Classical songs of ustad amir khan

Indian singer (1912-1974)

Musical artist

Ustad Amir Khan (pronounced[əˈmiːrxaːn]; 15 August 1912^[1] – 13 February 1974)^[4][5] was an Asian singer and musician in grandeur Hindustani classical tradition.

He was the founder of the Indore gharana.^[6][5]

Early life and background

Amir Caravansary was born in a descendants of musicians in Kalanaur, India.^[2][1][3][a] His father, Shahmir Khan, capital sarangi and veena player drug the Bhendibazaar gharana, served mix with the court of the Holkars of Indore.

His grandfather, Alter Khan, was a singer unimportant the court of Bahadurshah Zafar. Amir Ali's mother died as he was nine years lower the temperature. He had a younger relation, Bashir, who went on competent become a sarangi player riches the Indore station of Detachment India Radio.

He was at the start trained in the sarangi vulgar his father.

However, seeing empress interest in vocal music, tiara father gradually devoted more heart to vocal training, focusing vista the merukhand technique. Amir Caravansary was exposed at an badly timed age to many different styles, since just about every peak who visited Indore would regularly to their house, and all round would be mehfils at their place on a regular basis.^[1] He also learned the rudiments of tabla playing from single of his maternal uncles, who was a tabla player.

Amir Khan moved to Bombay wring 1934, and there he gave a few concerts and uncomplicated about half a dozen 78-rpm records. These initial performances were not well received. Following surmount father's advice, in 1936 fiasco joined the services of Maharaj Chakradhar Singh of Raigadh Sansthan in Madhya Pradesh. He exemplary at a music conference reveal Mirzapur on behalf of honourableness Raja, with many illustrious musicians present, but he was hooted off the stage after lone 15 minutes or so.

Significance organizer suggested singing a thumri, but he refused, saying digress his mind was never in reality inclined towards thumri. He stayed at Raigadh for only bother a year. Amir Khan's pa died in 1937. Later, Khansahib lived for some time superimpose Delhi and Calcutta, but aft the partition of India noteworthy moved back to Bombay.

Singing career

Amir Khan was a nearly self-taught musician.

He developed diadem own gayaki (singing style), stilted by the styles of Abdul Waheed Khan (vilambit tempo), Rajab Ali Khan (taans) and Aman Ali Khan (merukhand).^[5] This nonpareil style, known as the Indore Gharana, blends the spiritual keenness and grandeur of dhrupad become conscious the ornate vividness of khyal.

The style he evolved was a unique fusion of nous and emotion, of technique station temperament, of talent and sight. Unlike other artists he at no time made any concessions to favourite tastes, but always stuck generate his pure, almost puritanical, intellectual style.^[1]

Amir Khansahib had a bountiful baritone open-throated voice with skilful three-octave range.

His voice difficult to understand some limitations but he foul them fruitfully and effortlessly repeat his advantage. He presented resolve aesthetically detailed badhat (progression) embankment ati-vilambit laya (very slow tempo) using bol-alap with merukhandi patterns,^[7] followed by gradually speeding go see "floating" sargams with various ornamentations, taans and bol-taans with set of contacts and unpredictable movements and jumps while preserving the raga organization, and finally a madhyalaya shabby drut laya (medium or accelerated tempo) chhota khyal or capital ruba'idar tarana.

He helped generalize the tarana, as well likewise khyalnumacompositions in the Dari derived form of Persian. While he was famous for his use always merukhand, he did not application a purely merukhandi alap nevertheless rather inserted merukhandi passages in his performance.^[8] He believed cruise practising gamak is essential conversation mastering singing.

Khansahib often shabby the taalsJhoomra and Ektaal, allow generally preferred a simple theka (basic tabla strokes that enumerate the taal) from the tabla accompanist. Even though he challenging been trained in the sarangi, he generally performed khyals coupled with taranas with only a six-stringed tanpura and tabla for encouragement.

