Mewati gharana

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Singer Pandit Jasraj accompanied by his students (2017).

The Mewati gharana (also known as the Jaipur-Mewati gharana, Jodhpur gharana, and Miyan Bande Ali Khan Beenkar gharana)[1][2][3][4][5] is a musical apprenticeship tribe of Hindustani classical music. Known for being Pandit Jasraj's musical lineage, the gharana was founded by brothers Utd. Ghagge Nazir Khan and Utd. Wahid Khan (beenkar) of Indore[6] in the late 19th century at the Holkar Court.[7] Members of this gharana have had an active influence in Indian cinema for over half a century.[8]

With its own distinct aesthetics, stylings, practices, and repertoire, the gharana emerged as an offshoot of the Khandarbani Dhrupad, Gwalior, and Qawwal Bacchon musical traditions.[9] The gharana gained visibility in the late-20th century after Pt. Jasraj popularized the gayaki.[10]

History[]

Ghagge Nazir Khan and Wahid Khan are regarded as fountainheads of the Mewati gharana.[11] They were descendants of the Qawwal Bacchon gharana (Qawwal Bacchon Ka Gharana).[12]

Etymology[]

The Mewati Gharana takes its name from the region between Delhi, Jaipur, and Indore where Ghagge Nazir Khan and Wahid Khan's family hailed, Mewat (not the Mewar region of Rajasthan).[13]

Recent Developments[]

Ghagge Nazir Khan passed on his musical tradition to his foremost disciples Munavvar Khan, Natthulal Pandit, Chimanlal Pandit, and Ghulam Qadir Khan.[14] Natthulal passed the tradition onto his nephew, Motiram, who shared this tradition with his brother, Jyotiram, around the start of the 20th century.[15] During this period, musicians of this gharana served under monarchical patronage as court musicians.

Jyotiram later became a disciple of Rajab Ali Khan, whose father, Manglu Khan,[16] was a disciple of Bade Mohammed Khan and Bande Ali Khan (e.g. a member of the extended gharana).[17] Motiram passed this tradition to his sons, Maniram and Pratap Narayan. After Motiram's unexpected demise, Maniram and Pratap Narayan were instrumental in grooming their younger brother, Jasraj, in the Mewati tradition after the latter renounced playing tabla, his primary training at the time. Jasraj was initially influenced by the music of Amir Khan and Begum Akhtar but later developed a separate style. He introduced new stylistic elements into the traditional Mewati style, following the romanticism started by Omkarnath Thakur and producing a more emotive, devotional, rhythmic-conscious, and lyric-conscious style.

Ancestry[]

Ghagge Nazir Khan and Wahid Khan inherited three traditions of classical music; Khandarbani dhrupad baaj and gayaki from their ancestors and then Qawwal Bacchon gayaki, Gwalior gayaki, Kirana baaj, and Dagarbani baaj from later gurus.[18]

Mewati gayaki emerged from the first synthesis of the dhrupad and khayal traditions of music, through the inter-marriage of Bade Mohammed Khan's family with Haddu-Hassu Khan's family, which Ghagge Nazir Khan married into.

Bade Mohammed Khan, son of Shakkar Khan of Lucknow, emerged from the Qawwal Bacchon tradition.[19] His son, Waris Ali Khan, married a daughter of Haddu Khan. Through their union, Bade Mohammed Khan acquired the status of being a Gwalior gharana exponent and was regarded for his "taan bazi" repertoire.[20] Another offspring of Bade Mohammed Khan, Bade Mubarak Ali Khan, is said to have influenced Alladiya Khan's gayaki due to his proclivity for taans.[21] Ghagge Nazir Khan married Bade Mubarak Ali Khan's daughter, learned from Waris Ali Khan, and learned from Chhote Mohammed Khan, Haddu Khan's son.

Due to politics and competition with Natthu Khan's family,[22] Bade Mohammed Khan relocated to Rewa in Bhopal as the court musician of the maharaja.[23] Consequently, Ghagge Nazir Khan and Wahid Khan are associated with the Bhopal region in musical literature.[24]

Geography[]

Seeking musical patronage, their ancestors immigrated from their origins in Delhi and Gwalior, settling first in Bhopal and later western Rajasthan.[25]

These migrations influenced new developments in the gharana's musical styles and aesthetics. Eventually, these changes resulted in the Mewati gayaki becoming distinct although reminiscent of the Gwalior and Qawwal Bacchon styles. Hence the gharana is considered both musically and genealogically different from these groups.

