Ustad Abid Hussain Khan - Raga Darbari Kanada - Rudra Veena - Rudra Vina
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- เผยแพร่เมื่อ 29 พ.ย. 2024
- Dear Friends, Music Lovers & Musicians,
next recording from the audio archive is from another Veena Maestro of the 20th century, Ustad Abid Hussain Khan.
Trained by his father Ustad Jamaluddin Khan, the musical tradition of this Beenkar line refers to the descendents of Tansen which selected the Rudra Veena as their instrument (Senia Gharana).
His grandfather Ustad Reza Ali Khan was a Beenkar in the Jaipur court along with Ustad Rajab Ali Khan the Great-Granduncle of Ustad Asad Ali Khan. Ustad Rajab Ali Khan passed his musical heritage to his nephew Ustad Musharaf Khan, who was like Ustad Jamaluddin Khan one of the most well known Veena players at the beginning of the 20th century. After serving like their ancestors in the Jaipur court Ustad Musharaf Khan later went as a court musician to Alwar, while Ustad Jamaluddin Khan settled in Baroda. His son Ustad Abid Hussain Khan succeeded him as a musician of the Baroda state before he followed an invitation of the Nawab of Janjiram to settle at Indore.
Beside being a Veena player Ustad Abid Hussain Khan was an accomplished vocalist, who performed different styles like Dhrupad, Khayal, Tarana or Tappa. I will post some vocal recordings of his later.
Listening to this Darbari recording (produced at Akashvani, All India Radio) one finds a short but well structured Dhrupad Alap, with slow and graceful unfolding of the phrases. The faster angs (parts) display the great technical mastery Abid Hussain Khan had on the Veena. His Taans and Gammaks come also in the higher speed with a clarity and musicality that only a few players mastered.
If you notice a similarity to the playing style of Ustad Asad Ali Kahn you are not mistaken. Beside booth being real masters of the Veena techniques it’s the dominance of the Khandar Bani in their Raga development that brings the music of these two musicians so close.
Pt. Ambadas Pant Agle accompanies the Chautal composition on Pakhawaj. The flawless dialog between Veena and Pakhawaj gives you an idea why he was Ustad Abid Hussain Khans favorite percussion accompanist.
Last not least - I had to edit four different version of this recording, to get out full length and best possible audio quality from this archive gem.
Hope you will enjoy it!
Carsten
This reminds me of my father Shri PDShah who played this Rudra veena - Bin all his life night and day when he had time out from his family responsibilities.
Thank you Carsten for playing this for us . Have not heard it before. Very grand.
tears, tears and more teras but these are teras of joy
Absolute gem. Thanks for sharing.
Love every bites of the stroke ustad ji is a master true to his tradition and spirituality wht is so surprising is every ang and there deep thought how it should be played or playing manner reflect how open minded they r
Of course, he is playing so good too!
Thank you!
Thanks a ton Carsten for putting your effort in bringing out this for us!
Wonderful to note that you are making such an effort to bring these gems to the listeners.. God Bless.. may you have a long and healthy life..
Though I wished I would have more time to publish these archival gems, I'm always happy when it reaches out to listeners who can really appreciate it.
Pranam to the legend who prepared Student like Pt. Bimal Mukherjee( I.A.S)
Thank you so much for uploading!! So wonderful!!
Thanks Carsten!
Thank you Carsten Wicke. You are really very generous.
It's my pleasure to share this gems of Rudra Veena, whenever time permits...
Your generosity in sharing such treasures is why yours is one of very few channels I have subscribed.
Thank you
my Fav Raaga... love it more than myself.....
This is yet again an example of how the granduer of Khan Saab's tradition depended not on the make of the Been alone, it was the greatness of art within the performers, who cultivated their talent through tireless Riyaaz. Beenkars sporting complex and bulkier beens may appear more intriguing to their audience but seldom can most compare to the musical talent of their elders.
As much I agree with your observation Tanveer, as a Binkar who works in order to make the instrument heard in the 21st century also, I can only say: different times, different needs, different challenges, different solutions. But the spirit of the Veena naada remains to be unparalleled.
This is a recital of Seni tradition, and they were royal musicians of Baroda. Both father Jamalluddin Khan and son Abid Hussein lived for many years in Baroda as Court Musicians.
