One of the biggest Classical Music Festival in India .This year the programme will be held from the 8-12 Dec 2005 at the New English School,Ramanbaug,Pune
HISTORY OF THE FESTIVAL -
Sawai Gandharva passed away on 12 September 1952. A private memorial concert to pay homage to him was held on the sixteenth day after his death. Sawai Gandharva's principal disciples, Smt Gangubai Hangal, Pandit Feroz Dastur and Pandit Bhimsen Joshi performed in this memorial concert as a tribute to the late guru.
In 1953, to commemorate the first anniversary of Sawai Gandharva's death, his disciples organised a music festival in his memory under the auspices of the Arya Sangeet Prasarak Mandal. This was a notable success. It was then thought that such a festival could be organised every year. The idea evoked instant and wide welcome and support The Festival in 1954 was an even greater success. Within a couple of years, the Festival grew exponentially.
Thus began the famed Sawai Gandharva Music Festival which, by now, has become one of the best-known classical music events in the country, as also a hallmark of Pune city's annual cultural calendar.
In the initial years, the festival used to be a one-day event where only vocalists from the Kirana gharana used to perform. Before long, however, it became a much sought-after platform, for vocalists from other gharanas as well as instrumentalists and dancers--established masters as well as upcoming artists-- from all over the country. Similarly, the duration was first increased to two days and then to three days.
PETA
Wednesday, December 07, 2005
Monday, December 05, 2005
KIRANA GHARANA ( VOCAL)
Gharana is a school or style of singing in Hindustani classical music. The ragas of Hindustani music have distinctive characteristics that change with gharanas and these may derive from the place of origin of a style, distinctive voices, the style of singing and the approach to music. These styles are then called gharanas.
Kirana Gharana is the most prolific of the Hindustani khayal gharanas.
The origin of Kirana Gharana is controversial. While some say Khan Sahab Abdul Karim Khan is the real founder of the gharana, others trace it back a few centuries to a line of musicinas from the village of Kirana in Uttar Pradesh. There are four known branches of this lineage of musicians. The first one has great musicians like Ustad Azim Baksh, Maula Baksh and Abdul Ghani Khan. The second branch boasts of names like Ustad Bande Ali Khan, Nanne Khan, Kale Khan and the legendary Ustad Abdul Karim Khan. The third branch has musians like Gafoor Khan, Abdul Wahid Khan, Shakoor Khan, Mashkoor Ali and Mubarak Ali. The distinguished family tradition of Mehboob Baksh, Rehman Khan, Abdul Majid Khan, Abdul Hamid Khan, Abdul Bashir Khan, followed by his sons Niaz Ahmed and Fayyaz Ahmed Khan, also express their allegiance to the Kirana tradition. Some argue that the Abdul Karim Khan's branch is the main one, others being the offshoots. In any case, the most well known and recognized branch of gharana is the one prmoted by Abdul Karim Khan. Abdul Wahid Khan also had a big influence, since a lot of the great masters of the gharana learnt under both Abdul Karim Khan and Abdul Wahid Khan.
The emphasis on elongating the notes and the importance to their resonance is a distinctive feature of this gharana. Khan Sahab Abdul Karim Khan (1872-1937) believed in the serene rendition of the notes as when playing the bin (a plucked instrument with resonators at both ends). Rehmet Khan of the Gwalior gharana is believed to have influenced Ustad Karim Khan's adoption of the direct style of presentation. Some have also indicated the influence of the sarangi (a string instrument) on the voice features of this gharana.
Kirana is the birth place of the Ustad, and situated near Kurukshetra. Ustad Karim Khan served as a musician at the Baroda and the Mysore courts and had a tremendous influence on the music of western India.
His own somewhat nasal voice led him to adopt the Carnatic style for singing the saptak (the seven notes). He preferred to sing in the slower tempo and stress the bol-alap through consonants because his own voice was not wholly suited to the lower register of notes. The aesthetic appeal was thus never marred and the continuity he desired was achieved. Other singers of the gharana, including his disciple Sawai Gandharva, used the upper register far more often than the lower. Some later singers, including Roshanara Begum and Bhimsen Joshi, sing almost equally in both octaves.
This factor has influenced the choice of ragas to those appropriate for the emphasis on the alap rather than the bandish. Karuna rasa (pathetic or sympathetic mood) is the foremost of the sentiments expressed through renditions that extend the notes gradually and use kanas (grace notes ) to fully express the raga. However, the lack of emphasis on voice projection and words led to a blurring of the lines as far as different ragas were concerned.
The emphasis on swara has led to a rather subtle tempo and rhythmic pattern, both factors allowing for the sentiment and mood to be highlighted. Due to this, the words of the bandish are not clearly enunciated and there are only a few in the Kirana gharana repertoire. Kirana includes thumri singing in its repertoire, but with the emphasis on swara rather than on emotion and an absence of the characteristic lilt of thumri singing.
