, legendary vocalist

2005-08-10T09:06:00.000-07:00

Dr. K. Rohiniprasad

The Ustad in concert

With his disciple Sawai Gandharva, who in turn taught contemporary giants like
Gangubai Hangal, Bhimsen Joshi and others

One of the present day icons of Indian classical music, Pandit Bhimsen Joshi, belongs to the Kirana gharana that was founded by Abdul Karim Khan (1872-1937). Karim Khan belonged to a family of illustrious musicians. At a young age, apart from vocal music, he learnt to play the sarangi, sitar, tabla, jaltarang and several other instruments. Karim Khan left his native place Kirana near Kurukshetra in 1890, never to return. He attained cult status after he came to Maharashtra via Baroda and trained several disciples including stalwarts like Sawai Gandharva, Sureshbabu Mane, Hirabai Barodekar, Roshanara Begum et al. They in turn trained musicians like Gamgubai Hangal, Feroze Dastur, Bhimsen Joshi, Prabha Atre and others who became torch-bearers of Kirana gharana. In his time, Karim Khan’s admirers included Lokamanya Tilak, Gopal Krishna Gokhale, Rabindranath Tagore and others.

Karim Khan was initially a court musician in Baroda. He fell in love with and later married Tarabai Mane, the Maharaja’s niece, who was one of his disciples. As a result he was forced to leave Baroda. The couple settled at Miraj in south Maharashtra. Karim Khan established music schools at Belgaum, Miraj, Pune and in Bombay. He also pioneered the selling of tickets at classical music performances for collecting funds in aid of these schools. Tarabai left him in 1922 but worked hard to help her five talented children Sureshbabu Mane, Hirabai Barodekar, Kamalabai, Saraswati Rane and Krishnarao Mane. The separation was a shock to Karim Khan, and his music reportedly changed as a result, expressing pathos and sorrow. Others attribute this to the influence of Rahmat Khan of Gwalior gharana.

Karim Khan is one of the earliest Indian musicians whose recorded music is available for us. He recorded 32 songs first in 1905, each of 90-150 seconds duration, in Bombay at S. Rose & Co. – a place near the present Rhythm House. Some of them were reissued by HMV in 1994. After initial reluctance, he was persuaded to record for the German Odeon company in 1932-36. These included about 25 songs, each of 4-5 minutes duration, featuring classical, light classical, Marathi natya sangit, bhajans, Kannada songs as well as instrumental music for the Been. In the presence of Sir C.V.Raman, he demonstrated his musical theory of notes with the help of 2 veenas in a public meeting.

One of the characteristics of the Kirana gharana has been an emphasis on melody or swar rather than laya. His phenomenal popularity is due to expansive alapchari which unfolds the raga note by note with tantalising languor. Besides khayal singing, the Ustad is also very famous for his soulful rendition of thumris. In this genre, his approach differed from the Purab ang and the Patiala styles. His thumris like ‘Piya Ke Milane Ki Aas’ in raga Jogiya and ‘Piya bin nahi avat chain’ (briefly rendered by K.L.Saigal in Devdas) in raga Jhinjhoti still retain their magic so many years after his death.

Karim Khan’s visits to Mysore, (where he was honoured with the title ‘Sangeet Ratna’) brought him in contact with Carnatic music. As a result he pioneered the rendering of Carnatic ragas like Abhogi, Kirawani and inducted sargam into Hindustani music. He inspired several South Indians to listen to, appreciate and learn Hindustani music. He spent life like a saint, wandering from place to place giving performances and training disciples. In 1937, on his way to Pondicherry he broke journey at a small station and sang his prayers in Raga Darbari before going off to sleep for ever.

Karim Khan was one of the earliest to attain national stature as a classical vocalist and he is remembered through the present day luminaries of his gharana. His music is available on cassettes.

Chowdiah, bowing to genius

2005-08-10T09:02:00.000-07:00

Dr. K. Rohiniprasad

Born in Tirumakoodalu, Chowdiah (1895-1967) the great violinist was the son of Agastya Gowda. His mother Sundaramma who was herself a musician initiated him into the art. Believing in the prediction by a seer that he would become a famous musician, young Chowdiah abandoned regular school. This enabled him to concentrate on music lessons. After early training from his uncle, Chowdiah became the disciple of Bidaram Krishnappa, the legendary vocalist at the Mysore Court. He undertook rigorous and painstaking practice at the gurukul for fourteen to sixteen hours a day. Under Krishnappa’s tutelage from 1910 to 1926, Chowdiah became competent enough to accompany his guru. He finally made his debut with a solo concert in 1926. He continued to imbibe music by regularly attending concerts by veterans like Govindaswamy Pillai.

Chowdiah's violin accompaniment for Ariyakudi’s concert in Madras brought him into limelight. True to the words of Yehudi Menuhin, Chowdiah the violinist “burst abruptly into view”. Chowdiah's association with Ariyakudi continued for several decades. Chowdiah soon started accompanying other reputed vocalists including Palghat Rama Bhagavatar, Chembai Vaidyanatha Bhagavatar, Musiri Subramania Iyer, Semmangudi Srinivasa Iyer, Alathur Brothers, G.N. Balasubramanyam, Madurai Mani Iyer, M.S Subbulakshmi and others. Percussionists like Dakshinamoorthy, Palghat Mani Iyer, Palani Subramanya Pillai enjoyed playing with this highly rated violinist. Chembai, Chowdiah, Palghat Mani Iyer reportedly performed over 2000 concerts together.

An eminent solo violinist and a brilliant accompanist, Chowdiah’s fascinating finger-play and bowing techniques, clarity of expression and creative approach made him phenomenally popular. He became well-known for his rich imagination and skill and provided inspiration to many young violinists during his lifetime. In his concerts as an accompanist, Chowdiah was much respected and admired as he would always encourage and support the main performer. In 1939 he became the court musician at Mysore. An eloquent speaker, he could engage the attention of audiences very well. As a performer he was so popular that he could hardly bathe in the river during one of the Tyagaraja aradhana celebrations as he was mobbed by fans.

In the early decades of the twentieth century, vocalists started adopting a lower pitch. With no amplifiers or loudspeakers, accompanying a powerful vocalist and a percussion instrument on the violin in a large auditorium required real effort in those days. Violins were not originally designed to meet this requirement. To match the change in the volume of music, Chowdiah tried to improve the volume of the sound from his violin. As an innovator and man of ideas, he developed with the aid of a craftsman, seven-stringed and nineteen-stringed violins. The additional strings resonated to the sound of the bowed string and produced greater volume. The agreeable and voluminous sound that resulted impressed everyone, including veterans like Veena Seshanna. However, with the advent of electronic amplification, these innovations gradually lost their relevance. It was no longer considered necessary to own such an expensive high-quality instrument.

