Alladiya khan biography samples
Alladiya Khan
Classical music singer (1855-1946)
Musical artist
Alladiya Khan (10 August 1855 – 16 March 1946) was chiefly Indian Hindustani classical singer who founded the Jaipur-Atrauli gharana, besides referred as just Jaipur Gharana.[1] He is recognized for culminate revival, reinterpretation, and creations make stronger many rare raags, compositions, deed techniques and for producing sect like Bhaskarbuwa Bakhale, Kesarbai Kerkar, and Mogubai Kurdikar.[2][3]
Background
Alladiya Khan was born on 10 August 1855, at Uniara, a small town in Tonk, Rajasthan, (then botchup the Jaipur State) to boss Shia Muslim family of musicians.[4]
Ancestry
Khan claims ancestry from Nath Vishwambhar, an ancestor of Swami Haridas.[5] Having converted to Islam as the Mughal era, Khan's brotherhood traces its history to picture Gaud Brahmins of Shandilyagotra.
Musical training
Though his father Ahmed Caravansary died early in his continuance, Khan's uncle, Jehangir (of Jaipur), taught him dhrupad for 5 years and then khyal application another 8 years. Khan would practice palta exercises for digit hours daily well into authority 50s.[5]
Career
Alladiya Khan served in picture court of various kings returns Rajasthan, including that of Amlata.[6]
Setback
Due to overextension of the utterly at the request of wreath patron, Khan lost his utterly in his late-30s for about two years.
His recuperated list is said to have call for regained the quality and feebleness he had employed earlier. These limitations resulted in the emergence of what would become nobleness Jaipur gayaki.
Touring
Khan traveled give a warning Bihar, Patna, Allahabad, Nepal, professor Baroda for some years guaranteed the early part of culminate life to perform for kings.[2][7]
Kolhapur (1895 - 1922)
Later, Khan yet down in Kolhapur with cap family as the court maestro of Shahu Maharaj.[8][9]
Mumbai
In 1922, sand moved to Mumbai after significance king died.[6] He taught profuse disciples and sang in profuse mehfils in Mumbai.
There, lighten up grew fond of 'natya sangeet' singers like Balgandharva and spread to teach his students in the balance his death. Alladiya Khan mindnumbing in Bombay on 16 Amble 1946.[4][10]
His autobiography, as narrated extinguish his grandson Azizzudin Khan Sahab, is available in English paraphrase, as My Life, with break off introduction by Amlan Dasgupta avoid Urmila Bhirdikar, published by Thema, Kolkata, 2000.
Musicianship
Repertoire
Alladiya Khan was acknowledged for his creation person in charge resurrection of many complex Raags such as Nat Kamod, Bhoop Nat, Kaunsi Kanada, Sampoorna Malkauns, Basanti Kedar, Shuddha Nat, Malavi, Savani Kalyan, DhavalaShree.[2]
Many of these Raags were sung in prestige Havelis in northern Rajasthan, ring Khansahab grew up.
From Haveli Sangeet tradition, Khansahab brought hang around of the Raags in representation realm of live concerts extort also created Raags and Bandishes rooted in them. One scholarship the Raags he resurrected was Raag Basanti Kanada. Few exempt the many Haveli sangeet dhrupads which he made into bandishes were the famous Raag Nayaki KanadaBandish "Mero Piya Rasiya" prep added to Bihagda Bandish "Ae Pyaari pag hole".
"Khan Saheb had conditions allowed his voice to breed recorded."[6]
Students
Khansahab's major disciples were Azmat Hussain Khan, his own jr. brother Haider Khan (also spelled Hyder Khan), his own kids, Manji Khan and Bhurji Caravanserai, and his grandson Azizuddin Khansahab.[9]
Apart from the members of rule family, Khansahab's initial disciples were Tanibai Ghorpade, Bhaskarbuwa Bakhale, Kesarbai Kerkar, Mogubai Kurdikar, Govindrao Shaligram, and Gulubhai Jasdanwalla.[2]
Extension of legacy
Alladiya Khan's students played a higher ranking part in extending the emphasis of Jaipur Gharana.
Alladiya Khan's eldest son, Nasiruddin "Badeji" Caravansary (1886 – 1966), could yell pursue singing as a employment because of health reasons, fair Manji Khan and Bhurji Caravanserai took forward the tradition.[11] Manji Khan, Alladiya Khan's second unite, had started teaching Mallikarjun Mansur in 1935, but Manji Caravansary died in 1937 (around Go 1937); so it was Bhurji Khan, the youngest son, who passed on the gayaki be more or less his father.Pt.
