Now I understand why Ustad Vilayat Khan Sahib said that after listening to Ustad Faiyaz Khan darbari ke kissi aur rang chadhne ki ko koi gunjaish hi nahi paida hui.
HE was a genius who stands till date a singer always singing at his own terms , the listeners have to try and try to come anywhere near the ability to appreciate that kind of singing. Blessed were those who witnessed him singing live.
কিংবদন্তী গায়ক। আমার পরম সৌভাগ্য প্রায় ৯২ বছর আগের এই মহান শিল্পীর ব্যক্তিগত সংগ্রহের এই অসাধারণ গানটি শুনতে পাচ্ছি। যিনি আপলোড করছেন তাঁকে আন্তরিক অভিনন্দন জানাই।
I agree with Anwer fully. Ustad Faiyaz Khan Sahab was a classical musician whose singing would remain the gold standard for ages. He invariably sang with so much reserves in him. He never flagged or panted even when executing complicated phrases and long drawn out melodic lines. At the end of a phrase, He gave the feeling to the connoisseur that he could have gone on. He was like the winner of a 10,000 meters Olympic race still on his feet and looking as fresh as at the start while others lay on the track exhausted and gasping for breath. His singing was like the ocean wave exerting its force without effort. I am so glad that Faiyaz Khan Sahab took to the Agra Gharana. He would have excelled in any other Gharana and attained the foremost stature. But you see that the Agra Gharana is closest to the Classical Western Symphonic structure of Beethoven wherein there is systematic development; a grand architectural structure; and sense of progression as new vistas are revealed and new places visited. In several ways, Ustad Faiyaz Khan can be compared to Beethoven who was the past master of the Symphony. In my opinion, the Agra Gharana is the most Symphonic of all our great Gharanas, in the unhurried systematic development while maintaining thematic and melodic integrity, and in, as Anwer has put, it very aptly, "the authoritative display of quintessential raga features, the thoroughbred traditional grammar, the noble exposition and grand structural architecture of the raga vistar." Yes, there was always power both explicit and implicit in Khan Sahab's singing. There was softness, delicacy and subtlety where it was needed. I may add that the Ustad never appeared to be singing for his own vanity or for external acclaim. He always gave me the impression that he was singing for the sake of the art that he was a Master of and as a tribute to the Raga of which he was a poojari. His singing was spiritually very satisfying from the beginning till the end. We must thank many music connoisseurs like Anuran Chowdhury for publishing Hindustani Classical Music. There are others like Subrata, Asokan, Nadkarni, Samvaada Foundation to name some to whom we are deeply indebted. The wider the dissemination, the better are the chances for posterity to hear and marvel at the gold-standards of Ragas presented to mankind by this peerless Ustad.
@ramesh Alvar Thanks so much for such a learned, insightful and gracious comment. And you are right - there is indeed something of the storm, stress and passion of Beethoven here; and with the symphonic structural design, a kind of expressive freedom that stretches to the limit the tradition that it incarnates!
Oh My God !!!!! Listening to this, one can say easily why this Legend of legends was called Tansen of his Era . Subhanallah !!!!!! . May Allah bless his Soul and Give him highest place in Jannatul Firdaus. Aameen Summa Aameen
Thanks for the comment as it feels good that the music I'm sharing is reaching to the able listeners and musicians who are themselves well accomplished.
What an extraordinary upload! Faiyaz Khan's gayaki, to my mind, stands alone and distinct in one critical respect. There are of course all those elements of impressive formal 'mastery': the authoritative display of quintessential raga features, the thoroughbred traditional grammar, the noble exposition and grand structural architecture of the raga vistar, the magisterial authority and imaginative beauty of Khansahib's nom-tom alapkari. Yet even all this wouldn't quite suffice to make him immortal in that unique way to which he lays claim. Beyond all this, or rather superadded to them, what raises his art to absolute and overpowering sublimity is the unleashed power, passion and full throated opening up of heart, soul and the mysteries of unparaphrasable emotional layers that ring forth precisely and paradoxically THROUGH the very discipline and rigour of masterly control, structure and 'ustadi'. This immediately communicative 'higher dimension' of the Ustad's vocal art is truly nothing short of miraculous: the fact that he, a sovereign classical virtuoso, truly sang with soul! Thank you Anuran Chowdhury for this invaluable find. 🧡
It's his perfect blend of Bass and Treble in his voice, along with the booming enunciation of the notes and oh... how can one forget the otherworldly nom tom alaps.