Chowdiah established the Ayyanar College of Music in Mysore and Bangalore. In honour of his guru, Chowdiah built the Bidaram Krishnappa Rama Mandira in Mysore. He produced eminent disciples like V. Sethuramiah, R. K. Venkatarama Sastry, Mysore V. Ramarathnam, Kandadevi Alagiri Swamy and C. R. Mani.

He received several awards including Sangeeta Rathna (Mysore Court) and Sangeetha Kalanidhi (Madras Music Academy), Ganakala sindhu (Mysore Sangeeta Parishat) apart from felicitations by Kanchi Paramacharya, Satya Sai Baba and others. He composed kritis and tillanas with the pen name Trimakuta. He served as a member of the legislative council for the Government of Mysore. Chowdiah also acted in a film during his life. His death in 1967 was widely mourned by music lovers.

Musiri, great Carnatic vocalist

2005-08-10T08:59:00.000-07:00

Dr. K. Rohiniprasad

Musiri Subramania Iyer, one of the giants of Carnatic music of the twentieth century was born in 1889 in Bommalapalayam in Trichy district of Tamil Nadu. His father Sankara Sastry was a Sanskrit pandit of modest means. Inspired by the singing of S. G. Kittappa, the famous stage actor/singer, Subramania Iyer decided to become a musician. Taking up music as professional was risky those days unless one rose to the top. After receiving initial training from S. Narayanaswamy and the violinist Karur Chinnaswamy Iyer, Subramania Iyer became the disciple of T.S. Sabesa Iyer who belonged to Tyagaraja’s tradition. Manambuchavadi Venkatasubbayya, a close relative and disciple of Tyagaraja had trained eminent students such as Maha Vaidyanatha Iyer. Sabhesa Iyer was one of the direct disciples of Maha Vaidyanatha Iyer.

Subramania Iyer’s first recital at the age of seventeen in Trichy impressed the organisers who presented him with a gold medal. As he made his debut in Madras in 1920, Subramania Iyer’s name was linked to the place Musiri near Trichy and the prefix stuck to him. Thus Musiri soon became a well-recognised name amongst musicians. His music and his gramophone records became very popular in the Madras Presidency, Thiruvananthapuram, Bangalore, Hyderabad, Mumbai, Calcutta and Delhi.

As a vocalist, Musiri specialised in the slow tranquil tempo of music. With a beautiful high pitched voice and perfect tonal purity Musiri was a great exponent who brought out the emotional content of the raga and the compositions. His neraval (spontaneous variations in the redering of the composition) was very appealing. His immortal melodies include "Nagumomu", "Pahi Ramachandra Raghava", "Thiruvadi Charanam.", "Entha Vedukondu Raghava" and others. Since he happened to be one of the few knowledgeable and highly literate musicians with good command over English, he was appointed the first principal of the Central College of Carnatic Music in 1949.

Musiri received several honours and awards were including `Sangeetha Kalanidhi' (Music Academy of Chennai, 1939), Fellow of the Sangeeta Natak Academy (1967), Padma Bhushan (1971) and so forth. He was the Honorary Secretary and Treasurer of Sri Thyaga Brahma Mahotsava Sabha, organising the annual aradhana of Tyagaraja at his samadhi in Thiruvaiyaru.

A legend during his lifetime and after, Musiri remains a colossus in the world of Carnatic music even today since some of his recordings are available. He was also a great teacher who taught several disciples like Mani Krishnaswamy, T. K. Govinda Rao and K. S. Venkataraman who became good musicians in their own right.

Though a tradition-bound musician, Musiri played the lead in the Tamil film Tukaram in 1938, raising some hue and cry amongst the puritans of the day. Though the film is now lost, his songs are still popular. As a result of this experience he came to detest the people and the atmosphere associated with films. His wide circle of friends included eminent musicians like the vocalist Semmangudi, Budalur Krishnamurthi Sastri, the gottuvadyam vidwan as well as several doctors, lawyers, engineers and civil servants. They included ICS officers like S. Y. Krishnaswamy, C.V. Narasimhan and personalities like T. T. Krishnamachari, V. C. Gopalaratnam, V. L. Ethiraj, K. S.Jayarama Iyer, K.V. Krishnaswamy Iyer and other big wigs of Madras who would not normally condescend to mingle with mere classical musicians. It is not clear what his formal educational qualifications were, but Musiri was obviously a man of culture, charm, and polish and old world values. He was a connoisseur of English literature too.

From the early 1930s until his demise in 1975, Musiri lived in Mylapore area in Chennai and the road has been named after him.

Pandit Vishnu Digambar Paluskar, Guru of Gurus

2005-08-10T08:54:00.000-07:00

Dr. K. Rohiniprasad

Today people can simply enrol themselves in any school of classical music and obtain degrees. This has been possible because of the foresight and untiring efforts of pioneers in the field like Vishnu Digambar Paluskar. Bringing it out of royal patronage, Paluskar made Hindustani music available to everyone. A commemorative stamp was issued in his name in 1973. It is unfortunate that there are no recordings of this great man’s music.

Vishnu, the son of a Keertankar named Digambar Gopal Paluskar, was born in 1872 at Kurundwad. From his childhood, Vishnu learnt singing and accompanied his father during concerts. During Datta Jayanti festivities, a bursting cracker blinded him permanently. Dr. Bhadbhade, who had tried in vain to save the boy’s eyes, arranged for music lessons with Balakrishna Bua Ichalkaranjikar, a teacher trained at Gwalior. It was hard and strenuous instruction under the old taskmaster until 1896. With no regular courses or lessons, everything depended on the moods of the teacher. Vishnu’s success, in spite of these difficulties, as well as his closeness to his patron, the Raja of Miraj caused jealousy among the other students. They created a rift between the teacher and Vishnu, who had to leave Miraj. After performing successfully at the Maharaja’s court in Baroda, he toured Saurashtra, Gwalior, Mathura, Bharatpur, Delhi and the Punjab. For the public concert in Saurashtra, he charged a nominal fee, departing from tradition.

At Mathura he studied the Brij dialect thus improving his understanding of some of the finest compositions in Hindustani music. After his sojourns to Amritsar and other parts of the Punjab, he founded the Gandharva Mahavidyalaya at Lahore in 1901. A turning point in the history of modern music, this was the first school run without royal patronage. It was run by public support, donations from the rich and funds raised by the concerts of Paluskar. The school trained pupils in music and inculcated respect for the art and a missionary zeal. Students like Omkarnath Thakur, Vinayakrao Patwardhan and Deodhar became legendary performers and teachers.

The activities of the school expanded as Paluskar founded a branch of the Mahavidyalaya in Bombay in 1908. Later he shifted the school at Lahore to Bombay along with the printing press for music books. His efforts around 1915 to house the school and a hostel resulted in heavy debts in spite of his concert earnings. In 1924, even as he was performing elsewhere, the property was attached by the creditors. Meanwhile, Paluskar started an ashram in Nasik and moved there in 1924. He travelled widely in India and Nepal but his poor health prompted his patrons to shift him to Miraj, where he passed away in 1931.

