Alladiya khan autobiography example
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Ustad Alladiya Khan And The Rise And Rise Of The Jaipur Gharana
Culture
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Long ago, at the time my friend Manoj Joshi never listened to Hindustani music, we forcibly took him to an evening concert. The young artist performing that day presented Raag Marwa, a beautiful, twilight melody and, luckily, Manoj sat through the entire performance. It was probably the intensity of the raag or the ambience of the informal baithak; our plan worked magically, and Manoj subsequently asked for some more recordings of Marwa. inom gave him a folder featuring renditions of Marwa by a range of artists, both new and vintage.
But then, a few days later, my friend came back with a question- why did Ust. Amir Khan’s Marwa sound different from, say, Pt. Vasantrao Deshpande’s presentatio
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A polymath’s memoir evokes the time when Bombay was at heart of Hindustani music
At his last concert in Mumbai sometime in the early 1900s singer Maujuddin Khan presented a thumri, a north Indian light classical genre, in raag Bhairavi. The distinguished vocalist from Banaras sang this at the residence of a woman singer named Baputara, in Kalbadevi, a crowded locality near the city’s downtown area that now houses wholesale markets for cloth and steel utensils but was once a hub for Hindustani music.
Maujuddin Khan’s recital attracted a large audience that included other eminent musicians, such as vocalist Bhaskarbua Bakhale, sitarist Barkatullah Khan and been player Majid Khan. The performance began in the evening and ended at 5 am the next morning.
“Every note was soft and expressive,” writes Govindrao Tembe, in the English translation of his memoir in Marathi, Maza Sangeet Vyasang, which was released on February 3 in Mumbai. “His firat [a style of delivering fast-paced music
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My Life.sangeet Samrat Khansahab Alladiya Khan
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