Jaipur-Atrauli gharana

The Jaipur-Atrauli Gharana (also known as the Jaipur Gharana, Atrauli Gharana, Atrauli-Jaipur Gharana, Alladiya Gharana and Alladiyakhani Gayaki) is a Hindustani music apprenticeship fraternity (gharana), founded by Alladiya Khan (1855–1946) in the late-19th century.

Evolved from the dhrupad tradition,[1] the Jaipur Gharana acquired its name and status in the early half of the 20th century as a result of the growing popularity of khayal singers such as Smt. Kesarbai Kerkar, Gaanatapaswini Mogubai Kurdikar, and Pt. Mallikarjun Mansur. With the immense popularity of musicians like Surashri Kesarbai Kerkar, the Gharana earned repute as a leading representative of Hindustani classical music. The gharana is known for its distinctive vocal aesthetics, raga repertoire, and technical aptitude.

History

The Jaipur-Atrauli gharana emerged from Alladiya Khan's family which originated from Atrauli (near Aligarh) and migrated to Jaipur.[2][3][4] This gharana mainly evolved from Dagar-bani of Dhrupad, however it also absorbed finer essence of Gauhar-bani and Khandar-bani.[5]

Name

Scholars say the hyphenated moniker of this gharana recognises that Jaipur-Atrauli gharana musicians originally came from Atrauli Village in Aligarh district and migrated to the court of the Maharaja of Jaipur, their principal patron. Others say they came to the Jaipur Maharaja's court and then dispersed to various other courts in the area, like Jodhpur, Uniyara, Bundi, Atrauli.

Roots in Haveli Sangeet

Many of the ragas and compositions sung in the Jaipur gharana come from the tradition of Haveli Sangeet and dhrupad,[6] such as:[7]

  • "Deva Deva Satsang" in Savani Kalyan
  • "Ey Pyari Pag Hole" in Bihagada
  • "Mero Piya Rasiya" in Nayaki Kanada
  • "Anahat Aadi Naad" in Savani Nat
  • "Devta Aadi Sab" in Kukubh Bilawal
  • "Devi Durge" in Sukhiya Bilawal
  • "Ye Ho Neend Na Ayaee" in Bihari
  • "Papiha Na Bole" in Jayat Kalyan
  • "Jabase Piyu Sapaneme" Jaitashree
  • "Preetam Sainya" Lalita Gauri
  • "Ree Tum Samajh" Rayasa Kanada.

Aesthetics

Gayaki

The gharana is known for its unique layakari (rhythmic aesthetics) and rich repertoire of ragas, especially jod ragas (compound ragas) and sankeerna ragas (mixed ragas). Most gharanas apply notes in simple succession in aalap and taan, whereas in the Jaipur gayaki, notes are applied in an oblique manner with filigree involving immediately neighbouring notes. Instead of the flat taan, gamak (taan sung with double notes with a delicate force behind each of the component double-notes of the taan) makes the taan spiral into seemingly never-ending cycles. Meend in aalap and gamak in taan are the hallmark of this gayaki. Sharp edged harkats and murkis (crisp, quick phrases to ornament the alaap) are relatively uncommon. Not only are the notes sung in rhythm with the taal but progress between the matras (beats) is in fractions of quarters and one-eighths. While being mindful of so many factors, musicians of this gharana still have a graceful way of arriving at the Sam without having matras to spare. This is particularly evident in the way bol-alaap or bol-taan is sung, where meticulous attention is given to the short and long vowels in the words of the bandish that are being pronounced, and the strict discipline of avoiding unnatural breaks in the words and in the meaning of the lyrics. No other gharana has paid so much attention to the aesthetics and laykari in singing bol-alaaps and bol-taans.

Specialty and Jod Raags

Signature and specialty ragas of this gharana (some revived or created by Alladiya Khan) include Sampoorna Malkauns, Basanti Kedar, Basant Bahar, Bihagda, Khat, Gandhari and Nat Kamod. A highlight of Jaipur gayaki is the mastery over Jod Ragas (mixed or hybrid Raags). Singers from other gharanas tend to sing one raga in aaroha (ascent) and the other in avaroha (descent). Some others sing one raga in the lower half of the octave and then switch to the other raga in the upper half. Alternatively, they may sing alternate phrases of the two component ragas. In Jaipur gayaki, the two ragas are fused so that it sounds like a homogeneous raga in its own right, giving the feel of both component ragas, not as a heterogeneous mixture cobbled together. The listener hears an amalgam of both ragas without losing their distinctive identity. Alladiya Khan introduced many lesser-known or obscure ragas in his repertoire such as Basanti Kedar, Jait Kalyan, Kafi Kanada, Raisa Kanada, Basanti Kanada, Savani Nat, Savani Kalyan, Bhoop Nat, Nat Kamod, Bihari, Khat, Khokar, and Sampoorna Malkauns.