Pedagogical Genealogy[]

Ancestry[]

The below illustration is based on the historical account provided by .[26]

Khandarbani
Dhrupad Tradition
Dada Tikkad
of Agra
(dhrupadiya)
Wazir Khan
(dhrupadiya)		Imam Khan
(dhrupadiya)
Wahid Khan
(son)		Ghagge Nazir Khan
(son)		Munavvar Khan
(son)

Early Pedagogy[]

A visual representation of Mewati gharana and its earlier roots.[27]

Gwalior Gharana
Guru Parampara		Qawwal Bacchon
Guru Parampara		Khandarbani
Guru Parampara		Kirana Gharana
Guru Parampara		Dagarbani
Guru Parampara
Sadiq Ali Khan
(Kirana)		Behram Khan
(Dagarbani)

(Dhrupadiya)
Ghagge Nazir
Khan
(co-founder,
vocalist)		Wahid
Khan
(co-founder,
beenkar)
Qawwal Bacchon &
Begum
Hasibanbai
Rajab Ali
Khan
Agra Gharana
Parampara		Mohammed
Khan		Begum Kaniz
Fatima
Pandit
Maniram
Pandit
Puranchandra		Pandit
Jasraj		Rais Khan
(sitarist)

Recent Pedagogy[]

Mewati Gharana
Guru Parampara
Pandit
Maniram
Bansilal
Kapoor		Pandit
Jasraj		Begum Kaniz
Fatima		Rais
Khan
(sitariya)
Yogai
Sharma		Kankana
Banerjee		Shobha
Abhyankar		Mukund
Lath
(musicologist)		Anuradha
Paudwal
Pandit
Dinesh		Jatin
Pandit		Madhup
Mudgal		Ramesh
Narayan		Kavita
Krishnamurthy		Padmaja
Phenany
Joglekar
(sitariya)
Lalit
Pandit		Durga
Jasraj		Sadhana
Sargam		Kala
Ramnath
(violinist)		Tripti
Mukherjee
Sanjeev
Abhyankar
Suman
Ghosh		Rattan
Mohan
Sharma
Sandeep
Ranade		Shashank
Subramanyam
(bansuriya)		Lokesh
Anand
(shehnaiya)		Asad
Khan
(sitariya)
Amit
Arya
Adwait
Joshi		Aditya
Shah
Azaan
Khan

Overview[]

Mewati Gharana singer Sandeep Ranade performs at Bhave Natya Mandir, Sangli in December 2012.

Aesthetic Approaches[]

Though the gayaki has roots in the style and trends of the Gwalior and , the Mewati gayaki has some distinct qualities. The Mewati gayaki emphasizes the importance of bhava and literature (bandish).[28] The gayaki includes substantial use of sargam and tihai.[29] In a crude sense, the approach to taan is similar to the Patiala gayaki and Tappa Gayaki in execution but is closer to the Gwalior gayaki in application.

The gayaki's meend applications have been regarded for their smoothness and naturalness.[30]

Philosophy[]

Maniram and Jasraj have described the essential philosophy of the Mewati tradition as based on "shuddha vani" (pure sound), "shuddha mudra" (pure expression), and "shuddha sur" (pure notes).[31][32]

Religious themes[]

Through Sufiana mausiqi and bhaktic influences, the Mewati gayaki includes theistic and spiritual elements, where religious verses from Hinduism and Shia Islam (especially Ismailism) are incorporated not only in the grammatical content of the music, but as intrinsic elements in melodic expression.[33] Jaiwant Singhji[34] and Jasraj contributed numerous devotional compositions to the gharana's repertoire.[35]

Some contemporary compositions invoke the name and attributes of Aga Khan as the manifest Imam and the tenth incarnation of Lord Vishnu according to the dashavatara.[citation needed] The verse "Om Shri Anant Hari Naaraayañ" is typically invoked as the initiation of a performance, and as the grammatical medium for an alap.[citation needed]