With an attractive voice and musical sensitivity, Paluskar was a great musician and teacher, with uncompromising moral courage and awareness of the social values of art. He did not hesitate to prohibit smoking in his concerts even by maharajas. He amended the texts of some khayals when he considered it necessary and systematised the theory, notation system and syllabi of music lessons. Apart from countless music lovers, he was respected by the likes of Lala Lajpat Rai, Lokmanya Tilak, Gopala Krishna Gokhale, Mahatma Gandhi and Annie Besant. His Ram dhun, "Raghupati Raghava" was sung at the Dandi march in 1930. His "Vande mataram" was sung at every Congress session.

Out of Paluskar’s twelve children, only one, Dattatreya, survived. Unable to learn music from his father, who died when the boy was only eleven, Dattatreya was trained by his father’s disciples and rose to great eminence before his untimely demise in 1955.

Sangeetha Bhupathy Maharajapuram Viswanatha Iyer

2005-08-10T08:51:00.000-07:00

Dr. K. Rohiniprasad

Maharajapuram Viswanatha Iyer (1896-1970), the renowned Carnatic vocalist, was the guru of the great singer Semmangudi. Son of Shri Rama lyer, himself a good singer, Viswanathan was trained initially by Umayalpuram Swaminatha Iyer, a direct disciple of Maha Vaidyanatha Iyer. Maha Vaidyanatha Iyer had learnt from a direct disciple of Tyagaraja and thus Viswanatha Iyer represents the fifth generation of the Tyagaraja School. Young Viswanathan also learnt from Thanjavur Rangappa Iyer, a ghatam exponent.

In his teens, Viswanatha Iyer sang at the Ramanavami celebrations at Kumbakonam. The gathering comprised of musical exponents, experts, artists and music-lovers. His self confidence, good voice, lyrical exposition of the ragas with daringly lengthy alapana and authentic rendering of the compositions pleased the audience. This led to other recitals in temple festivals, gatherings at the Sankara Matham etc. The pontiff of the Matham became the first patron of young Viswanathan, who sang frequently for the seer.

His first recital in Palghat, arranged by the well-known mridangam artist Chattapuram Subba Iyer was very well appreciated and the organiser was congratulated for his discovery of the talented young man. Similarly Viswanatha Iyer’s recital in Tanjore district was organised by another mridangam artist Alaganambia Pillai. The success of this performance led to another on the following day. As the music party was about to return, the accompanists Tiruchi Govindaswamy Pillai (violin) and Alaganambia Pillai noticed that young Viswanatha Iyer had been paid remuneration for only one recital. The enraged senior musicians rushed back from the railway station and extracted further payment from the organisers on behalf of the young vocalist and still managed to catch the train. Viswanatha Iyer remained indebted to his senior colleagues for ever for taking care of him during the early part of his career. Accompanists like Govindaswamy Pillai always had a soft corner for him.

Viswanatha Iyer specialised in singing Tyagaraja’s compositions fully and correctly. He would spend a few days at the samadhi of Tyagaraja at Tiruvaiyaru every year, singing for a few hours. Viswanatha Iyer was the first to sing the five pancharatna kritis at the annual Tyagaraja festival and this has now become a tradition. While his repertoire mainly consisted of Tyagaraja's compositions, he also sang nearly all the compositions of Muthuswami Dikshitar, Syama Sastri, Patnam Subramania Iyer, Gopalakrishna Bharathi and others. He took special pains to practise the more difficult kritis of Tyagaraja, rendering authentic versions and mastering the special techniques in tala.

Maharajapuram Viswanatha Iyer excelled in detailed raga elaboration with phrases that would enrich the pattern of presentation. He could sing the same raga alapana for half an hour one day, and for one minute the next day, but both would seem complete. He became a legend in his own life time, winning titles like Sangeetha Kalanidhi and Sangeetha Bhupathy. He greatly admired Hindustani musicians like Abdul Karim Khan and Kesarbai. Listeners would discern the influence of Hindustani music in his recitals. Viswanatha lyer was an accomplished mridangist as well.

He never sought high positions, wealth or influence and avoided sycophancy. He preferred the company of friends, singing day and night his favourite compositions. With lovable sense of humour, he would regale listeners with musical anecdotes without any ill will or malice. He would freely joke about his own failings too.

He preferred to dress in silk with gold buttons on his kurta, jari angavastram and dhoti. He loved English movies and himself acted in a Tamil film "Nandanar" along with the noted singer K.B.Sundarambal, delighting the audience with exquisite music. His famous disciples include the renowned Semmangudi Srinivasa Iyer, his own son Maharajapuram Santhanam and Mannargudi Sambasivam Iyer.

Ustad Faiyaz Khan, the great vocalist

2005-08-10T08:46:00.000-07:00

Dr. K.Rohiniprasad

In the Hindi film Buzdil released around 1951, Lata Mangeshkar sang 'Jhan jhan jhan payal baaje under the baton of S.D.Burman. Around 1960 the maestro made Manna Dey sing Banao batiyan kahe ko jhooti in Manzil. The original classical numbers on which these two songs were based were rendered by Ustad Faiyaz Khan. Saigal learnt Wajid Ali Shah's immortal Bhairavi thumri Babul Mora from him and later sang it in Street Singer.

Born in 1880 near Agra, Faiyaz Khan's musical lineage goes back to Tansen himself. A posthumous child, Faiyaz was trained initially by his maternal grandfather Ghulam Abbas Khan. Originally, the Agra gharana followed the Dhrupad and Dhamar style. Faiyaz Khan added khayal singing to this tradition. The integration turned out to be excellent. Today Agra gharana includes nom-tom alap, dhamar, vilambit khayal with emphasis on bol and layakari bol-taans, inimitable grace in the pronunciation of words of the bandish, moving on to the drut khayal with gusto and fast taans.

Faiyaz Khan’s performances in darbars, conferences, private gatherings and music festivals were authentic and entertaining too. He was frequently invited to perform and received honours and titles like Sangeet Bhaskar, Sangeet Chudamani and Sangeet Saroj from the princes of Indore, Hyderabad and Mahishadal apart from valuable gifts and awards. From 1912 onwards he remained the court musician of Baroda until his much-lamented demise in 1950. He also taught in the music school, which eventually became the Faculty of Performing Arts in the M.S. University. It was a shock to the civilized world that his grave was desecrated during the recent communal riots in Baroda.

Faiyaz Khan was awarded the title "Aftab-e-Mousiqui" by the Maharaja of Mysore. He lent authenticity, dignity and grace to any bandish he presented. He became a living legend is his time, yet remained a profoundly humble human being till the end. In spite of his royal personality he was extremely humane in personal relationships. With great humility he used to remark “I know a little in this field”.