Contemporary singers like Bhimsen Joshi cannot be said to sing in the pure Kirana style because of the diverse influences apparent in his singing. The swara orientation is not as strong and the tempo is no longer latent as is characteristic of the gharana. However, the emotional appeal of the pure Kirana style remains and so do the Kirana compositions.
Ragas traditionally performed by the gharana: Shuddha Kalyan, Darbari, Malkauns, Bhimpalasi, Todi, to name a few. Some ragas of Carnatic music - for example, Jogiya - are included in the repertoire.
Artists
Major artists in alphabetical order
• Ustad Abdul Karim Khan
• Ustad Abdul Wahid Khan
• Pt Basavraj Rajguru
• Pt Bhimsen Joshi
• Pt Firoz Dastur
• Smt Gangubai Hangal
• Smt Hirabai Barodekar
• Smt Krishna Hangal
• Pt Madhav Gudi
• Ustad Mashkoor Ali Khan
• Nachiketa Sharma
• Fayyaz Ahmed Khan and Niaz Ahmed Khan
• Smt Prabha Atre
• Pt Pran Nath
• Pt Rasiklal Andharia
• Smt Saraswati Rane
• Pt Sawai Gandharva
• Ustad Shakoor Khan (sarangi)
• Pt Sureshbabu Mane
Kirana Gharana is the most prolific of the Hindustani khayal gharanas.
The origin of Kirana Gharana is controversial. While some say Khan Sahab Abdul Karim Khan is the real founder of the gharana, others trace it back a few centuries to a line of musicinas from the village of Kirana in Uttar Pradesh. There are four known branches of this lineage of musicians. The first one has great musicians like Ustad Azim Baksh, Maula Baksh and Abdul Ghani Khan. The second branch boasts of names like Ustad Bande Ali Khan, Nanne Khan, Kale Khan and the legendary Ustad Abdul Karim Khan. The third branch has musians like Gafoor Khan, Abdul Wahid Khan, Shakoor Khan, Mashkoor Ali and Mubarak Ali. The distinguished family tradition of Mehboob Baksh, Rehman Khan, Abdul Majid Khan, Abdul Hamid Khan, Abdul Bashir Khan, followed by his sons Niaz Ahmed and Fayyaz Ahmed Khan, also express their allegiance to the Kirana tradition. Some argue that the Abdul Karim Khan's branch is the main one, others being the offshoots. In any case, the most well known and recognized branch of gharana is the one prmoted by Abdul Karim Khan. Abdul Wahid Khan also had a big influence, since a lot of the great masters of the gharana learnt under both Abdul Karim Khan and Abdul Wahid Khan.
The emphasis on elongating the notes and the importance to their resonance is a distinctive feature of this gharana. Khan Sahab Abdul Karim Khan (1872-1937) believed in the serene rendition of the notes as when playing the bin (a plucked instrument with resonators at both ends). Rehmet Khan of the Gwalior gharana is believed to have influenced Ustad Karim Khan's adoption of the direct style of presentation. Some have also indicated the influence of the sarangi (a string instrument) on the voice features of this gharana.
Kirana is the birth place of the Ustad, and situated near Kurukshetra. Ustad Karim Khan served as a musician at the Baroda and the Mysore courts and had a tremendous influence on the music of western India.
His own somewhat nasal voice led him to adopt the Carnatic style for singing the saptak (the seven notes). He preferred to sing in the slower tempo and stress the bol-alap through consonants because his own voice was not wholly suited to the lower register of notes. The aesthetic appeal was thus never marred and the continuity he desired was achieved. Other singers of the gharana, including his disciple Sawai Gandharva, used the upper register far more often than the lower. Some later singers, including Roshanara Begum and Bhimsen Joshi, sing almost equally in both octaves.
This factor has influenced the choice of ragas to those appropriate for the emphasis on the alap rather than the bandish. Karuna rasa (pathetic or sympathetic mood) is the foremost of the sentiments expressed through renditions that extend the notes gradually and use kanas (grace notes ) to fully express the raga. However, the lack of emphasis on voice projection and words led to a blurring of the lines as far as different ragas were concerned.
The emphasis on swara has led to a rather subtle tempo and rhythmic pattern, both factors allowing for the sentiment and mood to be highlighted. Due to this, the words of the bandish are not clearly enunciated and there are only a few in the Kirana gharana repertoire. Kirana includes thumri singing in its repertoire, but with the emphasis on swara rather than on emotion and an absence of the characteristic lilt of thumri singing.
Contemporary singers like Bhimsen Joshi cannot be said to sing in the pure Kirana style because of the diverse influences apparent in his singing. The swara orientation is not as strong and the tempo is no longer latent as is characteristic of the gharana. However, the emotional appeal of the pure Kirana style remains and so do the Kirana compositions.
Ragas traditionally performed by the gharana: Shuddha Kalyan, Darbari, Malkauns, Bhimpalasi, Todi, to name a few. Some ragas of Carnatic music - for example, Jogiya - are included in the repertoire.
