Music permeates all dimensions of our Indian cultural existence and expression. There are songs for every social and cultural situation. Musical talent stays with oneself for life and is an unending source of joy. Music across the regions have their nuances; some culturals are boisterous, some expressive, others soft while some have music rooted deep inside their existence. Maharashtra and its culture has music deeply ingrained. Maharashtra is the land of the brave. For many centuries it was under foreign rule. Even after winning back and ruling most parts parts of the country, it was a struggle for survival against enemies. Maharashtra therefore in the last thousand years never had the stability needed to pursue arts. This need had been fulfilled by its long tradition of saint-poets whose devotional compositions were sung by commoners and minstrels across the land. Powada- or songs with a heroic fervor were composed and popular. Shahirs or poets were known to compose Lavanis that embodied the amorous expression too. The Indian (Hindustani) Classical Music however was the preserve or forte of the northern parts of India. Maharashtra did not possess the time, resources or environment then to support, develop and curate the intensive classical art form. Winds of change were however seen in the nineteenth century. In just over hundred years the situation was to soon turn on its head. This very region was to be the stage, platform, audience, teacher and support system for Hindustani Classical Music. Hence Maharashtra or Deccan played its role more than adequately in the popularising and re-establishing the art in the new era. Here I refer not to the boundaries of the present day state of Maharashtra but to the larger area culturally influenced by it.
The first decades of the 1800s was a tumultuous era. Marathas were among the last powers to stand up to the British. Soon the entire country was to come under the British sway. Society and social structures were undergoing fundamental changes. Delhi throne was history, princely states that had accepted British authority were the new places of patronage for the arts and the artists. Maharashtra had a few princely states however they were generally smaller compared to many others in the country. The largest among the princely states in Maharashtra was Kolhapur. Their smaller size and modest means were made up more than adequately by the progressive outlook and support to art, education, enterprise and scholarship, offered by most of these princely states.
Gwalior then was considered the powerhouse of music. The region that produced a gem like Tansen in the past was the reservoir of talent and guiding light for musicians. Far away in Maharashtra, south of the Vindhyas, attraction to reach Gwalior and learn from the best ustad and guru of music lingered in the minds that were enchanted by the urge to learn music. Traveling to Gwalior and learning music was no easy task for there were multiple impediments. Society in general and families in particular did not encourage their own ones to take up music. Musicians though admired for their performance were socially not a respected for their profession. The social norms of the era and the habits as well as lifestyle of the musicians were equally responsible for this lack of honour. Hence for many of the young boys who wanted to master music in many ways were mavericks, swimming against the social norms. Families did not approve of their intention and the young boys often ran way from their homes in search of the gurus who were at the far-away fabled lands. The journey from Maharashtra to Gwalior and other places in northern India was by no means easy. The boys had no money in their pockets. The journey across the mighty rivers and Vindhyas was on foot if no means or money were available. Alas many of the gurus of that era had a peculiar temperament and really tested their students resolve. Students were at the mercy of their guru in all aspects. Gurus had their own inhibitions about sharing their musical knowledge with an open mind. The gurus would not know that despite their own reluctance and inhibitions, these young boys would be maintaining their art.
The Early Generation
Among the boys who undertook this journey was a young Vasudeo Joshi from Nagaon in Thane District. Considering that he lived till 1890, it may be reasonable to assume that he may have been born in second or third decade of the 1800s. Vasudevbua trudged his way to Gwalior and became a disciple of the great Hassu Khan himself.
The Gwalior Gharana story begins with Nathan Peerbaksh. His son Kadar Baksh had three sons Natthu, Haddu and Hassu Khan to whom he taught music This was the beginning of Gwalior Gharana in its modern avtaar. Nathan Peerbaksh was also the ustad or teacher of Ghagge Khuda Baksh who had a defect in his voice hence was called ‘Ghagge’. Through perseverance, hard work over many years, Nathan Peerbaksh tutored him into a fine artist. Ghagge Khuda Baksh is considered the founder of Agra Gharana. Nathan Peerbaksh can thus be credited to tutoring the doyens of two distinct gharana – Gwalior and also Agra. It was this Nathan Peerbaksh’s son Hassu Khan who himself tutored Vasudevbua Joshi.
Another early name from Maharashtra is that of Ramkrishnadev Paranjape known popularly as Devjibua. He was a lad from Pune. It was the era when Bajirao-II was banished to Brahmavarta or Bithoor near Kanpur. Ramkrishnadev’s maternal uncle had moved to Brahmavarta with Bajirao-II. The young boy joined his uncle at Brahmavarta. At the court of Bajirao-II was a Dhrupad singer named Chintaman Mishra. It is said that he learnt from him for twenty four years and moved to Gwalior. There he learnt under Hassu Khan. He gained renown as known as Devjibua and became a durbar singer at Gwalior. Later, he became the durbar musician at Dhar.
These pioneers from the Maharashtrian soil went north, gained musical wealth and fame. They remained part of the musical scene in North India. Though they may have toured Maharashtra later they settled in the north. It was probably natural, given that the patronage was easily available there rather than in Maharashtra. However it was not that Maharashtra was completely bereft of Indian Classical Music. The Chhatrapati durbar at Satara was probably among the first to introduce Maharashtra to khyal gayaki through a renowned singer at their service named Waris Ali. The states of Sangli, Jat, Mudhol, Kagal and few others also had dhrupad and khyal singers in their service. Nevertheless the patronage received in the north was of an entirely different magnitude.