Specialty ragas and compositions[]

The Mewati Gharana holds raags unique to its tradition.[36] These include:

  • Raag Jaiwanti Todi: A mixture of raags Ahir Bhairav and Todi, created by Jaiwant Singhji.
  • Raag Jaiwant Sarang: A mixture of raags Jaijaiwanti and Sarang, created by Jaiwant Singhji.
  • Raag Gyaankali: Inspired by Raag Gorakh Kalyan, created by Jaiwant Singhji.
  • Raag Rajrajeshwari: Created by Jaiwant Singhji.
  • Raag Bagkauns: Created by Jaiwant Singhji.
  • Raag Din Ki Puriya
  • Raag Audav Bageshree
  • Raag Khamaj Bahar
  • Raag Bhavani Bahar

Haveli Sangeet[]

Informed by the gharana's kirtankar tradition, Jasraj researched the of Mathura and Brindavan. Consequently, many devotional compositions have been brought into the gharana's repertoire.[37]

Exponents[]

19th Century[]

  • Wahid Khan (c. 1840 - 1933) was born to Imam Khan, a Khandarbani dhrupadiya, in Alwar. He learned rudra veena from (Kirana and Dagarbani). He served as court musician to Indore State. Four of his children, Latif, Majid, Ghulam Qadir, and Hamid went on to become renowned musicians.
  • "Ghagge" Nazir Khan (c. 1850 - c. 1920) was born to Imam Khan, a Khandarbani dhrupadiya, in Agra. He learned vocal music from Waris Ali Khan ( and Chhote Mohammed Khan (Gwalior). He served as court musician to Jodhpur, Gwalior, and Bhopal states. He taught music to Pandit Natthhulal, Pandit Chimmanlal, Munavvar Khan (brother), and Ghulam Qadir Khan (nephew).
  • Chimanlal Pandit (c. 1850s-c. 1890s), learned from Ghagge Nazir Khan.
  • Natthulal Pandit (c. 1850s-c. 1920s), learned from Ghagge Nazir Khan.
  • Munavvar Khan (c. 1860s-c. 1930s), learned from Ghagge Nazir Khan (primarily) and Wahid Khan.
  • Majid Khan (c. 1880s-c. 1930s), first son and disciple of Wahid Khan, proficient in sitar and rudra veena.
  • Latif Khan (c. 1880s-1935), second son and disciple of Wahid Khan, proficient in rudra veena. Succeeded his father as a court musician of Indore for the Holkar Dynasty.
  • Begum Hasibanbai (c. 1880s-c. 1950s), daughter of Wahid Khan, mother of Mohammed Khan, grandmother of Rais Khan.
  • Saddan Khan (c. 1890s-1940s), third son and disciple of Wahid Khan, proficient in sitar.
  • (c. 1890s-d. 1939), nephew and disciple of Natthulal Pandit. Father and guru of Motiram, Pratap Narayan, and Jasraj.
  • Mohammed Shafi (c. 1900s-1979), son of Majid Khan, proficient in sitar, composed and arranged music in the Hindi film industry. Brother-in-law of Vilayat Khan.
  • (c. 1890s-c.1960s), younger brother and disciple of Pandit Motiram and Rajab Ali Khan. Father of Puranchand.

20th Century[]

