Origin of Gwalior Khyal Gayaki
Gwalior was the capital of Dhrupad
Gayaki. Raja Mansingh Tomar (1486-1516) was a great composer, patron and he
encouraged musicians in his court. Through the turbulent times of wars between
Mughals (Sikandar Lodhi), the Raja continued his support to all genres of art.
During his tenure art and architecture, painting, sculpture and importantly
music flourished. There were many Nayaks and Gayaks in his Durbar. The high
ranking names of Nayaks in his court were Nayak Bakshu, Nayak Baiju, Nayak
Karan, Nayak Mehmood Lohang, Nayak Pandavi,
Nayak Ramdas, Nayak Dhallu, Nayak Bhagwan and Nayak Charju.
Fakirulla, a Durbari in the court of
Akbar praised Raja Mansingh’s Durbar and wrote that the musicians in Raja’s
Durbar were greater in calibre than in Akbar’s court. His court arranged
‘Ragacharcha’ among the musicians in practical as well as theoretical aspects
of the Ragas. ‘Shastra’ was known to most of the musicians. He even invited
musicians from far off places. As a result of this, he wrote the text
‘Manakutuhal’, which was later translated into Farsi by Fakirulla by the name
Raga Darpan. Manakutuhal, the text was the compilation of the ‘Pada’s (poems) penned
by the Raja in Braj and also it was complete with information about
Raga-Raginis, the scales, time cylcle and other relevant topics. Unfortunately nowadays
the original text is not available.
Rajas’ compositions have a great value
even in Hindi literature.
Raja Man Singh is also known for
establishing a music school, where Tansen also took his basic lessons. Perhaps
it was the first music school in India. Thus, Raja Man Singh Tomar is rightly
called as the father of Dhrupad Gayaki. The glory of Dhrupad was widespread
during his time. More than half the number of singers in the court of Akbar
were from Gwalior.
Having such a firm background, Gwalior
continued to be a place of patronage to the art of music. After Tomars it was
Scindia dynasty which loved music and gave unhindered support to it. Daulatrao
Scindia (1794-1827) and Jayajirao Scindia (1843-1886) were instrumental in the
growth of musical traditions that flowed further for centuries.
Khayals were sung and were being taught
in the north, but were not much popular till then. Dhrupads had been the main
instrument of performance. Secondly, Been was as important as singing in those
days. “Been Ang” was supposed to be a great virtue among singing community. It
was at par with Dhrupad Gayan.
The beginning of ‘Khayal’
During the life time of Muhammad Shah
‘Rangeele’ political conditions in the north were not stable. He had become a
weak ruler due to Marathas offensive steps and also due to the attack of Nadir
Shah. The political turmoil did not change Muhammad Shah’s love towards music. His
Durbar was always full with fun and pleasure. His devotion to music saw golden
days of arts. During this time Niyamat Khan, a Beenkar (later became popular
with a pen name Sadarang) composed hundreds and thousands of ‘Khayals’. In most
of the compositions he praised Muhammad Shah Rageele, thanks to his patronage
and love towards musicians and their music.
Till then there were many singers and
composers, who had tried to popularise Khayal, but the dominance of Dhrupad
singing was deep rooted. The most famous among those composers were Hussain
Shirki (much credit is given to him), Amir Khusro (doubted for his contribution
in Khayals), Baz Bahadur, Chanchal Sen, Chand Khan, Suraj Khan and others. For
more than three centuries the Khayals were neglected, because of the popularity
of Dhrupads. Sadarang, Adarang (Firoz Khan), Maharang (Bhupat Khan)and Khusro
Khan composed Khayals and taught them to a selected few, including the queens
of the Shah. They were composed mainly in Braj, Punjabi, and Marwari.
Scindia’s Durbar
In the Durbar of the Scindias as
mentioned earlier, music continued to be the main stream of art. Hundres of
vocalists continued to be trained. During the tenure of Daulatrao Scindia,
Ustad Natthan Pir Bux was appointed as the court singer.