Faiyaz Khan’s style of singing may not appeal to those who enjoy soft and plaintive vocalism. He had a booming voice and a no-nonsense robust style. But he was rooted in classicism. As the sitar maestro Vilayat Khan demonstrated in one of his concerts, Faiyaz Khan’s notes sound very pure and authentic in ragas like Darbari. Such notes do not fit into the chromatic scale of a harmonium. His tone and approach varied with the nature and mood of the raga. Miya ki Todi would sound melancholy and sombre while Sughrai will be rendered in sprightly style. In thumris he was very melodious and could express the coquettishness of a maiden. His singing was very virile and loud, with a lot of power behind his taans. His tuneful voice had a rich timbre. In his time he was called a Chaumukhi Gavaiya - with great command over several genres such as Dhrupad, Khayal, Thumri, Dadra and Ghazal. He composed several compositions under the penname of Prem Piya including Baje mori payaliya in Barwa, Chalo hato jao in Sohini, Nainanso dekhi in Suha-Sughrai, Unsang in Ramkali and Sajan more ghar in Jog.

In Bombay he sang at several places including the Suburban Music Circle, Santa Cruz and inaugurated the Vallabh Ashram at Sion. Great scholars and musicians like Bhatkhande, Ratanjankar, Allauddin Khan (sarod), Nissar Hussain Khana and Thirakwa (tabla) held him in great esteem. His disciples and followers include Vilayat Hussain, Khadim Hussain, Latafat Hussain, Sharafat Hussain, Dinkar Kaikini, Jyotsna Bhole, K.G.Ginde, S C R Bhat, Dinkar Kaikini, Lalith Rao, M R Gautam and others.

Gayaka Sarvabhauma Parupalli Ramakrishnayya

2005-08-10T08:42:00.000-07:00

Dr. K.Rohiniprasad

Tyagaraja, the great Carnatic composer spent most of his life in Tanjore district and trained several great musicians until he passed away in 1847. One of them was his cousin Akumalla (Manambuchavadi) Venkatasubbayya. During his lifetime Venkatasubbayya also attracted several students and one of them was Susarla Dakshinamurthy Sastry (1860-1917). Sastry’s devotion to music drove him to walk all the way to Tamilnadu from his native Krishna district. After learning music from Venkatasubbayya, Dakshninamurthy Sastry returned to Andhra Pradesh. Sastry was the first to bring the musical tradition of Tyagaraja to Andhra region and several students benefited from him. One of them was Parupalli Ramakrishnayya (1883-1951) who is known today as the guru of the eminent vocalist Dr. M. Balamuralikrishna.

As a young man Ramakrishnayya worked as Thanedar performing magisterial duties at the princely estate of Challapalli. However he was strongly attracted to classical music from his childhood. He approached the great Dakshinamurthy Sastry and was readily accepted as a disciple. The gurukulam set up by Dakshinamurthy Sastry provided his students with adequate boarding and lodging facilities. Ramakrishnayya took lessons in vocal music and violin playing. By his dedication and talent, Ramakrishnayya soon became the favourite student and impressed his contemporaries. He led a disciplined life and followed all the religious rites.

Having lost his wife early, Ramakrishnayya married again and started living in Krishna district working as a village officer and practising music alongside. He began to participate in music festivals and concerts in Andhra Pradesh, Madras, Tanjore and other places. His talent attracted several connoisseurs and he became a regular performer. In 1929 the Saraswati Ganasabha of Kakinada awarded him its gold medal. In 1931, after his performance at Narasaraopet, the Andhra Saraswata Parishad awarded him the title Gayaka Sarvabhauma. Later he received the title Bharatiya Teerthopadhyaya in Poona. Columbia Company cut his discs and he started performing over All India Radio at Madras. He also participated in some of the Experts’ Committee meeting at the Music Academy, Madras.

Later Ramakrishnayya settled down in Vijayawada and trained several students. They include actor-singers like his younger brother Subbarao and Addanki Sriramamurthy, violinists Saride Subbarao, Krishnamacharylu and Annavarapu Ramaswamy, Nadaswara Vidwan Daliparti Pichchahari and several vocalists like Balamuralikrishna, Ramanamurthy. He conducted several music festivals in the name of Tyagaraja and his own guru Dakshinamurthy Sastry. Those days not many classical music concerts were arranged in Andhra Pradesh. Through the efforts of Ramakrishnayya, music lovers of Vijayawada could attend concerts by most of the luminaries of Carnatic music. Soon, a broadcasting station and a music college were started at Vijayawada. Apart from performing and teaching music, Ramakrishnayya made a detailed study of several musical treatises and related literary works. In 1948 he participated in a music festival held in the name of Kshetrayya, the great Telugu poet-laureate of the 17^th century.

As befits an employee of the court, Ramakrishnayya’s appearance was both impressive and benign. With vibhuti on his forehead, moustache, turban, black coat and walking stick, his manner was unassuming, kind and soft-spoken. He had paternal affection towards all his disciples, providing them with facilities at his own residence free of cost, rather than make money by letting out the premises. Balamuralikrishna who considers himself fortunate to have learnt music as a five-year old, sitting in the lap of Ramakrishnayya, avers that he was the greatest guru of all time. Ramakrishnayya did everything to give the best to his disciples.

In 1951, even as he was conducting a music festival in memory of his guru, Ramakrishnayya passed away peacefully, leaving behind a galaxy of disciples to carry forward the parampara of Tyagaraja.

Bhatkhande, the great musicologist

2005-08-10T08:35:00.000-07:00

Dr. K.Rohiniprasad

Like western music, Indian classical music needs to have a good notation system. In this effort, Vishnu Narayan Bhatkhande (1860-1936), the father of modern Hindustani music dedicated his whole life to research in ancient and contemporary music. A true crusader and a renaissance man, he appeared just as the age of mass musical education was dawning in India.

Bhatkhande’s father worked as a temple accountant and lived in Walkeshwar, Bombay. Vishnu acquired his sweet voice and initial training from his mother, singing morning prayers in his school. Since respectable families did not pursue music in those days he learnt the flute, sitar and vocal music on the sly from gurus like Vallabhdas, Jairajgir, Raojibua Belbagkar, Ali Husain Khan, Vilayat Hussain Khan and others.

Keeping the promise given to his father not to take to music as a profession, Bhatkhande completed his B.A. and LL.B from Elphinstone College. He practiced criminal law at the Bombay and Karachi High Courts but the death of his wife and daughter turned him towards music. He taught law to students, sometimes composing songs on the Acts to make learning them easy!