They were exponents of Khandharbani tradition. Father was contemporary of Ust. Musharraf Khan whose son Ust Sadiq Khan was court musician of Alwar and his son Ust. Asad Ali was many years settled in Delhi as a been player of repute in Independent India.
Indeed booth lines were quite related in their playing style and baj. However it was Ust. Musharraf Khan who served at the court of Alwar, while Ust. Sadiq Khan was for long years court musician at Rampur. There also his son Ust. Asad Ali Khan was born and brought up.
thank you for this gem
...wunderbare Sammlung...
Who is playing the pakhawaj? It is tremendous.
Darbari sounds best in Rudra veena out of all other instruments
Alaap was not very elaborate but when the pakhawaz enters, oh my!! What energy. I probably never heard such fast yet clear phrases in Veena. A nayaki kanada from this master would be very interesting, more macho I guess.
+DIPAYAN BAIRAGI there are unfortunately only very few recordings of this veena maestro. I shall try to upload some more. But for clear fast taans on veena in this stile you can listen to Ustad Sadiq Ali Khan, the father of Ustad Asad Ali Kahn.
Thanks Carsten, for the suggestion. Funny thing is that I will now search for Ustad Sadiq Ali Khan and the first TH-cam suggestion will probably be uploaded by you.
+DIPAYAN BAIRAGI there are some more uploads of him out there ;-) thou i will bring some more also in time...
another recomendation are the recordings of Ustad Asad Ali Khans from his young years. i think there is no Veena player who played fast passages with such a precision and elegance at the same time... try i.e. this ones:
th-cam.com/video/DVg519dZPIE/w-d-xo.html
th-cam.com/video/A6CbnyJG-H4/w-d-xo.html
+DIPAYAN BAIRAGI there are some more uploads of him out there Dipayan ;-) thou i will bring some more also in time...
Is it played in the khayal ang? It is not like the dhrupad style recital of RudraVeena. Very energetic indeed. It resembles with the gayaki-ang.
Well, its not like the baj we hear from the Veena players today, often influenced by the meditative, Alaap focused Dagavani. But its definitely played in Dhrupad ang. The alankars and general structure he uses make that very clear. Even the Jor, Jhalla section are rather short, in order to leave space for a throughout exploration of the Chautaal composition. Khansahib was also a capable vocalist who could explore Khyal, Thumri or Tappa beside Dhrupad. Of course this reflects in his playing without making this a Khyal performance. Its rather a proof that in the old days the borderline between the styles where not as outspoken strict opposite to the definition today.
@@RudraVeena I have read that Abid Hussain Khan Sahab was a disciple of Murad Khan who was taught by Ustaad Bande Ali Khan(people credit him as the pioneer of Kirana gharana). I have read an interesting thing that there was a difference in the baaj with the Seniya beenkars. Even the mewati beenkars were influenced by Bande Ali's veena. There I have read that it was Bande Ali who introduced the gayaki ang and taught vocal music to Rajab Ali Khan of dewas and Pt. Bhashkarbuwa Bakhle. Indore's beenkars imbibed some elements of khayal.
I'm not sure about all the influences Abid Hussain Khan had in his musical learning beside his father Ustad Jamaluddin Khan. Of course additional training from Murad Khans side is very well possible.
Yes, the 20th century showed definitely quite a few Veena players who adopted elements of Khyal into their Veena playing if not playing it totally based on it. I'm again not sure how much this is to traced only to a development Ustad Bande Ali Khan might have started. I think rather the popularity of the newer styles forced many traditional musicians to adopt it at least in some way. Not to talk of amateur musicians learning from different sources not being bounded to maintain the 'purity' of a tradition.
I also question the status of whats called 'gayaki ang' which became later popular with the Vilayat Khanis adopting elements of vocal styles like Khyal, Thumri etc. to their Sitar playing. Veena playing in itself always has been gayaki ang, being based on the vocal style of Dhrupad. It might have developed its own instrumental style when becoming an solo instrument from around the 17th century onward (after being mainly an accompanying instrument before). However its whole music is based on vocal music, like that of most Indian melody instruments.
You're wrong. Infact dagars focus on gayaki ang. Specially their been playing is gayaki based. Whereas in khandarbani it's just the opposite. For your reference please listen to Talwandi gharana or darbhanga gharana pandits and ustads.
Terribly sad to see how dagars have culminated minds and associated dhrupad as an element of meditation and boredom. Khandarbani and gauharbani traditions are dying solely for dagars.