Among the earliest khyal singers in Maharashtra was a person Mahadevbua Gokhale. Born in the village of Khol in Ratnagiri district the young Mahadev was blessed with a melodious voice. He left his home and reached Miraj. There under the patronage of Miraj ruler he started learning dhrupad under a singer there. Not fully satisfied he went to Satara where he started learning under Bapusaheb Budhkar. The guru of Bapusaheb Budhkar named Jainul Abdeen Khan was scheduled to perform a concert at the town and state of Kurundwad. The reference to Kurundwad will come again, since small towns/states like these did a lot to nurture people with the right talent. Mahadev was completely mesmerised by the singing of Jainul Abdeen and resolved to learn music under him. Mahadev along with another friend Antubua Apte ( possible name may have been Ananta – Antubua) left for Hyderabad where Jainul Abdeen Khan was based, to learn from him. For a few years Jainul Abdeen was in Maharashtra, where he was the raj gavai of Biwalkar Maharaj at Alibaug. Among his disciples were Rambhau Alibagkar, Trimbakrao Godbole. He was also at Pune for two years – there he taught Mishrabai a naikin or courtesan who was renouned for her singing. After many years of tutelage Jainul Abdeen Khan gave him permission to leave. Mahadevbua had accumulated a rich repository of a 110 raga with his commentary. He also transcribed 1200 bandish. With this musical wealth by his side, Mahadevbua left Hyderabad for Maharashtra. He was the durbar singer at various states including Miraj and Jamkhandi. Towards the end of his career he was the singer at the Kolhapur durbar. He taught music to all his four children. Towards the end of his life he came back to Miraj where he passed away at the age of eighty eight. Considering that he was born in 1813 his end would have come in 1891. The music gharana was initially known as the Miyan Gharana and later as Gokhale Gharana. Other than his four sons who continued the tradition, his disciples included – Sakaharam Sawashe, Bandopant Kolhatkar,
Dhondopant Kelkar, Naropant Jog, Ramaa Saani a naikin.This Gharana music however did not live long. Nevertheless it can be considered among the first of the established gharanas in the Deccan and Maharashtra in particular.
The Second Wave
Classical music in Maharashtra owes a lot to Balkrishnabua Ichalkaranjikar. His efforts were representative of the ‘second wave’ where young boys enchanted by music gave everything they had to go north and gained musical knowledge. Unlike the earlier generations however who went up north and carved a name for themselves, this wave was different in that the boys and youngsters acquitted themselves well yet did not stay in the north after acquiring the knowledge. They came back to Maharashtra where they seeded this knowledge and appreciation of music in hundreds of thousands of hearts.
Balkrishnabua was born in 1849 at a village near Miraj to Rambhat Joshi of Chandur village near Ichalkaranji. Rambhat had learnt music from Balaji Bua of Satara and hence music was not alien to Balkrishnabua. Joshi were traditional profession was priesthood. Though his father wanted him to learn music, he was sent to his paternal uncle at Ichalkaranji to learn priestly duties at the age of five after he lost his mother. Balkrishna did not have much inclination or liking for priestly career and ran away from home at the age of ten in search of a guru. He tried to learn music Vishnubua Joglekar a Hardas from Mhaisal, Alidat Khan from Jat, Bhaubua Kagwadkar of Kolhapur, Wamanbua Kavthekar, Ravjibua Gogate. Though the learning progressed, Balkrishna was not satisfied with the progress achieved. Once Ravjibua spoke harsh words and insulted Balkrishna. Stung by it, Balkrishna took a vow that he would one day be a better musician than Ravjibua and only then would he return to Ichalkaranji.
Balkrishna did not have money and hence travel to North India was not easy. Often it was on foot. Steadily he reached Dhar in present day Madhya Pradesh. Dhar State was ruled by the Pawars who were originally from Maharashtra. At Dhar he became a student of Devjibua – Ramkrishnadev Paranjape, who was a good guru. Devjibua’s wife however hated Balkrishna and did her best to create hurdles whenever Devjibua taught music to Balkrishna. Enduring all the hardship and harassment, doing household chores of the family Balkrishna persisted. The hurdles and opposition reached such extremes that one day Balkrishna was left with no alternative but to quit their home and learning.
From Dhar, Balkrishna reached Gwalior. He went to Vasudeobua Joshi disciple of Hassu Khan and sought to be his student. When Vasudeobua learnt that Balkrishna had been a student of of Devjibua, Vasudeobua refused to teach him. The struggle to search for a guru started now started in an alien land. Balkrishna’s quest brought him to Kashi. Once again the paths crossed and he met Vasudeobua there. Vasudeobua had a change of heart and regretted his earlier decision of not taking him on as a student – let bygones be bygones, I will teach you music he said. Hence at last Balkrishnabua’s learning was on track again. At Gwalior Balkrishna excelled under Vasudeobua. His proficiency was outstanding and this came to the knowledge of Mohammad Khan, the son of Haddu Khan. Hassu and Haddu Khan duo,both renowned singers were sons of Kadar Baksh – Vasudeobua was student of Hassu. Mohammad Khan asked Vasudeobua to allow Balkrishna to be taught by Mohammad Khan himself. This was an honour indeed, the family of Vasudeobua’s guru wanted to teach Balkrishna ! Vasudeobua gladly released Balkrishna and this further enriched Balkrishna’s learning. Vasudeobua was a performing artist and toured across the country. He took Balkrishna along on tours across Maharashtra, Kolkata and Nepal. The tour to Nepal took toll on Vasudeobua’s health and he feel sick. A true shishya, Balkrishnabua nursed him till the end and earned the blessings of his guru. After the death of the guru, Balkrishnabua decided to return to Maharashtra.