@@anuran.chowdhury Anuran bhai , he must be Ustad Nasir Husain Khan Sahab. Or Ustad Naseem Ahmed Khan Sahab because Nasir Husain khan Sahab was my Maamu and Naseem Ahmed Khan Sahab was my Father. Our Family still resides in Mahishadal house in Wellesely
@@waseemahmedkhan7907 Yes, Naseem Hussain Khan sahb. I couldn't recall his name correctly .The former director and sound engineer of Akashvani Kolkata said an incident of Naseem Khan sahb, Nasir Khan sahb and my Pardadaguru Ustad Ata Hussain Khan sahb where he attended a baithak in Tala, Dumdum where Ata hussain Khan sahb began with Maru Bihag and Naseem Khan sahb sang Sohoni's 'Yashoda tose ladungi ladai'. Someday I would like to visit to Mahishadal, heard countless stories about the greats of our gharana and others like Mushtaq Hussain Khan sahb.
As listeners, through TH-cam, we are blessed with countless uploads from kind persons who share such wonderful music which would have, otherwise, been beyond the reach of most of us. But only once in a while does one come across such rarest of rare recording which blows your mind away. Thank you so much for your generosity🙏
Thank you very much Anuran Babu🙏 When listening to the songs of Ustad Faiyaz Khan Saheb, it seems that tanpura is playing in the stomach. Nadbrahamha may say the same! ❤️
Stupendous! !! Ethereal!! Spellbound!!! I also feel that some kind of editing has been with the tape uploaded. Nothing unexpected as the year of recording has been claimed in the late thirties while (commercial) tape recorder is a post WWII gadget.
I like all Gharanas because I cannot miss a 'jalebi' just because a 'jehangir' is also on offer. I would like to taste and enjoy all delicacies available as far as possible. But I like the Agra Gharana the best of all just as I would prefer a ' mysore pak' if I am forced to eat one sweet only. I think my preference for the Agra Gharana was instantaneous because of its symphonic structure and style of development leading to the climactic resolution. This Gharana has a puritan approach and an abstract quality with dependence on the lyrics being minimal. Dependence on the sweetness of the voice used to be frowned upon by the great Ustads of this Gharana. It was as if the Ustads would give the injunction to the budding student, " Go on stage and make your mark solely on your acting skills . Do not rely on your good looks." I this Gharana, an artiste is required to define a Raga not with the help of the lyrics and tune of the song but with the help of abstract phrases as in the nom-tom alap. That is more difficult than the plain singing of a song or an air. It requires greater mastery over the Raga than when a Raga is made to appear using the help of words as in lyrical singing. The non-tom-alap is one of the features of the Agra Gharana. The Agra Gharana style is closest to Beethoven, in my considered opinion. I love it most amongst all Gharanas. It is the kind of spiritual and philosophical quality that suits me most. It resonates with something deep in my heart. I say again that Ustad Faiyaz Khan Sahab was the Beethoven of Hindustani Classical Music. I may add with conviction that Ustad Latafat Hussian Khan and Sharafat Hussain Khans were like Mozart and Schubert to complete the picture for those who are knowledgeable of Western Classical Music and want some idea of the Pillars of the Agra Gharana of Hindustani Classical Music.
This is a great upload, a very rare recording from Khansahib's prime years - so it was quite an experience listening to this. Thank you so much Anuran Chowdhuryji for sharing this gem. But is it a recording of one single performance? I am asking this because after about 25 minutes there seems to be a cut on the tape, and there is a pitch/RPM drop, a significant change in the recording quality, and Khansahib sounds less vigorous in his nomtom alap than the first part. Are these two different concert recordings joined together, or just a case of recording equipment malfunction?
Yes there's an issue which I forgot to mention in the description box. I digitised as it is from the tapes I got and the person who was generous enough to share the tapes passed away very recently in Kolkata. So no way to ask either.
Ye koi Insan the ya kucha awor .ye Gandharw lok ke prani the aaye awor es dharti ke liye jo chiz dena tha de kar chale gaye .Kitana sundar Wom Nom Tom kahi awor darsan nahi hota hai .
Juat imagine wothout so manu instruments he was so pitch perfect..😊❤❤ shat shat naman..
Now I understand why Ustad Vilayat Khan Sahib said that after listening to Ustad Faiyaz Khan darbari ke kissi aur rang chadhne ki ko koi gunjaish hi nahi paida hui.
It is like a step by step exposition of how raag ascends. Marvelous.
HE was a genius who stands till date a singer always singing at his own terms , the listeners have to try and try to come anywhere near the ability to appreciate that kind of singing. Blessed were those who witnessed him singing live.
A true "Rangeela" ❤
কিংবদন্তী গায়ক। আমার পরম সৌভাগ্য প্রায় ৯২ বছর আগের এই মহান শিল্পীর ব্যক্তিগত সংগ্রহের এই অসাধারণ গানটি শুনতে পাচ্ছি।
যিনি আপলোড করছেন তাঁকে আন্তরিক অভিনন্দন জানাই।
I agree with Anwer fully. Ustad Faiyaz Khan Sahab was a classical musician whose singing would remain the gold standard for ages. He invariably sang with so much reserves in him. He never flagged or panted even when executing complicated phrases and long drawn out melodic lines. At the end of a phrase, He gave the feeling to the connoisseur that he could have gone on. He was like the winner of a 10,000 meters Olympic race still on his feet and looking as fresh as at the start while others lay on the track exhausted and gasping for breath. His singing was like the ocean wave exerting its force without effort.