Appointed a trustee for the property of a wealthy family in Bombay, Bhatkhande had regular income. He attended recitals by contemporary luminaries but noticed that musicians did not follow old classical theories of music even as they appeared to follow tradition. He felt it necessary to systematize these traditions and build a scientific theory of modern Hindustani music based on the prevailing practice. He began studying old musical texts with enthusiasm but found several ambiguities in them. In 1904 he visited Madras, Tanjore, Madurai and other places and met prominent local musicians. He studied ancient works like Chaturdandi Prakasika, Swara-mela-kala-nidhi and others in Sanskrit, Telugu, Bengali, Gujarati, Urdu, German, Greek and English with the help of scholars and interpreters and printed them in Bombay for sale at nominal prices.

Touring Nagpur, Calcutta, Hyderabad, Vijayanagar, Puri, Allahabad, Banaras, Agra, Delhi, Mathura, Jaipur, Bikaner and other places he met and interviewed reputed musicians. He collected and arranged the enormous amount of information and yet found discrepancies between the old texts by Bharata and Sharngadeva and prevalent practices. So Bhatkhande gave up his legal practice and devoted the rest of his life in the service of music. He went ahead and published his own books in Sanskrit, Marathi, Hindi and English including Abhinavaragamanjari, Abhinavatalamanjari, Lakshya Sangeetam, Hindustani Sangeet Paddhati, the six Kramik volumes, the Swara-malika and Geet Malika series, Grantha sangeetam, Bhavi Sangeetam, A Short Historical Survey of Music, Philosophy of Music during 1909-32 comprising over 2000 Dhrupads, Dhamars, Khayals, Sadras, Taraanas, Chaturangs and Thumris from various gharanas and some compositions of his own. He classified 180 ragas into ten thaats.

With the help of the Maharaja, Bhatkhande convened the first All-India Music Conference in Baroda in 1916 in which famous musicians from all over the country participated and scholarly papers were presented. At the second conference at Delhi, his infinite patience and sincerity convinced the participating musicians to achieve a common understanding and the rules of ragas could be laid down. Bhatkhande developed a practical system of writing music by means of symbols by which one could learn music without a teacher. He set up Sangeeta Maha Vidyalaya in Baroda where music teachers were trained. He opened Colleges of Music in Gwalior, and Lucknow (headed by his student Ratanjankar). Like his contemporary Paluskar, his efforts democratized music education and produced several musicians. Suffering a stroke in 1933, Bhatkhande passed away in Bombay in 1936. The government released a postage stamp in his name. His notation system is in popular use today.

Ustad Bade Ghulam Ali Khan, the greatest of them all

2005-08-10T08:23:00.000-07:00

Dr. K.Rohiniprasad

The maestro with his family.
Ustad Munawar Ali (front row) provided vocal accompaniment to his father.

The sleeve notes on the long play records of Bade Ghulam Ali Khan (1902-1968) refer to him as the foremost among Hindustani vocalists. He was regarded a phenomenon even by his contemporaries. Born in 1902 in Kasur (West Punjab), Bade Ghulam’s fame as singer was initially limited to areas in and around Lahore. It was after 1939 that he became a favourite among music aficionados in Calcutta, Bombay and other cities in the subcontinent. According to G.N.Joshi, himself a vocalist associated with the HMV for several years, Bade Ghulam Ali introduced himself to lovers of classical music in Bombay in 1944. He presented Raga Marwa and a thumri, as they had never been sung before. This was in the Vikramaditya Sangit Parishad held in the Bombay University Convocation Hall.

The most striking aspect of Ustad Bade Ghulam Ali Khan’s singing is the amazing and effortless phirat of his voice, which ranged through three octaves. He won the appreciation of his illustrious predecessors including Ustad Alladiya Khan, Ustad Faiyaz Khan, Ustad Allauddin Khan (father of Ali Akbar Khan and guru of Pandit Ravi Shankar), Ustad Hafiz Ali Khan (father of the sarod player Amjad Ali Khan). In music festivals Bade Ghulam Ali Khan was invariably the biggest attraction of the evening and no one would dare to perform after his concert. His lilting thumris like Yad piya ki aaye, Kate na birahaki raat, Tirchhi Nazariya ke baan and Prem ke fande me aakar sajani, on records, cut in the forties, are still extremely popular with listeners, not only in India, but all over the world.

The Ustad’s impressive physique and the lofty gait of a monarch were as arresting as the sweet, soul-stirring notes of his music. His friends knew him not only as a versatile singer and an appreciative gourmet and an excellent cook. During his tours of Madras city, he used to take with him about eight persons including cooks. After one concert in the city the reputed Carnatic vocalist G.N.Balasubramaniam was so impressed that he prostrated himself at the Ustad’s feet.

Bade Ghulam Ali Khan remained a Hindu at heart and his famous compositions like Hari Om Tatsat vouch for this. He was uncomfortable in Pakistan and Morarji Desai, the then Chief Minister of Bombay was instrumental in helping him acquire a flat in the city. He became an Indian citizen until his demise in 1968 in Hyderabad. The Ustad was reluctant to cut discs and a lot of persuasion was required to make him agree to make recordings of his music. Thanks to these efforts today we have immortal pieces as Aaye na baalam, Naina more taras rahe and Prem ki maar katar, to name a few.

Bade Ghulam Ali's study of music was extensive and while discussing any aspect of music, he would make intelligent observations that would surprise and impress the most learned and knowledgeable persons. On the emotional side, the exhibition of nature's strength always inspired Khan Saheb and he would give vocal expression to his feelings in ragas. From the balcony of his flat on Malabar Hill one could see the turbulent sea with its rising mountains of waves and he would reel out gamak taans in Raga Malhar when there was a clap of thunder. He would be inspired by a flash of lightning to indulge in a brilliant phirat, and when it poured cats and dogs, the result would be a torrent of powerful taans ranging over two to three octaves. It sounded as if a jugalbandi programme was in progress between Nature and this great man.

The greatest vocalist of the modern era, Bade Ghulam Ali Khan's musical gifts were evident at an incredibly early age. The Ustad could not recall, as an adult, at what age he had begun to master the twelve notes. At the age of three or four, even as he started talking, he learnt sargams as a child learns his mother tongue. Recognising the musical prodigy in him, his father Ali Bux put him, at the age of seven, under the tutelage of Ustad Kale Khan of Patiala for the next ten years. The boy would go to a desolate spot, stand in front of a wall, sing out musical notes loudly and listen to the echo to correct himself! Some tongawallahs watching the proceedings from a distance would make fun of him for sometime and go away since he remained indifferent to their taunts.

After Kale Khan’s death, Ghulam Ali continued his training under his father. For the youngster, music became the sole passion and he practised day and night. His joys and sorrows were centred on music. Gifted with a great musical lineage, intelligence, sound training and high artistic sensibility, the purity of the note for him became the supreme thing, Other musicians including Ashiq Ali (of Tanras Khan gharana) and Baba Sindhi Khan groomed him later and some critics detect the influence of Ustad Wahid Khan his khayal alap. Bade Ghulam Ali Khan’s genius added rare polish and glow to the style of Patiala gharana resulting in unprecedented popularity.

