Alladiya Khan

Alladiya Khan (10 August 1855 – 16 March 1946) was an Indian Hindustani classical singer who founded the Jaipur-Atrauli gharana. He is recognized for his revival, reinterpretation, and creations of many rare raags, compositions, and techniques and for producing disciples like Bhaskarbuwa Bakhale, Kesarbai Kerkar, and Mogubai Kurdikar.[1]

Alladiya Khan
Birth nameGhulam Ahmad Khan
Born(1855-08-10)10 August 1855
Uniara, Rajasthan, India
OriginAtrauli, Uttar Pradesh
Died16 March 1946(1946-03-16) (aged 90)
Bombay, Maharashtra, India
GenresDhrupad, Dhamar, Khayal,
Occupation(s)singer
Years active1870–1944

Background

Alladiya Khan was born on August 10, 1855 at Uniara, a small village in Tonk, Rajasthan, (then under the Jaipur State) to a Shia Muslim family of musicians.

Ancestry

Khan claims ancestry from Nath Vishwambhar, an ancestor of Swami Haridas.[2] Having converted to Islam during the Mughal era, Khan's family traces its history to the Adya Gaud Brahmins of Shandilya gotra.

Musical Training

Though his father Ahmed Khan died early in his life, Khan's uncle, Jehangir (of Jaipur), taught him dhrupad for 5 years and then khyal for another 8 years. Khan would practice palta exercises for six hours daily well into his 50s.[3]

Career

Alladiya Khan served in the court of various kings of Rajasthan, including that of Amlata.

Setback

Due to overextension of the voice at the request of his patron, Khan lost his voice in his late-30s for nearly two years. His recuperated voice is said to have not regained the quality and sensitivity he had employed earlier. These limitations resulted in the conception of what would become the Jaipur gayaki.[4]

Touring

Khan traveled to Bihar, Patna, Allahabad, Nepal, and Baroda for some years in the early part of his life to perform for kings.[5][6][4]

Kolhapur (1895-1922)

Later, Khan settled down in Kolhapur with his family as the court musician of Shahu Maharaj.[7][8]

Mumbai

In 1922, he moved to Mumbai after the king died. He taught many disciples and sang in many mehfils in Mumbai. There, he grew fond of natya sangeet singers like Balgandharva and continued to teach his students until his death.[9] Alladiya Khan died in Bombay on 16 March 1946.[10][11]

His autobiography, as narrated to his grandson Azizzudin Khan Sahab, is available in English translation, as My Life, with an introduction by Amlan Dasgupta and Urmila Bhirdikar, published by Thema, Kolkata, 2000.[12]

Musicianship

Repertoire

Alladiya Khan was acknowledged for his creation and resurrection of many complex Raags such as Nat Kamod, Bhoop Nat, Kaunsi Kanada, Sampoorna Malkauns, Basanti Kedar, Shuddha Nat, Malavi, Savani Kalyan, DhavalaShree.

Many of these Raags were sung in the Havelis in northern Rajasthan, where Khansahab grew up. From Haveli Sangeet tradition, Khansahab brought many of the Raags in the realm of live concerts and also created Raags and Bandishes rooted in them. One of the Raags he resurrected was Raag Basanti Kanada. Few of the many Haveli sangeet dhrupads which he made into bandishes were the famous Raag Nayaki Kanada Bandish "Mero Piya Rasiya" and Bihagda Bandish "Ae Pyaari pag hole". "Khan Saheb had never allowed his voice to be recorded."[12]

Students

Khansahab's major disciples were Azmat Hussain Khan,[13] his own younger brother Haider Khan, his own sons, Manji Khan and Bhurji Khan, and his grandson Azizuddin Khansahab. Khansahab's brother helped grow the Jaipur-Atrauli gharana after Khansahab's death. Manji Khan, the second son*, died early in 1937, so it was Bhurji Khan, the youngest son, who passed on the gayaki of his father. Mallikarjun Mansur and Dhondutai Kulkarni are among the noted disciples of Bhurji Khan.

Apart from family, Khansahab's initial disciples were Bhaskarbuwa Bakhale, Kesarbai Kerkar, Mogubai Kurdikar Govindrao Shaligram, and Dhondutai Kulkarni.