At Miraj, with the help of Rajesaheb of Miraj he started a music school. Gundubua Aundhkar who he lovingly referred as Gundamaharaj, Vishnu Digambar Paluskar, Anant Manohar Joshi, Wamanbua Chafekar, Shridhar Balwant Pendse, Shrikrishna Herlekar, Neelkanthbua Jangam,were his disciples here. The credit of popularising the khyal gayaki in Maharashtra goes primarily to Balkrishnabua. Before his efforts, it was primarily Dhrupad that was popular in Maharashtra. The period between 1875 to 1895 was the peak years of his popularity in Maharashtra and he was in great demand. We see many Classical recitals ending with a devotional rendition or bhakti rachana. this practice was started by Balkrishnabua. He also started teaching music at at Satara in 1877 at Satara since he joined Satara Durbar. He came to Mumbai in 1882 where he established his Gaayan Samaj. The samaj had students like Sir Ramkrishna Bhandarkar, Justice Telang. Along with his Sitar player friend Vishwanath Kale, Balkrishnabua started magazine Sangeet Darpan. It most likely would have been the first periodical in India dedicated to music. Balkrishnabua suffered from asthama hence could not continue for long at Mumbai.
For a while he was at the durbar at Aundh near Satara. He relocated to Miraj since medical treatment for asthama was available with Rajesaheb of Miraj. He later moved to Ichalkaranji where he continued his mission of teaching music. Balkrishnabua’s students spanned different generations – from his early student Ganpatibua Bhilawdikar to his last shishya Yashwantbua Mirashi. His efforts saw many taking a liking to classical music. It can be said that Balkrishnabua was the one who brought and seeded the Gwalior Gharana gayaki in Maharashtra. In 1896 – a very intelligent student of his – V D Paluskar left quietly to chart a different yet impactful path. Though it may have seemed a serious setback, it was infact the beginning of a great new chapter that enriched music and Gwalior Gharana.
The Virtuous Rebound
Vishnu Digambar Paluskar was born on 18 Aug 1872 at Kurundwad, a small princely state not too far away from Sangli-Miraj. His father was a kirtankar. The young Vishnu was a bright student, however an accident occurred when Vishnu was lighting fireworks. The accident permanently damaged his eyesight and thus his school education came to a halt. Vishnu was a good singer and blessed with a melodious voice. The Rajesaheb of Kurundwad arranged for his music education at Miraj under Balkrishnabua Ichalkaranjikar. At Miraj also the young Vishnu earned the affection and support of the Rajesaheb of Miraj. For nine years Vishnu learned under his guru Balkrishnabua Ichalkaranjikar and was among his popular students. One day in 1896 he left Miraj requesting leave for a few days on a pretext. However he had left not to return, at least in the immediate future till his vision was realised. Paluskar was driven by a mission to ensure that music receives respectability it deserved. Those days musicians were were not given their respected status in society. Music was performed either at the kings court or at the courtesan’s parlors. Becoming a singer, musician or performer was not considered favourably by respected families. Paluskar wanted to change people’s outlook towards music and musical performances. To achieve that he knew that discipline, sobriety, a methodical approach and spotless character in music education and and also personal standards was essential.
After leaving Miraj he traveled to different towns and cities – Aundh, Satara, Pune, Mumbai and onward to Baroda. He got an opportunity to perform in front of Maharani Jamnabai-saheb who was thoroughly impressed. Paluskar was was requested to stay at Baroda longer. At Jamnabai’s recommendation he was invited to perform at many places including some princely states. He was bestowed with gifts and money and could have led a prosperous life. However he was on a mission that was much bigger than earning money and prosperity for himself. He traveled across the country – Gujarat, Rajasthan, Punjab, Uttar Pradesh, Kashmir and performed at various places. Paluskar’s guru Balkrishnabua had brought music from Gwalior to Maharashtra – Paluskar was now completing the circle, he was going northwards to show how the Deccan Pandits sing ! He stayed at Mathura for 7-8 months. Learnt the Brajbhasha and Hindi language and diction. At Aligarh his barber who was a bit knowledgeable about music told him that music can be documented using music notations and also told him about Sanskrit texts about music. Though it was his barber who told him, it was a brilliant idea. Rote learning was the only method used to tech music till then ! Paluskar developed the idea further and this enabled formal music learning. Paluskar was a staunch nationalist and did not take kindly to the British rule. However in the field of music it did not stop him in discussions and insights on western music from band master Mr James at Jodhpur.
On 5 May 1901 at Lahore, he established the Gandharva Mahavidyalaya. This was an revolutionary milestone in the world of music and music learning. It was now possible to learn music for ordinary people without having to tend to the whims of the gurus. The idea was scorned by traditionalists. How can music be taught in this manner they said. In 1916 at the Baroda Conference Atiya Begum sniggered and asked – How many Tansen did you create in your school. Paluskar said – ‘Tansen himself was unable to create another Tansen, who then am I. However I have done something that Tansen could not do. I created thousands of ‘Kansen’ in society.’ He was so correct, for Tansen to thrive, thousands of Kansen are needed.