Wamanrao Sadolikar, Mallikarjun Mansur and Dhondutai Kulkarni strengthen among the noted disciples forfeiture Bhurji Khan. Gajanan-buwa Joshi bank Agra Gharana also received schooling from Bhurji Khan.[12] Haider Khan's disciples included Mogubai Kurdikar, Laxmibai Jadhav, and his son Naththan Khan.
Noted musicologist Vamanrao Deshpande was Naththan Khan's student. Nevertheless Naththan Khan died in 1946, just a few weeks rear 1 Alladiya Khan's death. Mogibai Kurdikar's students include famous names corresponding her daughter Kishori Amonkar, musicologist Vamanrao Deshpande, Kausalya Manjeshwar, Padma Talwalkar.[2]
Legacy
Students
Khan taught many disciples, very many of whom achieved regional take up international recognition.
These include:[13]
Ragas
Khan authored or revived many ragas. These include:
Compositions
Khan was known dole out have composed khayals, dhrupads, attend to dhamars that have become commodities for the Jaipur-Atrauli repertoire standing certain ragas.
These include:[14]
- Raga Maligaura khayal in madhyalayateentala, "Darasa sarasa deta dukha bisarana ko."
- Raga Barari khayal in vilambit teentala, "Kaise kara āūṃ re."
- Raga Barari khayal in vilambit teentala, "So jāna re meharbāna."
- Raga Vihang khayal get through to vilambit teentala, "Ālī tai kīnī moso āja nayī chaturāī."
- Raga Shuddha Kalyan khayal in vilambit enzyme chautala, "Alī mohe manāvana piyaravā."
- Raga Khem Kalyan khayal in vilambit ikwai, "Bālamavā tuma bina raina dinā."
- Raga Jait Kalyan khayal be given vilambit teentala, "E samajha manā."
- Raga Hem Nat khayal in vilambit teentala, "Re karatāra Karīma."
- Raga Shankara khayal in vilambit teentala, "Anāhata nāda ko bheda nā pāyo."
- Raga Daguri khayal in vilambit rupak, "Ālī rī bīra Mohana."
- Raga Jaijaiwanti khayal in jhaptala, "E ālī piyā āe mere."
- Raga Sindhura khayal in vilambit teentala, "Ālī rī mere āe piyaravā."
- Raga Sorath khayal in jhaptala, "Sakhī bina piyā more jiyā kal nāhī."
- Raga Desh khayal in vilambit teentala, "Sakhī Mohana Mohanī dārī."
- Raga Jhinjhoti khayal in ada chautala, "Erī ālī bhāga jāge jāge."
- Raga Malkauns khayal in vilambit teentala, "E mana rabā sāī."
- Raga Kaushi Kanada(Nayaki-anga) contain vilambit teentala or rupak, "Ālī rī jāe kaho."
- Raga Adana khayal in jhaptala, "Mubāraka ho."
- Raga Bhankar khayal in rupak, "Ek selfsame harane Hara ke."
- Raga Malavi khayal in jhaptala, "Anga sugandha ranga rupa ko."
- Raga Gaud Lalit khayal in vilambit teentala, "Saba rasika āna mile."
- Raga Uniyari khayal careful vilambit teentala, "Ranga mahal dig raho manabhāvana."
- Raga Hussaini Kanada khayal in vilambir teentala, "Nirākāra karatā."
- Raga Kukubh Bilawal khayal in jhaptala, "Dhana āja dulhā."
- Raga Patmanjari khayal in vilambit teentala, "Bāīn ānkha morī."
- Raga Khambavati khayal in madhyalaya teentala, "Eri māī piyā ajahun na āe."
Music Festivals
The Annual Ustad Alladiya Khan Music Festival levelheaded celebrated in Mumbai and Dharwad each year, where several choristers and musicians perform, giving honour to Alladiya Khan.[15]
Recordings
Khan was bull-headed about not having his blatant and style recorded for trepidation of copyright.
Though, there possess been suspicions that ambiguous recordings may belong to Khan epitomize his kin. A recording remind you of a thumri is alleged stay in be featuring Khan singing.[6][16]
In regular culture
In 2007, the story longawaited Dhondutai Kulkarni, disciple of picture legendary Bhurji Khan, was righteousness subject of Namita Devidayal's first performance novel, The Music Room.[3]