I am so glad that Faiyaz Khan Sahab took to the Agra Gharana. He would have excelled in any other Gharana and attained the foremost stature. But you see that the Agra Gharana is closest to the Classical Western Symphonic structure of Beethoven wherein there is systematic development; a grand architectural structure; and sense of progression as new vistas are revealed and new places visited. In several ways, Ustad Faiyaz Khan can be compared to Beethoven who was the past master of the Symphony. In my opinion, the Agra Gharana is the most Symphonic of all our great Gharanas, in the unhurried systematic development while maintaining thematic and melodic integrity, and in, as Anwer has put, it very aptly, "the authoritative display of quintessential raga features, the thoroughbred traditional grammar, the noble exposition and grand structural architecture of the raga vistar." Yes, there was always power both explicit and implicit in Khan Sahab's singing. There was softness, delicacy and subtlety where it was needed.
I may add that the Ustad never appeared to be singing for his own vanity or for external acclaim. He always gave me the impression that he was singing for the sake of the art that he was a Master of and as a tribute to the Raga of which he was a poojari. His singing was spiritually very satisfying from the beginning till the end. We must thank many music connoisseurs like Anuran Chowdhury for publishing Hindustani Classical Music. There are others like Subrata, Asokan, Nadkarni, Samvaada Foundation to name some to whom we are deeply indebted. The wider the dissemination, the better are the chances for posterity to hear and marvel at the gold-standards of Ragas presented to mankind by this peerless Ustad.
@ramesh Alvar
Thanks so much for such a learned, insightful and gracious comment. And you are right - there is indeed something of the storm, stress and passion of Beethoven here; and with the symphonic structural design, a kind of expressive freedom that stretches to the limit the tradition that it incarnates!
Brought tears to my eyes. Cannot thank you enough for this upload.
Oh My God !!!!! Listening to this, one can say easily why this Legend of legends was called Tansen of his Era . Subhanallah !!!!!! . May Allah bless his Soul and Give him highest place in Jannatul Firdaus. Aameen Summa Aameen
Thanks for the comment as it feels good that the music I'm sharing is reaching to the able listeners and musicians who are themselves well accomplished.
AAFTABE MAUSKI
What an extraordinary upload! Faiyaz Khan's gayaki, to my mind, stands alone and distinct in one critical respect. There are of course all those elements of impressive formal 'mastery': the authoritative display of quintessential raga features, the thoroughbred traditional grammar, the noble exposition and grand structural architecture of the raga vistar, the magisterial authority and imaginative beauty of Khansahib's nom-tom alapkari. Yet even all this wouldn't quite suffice to make him immortal in that unique way to which he lays claim. Beyond all this, or rather superadded to them, what raises his art to absolute and overpowering sublimity is the unleashed power, passion and full throated opening up of heart, soul and the mysteries of unparaphrasable emotional layers that ring forth precisely and paradoxically THROUGH the very discipline and rigour of masterly control, structure and 'ustadi'. This immediately communicative 'higher dimension' of the Ustad's vocal art is truly nothing short of miraculous: the fact that he, a sovereign classical virtuoso, truly sang with soul! Thank you Anuran Chowdhury for this invaluable find. 🧡
Thank you (:
It's his perfect blend of Bass and Treble in his voice, along with the booming enunciation of the notes and oh... how can one forget the otherworldly nom tom alaps.
You didn’t use enough adjectives
Great khansahab is unique divine soul
Fantastic. What else can I say. 🙏🙏🙏
I'm yet to recover!!! Took my breath away!
SubhanAllaah
True. This recording was shared by a disciple of Nasim Hussain Khan and was probably recorded at the Mahishadal Palace.
@@anuran.chowdhury Anuran bhai , he must be Ustad Nasir Husain Khan Sahab. Or Ustad Naseem Ahmed Khan Sahab because Nasir Husain khan Sahab was my Maamu and Naseem Ahmed Khan Sahab was my Father. Our Family still resides in Mahishadal house in Wellesely
@@waseemahmedkhan7907 Yes, Naseem Hussain Khan sahb. I couldn't recall his name correctly .The former director and sound engineer of Akashvani Kolkata said an incident of Naseem Khan sahb, Nasir Khan sahb and my Pardadaguru Ustad Ata Hussain Khan sahb where he attended a baithak in Tala, Dumdum where Ata hussain Khan sahb began with Maru Bihag and Naseem Khan sahb sang Sohoni's 'Yashoda tose ladungi ladai'. Someday I would like to visit to Mahishadal, heard countless stories about the greats of our gharana and others like Mushtaq Hussain Khan sahb.