Another individual did some path-breaking work in music – He was Vishnu Narayan Bhatkhande. Paluskar was as an artist who harnessed thinking and logic to codify musical knowledge. On the other hand Vishnu Narayan Bhatkhande was a thinker who searched for the grammar behind music. Bhatkhande was elder to Paluskar by about twelve years having being born on 10 Aug 1860. Both Paluskar and Bhatkhande were walking their own paths. In 1897, Paluskar had done something unthinkable for the era. At Rajkot he organised his concert with ticket sale for attendance. This something unheard, tickets and music concert ! Even Paluskar’s guru Balkrishnabua was surprised and disapproved it. Bhatkhande however liked and supported Paluskar’s idea. Paluskar wanted that such a concert be organised even in Mumbai, when it was organised Bhatkhande purchased ticket and attended the concert. In fact he became a regular patron.
Bhatkhande and Paluskar had attempted to collaborate also. Bhatkhande proposed that he would deliver a lecture weekly at Paluskar’s Gandharva Mahavidyalaya in Mumbai on a selected raga and follow it up with a performance. Paluskar was generally supportive of this idea but wanted some changes to the format. Both disagreed on the specifics, one small thing led to another, each one stayed firm on own idea and that unfortunately ruined possibilities of future collaboration and dialog. B R Deodhar, a student who had studied at Gandharva Mahavidyalaya under Paluskar and also studied under Bhatkhande was a a kind of bridge connecting the two Vishnu !
Like Paluskar, Bhatkhande also charted his path motivated by the need to codify and structure music with a view to promote and teach music. In 1918 at Gwalior he established Madhav Sangeet Vidyalaya, with backing of the Maharaja. The Ganga had reversed its flow. Earlier students from Maharashtra trudged upto Gwalior to learn. Now it was the turn of Maharashtra or Deccan to teach music to Gwalior. A music school, run by a person from the Deccan having a curriculum and texts was a great shift that was resented by the traditionalists.
On 16 Sep 1926, at Kaiserbaug, Lucknow, in the presence of Governor, Sir William Morris Bhatkhande established a music school. It was named Morris Music College. First principal was Madhavrao Joshi.
Till 1927 Bhatkhande resided at Lucknow and was involved in the teaching activities. There was a good response and in search of bigger location the the Music College was located to the old Govt building at Kaiserbaug Road in 1928. Among the students from the College who later became famous were Dhurjatiprasad Mukherji and Pahadi Sanyal. Among the nest known disciples of Bhatkhande was Shrikrishna Narayan alias Annasaheb Ratanjankar. Co-incidentally during his younger days, Annasaheb studied under Antubua Joshi who was guru-bandhu of Vishnu Digambar. Annasaheb had also studied Agra Gharana music under Ustad Faiyyaz Khan at Baroda, at the recommendation of Bhatkahnde. Annasaheb Ratanjankar served as the Principal of Morris College (later renamed as Bhatkhande Sangeet Sansthan) for many years and carried the legacy of Pandit Bhatkhande forward. Among Ratanjankar disciples were S C R Bhat, K G Ginde, Dinkar Kaikini, Sumati Mutatkar.
Another early pioneer from Maharashtra was Ramkrushnabua Vaze born on 28 November 1871 at Vazare in Sindhudurg District of today. He initially studied under Vithoba-anna Hadap of Malwan. At Kagal Balwantrao Pohore was durbar singer under whom he studied. The quest to learn music made Ramkrushnabua take the arduous journey to Gwalior via Pune and Mumbai, much on it on foot. At Gwalior he became the student of Nisar Hussain Khan. The guru or ustad of that era were a different lot. Learning from them and endearing to their whims was not easy. What could have been learnt in 5 years took 12-15 years since in the first four years guru taught only 4 cheeza. During his times Vazebua’s records were quite popular. He had the honour of being appointed the court musician of Nepal. Among his disciples were Keshavrao Bhosale, Bapurao Pendharkar, Dinanath Mangeshkar and Vinayakrao Patwardhan.
Bhaskar later the renouned Bhaskarbua Bakhale was born on 17 Oct 1869 and spent childhood days at the Baroda Sansthan. The young Bhaskar following and supporting Vishnubua Pimpalkhare a singer-kirtankar there. On hearing about this talented boy, Maharaja Sayajirao Gaikwad had him enrolled in the ‘Gayan-shala’ of the sansthan. Maula Baksh was the guru of this establishment. In 1884 his performance at the annual function of this music school caught wide attention. The news reached Annasaheb Kirloskar who decided to enlist the young boy into his natak-company. Bhaskar joined the company and he was doing well, when his voice was impacted as he came of age. His efforts to get it back in control were mocked at ang the young Bhaskar felt the pain and insult. Bhaskar vowed – until this Bhaskar becomes Bhaskarbua will not show my face and saying so he left the Kirloskar Natak Company.