Natthan Pir Bux belonged to a long
tradition of musicians. In the court of
Nawab Asaf Udaula of Lucknow, Gulam Rasool, a Dhrupad singer was very popular.
He was noted for his contribution in Khayals and was known as Nayak of Khayals.
His son Gulam Nabi, later became famous as Shori Miya, innovated Tappa Gayaki.
His disciple Makkhan Khan developed his own way of Khayal and made it popular.
Another disciple Shakkar Khan was equally good in Khayal singing. Makkhan
Khan’s son Natthan Pir Bux went further south to Gwalior and made it his home.
Daulatrao Scindia gave him patronage. He was noted for huge collection of
Khayals composed by Sadarang-Adarang. Natthan Pir Bux was equally noted for
singing Dhrupads. He composed many Taranas in various Taal patterns. Later his
son Kadar Bux became the court singer of Gwalior. He was gifted with unmatched
talent. Due to jealousy and selfishness he was killed by his opponents Shakkar
Khan and Bade Mohammad Khan. Kadar Bux’s legacy continued with the contribution
of great personalities like his sons Hassu Khan, Haddu Khan and nephew Natthu
Khan, also trained by Natthan Pir Bux.
Bade Mohammad Khan was appointed as the
court singer in Gwalior. He was known for his extraordinary Taan patterns.
Haddu, Hassu and Natthu Khan secretly listened to the performance of Bade
Mohammad Khan on daily basis. Their hiding place was well arranged by Daulatrao
himself. The Raja preferred and liked difficult and intricate Taans of Khan and
wished the three brothers adopt them. Natthan Pir Bux warned against it, but
the game continued for months together. The brothers mixed the Taan patterns in
their repertoire. Thus, the base of ‘Ashtang Gayaki’ of Gwalior came into
being.
Once Daulatrao Scindia arranged a special
Baithak in which Bade Mohammad Khan performed. After his performance the Raja
ordered Haddu and Hassu Khan to sing. Natthan Pir Bux requested the Raja to
make it some other day because he rightly felt that after the great Ustad, it
was improper for the youngsters to perform. The Raja was firm in his order and
asked the brothers to take over. The selected listeners were very much
impressed with the young talented brothers. Their performance was a combination
of the Taalim received from Natthan Pir Bux, the grandfather and of the heard
Taan patters of Bade Mohammad Khan. A unique way of traditional Gayaki was
presented by the brothers at that time.
Though it was an impressive performance,
it made Bade Mohammad Khan upset, angry and jealous. He smelled it was a game
played against him and with his unique Taan pattern, which was supposed to be
impossible unless it was taught ‘Seena Ba Seena’( in the presence of Guru
himself).
Sometime later a Mehfil was arranged in
which there were chosen listeners including Bade Mohammad Khan. Hassu Khan, the
young talented and confident singer presented Raga Miya Malhar. It was evident
that Hassu Khan was winning the hearts of the audiences with combination of
proper Taalim and the heard Taans. At a certain point Bade Mohammad Khan asked
to repeat ‘Kadak Bijali’ Taan presented by Hassu Khan. This particular Taan was
very difficult since it required a great physical strength. Natthan Pir Bux was
aware of the situation and warned Hassu Khan. The young man did not budge under
the pressure and continued to fulfil the ‘Farmaish’ by Bade Mohammad Khan. As
soon as Hassu Khan began to sing it again, a bone in his chest broke and he
began vomiting blood. Natthan Pir Bux asked the young boy to continue and
complete the ‘Famaish’ even on the verge of death. He made it sure that a true
performer never dies.