Bade Ghulam Ali Khan has influenced hundreds of singers trying to emulate him and thousands of music lovers who cherish his music. No other North Indian vocalist ever attracted such large audiences in the South as did Bade Ghulam Ali Khan. Whether it was a sedate khayal, a romantic thumri or a devotional bhajan, the Ustad would put his heart and soul into the song. This made contemporary musicians and music lovers realise not only the importance of voice culture and modulation, but also the value of emotion in music. While many musicians sing perfectly and correctly, impressing the listener's intellect, very few of them can touch the heart as Bade Ghulam Ali Khan could. The remarkable pliability of his voice, the amazing swara combinations, the incredible speed of his taans and the ease with which he could sway his audiences by his emotional renderings that brought every rasa to life, were the envy of contemporary musicians. His varied and richly expressive style, the rare perfection of rendering the composition resulted in great popularity for the Punjab ang.

Under his pen name, "Sabrang", he composed numerous khayals and thumris. It is said that his "Kali ghata ghir ayee sajani", makes us hear the rumbling of thunder, see the flashes of lightning and share the agony of the separated one. His khayal "Mahadev Maheshwar" or his favourite bhajan "Hari Om Tatsat" would invoke religious feelings. In his thumri, "Naina more", he could portray the entire longing of the eyes of the beloved and the playfully romantic plea of the Gopi. According to Bade Ghulam Ali Khan, emotion is the very soul of our music that can express the subtlest nuances of feeling. His style is an excellent blend of impressive technical mastery and appealing emotional expression. He was never interested in political and religious differences and knew only of two categories of people: music lovers and the uninterested ones. He would say "I know only one thing: Music! I am just a humble devotee of God and Music."

Ustad Bade Ghulam Ali Khan belonged to the era during which film music became a powerful attraction to the general public. In spite of its great commercial value, the appeal of film music is short-lived. As other films come along the old film and its songs are gradually forgotten. Classical music has a lasting hold on the interest of listeners in spite of the fact that recordings of classical music do not sell as fast as film music. Nor does its value to music lovers decline. Here we should ignore the present fancy that focusses more on the appearance and the hype that surrounds classical musicians rather than their music. In this context, the contribution of Bade Ghulam Ali Khan assumes special significance. The larger-than-life image of this legendary musician made his fans and other musicians hold him in deep awe.

Hailing from Lahore in Punjab, his performances in other Indian cities in the forties took the audiences by storm. As his rendering of khyals and thumris won unprecedented popularity, he never looked back as a performer. Early efforts by music director Naushad to get him to sing for films like Baiju Bawra did not seem to materialise but he sang a couple of songs for Mughal-e-azam. His attempts to dodge the assignment failed because the director agreed to all his seemingly impossible terms.

On behalf of HMV, G.N.Joshi had to use a lot of tact and guile to get the reluctant Ustad to record his music in the forties and these 78RPM discs remain unique to this day. In the early sixties, as long playing records became popular, initial efforts to persuade the Ustad to cut discs did not fructify. In 1963 when his health started deteriorating, he set aside his initial demand for a hefty remuneration and recorded two LPs. This was followed by other recordings. Today, apart from many private collections, more of his recordings are available from the archives of the All India Radio.

Musicians like Pandit Jagannathbua Purohit, Professor B. R. Deodhar and others had close personal interaction with the Ustad during his stay in Bombay where he ultimately settled down. Later Nawab Zahir Yar Jung took Khan Saheb to Hyderabad and looked after him till he breathed his last in 1968. The Ustad’s elder son Karamat Ali went to Pakistan but his younger son, Munawar Ali remained with him and sang along with him in concerts. Munawar imbibed the vast treasure of his father's musical knowledge. Bade Gulam Ali's talented younger brother Barkat Ali Khan often accompanied him on the harmonium. Barkat Ali sang excellent thumris and won a lot of fame. He influenced several ghazal luminaries like Begum Akhtar and Ghulam Ali. Barkat Ali Khan passed away in Pakistan in 1963. Munawar Ali Khan carried on his father’s style of singing until his early death a few years ago. His son Raza is a vocalist and Ajoy Chakravarty is carrying on with the Patiala tradition.

Bade Ghulam Ali Khan used to spend most of his day singing. That is reflected in his intimate familiarity with the notes and gamaks of any raga. Even as his masseur would work on his limbs during his recovery from paralysis, he would sing snatches of sargam that would match the movements of the masseur’s hands. He literally breathed music all through his life. His Darbari, Gujari Todi and other records makes us wonder how such an amazing quantity of music could be fitted into just three minutes of singing. He was and would always remain a musical phenomenon.

Musical colossus Chembai Vaidyanatha Bhagavathar

2005-08-10T08:11:00.000-07:00

Dr. K.Rohiniprasad

Chembai in his younger days

One of Chembai's early performances

Performance in 1915

Chembai, Ariyakudi, Madurai Mani Iyer & Palghat Mani Iyer (MLV looks on from behind)

Born in 1896 at Chembai, in Palghat, the great vocalist Vaidyanatha Bhagavathar was the great-grandson of Chakratana Subba Aiyar, who was a contemporary of the musical trinity. With two centuries of musical tradition in the family, young Vaidyanathan and his brother learnt music from their father Anantha Bhagavathar, a talented vocalist and violinist. The family and social environment of his childhood shaped Vaidyanathan’s personality and talent. Starting at the age of three, Vaidyanathan made his debut at the age of nine 1905 at Ottapalam along with his younger brother and regularly performed on various occasions. As their father hosted several visiting musicians, the lads learnt from them thus sharpening their listening skills.

Chembai's 1918 debut in Madras led to several performances all over the South. His great mental alertness helped him in spontaneous improvisation in concerts. Chembai’s booming, metallic, powerful, overpowering voice with its majesty, sweetness and melody, never seemed to depart from sruti. His music was marked by tonal clarity and flawless articulation with undiluted rhythmic content. Chembai started teaching when he was sixteen, to help out his father. An able teacher with keenness and ability to teach, his lessons were pleasant and enjoyable.

With no microphones, singers those days had to depend on the timbre and reach of their voice to achieve success. Chembai put in much devotion and effort into every performance of his. In 1932 Chembai cut his first gramophone record to be followed by more. What made him popular was the combination of innate knowledge, fine voice, good diction, attractive style and friendly disposition. With astonishing creative ability Chembai had total mastery over his voice, achieved from rigorous practice of the techniques of rendition in all tempi with equal facility. His plain and vigorous music, stupendous stamina, intuition, sound knowledge of ragas and swaras, control of sruti and laya, an individual style of expression based on vast experience all made him an institution and larger-than-life personality.