He went back to Baroda and stayed with his sister Tanibai. Nyayaratna Telang was a prominent citizen was his well-wisher entrusted him to the raj-gayak of Baroda Faiz Mohammed Khan. Faiz Mohammad had been a shagird of the legendary Kadarbaksh, the father of Hassu and Haddu Khan who brought fame to Gwalior Gharana and ustad of Gagge Khudabaksh who is credited with being the fountainhead of the Agra Gharana. First few months at Faiz Mohammed were a waste since Faiz Mohammed did not tech him much. When Telang came to know of the situation he intervened and that was when his training really started. This training laid the solid foundation of Bhaskarbua’s gayaki. He was a sangam of music gharanas. – he learnt how to present a cheez and alaap from Faiz Mohammed Khan, from Natthan Khan Agrewale it was laykaari and bol-taan, and from Alladiya Khan it was minute, intricate and hidden gayaki that he imbibed.
He had a fan following from across Karnataka, Maharashtra, Sindh, Punjab and Kashmir. In fact his title Dev-Gandharva was earned when in Punjab where he had a huge following. The renowned sarangi player Zande Khan accompanied him in his first recital itself. Alia- Fattu, Miya Jaan, great names of the Patiala Gharana by themselves, were others performers of caliber who had done his sangat. It is said that Bhaskarbua’s gayaki impressed Zande Khan so much that he had tears in his eyes and after his recital laid the sarangi at Bhaskarbua’s feet.
Bhaskarbua had been a student of music across different gharanas and that indeed was his uniqueness atleast at that point in time when loyalty to a gharana was supreme. He thus imbibed specialties across different gharana. Among his students were Bal Gandharva, Master Krishnarao, Tarabai Shirodkar, Gundopant Walawalkar and others. He also taught Kesarbai Kerkar for sometime. His contribution in the form of an institution – Bharat Gayan Samaj at Pune through which music teaching is alive and thriving to this day was his great gift to popularising music. Till his very end in 1922 he continued his apprenticeship with Alladiya Khan with whom he shared a very warm relationship.
In addition to Paluskar and Bhatkhande there was a third Vishnu was was instrumental in Maharashtra’s music journey. More popularly known for this pioneering work in entirely different area, this Vishnu was a accomplished musician. Vishnupant Chhatre is known as the father of the Indian Circus world. Vishnupant Chhatre’s father was an employee of the Jamhandi State. The young Vishnu since childhood was fond of animals and his hobby was to teach his animal friends to do some tricks. He was also fond music though he had not formally studied music. Vishnu was employed as Chabukswar ( at the stables) at the Ramdurg Sansthan. Once, at Kurundwad Vishnu and his few friends were together in an informal maifal. At the prodding of his friends Vishnu sang but not so well. Dattopant Phadke his friend, a Veena artist remarked that ‘Vishnu, you will never be able to sing in your own life’. Vishnu took it up as a challenge and vowed ‘Will go the north, learn music and teach you music, this is my challenge’. He left his job and reached Gwalior. He went to Sardar Babasaheb Apte – leading horse expert. When asked about his objective, Vishnu said ‘I will learn Ashwa-vidya for a living and music as my hobby’. He became a shishya of the great Haddu Khan. It so happened that he was traveling with Haddu Khan and his family in a boat across a river. The river was in spate and the boat want into a spin. Vishnupant braved his life and saved Haddu Khan’s family. After this incident Vishnu became is most favoured disciple.
Around 1882 Vishnupant was challenged by a few rulers when the circus of Mr Wilson performed. Vishnupant took the challenge and started his own circus. It was the first Indian circus. In 1892 when the circus was touring Kashi he heard of an auliya sheltered by a Brahmin Family. The person begged for alms but was an amazing singer. Vishnupant out of curiosity wanted to see for himself. He was shocked to see that the person was none other than Rahimat Khan his guru bandhu and the extremely talented son of his guru Haddu Khan. Vishnupant told that Brahmin that he is in a position to look after Rahimat Khan and will take care of him his whole. Vishnupant brought a lot of stability and direction to Rahimat Khan’s life. He took care of him. Vishnupant used to provide the stimulus in his mehfils in the form of assisting him on the tanpura, at times when needed, he used to take care of him as a young child would need. Vishnupant was a patient guardian who used to manage Rahimat Khans whims in a mature manner. Rahimat Khans addiction to opium was an irritant, however it was managed to the best possible extent. Rahimat Khan used to address Vishnupant as ‘dada’.
Rahimat Khan did many mehfils in Mumbai at respected locations including bungalows of the rich and famous like Nana Shankarshet himself. Vishnupant had saved the Gwalior Gharana gayaki twice – once when he brought Haddu Khan’s boat to safety and the other when he brought back Rahimat Khan back into civilised world ! Rahimat Khan was probably the first among the singers from the north to settle in Maharashtra. There would be many more.
New Harbour of the Gharanas – Maharashtra
With social changes and changes to the systems that patronised music, newer centers emerged as foremost centers of musical learning and performance. Earlier the durbars in the north were great supporters of music and most singers and musicians depended on its patronage. This were gradually changing, wealthy business people and common citizens were the new class of patrons. The Sangeet Natak over decades had gradually created an informed audience for Classical Music in Maharashtra. The comparatively liberal social environment meant that the taboo associated with learning music among the educated classes was gradually diminishing. The Mumbai, Pune, Goa, Sangli, Miraj, Dharwad region was already fertile with so many talented people taking to music. It was thus a very natural progression that the epicenter of music from across the country moved to the Deccan or Maharashtra.