The Founder of the Gharana
Ustad Natthan Pir Bux is rightly called
as the founder of Gwalior Gharana. He taught numerous aspirants including his
three sons. Ghagge Khuda Bux, who is the founder of Agra Gharana was also his
disciple. The three brothers were instrumental in spreading fame of the Gharana
and people began to flock to Gwalior to witness the depth of its sweetness. The
students of music got appropriate training in Gwalior, the connoisseurs got
true music to listen to and the Ustads got the highest respect and honorarium
in Gwalior. The students were offered free lodging and there were choultrys for
stay and food. There was provision of arranged Mehfils for the common people
along with noblemen. The festivals and all celebrations were complete with
Mehfils and the artistes performed wholeheartedly. Most of the homes had music
in their heart.
The students had to pass a test to learn
from the Gurus. Once accepted, they were taught for at least five years. The
students were required to do household chorus, to take care of the health of
the members of Guru’s family and so on. Teaching was always free, but the
successful students fulfilled all desires of their Gurus after the completion
of their stay.
The most prominent Ustads and Pandits
those stayed in Gwalior in the initial years were –
Ustad Hassu Khan, Ustad Haddu Khan, Ustad
Natthu Khan, Ustad Rehmat Khan, Ustad Nissar Hussain Khan, Pt. Shankar Pandit,
Pt. Eknath Pandit, Pt. Vasudevbuva Joshi, Pt. Baba Dixit, Pt. Balkrishnabuva,
Pt. Chintaman Mishra, Pt. Narayan Shastri, Pt. Bhaiyya Saheb and many more.
Ustad Bande Ali Khan was a great Been
player. Ustad Ghulam Ali Khan, Ustad Nanhe Khan were Sarod players. Ustad Amir
Khan, Ustad Babu Khan, Pt. Shripadbuva Masurkar were Sitar players.
Ustad Sadat Khan was a Jalatarang player.
Pt. Bhaiyyasaheb Ganapatrao was a
harmonium player.
Ustad Sabit Ali Khan, Ustad Meet Khan,
Ustad Peer Khan, Ustad Haddu Khan, Ustad Chunde Aziz Khan were Sarangi players.
Pt. Kudau Singh, Pt. Sukhdev Singh, Pt. Jorawar Singh were some of the Pakhawaj
and Tabla players.
Gwalior was also known for women
performers like Tatiya, Chunna, Gori Mango, Chandrabhaga, Sukhiya and many
more.
Ustad Chhote Mohammad Khan and Ustad
Nissar Hussain Khan were also among the greats of those times. Pt Shankar
Pandit was the most celebrated Shishya of him. Many members of Pandit family
began learning under him and the legacy continued for generations. Pt.
Krishnarao Pandit, Pt. Eknath Pandit, Pt. Ganpatrao Pandit, Pt. Kashinath
Pandit, Pt. Sitaram Pandit, Pt. Narayanrao Pandit and Pt. Laxmanrao Pandit are
a selected few among them. The tradition continues in the family and presently
Dr. Meeta Pandit is a famous singer from it.
Gwalior Gharana is noted for devoted
Shishyas and for uninterrupted flow of the legacy. From the very beginning the aspirants
learnt in Gwalior and they spread all over the country. Some of them created
their own tradition in the form new Gharana and most of them retained the pure
form of Gwalior. Hundreds of names can be mentioned who spread the Gayaki in
all major cities in India and abroad. It is very difficult to write the names
of all. Some of those stalwarts are –
Pt. Balkrishnbuva Ichalkaranjikar, Pt.
Bhaskarbuva Bakhale (also noted for Agra and Jaipur Gharana), Pt. Vishnu
Digambar Paluskar, Pt. D. V. Paluskar, Pt. Ramkrishnbuva Vaze, Pt.
Sharatchandra Arolkar, Pt. Rajabhaiya Poochhwale, Pt. Ramkrishna Telang, Pt.
Bhaiyyasaheb Mawalankar, Pt. Gajananrao Joshi (noted for Jaipur Gayaki too),
Pt. Nanasaheb Jogalekar, Pt. Jal K Balpuriya and hundreds of others.