Artists
Major artists in alphabetical order
• Ustad Abdul Karim Khan
• Ustad Abdul Wahid Khan
• Pt Basavraj Rajguru
• Pt Bhimsen Joshi
• Pt Firoz Dastur
• Smt Gangubai Hangal
• Smt Hirabai Barodekar
• Smt Krishna Hangal
• Pt Madhav Gudi
• Ustad Mashkoor Ali Khan
• Nachiketa Sharma
• Fayyaz Ahmed Khan and Niaz Ahmed Khan
• Smt Prabha Atre
• Pt Pran Nath
• Pt Rasiklal Andharia
• Smt Saraswati Rane
• Pt Sawai Gandharva
• Ustad Shakoor Khan (sarangi)
• Pt Sureshbabu Mane
Sunday, December 04, 2005
About Sawai Gadharva
An outstanding exponent of the Kirana gharana, Pandit Sawai Gandharva is by common consent counted among the greatest Hindustani vocalists of the twentieth century. He was a disciple of Ustad Abdul Karim Khan, the second in line after Ustad Bande Ali Khan, the founder of the Kirana gharana.
Rambhau Kundgolkar was born in Kundgol, Karnataka, in 1886. His odyssey in classical music began at a tender age, when he began learning dhrupad and dhamar from a local kirtankar. He was not yet in his teens when he started learning music in right earnest from Ustad Abdul Karim Khan. It was, however, not all smooth sailing for him, but rather an emotionally traumatic journey.
In his early teens, as is the case with most boys at that age, Rambhau's voice began to crack and undergo tonal changes that almost threatened to finish his career as a vocalist even before it could begin. It was the patience and perseverance of Abdul Karim Khan that helped his young disciple cope with his problems. The Ustad put the young Rambhau under a long and demanding programme of swarasadhana that helped him re-gain his confidence and control.
In due course, Sawai Gandharva also received training from other renowned gurus like Bhaskarbuva Bakhale and Nasir Hussain Khan of Gwalior. It helped in adding polish to a voice that was already dazzling, thanks to the grooming by his guru Utd.Abdul Karim Khan
Sawai Gandharva also excelled in the field of acting by playing several singer-actor roles in the Marathi theatre. In fact, it was because of his glorious performance on the Marathi stage that he got the appellation 'Sawai Gandharva', in the manner of the renowned singer-actor, Bal Gandharva.
Yet, music remained his first love. His exemplary concert performances continued until he came to be known as the "King of mehfils". Over the years,he developed a distinctive style of his own. In fact, music critics often explain that while both Abdul Karim Khan's teaching as well as Sawai Gandharva's voice might have had their limitations, the latter was able to tide over these drawbacks because he never blindly followed in the footsteps of his master. Besides being a vocalist par excellence, he also grew to be a wonderful teacher. His three most illustrious disciples, Gangubai Hangal, Firoz Dastur and Bhimsen Joshi, living legends in their own right, are the doyens of Kirana gayaki today.
Sawai Gandharva passed away, following a stroke, on 12th September 1952
Rambhau Kundgolkar was born in Kundgol, Karnataka, in 1886. His odyssey in classical music began at a tender age, when he began learning dhrupad and dhamar from a local kirtankar. He was not yet in his teens when he started learning music in right earnest from Ustad Abdul Karim Khan. It was, however, not all smooth sailing for him, but rather an emotionally traumatic journey.
In his early teens, as is the case with most boys at that age, Rambhau's voice began to crack and undergo tonal changes that almost threatened to finish his career as a vocalist even before it could begin. It was the patience and perseverance of Abdul Karim Khan that helped his young disciple cope with his problems. The Ustad put the young Rambhau under a long and demanding programme of swarasadhana that helped him re-gain his confidence and control.
In due course, Sawai Gandharva also received training from other renowned gurus like Bhaskarbuva Bakhale and Nasir Hussain Khan of Gwalior. It helped in adding polish to a voice that was already dazzling, thanks to the grooming by his guru Utd.Abdul Karim Khan
Sawai Gandharva also excelled in the field of acting by playing several singer-actor roles in the Marathi theatre. In fact, it was because of his glorious performance on the Marathi stage that he got the appellation 'Sawai Gandharva', in the manner of the renowned singer-actor, Bal Gandharva.
Yet, music remained his first love. His exemplary concert performances continued until he came to be known as the "King of mehfils". Over the years,he developed a distinctive style of his own. In fact, music critics often explain that while both Abdul Karim Khan's teaching as well as Sawai Gandharva's voice might have had their limitations, the latter was able to tide over these drawbacks because he never blindly followed in the footsteps of his master. Besides being a vocalist par excellence, he also grew to be a wonderful teacher. His three most illustrious disciples, Gangubai Hangal, Firoz Dastur and Bhimsen Joshi, living legends in their own right, are the doyens of Kirana gayaki today.
Sawai Gandharva passed away, following a stroke, on 12th September 1952
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