The musical world had indeed come a full cycle. The migration continued for a long time. Among those who moved into Maharashtra were Nissar Hussain Khan of Gwalior gharana, Alladiya Khan of Jaipur Gharana, Abdul Karim Khan, Niyaz Ahmed Khan and Faiyyaz Ahmed Khan brothers of Kirana Gharana, Vilayat Hussain Khan of Agra Gharana and Bade Ghulam Ali Khan of Patiala Gharana who had migrated from Pakistan. The great maestro of Jaipur Gharana Alladiya Khan Saheb used to say ‘Uttar paida karti hain, magar Dakkan daad deti hain.’It was Maharashtra that soon became the ashraysthan of music – Miraj, Kurundwad, Kolhapur, Ichalkaranji, Pune, Mumbai became the musical towns and cities. The singers and musicians from North Indian who settled here also made Maharashtra their own home. Marathi people, language, traditions, culture, literature, music, theater, they appreciated it all and wove it in their lives here. The people and their disciples also opened up their hearts. Thus they never wished to return back to the north.
Gwalior Gharana
The Gwalior Gharana is considered the mothership of many other musical Gharanas. It was this Gharana that fascinated the first generation of young lads from Maharashtra who braving odds went to the north and Gwalior in particular. Nathan Peerbaksh is considered the progenitor of Gwalior Gharana. For three to four generations after him Gwalior remained the key location where doyens of the Gharana were generally based. Noted composer and music scholar and critic, Shri Keshavrao Bhole said ‘Balkrishnabua, Vazebua and Bakhale shifted the shravan-bhumi and karma bhumi of khyal gayaki to Maharashtra.’ These three masters endured great hardships to study music from temperamental gurus and hence they suffered as lot. However this realisation ensured that they did not commit these mistakes and spread music knowledge with an open heart and mind. This tradition of the mercurial gurus was also ended by these stalwarts.
Agra Gharana
Gagge Khudabaksh (1790-1880) is considered the originator of the Agra Gharana. The prefix Gagge was meant to indicate his defective voice. Tired of the constant insults and remarks he went to Gwalior to Natthan Peerbaksh ( Hassu-Haddu Khan were his grandchildren). Natthan Peerbaksh told Khudabaksh to learn khyal rather than Dhrupad given the infirmities in his voice. Peerbaksh’s advice provided much needed solace to Khudabaksh. He said that this would be tough however results would follow. After learning and practicing for twelve years Khudabakhsh returned to Agra. He blended the original Dhrupad style with Gwalior Khyal style. This synthesis led to the Agra Gharana of Khyal gayaki. Natthan Peerbaksh was in a sense the guru of two gharanas – His grandchildren Haasu and Haddu Khan became the originators of Gwalior gayaki while his shishya Gagge Khudabaksh became the fountainhead of Agra gayaki.
Mumbai first got exposure to Agra Gayaki when Sher Khan, nephew of Gagge Khudabaksh traveled here. Sher Khan liked the city and was here for eight years. The first Agra musician to create shishya in Maharashtra was Natthan Khan – Sher Khan’s son. Natthan Khan was trained by Ghulam Abbas. Three distinguished disciples trained by Ghulam Abbas were his grandson (daughters’s son) Faiyyaz Khan , Natthan Khan and Natthan Khan’s son Vilayat Hussein Khan. Natthan Khan was at Jaipur in the initial period.
Natthan Khan who had came to Baroda and the Maharaja showered him with respect and riches. It was here that Natthan Khan was introduced to the young Bhaskar (bua) Bakhale who became his disciple here. Bhaskarbua later moved to Mumbai with Natthan Khan. The Mysore Durbar appointed Natthan Khan as the Raj-Gavai. Natthan Khan showered Bhaskarbua with immense love and affection the like his own son. Natthan Khan left this world on 1901. Before he died he instructed Bhaskarbua to continue training under Alladiya Khan of Jaipur Gharana.
Faiyyaz Khan was another popular singer of Agra Gharana in Maharashtra . From his late fathers side he was from the Rangile Gharana. However since his father Sabdar Hussein Khan died before he was born, his mother moved back to her father Ghulam Abbas Khan, who taught him music. In 1906 when in his twenties Mysore Maharaja had honoured Faiyyaz Khan with a gold medal. From 1912 he became the Durbar gayak of Baroda Court. Faiyyaz Khan had a soft corner for Maharashtra and Mumbai.
Son of Natthan Khan – Mohammad Khan, Bhaskarbua Bakhale, Bablibai Parkar, Unus Khan son of Vilayat Hussein Khan, his newphews Khadim Hussein Khan and Latif Hussein Khan were all residents of Mumbai Vilayat Hussein Khan not only stayed but also developed a loving association with the people and language. Learning Marathi was his hobby. He used to carry a small notebook where he used to note down a cheez or a new Marathi word. He used to write letter to his students in Marathi.
Vilayat Hussein Khan taught many students during his life. Indirabai Wadkar, Saraswatibai Fatarphekar, Shrimatibai Narvekar, Vatsalabai Parvatkar, Ramabai Honawarkar, Gajananbua Joshi, Jagannathbua Purohit, Ratnakant Ramnathkar, Sitaram fataphekar, D V Kane, Dattubua Ichalkaranjikar were among his shishya.
