The Atrauli Gharana is a Hindustani music apprenticeship fraternity ( original gharana ), founded by four brothers from the Gauharbani tradition who moved to Atrauli from Gwalior in the late-18th century. The gharana is best known for its influence and association with the Jaipur-Atrauli and Agra gharanas .
16-559: This tradition acquired its celebrated status as its representatives, like Alladiya Khan , Faiyaz Khan , and Vilayat Hussain Khan , grew with acclaim in the 20th century. The gharana is known for its distinctive vocal aesthetics, raga repertoire, and technical aptitude. The gharana was formed in the 18th century by four brothers - Hidayat Khan, Mughul Khan, Karim Hussain Khan, and Jabbar Khan - who were musicians that settled in Atrauli from Gwalior at
32-423: A tabla or pakhawaj , a steady drone, and melodic accompaniment by a sarangi , violin or harmonium . There are different ways of systematizing the parts of a composition. A bandish provides the literature element in the music, for standard structured singing. In the past many gharanas protected their bandishes from moving out of the family with gross incoherent vocal renditions. In the realm of vocal music, it
48-625: A fixed, melodic composition, seen more typically in Dhrupad bandishes. There are three variations of Bandish, regarding tempo: Vilambit Bandish : A slow and steady melodic composition, usually in Largo to Adagio speeds. Madhyalaya Bandish : A medium tempo melodic composition, usually set in Andante to Allegretto speeds. Drut Bandish : A fast tempo melodic composition, usually set to Allegretto speed, and onwards. mana mohyo This article about
64-455: A thumri is alleged to be featuring Khan singing. 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 . Bandish Bandish , cheez or gat is a fixed, melodic composition in Hindustani vocal or instrumental music . It is set in a specific raga , performed with rhythmic accompaniment by
80-469: Is available in English translation, as My Life , with an introduction by Amlan Dasgupta and Urmila Bhirdikar, published by Thema, Kolkata, 2000. 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
96-484: Is often known as cheez . The word bandish is derived from the Hindustani language , and literally means "binding together". Sthāyī or Asthāyī : The initial, Rondo phrase or line of a fixed, melodic composition. Antarā : The second body phrase or line of a fixed, melodic composition. Sanchāri : The third body phrase or line of a fixed, melodic composition, seen more typically in Dhrupad bandishes. Aabhog : The fourth and concluding body phrase or line of
112-878: 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." Khansahab's major disciples were Azmat Hussain Khan, his own younger brother Haider Khan (also spelled Hyder Khan), his own sons, Manji Khan and Bhurji Khan , and his grandson Azizuddin Khansahab. Apart from
128-693: The Jaipur State ) to a Shia Muslim family of musicians. Khan claims ancestry from Nath Vishwambhar, an ancestor of Swami Haridas . Having converted to Islam during the Mughal era , Khan's family traces its history to the Gaud Brahmins of Shandilya gotra . 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. Alladiya Khan served in
144-501: The Jaipur-Atrauli gharana , also referred as just Jaipur 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 . Alladiya Khan was born on 10 August 1855, at Uniara , a small village in Tonk, Rajasthan , (then under
160-520: The court of various kings of Rajasthan, including that of Amlata. 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 . Khan traveled to Bihar , Patna , Allahabad , Nepal , and Baroda for some years in
176-710: The early part of his life to perform for kings. Later, Khan settled down in Kolhapur with his family as the court musician of Shahu Maharaj . 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. Alladiya Khan died in Bombay on 16 March 1946. His autobiography, as narrated to his grandson Azizzudin Khan Sahab,
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#1732924846287192-783: The invitation of its Nawab. Unlike the Agra Gharana , which comes from the Nauharbani tradition , and the Jaipur-Atrauli Gharana , which comes from the Dagarbani tradition , the Atrauli Gharana emerged from the Gauharbani tradition . The following family trees are based on reports by Vilayat Hussain Khan . Alladiya Khan Alladiya Khan (10 August 1855 – 16 March 1946) was an Indian Hindustani classical singer who founded
208-465: The members of his family, Khansahab's initial disciples were Tanibai Ghorpade, Bhaskarbuwa Bakhale , Kesarbai Kerkar , Mogubai Kurdikar , Govindrao Shaligram, and Gulubhai Jasdanwalla . Alladiya Khan's students played a major part in extending the influence of Jaipur Gharana. Alladiya Khan's eldest son, Nasiruddin "Badeji" Khan (1886 – 1966), could not pursue singing as a profession because of health reasons, so Manji Khan and Bhurji Khan took forward
224-566: The tradition. Manji Khan, Alladiya Khan's second son, had started teaching Mallikarjun Mansur in 1935, but Manji Khan died in 1937 (around March 1937); so it was Bhurji Khan, the youngest son, who passed on the gayaki of his father. Pt. Wamanrao Sadolikar , Mallikarjun Mansur and Dhondutai Kulkarni are among the noted disciples of Bhurji Khan. Gajanan-buwa Joshi of Agra Gharana also received guidance from Bhurji Khan. Haider Khan's disciples included Mogubai Kurdikar, Laxmibai Jadhav, and his son Naththan Khan. Noted musicologist Vamanrao Deshpande
240-438: Was Naththan Khan's student. But Naththan Khan died in 1946, just a few weeks after Alladiya Khan's death. Mogibai Kurdikar's students include famous names like her daughter Kishori Amonkar , musicologist Vamanrao Deshpande, Kausalya Manjeshwar, Padma Talwalkar . Khan taught many disciples, several of whom achieved regional and international recognition. These include: Khan authored or revived many ragas. These include: Khan
256-633: Was known to have composed khayals , dhrupads , and dhamars that have become staples for the Jaipur-Atrauli repertoire and certain ragas. These include: 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. Khan was adamant about not having his voice and style recorded for fear of copyright. Though, there have been suspicions that ambiguous recordings may belong to Khan or his kin. A recording of
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