Source – ‘India’s Heritage of Gharana
Music’ Pandits of Gwalior-Dr. Meeta Pandit
अष्टांग गायकी
ग्वाल्हेर घराण्याच्या गायकीमध्ये
अष्टांग गायकीचा वारंवार उल्लेख झालेला आढळतो. या घराण्यात पारंपारिक रीतीने शुद्ध
गायकी शिकलेल्या कलाकारावरच अष्टांग गायकीचे संस्कार झालेले दिसून येतात. केवळ
औत्सुक्यापोटी म्हणून कुणी हौशी गायक/गायिका या पद्धतीचा अवलंब करू शकत नाही. याचे
कारण गुरुमुखी विद्या ही केवळ श्रवणाने येऊ शकत नाही. सातत्याच्या सान्निध्याने,
सीना-ब-सीना तालीमीने मिळवलेल्या विद्येने अथवा कार्यक्रमात गुरूच्या पाठीमागे तानपुऱ्यावर
गायनसाथ करून अनुभवाने मिळवलेल्या पोतडीतून ही अष्टांग गायकी थोडीफार समजू शकते.
यात मुख्य काय काय असते बरे?
आलाप, बोलआलाप, तान, बोलतान, लयकारी,
मींड, गमक आणि मुरकी (मींड, सूत, खटका, कण, जमजमा ही प्रत्यंगे) ही आठ अलंकारिक
अंगे गाण्यात असतील तर ती ग्वाल्हेर गायकीतली आवश्यक आठ अंगे म्हटली जायची.
ख्यालाचा संपूर्ण विस्तार या आठ अंगाने खुलायचा. कोणत्याही एका अंगाचा अतिरेक ना
होता प्रत्येक अलंकार चपखल कसे बसतील याची खात्री केली जायची. गुरूच्या दक्ष
मार्गदर्शनामुळे हे सर्व अलंकार योग्य वेळेला, योग्य ठिकाणी पेरले जाऊन अनोख्या रसनिर्मितीची
उधळण व्हायची. श्रोत्यांसाठी तो एक महान अनुभव असायचा.
Gwalior Gharana is noted for devoted
Shishyas and for the uninterrupted flow of the legacy. From the very beginning
aspirants learnt in Gwalior and they spread all over the country. Some of them
created their own tradition in the form of new Gharana and most of them
retained the pure form of Gwalior. Hundreds of names can be mentioned who
spread the Gayaki in all major cities in India and abroad. It is very difficult
to write the names of all. Some of those stalwarts are –
Pt. Balkrishnbuva Ichalkaranjikar, Pt.
Bhaskarbuva Bakhale (also noted for Agra and Jaipur Gharana), Pt. Vishnu
Digambar Paluskar, Pt. D. V. Paluskar,
Pt. Ramkrishnbuva Vaze, Pt. Sharatchandra
Arolkar, Pt. Rajabhaiya Poochhwale, Pt. Ramkrishna Telang, Pt. Bhaiyyasaheb
Mawalankar, Pt. Gajananrao Joshi (noted for Jaipur Gayaki too), Pt. Nanasaheb
Jogalekar, Pt. Jal K Balpuriya and hundreds of others.
1.
Noteworthy vocalists of Gwalior Gharana
Bhoogandharva Ustad Rahimatkhan (Death 1922)
Ustad Nisar Hussain Khan (1844-1916)
Pandit Balkrishnabuva Ichalkaranjikar (1849-1927)
Pandit Shankar Pandit (1863-1917)
Pandit Ramkrishnabuva Vaze (1872-1943)
Pandit Rajabhaiya Poochhwale (1882-1956)
Pandit Yeshvantbuva Joshi (1928-2012)
Pandita Veena Sahasrabuddhe (1948-2016)
Pandita Malini Rajurkar (1941-2023)
Pandit Kedar Bodas (Died on 24/04/2023)