Jagannathbua was among close shishya with whom he had an endearing association since 1930. Jagannathbua also had a large number of shishya to whom he gave generously in the same manner. Ram Marathe, Manik Varma, C R Vyas, Suresh Haldankar, Jitendra Abhisheki, Yashwantbua Joshi, Balakram Jadhav, G N Joshi, Vasantrao Kulkarni, Nirmala Gogate, Prabhudev Sardar, Malati Pande were among them.
Kirana Gharana
Abdul Karim Khan was born on 11 Nov 1872 at place called Kirana near Shamli in the present day Uttar Pradesh. Abdul Karim Khan is considered the founder of the Kirana Gharana. He came from a family was from a family of string instrument musicians. His father was Kale Khan and his brother’s name wa Abdul Latif. The greatest musical impact on him was that of Bhoo-Gandharva Rahimat Khan of Gwalior Gharana. The walls separating the gharanas did not impact him and he was a keen lerner across the different gharanas. Even the north-south divide was something he did not care. Later in life hen he was in Karnataka,he studied Karnataka music from Ambabai, Gangubai Hangal’s mother.
It was not an easy era for the Kirana Gharana as many so called experts and purists scoffed saying that it was a gharana not that of singers but of musical instrument players. Khansaheb set off in his youth after learning music of his gharana. He was in the service of the Court of Baroda for three years as the Raj Gavai. Around1898 he arrived in Maharashtra. He was based in Mumbai for a while but soon thereafter established himself at Miraj. The same Miraj that has seen the migration of Vishnu Digambar in 1896 from there to north India, was enriched by the arrival of an exceptional musician in jut a few years. Abdul Karim Khan developed his own unique style of rendering thumri. Jamuna ke teer, Piya ke mila ki aas, Piyabin nahi were among his most loved thumri’s among the listeners. Fortunately the recording are available even today. Not just a musician or performer, Abdul Karim Khan was an expert musicologist. He could produce the 27 shruti used in different ragas. Abdul Karim Khan had written a book – Swar Prakash – for Arya Sangeet Vidyalay.
At Miraj he used to perform gayan sewa at Khwaja Mirasaheb Darga. His son Sureshbabu Mane received initial music training from him.His students included Ananatrao Gadgil, Sawai Gandharva, Dashrathbua Mulay, Balkrishnabua Kapileshwari, Rosha Ara Bagum, Behere bua.
During October 1937 he traveled to present day Chennai where he performed at a grand mehfil. After the success he was scheduled to perform at Pondicherry where Yogi Arvind was to be present. On the way there on 27 Oct 1937, during the train journey from Chennai he felt uncomfortable hence alighted at one of the stations. A bed was laid at the station itself however he understood that it was the final calling. He washed his hand and feet, prayed and started performing the Durbari raag. His end came the way he lived his entire life, singing and worshiping music.
Rambhau Kundgolkar, popularly known as Sawai Gandharva, Abdul Karim Khan’s disciple taught students who became illustrious singers. Pandit Bhimsen Joshi, originally from Gadag was among his best known students. Bhimsen Joshi is the recipient of India’s highest civilian awards the Bharat Ratna. Other famous students included Firoz Dastur, Gangubai Hangal, Basavraj Rajguru. Though a relatively newer gharana in its antiquity, has been a very popular gharana in Maharashtra.
Jaipur Gharana
Among the various music paths that reached Maharashtra, one started from a place called Uniyara, a small principality near Jaipur. Alladiya Khan was the king-pin in Maharashtra of the Jaipur Gharana. Alladiya was born on Aug 10,1855 in a family deeply seeped in music. His father Mohammad Khan was a singer at the court of Maharaja Fattesingh of Uniyara.
Alladiya lost his father when he was 15 years. His fathers cousin Jehangir Khan took him under his tutelage. After three years they relocated to Udaipur where Jehangir Khan’s brother Chimman Khan was a durbar singer. For a period Alladiya was in Jaipur where Jehangir Khan was durbar singer. There he was exposed to the music of doyens – Haddu and Hassu Khan of Gwalior Gharana, Agrewale Ghugge Khudabaksh, Taanras Khan, Mubarak Ali Khan, Grandson of Miyan Manrang – Mohammad Ali Khan, Guru of Jaipur Maharaja Haider Baksh and his brother Ali Baksh, tabla player Amaan Ali Khan, Veena player Vazir Khan, satariye Imratsen and Imdad Khan.
After Udaipur Jehangir Khans family moved to Ratlam and then Mandsaur. Alladiya was proving himself well and his guru started concentrating even more on his talim. He is not just my nephew but my shishya and son, Jehangir Khan used to say.
Alladiya Khan traveled extensively and performed at various durbars of various princely states in India. In 1895 he came to Kolhapur as the durbar singer. He was in Kolhapur till 1922 after which he moved to Mumbai.