  • Jaiwant Singhji Waghela (c. 1900s-1980s), disciple of Munavvar Khan and Ghulam Qadir Khan, proficient in rudra veena and singing. Developed aptitude as a musicologist. Guru of Pandit Motiram, Pandit Pratap Narayan, and Pandit Jasraj.
  • Mohammed Khan (c. 1900s-1967), son of Begum Hasibanbai and disciple of Latif Khan, proficient in rudra veena, sitar, and surbahar. Father of Rais Khan.
  • Pandit Maniram (1910-1985), son and disciple of Pandit Motiram. Also learned from Pandit Jyotiram and Jaiwant Singhji Waghela. Guru and brother of Pratap Narayan and Jasraj. Father of Yogai Sharma, Vinod Pandit, and Dinesh Pandit.
  • (1914-2002), second-youngest son of Wahid Khan, disciple of his father and uncle, Munavvar Khan. Proficient in singing and rudra veena. Musical guide to all junior musicians in the gharana, particularly Jaiwant Singhji Waghela, Pandit Motiram, Pandit Pratap Narayan, Pandit Jasraj, Siraj Khan, and Asad Khan. Former khalifa of the Mewati Gharana.
  • Hamid Khan (c. 1900s-1970s), youngest son and disciple of Wahid Khan, proficient in rudra veena and sitar.
  • (1918-2002), son and disciple of Pandit Motiram. Also learned from uncle, Pandit Jyotiram, and brother, Pandit Maniram.
  • Krishnakant Parikh (1924-2018), first student of Pandit Jasraj. Guru of his two sons, Niraj and Vikas, and grandson, Akshat.
  • Pandit Puranchandra (1929-1991), son and disciple of Pandit Jyotiram. Also learned from Ghulam Qadir Khan and of Agra Gharana.[38]
  • Pandit Jasraj (1930-2020), son and disciple of Pandit Motiram. Learned primarily from brothers Pandit Maniram and Pandit Pratap Narayan. Also learned from Jaiwant Singhji Waghela, Ghulam Qadir Khan, and of Agra Gharana.
  • Begum Kaniz Fatima (1934-2018), only daughter of Latif Khan. Mother of Siraj Khan.
  • Mukund Lath (1937-2020), disciple of Pandit Motiram and Pandit Jasraj. Celebrated musicologist and historian.[39]
  • Rais Khan (1939-2017), son and disciple of Mohammed Khan, proficient in sitar and surbahar.
  • Yogai Sharma (b. 1940), daughter and disciple of Pandit Maniram. Married .
  • Begum Nilofer Khan (c. 1940s-c. 2010s), daughter and disciple of Mohammed Khan, proficient in sitar and surbahar. Also leaerned from Ghulam Qadir Khan.
  • Shobha Abhyankar (1946-2014), disciple of Pandit Jasraj. Guru of her son, Sanjeev Abhyankar, and Sandeep Ranade. Also learnd from and V. R. Athavale.
  • Girish Wazalwar (b. 1947), disciple of Pandit Jasraj.
  • Chandrashekhar Swami (b. 1940s), disciple of Pandit Jasraj. Also studied with .
  • Asha Lohia (b. 1940s), disciple of Pandit Jasraj and sister-in-law of Mukund Lath.
  • (1952-2001), son and disciple of Pandit Maniram who became an actor.
  • (b. 1956), son and disciple of Pandit Maniram, proficient in [[tabla] and percussions. Also a music composer.
  • Jatin Pandit (b. 1950s), son and disciple of Pandit Pratap Narayan. Acclaimed music composer for Hindi cinema. Collaborated with brother, Lalit.
  • Lalit Pandit (b. 1950s), son and disciple of Pandit Pratap Narayan. Acclaimed music composer for Hindi cinema. Collaborated with brother, Jatin.
  • Radharaman Kirtane (b. 1957), disciple of Pandit Jasraj.
  • (b. 1958), eldest son of Begum Kaniz Fatima, proficient in sitar. Learned from Vilayat Khan, Rais Khan, and Ghulam Qadir Khan. Current khalifa of the Mewati Gharana.
  • Shahid Khan (b. c. 1950s), younger son of Begum Kaniz Fatima, proficient in violin. Active in Hindi film industry, working alongside R. D. Burman, Laxmikant-Pyarelal, Rajesh Roshan, and Anu Malik, among others.
  • Madhup Mudgal (b. c. 1950s), disciple of Pandit Jasraj. Son and disciple of Vinay Chandra Maudgalya who also studied with Kumar Gandharva.
  • (b. 1958), disciple of Pandit Jasraj, proficient in harmonium.
  • Ramesh Narayan (b. 1959), disciple of Pandit Jasraj.
  • Gargee Siddhant Dutta (b. 1960s), disciple of Pandit Jasraj.
  • Tripti Mukherjee (b. 1960s), disciple of Pandit Jasraj.
  • Shaarang Dev Pandit (b. 1963), son and disciple of Pandit Jasraj. Worked as a music composer in film and television.
  • Durga Jasraj (b. 1964), daughter and disciple of Pandit Jasraj. Worked as a model, actress, and television host.
  • Kala Ramnath (b. 1967), disciple of Pandit Jasraj, proficient in violin. Niece of N. Rajam and T. N. Krishnan.
  • (b. 1960s), disciple of Pandit Jasraj.
  • Suman Ghosh (b. 1967), disciple of Pandit Jasraj.
  • (b. 1968), disciple of Pandit Jasraj.
  • Sanjeev Abhyankar (b. 1969), disciple of Pandit Jasraj. Son and disciple of Shobha Abhyankar. Also learned from Gangadharbuwa Pimpalkhare.
  • Rattan Mohan Sharma (b. 1971), nephew and disciple of Pandit Jasraj.
  • Gautam Kale (b. 1970s), disciple of Pandit Jasraj. Also learned from Vishwanath Rao Ringe.
  • Dilip Gavaiya (b. 1978), son and disciple of Pandit Puranchandra.