Badeji Khan

Alladiya Khan's eldest son, Nasiruddin "Badeji" Khan (1886-1966), could not pursue singing as a profession because of health reasons, so Azmat Hussain Khan and Manji and Bhurji Khan took forward the tradition.[14]

Legacy

The Annual Ustad Alladiya Khan Music Festival is celebrated in Mumbai and Dharwad each year, where several singers and musicians perform, giving homage to Alladiya Khan.[15]

Recordings

Khan was adamant about not having his voice and style recorded for fear of copyright.[16] Though, there have been suspicions that ambiguous recordings may belong to Khan or his kin.[17] A recording of a thumri is alleged to be featuring Khan singing.[18][19]

In 2007, the story of Dhondutai Kulkarni, disciple of the legendary Bhurji Khan, was the subject of Namita Devidayal's debut novel, The Music Room.[1]

Further reading
  • Khansahab Alladiya Khan, (as told to his grandson Azizuddin Khan). Translated and introduced by Amlan Dasgupta and Urmila Bhirdikar. Thema, 2000. ISBN 81-86017-33-X.
  • Alladiya Khan Between Two Tanpuras, by Vamana Hari Deshpande, Popular Prakashan, 1989. ISBN 0-86132-226-6, ISBN 978-0-86132-226-8. page 40.
gollark: The hyperrogue one should be a mirror but I forgot to tick that box.
gollark: The last three aren't anyway.
gollark: Actually, no.
gollark: No idea.
gollark: ``` rpncalc dashboard-rss wyvern dragon pastecan guihacker PotatOS-Sandbox-Exploits EndOS yomato potatOS youtube-dl packages1 minoteaur hyperrogue onstat```Some of these appear to just be mislabelled mirrors, so something.

References
  1. "Ambassadors of their art". The Hindu. 23 September 2007. Retrieved 8 July 2018. Updated 20 July 2011.
  2. http://www.chembur.com/anecdotes/alladiya.htm
  3. http://rohiniprasadk.blogspot.com/2005/08/gana-samrat-ustad-alladiya-khan.html
  4. https://groups.google.com/forum/#!topic/rec.music.indian.classical/VYly7nsADvE
  5. https://www.thehindu.com/entertainment/music/alladiya-khans-jaipur-atrauli-style-balances-knowledge-art-and-aesthetics/article20010723.ece
  6. http://www.kamat.com/database/articles/alladiya_khan.htm
  7. http://www.devalclub.org/jaypur-gharana.htm
  8. https://www.dnaindia.com/lifestyle/report-remembering-ustad-azizuddin-khan-1735454
  9. https://swarajyamag.com/culture/ustad-alladiya-khan-and-the-rise-and-rise-of-jaipur-gharana
  10. Nayar, S. (1989). Bhatkhande's Contribution to Music: A Historical Perspective. Popular Prakashan. p. 41. ISBN 9780861322381. Retrieved 12 July 2015.
  11. Devidayal, N. (2009). The Music Room: A Memoir. St. Martin's Press. p. 187. ISBN 9781429921060. Retrieved 12 July 2015.
  12. Profile of Alladiya Khan on The Hindu newspaper, Published 20 March 2000, Retrieved 22 April 2017
  13. http://www.dilrangacademy.org/index.php?option=com_content&view=article&id=4&Itemid=14, Retrieved 22 April 2017
  14. Haldankar, Babanrao (2001). Aesthetics of Agra and Jaipur Traditions. India: Popular Prakashan. p. xxix.
  15. Annual Ustad Alladiya Khan Music Festival Times Of India, 19 April 2003, Retrieved 22 April 2017
  16. https://www.thehindu.com/thehindu/2000/03/20/stories/1320128b.htm
  17. https://groups.google.com/forum/#!topic/rec.music.indian.classical/xdQIZy5vteI%5B101-125%5D
  18. https://indianexpress.com/article/cities/mumbai/the-masters-voice-2/
  19. https://www.livemint.com/Leisure/7EOnGuNasdjbQfQU9IckrK/The-age-before-vinyl.html
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