The greatness of Alladiya was that he created a new style that imbibed aspects of Dhrupad Dhamar and Khyal. Thus he gave Maharashtra and the country a new gharana – Jaipur Gharana. Bhaskarbua Bakhale was his dear student (d 1922), Tanibai Ghorpade (Kolhapur d 1931), Lakshmibai Jadhav, Govindrao Shaligram, Mogubai Kurdikar, Kesarbai Kerkar were his shishya. Alladiya Khan along with, his brother Haider Khan (d 1936), sons Manji Khan (d 1937) and Bhurji Khan were the doyens of the Jaipur Gharana. Bhurji Khan had received training for two years from Jehangir Khan who was guru to Alladiya. Manji and Bhurji Khan jugalbandi were very popular. With Manji Khan death the last performers in the family lineage was no more. After Manji, it was left to Bhurji Khan to take the legacy of the gharana forward. He trained Mallikarjun Manoor, Wamanrao Sadolokar, Dhondutai Kulkarni, Menakabai Shirodkar, Lakshmibai Jadhav, Madhusudan Kanetkar, Madhukar Sadolikar among his students.
Till Alladiya was alive he continued to spread knowledge. Leela Shirgaonkar, Gulubhai Jasdanwala were among whom he taught. Mogubai Kurdikar and Kesarbai Kerkar, his students was well known singers and among the earliest female singers who carved a niche for themselves. Alladiya Khan lived a long life. He died on 16 March 1946. His long life also meant that he was an unfortunate witness to many of his dear ones including gifted performers from his family as well as exceptional students like Bhaskarbua departing before his own death.Unfortunately Alladiya Khans recordings are not available.
The Jaipur-Atrauli Gharana prospered in Maharashtra due to the talented students including Kamaltai Tambe, Kishori Amonkar, Suresh Haldankar, Padma Talwalkar, Jitendra Abhisheki, Ulhas Kashalkar, Shruti Sadolikar, Arti Anklikar and so many more.
Bhendi Bazar Gharana
The Bhendi Bazar Gharana other than the extinct Gokhale Gharana is probably the only gharana that can be identified with a name from Maharashtra. Three sons of Ustad Dilawar Khan from Bijnour near Muradabad – Chhaju, Nazeer and Khadim Hussein received initial music training from their father. They set off to learn more and make a career. They enriched themselves as students of Ustad Inayat Hussein Khan of Rampur Sahaswan. Then learnt Jaipur Dagar Gharana Dhrupad from Inayat Khan In the decade of 1870 the brothers reached Mumbai. The name Bhendi Bazar has an interesting origin. The area was referred to as ‘behind the bazaar’ by the Britishers who were the masters of Mumbai. The name corrupted itself in ‘Bhendi Bazar’ when pronounced by the locals. As the brothers were based in this area, the music gharana inherited this name.
Anjanibai Malpekar was among the first able disciple of the gharana who led it onward. Born on 22 April 1883 at Malpe in Goa, the family relocated to Mumbai when she was 8 years along with her younger sister Kamla, with a view to develop develop their music talent and career. At the recommendation of Pandit Vishnu Narayan Bhatkhande who was known to her father, Nazeer Khan agreed to teach the Malpekar sisters. The tution started well till the cruel plague took away Kamla from this world and also Nazeer Khan’s son Mubarak Ali. The Khan brothers regained composure after this tragedy and decided to concentrate on Anjani. For three and a half years they taught her raag Yaman and one and half year was invested in studying Bhairavi ! Anjani also helped Bhatkhande in his quest to collect and curate music bandish. Anjanibai gave up music performances even before reaching the age of forty years, after 1922, at the advice of her spiritual guru Shri Narayan Maharaj of Kedgaon. During her era women singers performed standing, Anjanibai declared ( she was just 16 years then) that she will not stand and perform sitting down like male singers. Anjanibai was also acclaimed for her beauty and posed as a model for famous painters like M V Dhurandhar and Raja Ravi Verma. Her students included names like Begum Akhtar, Naina Devi and Kumar Gandharva.
Amaan Ali was the son of Chhaju Khan but not very serious about music. Anjani bai goaded him to be sincere about learning music and putting his talent to good use. Amaan Ali’s outlook changed thereafter for the better as he developed into an expert and knowledgeable musician. He was more interested in the musical knowledge rather than performances. His disciples included Shivkumar Shukla, Vasantrao Deshpande, Lata Mangeshkar. Trimbakrao Janorikar was also attracted to Amaan Ali’s music. Though Janorikar had learnt the Gwalior Gharana music for 12 years, he became a shishya of Amaan Ali also. Janorikar continued to teach the Bhendi Bazaar Gayaki. Among the later generation artists are Suhasini Koratkar, Anuradha Kuber and Sharad Karmarkar.
May Music Continue to Prosper
The second half of the nineteenth century and the twentieth century saw a great resurgence of Indian Classical Music. The discipline moulded itself into a more systematic and structured performing art. It was a period of great political and social change. Maharashtra and the Deccan provided the fertile ground for nurturing Indian Classical Music. Experts, students, practitioners and audience were all here in this geographical region. It provided a much needed boost to retain, maintain and evolve the disciple to a vibrant and living art form. Music transcends barriers and boundaries. No region can claim exclusive domination of music for any reason. Maharashtra has been an enabler and contributor to the musical journey, and it would be worthwhile to acknowledge this credit that Maharashtra deserves. More than warming the cockles of any heart, this will help to gain insights so that our country can preserve out musical heritage and see to move even higher on its road to prosperity.
References:
Gaan-Yogi Pandit D V Paluskar by Anjali Kirtane (Marathi)
Sangeet Shastra Parichay – Anand Godse (Marathi)
Autobiography – Keshavbua Ingale translated by Gouri Ghorpadey
Sandeep Says.... 