21st Century[]

  • Sandeep Ranade (b. 1981), disciple of Pandit Jasraj and Shobha Abhyankar. Also learned from Anjali Joglekar-Ponkshe.
  • Saptarshi Chakraborty (b. 1981), disciple of Pandit Jasraj.
  • (b. 1981), disciple of Pandit Jasraj.
  • Asad Khan (b. 1982), son and disciple of Siraj Khan, proficient in sitar.
  • Shahraaz Khan (b. 1980s), son and disciple of Siraj Khan. Works as a composer and arranger for film and television.
  • Amit Arya (b. 1980s), disciple of Asha Lohia, Hemang Mehta, Tripti Mukherjee, and Pandit Jasraj.
  • Adwait Joshi (b. 1980s), disciple of Pritam Bhattacharjee.
  • (b. 1988), disciple of Pandit Jasraj.
  • Aditya Shah (b. 1994), disciple of Radharaman Kirtane and Rattan Mohan Sharma.
  • Akshat Parikh (b. 1990s), disciple of Krishnakant Parikh. Works as a music supervisor for film and television.
  • Swar Sharma (b. 2000), son and disciple of Rattan Mohan Sharma.
  • Azaan Khan (b. 2000s), son and disciple of Asad Khan.

See also[]

References[]

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  3. ^ http://www.culturopedia.net/Music/gharanas.html
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  5. ^ http://www.ipaac.org/Sanjeev2015.htm
  6. ^ http://mewatheritage.khamayati.org/about/
  7. ^ https://www.academia.edu/34585877/Obituary_Rais_Khan
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  13. ^ Chib, Satyendra Krishen Sen (2004). Companion to North Indian classical music. Munshiram Manoharlal Pub. p. 171.
  14. ^ http://www.visualfxindia.com/mewatigharana/html/tree.html
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  27. ^ "Mewati Gharana Lineage". Retrieved 20 December 2018.[unreliable source?]
  28. ^ https://www.culturalindia.net/indian-music/hindustani-gharanas.html
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  30. ^ Chatterjee, Partha (6 December 2017). "At the crossroads". foundtainink.in. Retrieved 25 January 2019.
  31. ^ Goswami, O (1957). The Story Of Indian Music. Asia Publishing House. p. 180.
  32. ^ https://www.youtube.com/watch?v=th21X-7T0G4
  33. ^ Nadkarni, Mohan (29 June 1980). "Hindustani Music in Rajasthan". The Illustrated Weekly of India. Retrieved 30 October 2018.
  34. ^ https://www.parrikar.org/hindustani/todi/
  35. ^ Zutshi, Minna (22 April 2006). "Sangeet Samrat". The Tribune (India). Retrieved 25 January 2019.
  36. ^ Singhji Waghela, Jaiwant (1974). Shri Sangeet Saurabh. Sanand, Gujarat.
  37. ^ Ray, N. R. (1990). Dictionary of National Biography. Calcutta: Institute of Historical Studies. p. 173.
  38. ^ Link: Indian Newsmagazine. 21 (Part 1): 37. 1979. Missing or empty |title= (help)
  39. ^ https://medium.com/@rohan.res/in-memoriam-498f35007847
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