Legacy

To his immense credit, the great exponent of Kirana gharana, Bhimsen Joshi is one of the very few singers outside the Jaipur gharana, who tried to adopt the gamak taan to some extent, but he has not quite achieved the intricacy and grace of gamak that is the signature of Jaipur.

Lineage
Nath Vishwambhar
(ancestor)
Swami Haridas
(ancestor)
Mantol
Khan		Natthu
Khan
KarimbuxJahur
Khan		Gulam Gaus
Khan
Chamman
Khan		Jehangir
Khan		Ahmad
Khan		Natthan
Khan
Mohammad
Khan		Ghulam Ahmad
"Alladiya" Khan
Govindrao
Tembe		Haider Ali
Khan		Bhaskarbuwa
Bakhale		Govindbuwa
Shaligram		Tribhuvandas
Jariwala		Shankarrao
Sarnaik
Ahmad
Khan		Azmat Hussain
Khan
Naththan
Khan		Badruddin
"Manji" Khan		Nasiruddin
"Badeji" Khan		Shamsuddin
"Bhurji" Khan
Mohanrao
Palekar		Gulubhai
Jasdanwalla		Abdul Majid
Khan (sarangiya)		Kesarbai
Kerkar		Wamanrao
Sadolikar
Leelabai
Shirgaonkar
Mogubai
Kurdikar		Smt. Laxmibai JadhavMallikarjun
Mansur		Madhukar
Sadolikar		Nivruttibuwa
Sarnaik
Gajananrao
Joshi
Tilak
Master		Vamanrao
Deshpande		Sushila Rani
Patel		Padmavati
Shaligram-Gokhale		Madhusudan
Kanetkar
Anandrao
Limayebuwa		"Baba" Azizuddin
Khan
Ratnakar
Pai		Mohd. Sayeed &
Mohd. Rashid Khan		Babanrao
Haldankar		Dhondutai
Kulkarni		Sudhakarbuwa
Digrajkar		Dinkar
Panshikar
Jitendra
Abhisheki
Bhalchandra
Tilak		Kaushalya
Manjeshwar		Kishori
Amonkar		Kamal
Tambe		Suhasini
Mulgaonkar		Panchakshari Swami
Mattigati
Smt. Manik Bhide
Shalmalee
Joshi		Arun
Dravid		Padma
Talwalkar		Rajshekhar
Mansur		Vijaya
Jadhav-Gatlewar
Ulhas
Kashalkar		Shruti
Sadolikar-Katkar		Bharati
Vaishampayan
Milind
Malshe		Ashwini
Bhide-Deshpande		Raghunandan
Panshikar		Maya Upadhye
Nandini
Bedekar		Manjiri
Asnare-Kelkar
Vishwas
Shirgaonkar		Gauri
Pathare		Yashaswi
Sirpotdar
Aditya
Khandwe		Tejashree
Amonkar		Bhupal
Panshikar

