Swaramugdha

ह्या मालिकेच्या मागच्या  भागामध्ये आपण जयपूर-अत्रौली घराण्याचे प्रवर्तक उस्ताद अल्लादिया खान ह्यांच्या  आत्मचरित्राची समीक्षा पाहिली.  खानसाहेबांनी गायनाची तालीम आपल्या कौटुंबिक परंपरेनुसार घेतली होती. त्यामुळे सुरुवातीला  आपल्या कुटुंबातील व्यक्तींनाच गायनाची तालीम देण्याकडे त्यां चा  जास्त भर होता. कुटुंबाच्या बाहेर इतर कोणालाही तालीम देण्याबाबत ते साशंक होते. ह्याचे मुख्य कारण म्हणजे त्यांची क्लिष्ट गायकी पेलू शकणारा आवाज आणि ती आत्मसात करायला लागणारी जिद्द बाळगणारी माणसे  मिळ णे कर्मकठीण  होते !  पण अशी एक शिष्या त्यांना लाभली, आचार्या  सुरश्री  केसरबाई केरकर  ह्यांच्या रूपात !  खरेतर    खांसाहेबांकडून तालीम सुरु करण्याआधी  सुरश्रींनी काही निष्णांत गुरूंकडून  शास्त्रीय  गायकीचे धडे घेतले होते. एक चांगली गायिका म्हणून त्यांचे नाव ही   झालेले  होते. पण एका मैफिलीत आलेल्या अपयशाने त्यांना इतके अपमानित झाल्यासारखे वाटले की त्यांनी खांसाहेबांकडून साग्रसंगीत तालीम घ्यायचा  दृढ निश्चय केला. बऱ्याच खटपटींनंतर आणि फार मोठ्या  दक्षिणेच्या  मोबदल्यात खांसाहेबही तालमीला तयार झाले. माझ्याकडून क

गेल्या काही पोस्ट्समध्ये आपण जयपूर-अतरौली घराण्याच्या काही शागिर्दांच्या चरित्रांचे समीक्षण केले. घराण्याच्या अशाच एका एकनिष्ठ गायिकेच्या म्हणजेच गानयोगिनी धोंडुताई कुलकर्णी ह्यांच्या 'सूर-संगत' ह्या चरित्राची समीक्षा मी आज लिहीत आहे. ज्या काळात सुसंस्कृत घरांमध्ये गायन-नृत्यादी कला निषिद्ध मानल्या जात, खासकरून मुली व स्त्रियांसाठी, त्या काळात धोंडुताईंच्या वडिलांनी त्यांना उत्तम प्रकारचे गाणे शिकवायचे ठरवले. त्यासाठी त्यांनी अनेक अडचणींचा सामना केला. आणि त्यांच्या ह्या धडपडीमुळेच खुद्द अल्लादिया खांसाहेब आणि त्यांच्या जवळच्या कुटुंबीयांकडून धोंडुताईंना गायनाची तालीम व मार्गदर्शन मिळाले. पुढे सुरश्री केसरबाई केरकरांच्या एकमेव शिष्या बनून त्यांच्यासारख्या शिस्तशीर आणि कडक स्वभावाच्या गुरूकडून विद्या आत्मसात करण्याचे शिवधनुष्यही त्यांनी पेलले. ह्या विद्यार्जनात कोणताही अडथळा येऊ नये म्हणून त्यांनी त्यांनी लग्नदेखील केले नाही. अशाप्रकारे वर्षानुवर्षे तपश्चर्या करून मिळवलेल्या ह्या मौल्यवान विद्येचा आब राखत, ज्या काळात गायक पैसा आणि प्रसिद्धीच्या मागे लागले होते, त्या काळात कोणत्या

The prominent figures we encountered in my previous reviews, Ustad Alladiya Khan and Surashree Kesarbai Kerkar , hailed from artistic backgrounds. During their era, art forms such as dance and music were primarily associated with royal courts and individuals from artistic or noble families. These pursuits were not common among the general populace in society and were even deemed unsuitable for gentlemen. However, there were individuals with immense passion and determination who, despite facing hardships and defying their families' wishes and societal norms, chose to pursue music. These remarkable individuals warrant our gratitude for two significant reasons: they introduced music into the lives of everyday people like us and played a pivotal role in its evolution from the exclusive domain of royal courts to a broader, more accessible audience. Their contributions have been instrumental in ensuring the survival of this cherished tradition.  One such legendary artist belonging to Ja

I've recently started learning the captivating raga Jait Kalyan, a distinctive gem belonging to the Jaipur-Atrauli gharana. It holds a place among the revered Anwat ragas. In a simple language, it has Madhyama and Nishada varjya (missing), all other swaras are shuddha. Now, one might wonder if this configuration resembles the Bhoop raga. However, that's not the case, as Jait Kalyan follows a unique path, steering clear of rishabh and dhaivat in the ascending notes (aroha). These swaras are durbala (weak) in avaroha too. Anticipating a possible objection, one might argue that this configuration alone doesn't meet the minimum requirement of five swaras that a raga typically demands. However, my friend, music is an art, and its scientific underpinnings merely serve as a guiding framework. This is why exceptions persist; the Jaipur Gharana's musical expression thrives on these exceptions, giving rise to emotions and flavors that charmingly resonate.  Returning to Jait Kalya

 After spending quite a while practicing Indian classical music, particularly the distinctive Jaipur-Atrauli gharana style, I often encounter mysteries that I yearn to crack. Why does it carry such complexity? And what draws it to the allure of Anwat (uncommon and intricate) ragas? This curiosity naturally led me to the legendary Ustad Alladiya Khan, known as the pioneering architect of this gharana. In my search, I stumbled upon his autobiography, 'Sangeet Samrat Khansaheb Alladiya Khan - My Life'. To say it left me amazed would be an understatement; it utterly captivated me and provided me with a wealth of insights. Alladiya Khan Saheb's captivating journey comes alive within the pages of this extraordinary book as he shares his life's narrative with his grandson, Azizuddin Khan. Translated from the rare manuscript, the book delves into his formative experiences, engagements within royal courts, and interactions with fellow musical luminaries. It offers a window into

 Immersing oneself in a variety of musical renditions of a raga is the best way of learning it and as I delve myself into learning Raga Madhmad Sarang, a very evocative raag performed in the late afternoon, I started looking for different renditions in it. Upon searching YouTube, the first result that caught my attention was a rendition by the legendary Pandit Jasraj, a personal favorite of mine. Without hesitation, I pressed the play button, and what unfolded next was nothing short of a sublime experience.  The rendition of the bandish 'rasikani radha palana jhoolai' by him is truly celestial. Instead of simply listening to explore Madhmad Sarang, I found myself completely immersed in it. As I absorbed the performance, vivid imagery unfolded before me: the enchanting sight of Radha gracefully swaying on a swing adorned with resplendent jewels, surrounded by joyful onlookers. It was as if the music poured down like honey, a sweet cascade to my ears. With each note, I felt merel