As listeners, through TH-cam, we are blessed with countless uploads from kind persons who share such wonderful music which would have, otherwise, been beyond the reach of most of us. But only once in a while does one come across such rarest of rare recording which blows your mind away. Thank you so much for your generosity🙏
Thank you very much Anuran Babu🙏 When listening to the songs of Ustad Faiyaz Khan Saheb, it seems that tanpura is playing in the stomach. Nadbrahamha may say the same! ❤️
Our badluck that we could not make these gems recording at their prime-time, with improved sound quality.
Indeed very likely a Mahishadal recording. I have just got hold of 7-8 tape spools from Mahishadal and will share them on TH-cam.
That would be great.
Eagerly looking forward to the uploads 🙏
@Vinaypandeji, please upload them soon, really looking forward to listening to them.
@@cactus1762 they are being processed as we speak. They should be up soon on TH-cam
@@vinaypande how's the sound quality? Eagerly waiting.
Truly extraordinary and other-worldly! My God.
Superb...❤ ...there is shuddh nishad also in this performance..wonder what specialty that is...sounds very different
He was great artist and God gifted soul dhrupad mid night raag darbari kannada nom Tom ka aalap.
Wah! kya awaz aur kya ustadana adaygi hai.....thank you for uploading this 👍
Boht boht shukriya Anuran Ji ye maha kohinoor uoload karne ka! Can't be grateful enough! Loads of love from Islamabad, Pakistan!
Grateful to you for uploading this.
What an amazing find. Was it a wire recording?
Stupendous! !! Ethereal!! Spellbound!!!
I also feel that some kind of editing has been with the tape uploaded.
Nothing unexpected as the year of recording has been claimed in the late thirties while (commercial) tape recorder is a post WWII gadget.
I like all Gharanas because I cannot miss a 'jalebi' just because a 'jehangir' is also on offer. I would like to taste and enjoy all delicacies available as far as possible. But I like the Agra Gharana the best of all just as I would prefer a ' mysore pak' if I am forced to eat one sweet only. I think my preference for the Agra Gharana was instantaneous because of its symphonic structure and style of development leading to the climactic resolution. This Gharana has a puritan approach and an abstract quality with dependence on the lyrics being minimal. Dependence on the sweetness of the voice used to be frowned upon by the great Ustads of this Gharana. It was as if the Ustads would give the injunction to the budding student, " Go on stage and make your mark solely on your acting skills . Do not rely on your good looks." I this Gharana, an artiste is required to define a Raga not with the help of the lyrics and tune of the song but with the help of abstract phrases as in the nom-tom alap. That is more difficult than the plain singing of a song or an air. It requires greater mastery over the Raga than when a Raga is made to appear using the help of words as in lyrical singing. The non-tom-alap is one of the features of the Agra Gharana. The Agra Gharana style is closest to Beethoven, in my considered opinion. I love it most amongst all Gharanas. It is the kind of spiritual and philosophical quality that suits me most. It resonates with something deep in my heart.
I say again that Ustad Faiyaz Khan Sahab was the Beethoven of Hindustani Classical Music. I may add with conviction that Ustad Latafat Hussian Khan and Sharafat Hussain Khans were like Mozart and Schubert to complete the picture for those who are knowledgeable of Western Classical Music and want some idea of the Pillars of the Agra Gharana of Hindustani Classical Music.
What a wonderful view Sir. Great to read.
Good singer..🎉
विनम्र अभिवादन.
धन्यवाद, मेरे गुरुजी कुछ दिन बरोदरा मे खान साब के पास शिखणे के लिये रेहते थ
This is a great upload, a very rare recording from Khansahib's prime years - so it was quite an experience listening to this. Thank you so much Anuran Chowdhuryji for sharing this gem. But is it a recording of one single performance? I am asking this because after about 25 minutes there seems to be a cut on the tape, and there is a pitch/RPM drop, a significant change in the recording quality, and Khansahib sounds less vigorous in his nomtom alap than the first part. Are these two different concert recordings joined together, or just a case of recording equipment malfunction?
Yes there's an issue which I forgot to mention in the description box. I digitised as it is from the tapes I got and the person who was generous enough to share the tapes passed away very recently in Kolkata. So no way to ask either.
Thx for uploading brother
Waaaaaah!!!
Wah!!!
❤
Does anyone have the lyrics of this? Would be grateful.
v.nice
Ye koi Insan the ya kucha awor .ye Gandharw lok ke prani the aaye awor es dharti ke liye jo chiz dena tha de kar chale gaye .Kitana sundar Wom Nom Tom kahi awor darsan nahi hota hai .
Wah!