Apart from regular kritis, his repertoire included verses from Tiruvachakam, Tiruppugazh, Divya Prabhandam, Ramalingaswami's Viruttam, compositions of Muthuthandavar, Kabir, Tulsidas and Meerabai. With a career-span of 70 years, Chembai’s was perhaps the longest tenure as Carnatic musician.

He received several honours including the Padmabhushan, the Central Sangeet Natak Akademi award, titles Gayana Gandharva, Sangeeta Samrat, Sangeetha Kalanidhi, etc. Honours were also bestowed by the rulers of Cochin, Baroda, Vijayanagaram, Bobbili, Jaipur and Mysore. He declined the royal invitation to serve at the Mysore court since that would require his stay in Mysore. To fulfil frequent concert engagements, he shifted from Chembai to Madras in 1945. Chembai set to tune some 120 songs written by his long- time friend and supporter T.G.Krishna lyer.

A simple guile-less man with straightforward and rustic personality with sense of humour, Chembai was a large-hearted musician liked by connoisseurs and critics alike. He demanded high remuneration so as not sell art cheap but he believed in simple living and high thinking. Most of his earnings were spent on the upkeep of temples and other worthy causes. He lived a life of a savant without lowering his personal dignity and the dignity of his profession. He believed music, a great, divine art, pulsating with a life-force, creates peace of mind. He considered it the duty of musicians is to please the lay listener.

The musical patriarch passed away in 1974 soon after a concert at the temple which had been the venue of one of his earliest concerts. Though considered old-fashioned by some, Chembai's music was rooted in tradition and had a great appeal. Even after his demise, he continues to live in the minds and hearts of his admirers.

www.chembai.com is an excellent site that provides complete details of the maestro's career.

Centenarian maestro Ustad Allauddin Khan

2005-08-10T08:01:00.000-07:00

Dr. K. Rohiniprasad

Baba at home

Seated L to R: Kanthe Maharaj, Kishan Maharaj, Alauddin Khan, Ravi Shankar, Ahmedjan Thirakwa (c.late 1940s)

Ustad Allauddin Khan in his younger days

A life span of over hundred years is a remarkable achievement in itself but much more so if the list of the centenarian’s disciples reads like a Who’s Who of music. Ustad Allauddin Khan (1862-1972), the saintly and learned man of Maihar in Central India, originally belonged to a wealthy and cultured family in East Bengal. With a strong liking for music, he first learnt to play the violin and tabla from his brother. Unable to cope with schooling, he ran away from home to Calcutta at the age of 8. Vocal lessons from Gopal Chandra Bhattacharya were cut short by the teacher’s sudden demise. The lad then turned to instrumental music, learning about 200 kinds of instruments including violin, clarinet, piano shehnai, drums etc. His teachers were Habul Datta, (brother of Swami Vivekananda), Robert Lobo, (conductor of the Eden Garden Orchestra in Calcutta) and his wife (for western classical music), and Hazari, the shehnai player. Allauddin practised sixteen to twenty hours a day, with his hair tied to a ring in the ceiling so that it would jerk him awake whenever he nodded off!

Initially he performed at theatres, opera and music halls in Calcutta suffering much hardship. He learnt sarod, sursringar, rabab and vocal music from Wazir Khan (a direct descendant of Tansen and the greatest contemporary been player) of Rampur for forty years. He learnt a variety of styles of singing and playing wind, bowed and plucked instruments, and drums. He then became the court musician for the Maharajah of Maihar, organising the Maihar band with 100 orphan children. He taught strings, brass, bagpipes and drums to them and pioneered the orchestration of Indian musical instruments, combining Eastern and Western ideas. He led a very plain and ordinary life, indifferent to material possessions. His early childhood was spent amidst Hindus and so he imbibed the best of both Hinduism and Islam. Other musicians of his time wore colourful costumes, turbans, jewellery and medals but his inner fire outshone their gaudiness.

Mainly a sarod player, his technique incorporated the characteristics of diverse vocal and instrumental playing styles. Initially this invited much criticism. He also played the violin but never performed on the been, sitar and surbahar in deference to his guru’s wishes. For some time the ustad toured the world providing music to Uday Shankar’s dance performances.

While teaching he enlarged the range of possibilities open to an instrumentalist. A strict disciplinarian, Baba, as he was called, groomed several accomplished instrumentalists including his son, Ali Akbar Khan, daughter Annapurna, son-in-law Ravi Shankar, Timir Baran, the Maharajah of Maihar, Pannalal Ghosh, Nikhil Banerjee and others. While Ali Akbar put up with his father’s temper, Ravi Shankar nearly gave up learning at one stage! The ustad’s teaching methods were suited to individual students. Nikhil Banerjee was amazed that his grooming was totally different from that of his illustrious predecessor Ravi Shankar.

Allauddin Khan was mainly responsible for instrument players to enter the concert arena where the vocalists were dominant. He also helped them combine several features of the old gharanas in their presentation. Though he preferred to play established ragas, he invented ragas like Madan Manjri, Subhavati, Dhavalasri, Hemant-Bhairav, Bhuvaneshwari, Hemant, Manj-Khamaj and Hem Bihag etc. He made significant changes in the structure and size of the sarod thus improving its quality and potential. He also created new musical instruments like Chandra-sarang and Nal-tarang.

Honours and recognition came to Baba in the evening of his life: Fellow of the Sangeet Natak Akademi (1952), Padma Bhusan (1958), doctorate from Viswa Bharati and best of all, the reputation of his disciples and their disciples world-wide.

2005-08-09T12:38:00.001-07:00

SO ENDED THE STORY

Kodavatiganti Kutumba Rao

http://kodavatiganti.iwarp.com/

Translated by Kodavatiganti Rohiniprasad
(Originally posted at: http://www.thulika.net/2005July/SampleStory.html)

Gopalam is a well-known story writer. His stories have stuff. But not many seem to have noticed the fact. As for myself, I would read anything and just say “This is good and that is bad”. I am unable to explain why I like or dislike anything I read. I had tried to analyse as to what should have been done to improve the story but my attempts never really took off.

This was because whenever I read Edgar Allan Poe, stories about impossible events seemed be the best ones. Sherlock Holmes stories would make me believe detective fiction was the thing. At other times, romantic stories appealed to me. Jacobs’ stories attracted me to maritime themes. On occasion short stories would interest me and at other times, I felt that stories should be at least forty pages long! With my opinions changing constantly according to the situation, it became impossible for me to come to any conclusion.

Meanwhile our short-tempered friend “Durvasa” met me one day and asked me to introduce him to Gopalam.

“What on earth for?” I asked.

“I have some work with him” said he.

“What kind of work?” I was curious, naturally.

He began to hem and haw.

“No, nothing really…To tell you the truth…Not that I can become a writer overnight…Once you get the knack of it…Gradually one can practise…If you know what I mean…” he dithered.

“No, I don’t” I said bluntly.