Prominent Musicians
  • Alladiya Khan (1855–1946), Gharana founder; learned from uncle Jehangir Khan.
  • Haider Ali Khan, learned from uncle Jehangir Khan and older brother of Alladiya Khan.
  • Bhaskarbuwa Bakhale (1869–1922), learned from Alladiya Khan and Natthan Khan
  • Manji Khan (1888–1937), second son of Alladiya Khan. Learned from Alladiya Khan.
  • Bhurji Khan (1890–1956), third son of Alladiya Khan. Learned from Alladiya Khan.
  • Gulubhai Jasdanwalla, learned from Alladiya Khan.
  • Kesarbai Kerkar (1892–1977), learned from Alladiya Khan.
  • Mohanrao Palekar(1898–1962), learned from Ahmed Khan.
  • Laxmibai Jadhav (1901–1979), learned from Haider Ali Khan.
  • Mogubai Kurdikar (1904–2001), learned from Alladiya Khan and Haider Ali Khan.
  • Wamanrao Sadolikar (1907–1986), learned from Bhurji Khan and attended many of Alladiya Khan's lessons to his disciples.
  • Vamanrao Deshpande (1907–1990), learned from Natthan Khan and Mogubai Kurdikar.
  • Mallikarjun Mansur (1910–1992), learned from Manji Khan and Bhurji Khan and later from Azizuddin Khan.
  • Gajananrao Joshi (1911-1987), learned from Bhurji Khan.
  • Nivruttibuwa Sarnaik (1912-1994), learned from Alladiya Khan.
  • Madhusudan Kanetkar (1916-2007), learned from Bhurji Khan.
  • Kausalya Manjeshwar (1922-), learned from Ganjananbuwa Joshi and Mogubai Kurdikar.
  • "Baba" Azizzudin Khan, son and disciple of Bhurji Khan. Also learned from grandfather Alladiya Khan.
  • Panchakshari Swami Mattigatti (1927-2013), learned from Mallikarjun Mansur.[8]
  • Babanrao Haldankar (1927-2016), learned from Mogubai Kurdikar.
  • Dhondutai Kulkarni (1927–2014), learned from Natthan Khan, Manji Khan, Bhurji Khan, Laxmibai Jadhav, Azizuddin Khan, and Kesarbai Kerkar.
  • Ratnakar Pai (1928–2009), learned from Gulubhai Jasdanwalla and Mohanrao Palekar.
  • Kishori Amonkar (1931–2017), daughter and disciple of Mogubai Kurdikar. Also learned from Mohanrao Palekar, Anwar Hussein Khan of Agra Gharana, and Anjanibai Malpekar of Bhendi-Bazar Gharana.
  • Manik Bhide (born 1935), learned from Madhukar Sadolikar[9] and Kishori Amonkar.[10]
  • Dinkar Panshikar (born 1936), learned from Nivruttibua Sarnaik.
  • Rajshekhar Mansur (born 1942), learned from father Mallikarjun Mansur.
  • Arun Dravid (born 1943), learned from Abdul Majid Khan, Mogubai Kurdikar and Kishori Amonkar.
  • Kumundini Katdare (born 1945), learned from Kamal Tambe and Madhusudan Kanetkar.
  • Padma Talwalkar (born 1948), learned from Mogubai Kurdikar and Gajananrao Joshi.
  • Shruti Sadolikar (born 1951), learned from father Wamanrao Sadolikar, Baba Azizuddin Khan, and later Gulubhai Jasdanwalla.
  • Alka Deo Marulkar (born 1951), learned from Rajubhau and Madhusuran Kanetkar.
  • Milind Malshe (born 1952), learned from Ratnakar Pai and Ashok Ranade.
  • Bharati Vaishampayan (born 1954), learned from Nivruttibuwa Sarnaik.
  • Vijaya Jadhav Gatlewar (born 1955), learned from Nivruttibuwa Sarnaik.
  • Ashwini Bhide Deshpande (born 1960), learned from mother Manik Bhide and later from Ratnakar Pai.
  • Raghunandan Panshikar (born 1963) learned from Kishori Amonkar and Mogubai Kurdikar.
  • Nandini Bedekar (born 1966) learned from Kishori Amonkar and was guided by Mogubai Kurdikar.
  • Sanjay Dixit (born 1964), learned from Madhusudan Kanetkar, Bhaskarbuwa Shaligram, and Dhondutai Kulkarni.
  • Manjiri Asnare-Kelkar (born 1971), learned from Madhusudan Kanetkar.
  • Gauri Pathare (born 1972), learned from Padma Talwalkar and Arun Dravid.
  • Yashaswi Sirpotdar (born 1980), learned from Padma Talwalkar.[11]
  • Aditya Khandwe (born 1983), learned from Ratnakar Pai and Dhondutai Kulkarni.
  • Tejashree Amonkar (born 1985), Learned from Grandmother Kishori Amonkar and was guided by great grandmother Mogubai Kurdikar.[12]
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References
  1. Sharma, Manorma (2006). Tradition of Hindustani music. New Delhi: A.P.H. Pub. Corp. p. 49. ISBN 81-7648-999-9.
  2. Manorma Sharma (2006). Tradition of Hindustani Music. APH Publishing. pp. 49–51. ISBN 978-81-7648-999-7.
  3. Jeffrey Michael Grimes (2008). The Geography of Hindustani Music: The Influence of Region and Regionalism on the North Indian Classical Tradition. ProQuest. pp. 142–. ISBN 978-1-109-00342-0.
  4. Kumāraprasāda Mukhopādhyāẏa (2006). The Lost World of Hindustani Music. Penguin Books India. pp. 154–. ISBN 978-0-14-306199-1.
  5. http://www.swarmanttra.com/vocal/gharanas/jaipur-atrauli-gharana/
  6. http://ustadalladiyakhan.blogspot.com/p/about-jaipur-atrauli.html
  7. https://www.youtube.com/watch?v=aG9kQ5gAlJU
  8. https://timesofindia.indiatimes.com/city/hubballi/Vocalist-Mattigatti-dead/articleshow/23558138.cms
  9. https://mio.to/album/Manik+Bhide/The+Sanctity+Of+Parampara
  10. https://www.outlookindia.com/newsscroll/classical-singer-manik-bhide-chosen-f Mohanrao Palekaror-bhimsen-joshi-award/1155162
  11. https://www.thehindu.com/features/friday-review/Yashaswi-Sirpotdar-On-a-graceful-note/article14488585.ece
  12. https://www.outlookindia.com/magazine/story/tejashree-amonkar/298144,

Bibliography
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