At last he came out with it. He too wants to write stories. If only Gopalam could lend a hand, he is confident he can get on with it successfully.

“Oh my dear Durvasa” I exclaimed.

“Don’t you call me names” he said with anger. The poor fellow had never shown temper until he got the nickname. That’s life for you. There is no justice!

There was no escape. We both found a convenient time and went to meet Gopalam. To avoid blame I forewarned him that Gopalam was no ordinary fellow and could land him in trouble

Gopalam lost no time in getting my friend to prattle.

“Sir, I find it devilishly difficult to describe anything in my writings, be it a person or a house” said Durvasa.

Gopalam said, “Please don’t bother. Just go ahead without any description. I too find it a difficult task. So I try to manage without it”.

“Really?” said Durvasa in surprise.

“Please believe me” said Gopalam.

Durvasa was visibly happy.

“There is another thing. For the life of me I can’t find a theme. I tried twice or thrice but it all boiled down to events in my family and my in-laws’. Can’t think of a theme” said he.

“My problem exactly! Neither can I put together a good theme. Perhaps you might have noticed. I just pick up events that I observe here and there and cook up a story”.

“You don’t say?” said Durvasa with a smile.

“Trust me” said Gopalam with a straight face.

By now Durvasa lost all his nervousness. He started believing that he had joined the ranks of story-writers. Only in one respect was Gopalam different. Gopalam has already written some stories while he will be doing so shortly. Imagining himself to be one of the tribe, Durvasa started talking as if he was on par with writers like Gopalam. Having thus encouraged my friend initially, Gopalam started deflating him gradually. Being a fool, my friend could not notice.

“You see, the whole problem lies in the fact that if you take up someone’s life story, you cannot narrate it from the beginning to the end. Life is full of stories that keep happening. The story may end within the day or may continue over a period of ten years. It is not possible to include all that happened during the time in our story. A writer must have the skill to find it out for himself” said Gopalam.

“What was that again? What did you say?” asked Durvasa.

“The writer should know where to start, and what to avoid. Then there are improvements here and there, we could call them changes”.

“Yeah. If we don’t change names and things we may get into trouble”

“You are right. One should also know thoroughly what to change and even how to end the narrative”

“Absolutely” said Durvasa.

“It is more difficult to end a story than to begin it. Some beginners ask me ‘Sir, should we end it when the leading lady gets pregnant or after a son is born and everyone is happy?’ I tell them ‘Why bother about all that, just fade it out even as the hero and heroine start kissing each other’ ”

“That was a very good suggestion”

“Comes with a little experience. Ninety-nine per cent of the readers can tell when the story has ended. In the movies, even the lower class audience starts leaving well before The End title appears”

“That may be true but as for myself, I always feel the movie has ended too soon”

“Never mind that”

“So you think I too can write stories?”

“No doubt. Since you have taken the trouble of coming here all the way, why waste time? Let me show you how stories are embedded in our lives. Just keep prompting me to continue. As soon as the story ends you will simply stop doing that. My story can also serve as a sample”

“Please go on” said Durvasa.

Gopalam started the narration and my friend started responding.

“I had a school-mate named Sankaram. A well-to-do chap. He didn’t really need formal education, or employment. So he stopped with matriculation. His family was dominated by women and he was influenced by that. As you know, our society is riddled with both the masculine and feminine culture.

“As time went by he got married and his wife came to live with him. Sankaram had never read any romantic classics. Forget the romance; he wasn’t even capable of being friendly with his wife. We don’t know about his bedroom manners, but otherwise he used to treat her like a stranger. Wouldn’t allow her to touch his clothes, his things, suitcases etc. But the lady was fond of teasing him. Having noticed his reluctance, she would frequently indulge in pranks, just to irritate him. If for some reason he stepped into her room during daytime, she would follow him and bolt the door. What would people think?”

Durvasa turned to me “That’s characterization for you. He has already established the fact that the fellow came from a family dominated by women. Please sir, go on”

“What made the girl most suspicious was the fact that this Sankaram fellow would never allow her to open his suitcases. Could some women be writing letters to him secretly? With that thought, her mischievousness turned to grim resolve. One day, in his absence, she opened his most prized box and what did she find in it? The photograph of a good-looking woman.

“All hell broke loose. She was angry and unhappy too. She wanted to tear up the photo at first but, on second thoughts, wouldn’t she relish her husband’s consternation when she confronted him with it suddenly. She put back the photo carefully and repacked the suitcase.

“The same night she dropped the bomb-shell. Sankaram saw the photograph and was totally ill at ease. That confirmed his wife’s worst fears. She started crying; scolded herself, berated him, was herself completely confused and confused him too. In the confusion Sankaram forgot to find fault with her.

“That was their first quarrel. From then on, there was bad blood between them. There was no point now in blaming his wife for having opened the suitcase without his permission. He was aware that she was suffering for no reason. But he wouldn’t dare explain to her about the photo or how it came into his possession. He was scared of sharing that little secret lest she should lose all her respect for him for ever. So he kept mum for a few days.

“Then he had a bright idea. He told his wife it was his sister’s photograph. But she knew he had no sister. He said to her defiantly, ‘You can see the resemblance’. She couldn’t deny that either.

“His wife was really flummoxed. She was ready for compromise; but on one condition. He should tell the truth about the girl in the photograph. But the stupid fellow refused to oblige.

“Well friends, I happened to visit them at that moment. I asked him in his wife’s presence ‘Hello Sankaram, will you play the female lead for our Anniversary or have you lost your old enthusiasm?’ His wife responded at once ‘Oh my dear, won’t you let me watch you in a female role?’ ”

Durvasa was all ears and started prompting Gopalam “Hm, hmmm…”

Gopalam placed a cigarette between his lips and began to fumble in his shirt-pocket for a match-box.

I said quietly “The story has ended. Shall we make a move?”

Telugu original published in Andhra Jyoti, Dec 1935

[Translator's comments: It is exactly 25 years since my father passed away in Madras on 17th August. He was about 26 when he wrote this story.

My father's Telugu stories first made their appearance in 1931-32 when he was about 22. He used to practise story-writing even as a boy of 12. No doubt that resulted in the easy readability and smooth flow of words and ideas. He belonged to a generation that had lapped up the humourous writings of many Telugu stalwarts and English classic writers as well.

As in most of his early stories, technique seems to come to the fore here. Also, the brevity that marked most of his writings shows the influence of British authors like Conan Doyle, Wells et al. The narrator of the story is himself reportedly familiar with several British and American authors which indicates the easy availability of good foreign literature in the smaller towns in Andhra region those days.

The main point in this story seems to be the fundamental principle that as any tale is narrated, the listener responds with a sound like Umm (uu koTTaDaM) which would prompt the story-teller to go ahead. As soon as the story ends, so too does the prompting. That is the most natural way the story would end but it would require proper story-telling and proper understanding on the part of the listener.]