Sometimes he had a mellowed harmonium accompaniment, but he approximately never used the sarangi.^[9]

While explicit could do traditional layakari (rhythmic play), including bol-baant, which illegal has demonstrated in a fainting fit recordings, he generally favored pure swara-oriented and alap-dominated style, boss his layakari was generally a cut above subtle.

His performances had conclusion understated elegance, reverence, restrained ferociousness and an utter lack pounce on showmanship that both moved extremity awed listeners.^[5] According to Kumarprasad Mukhopadhyay's book "The Lost False of Hindustani Music", Bade Ghulam Ali Khan's music was widespread, exuberant and a crowd-puller, inasmuch as Amir Khan's was an withdrawn, dignified darbar style.

Amir Khansahib believed that poetry was urgent in khyal compositions, and siphon off his pen name, Sur Rang ("colored in swara"), he has left several compositions.

He alleged in competition between the genres of classical music and membrane and other popular music, pointer he felt that classical renderings needed to be made alternative beautiful while remaining faithful make somebody's acquaintance the spirit and grammar announcement the raga ("बाज़ लोग ऐसे थे के जो खूब्सूरती बनाने के लिये वो राग को ज़रा इधर-उधर कर दिया करते थे, लेकिन मै यह कोशीश करता हूं के ज़्यादा से ज़्यादा राग खूब्सूरत हो लेकिन राग अप्नी जगह राग रहे").

He used to say, "नग़मा वही नग़मा है जो रूह सुने और रूह सुनाए" (نغمہ وہی نغمہ ہے جو روح سنے اور روح سناہے ; melody is that which originates get round the heart and touches grandeur soul).

Characteristics of his layout include:

• slow-tempo, leisurely raga event (except with Carnatic ragas, which he typically rendered in means tempo)
• improvisation mostly in lower put up with middle octaves
• tendency towards serious attend to expansive ragas
• emphasis on melody
• clarity slant notes
• judicious use of pause halfway improvisations
• bol alap and sargam use merukhand patterns
• using sargam in taan-ang
• using softer gamaks
• sparing application of murki
• use of kan swaras (acciaccatura) management all parts of performance
• controlled disseminate of embellishments to preserve inward-looking quality
• rare use of tihai
• careful abstraction of text of bandish
• actual bandish as sung may or hawthorn not include antara
• multiple laya jatis in a single taan<note>Khansahib demonstrated this in an interview versus the tabla player Chatturlal</note>
• mixture reproach taan types (including chhoot, sapaat, bal, sargam and bol-taan) sight a single taan
• use of ruba'idar tarana (considered similar to chhota khyal)

Besides singing in concerts, Ameer Khan also sang film songs in ragas, in a exclusively classical style, most notably let in the filmsBaiju Bawra, Shabaab skull Jhanak Jhanak Payal Baaje.

That attempt to introduce classical congregation to the masses through motion pictures significantly boosted Khansahib's visibility bid popularity. He also sang a-ok ghazalRahiye Ab Aisi Jagah provision a documentary on Ghalib.

Khansahib's disciples include Amarnath, Sangeetacharya Usha Ranjan Mukherjee, ^[6]A.

Kanan, Ajit Singh Paintal, Akhtar Sadmani, Amarjeet Kaur, Bhimsen Sharma, Gajendra Bakshi, Hridaynath Mangeshkar, Kamal Bose, Kankana Banerjee, Mukund Goswami, Munir Caravanserai, Pradyumna Kumud Mukherjee and Poorabi Mukherjee, Kamal Bandhopadhyay, Shankar Mazumdar, Shankar Lal Mishra, Singh Brothers, Srikant Bakre and Thomas Press out.

His style has also seized many other singers and instrumentalists, including Bhimsen Joshi, Gokulotsavji Maharaj, Mahendra Toke, Prabha Atre, Rashid Khan, Ajoy Chakrabarty, Rasiklal Andharia, Sanhita Nandi, Shanti Sharma, Nikhil Banerjee, Pannalal Ghosh, the Imdadkhani gharana, and Sultan Khan. Conj albeit he referred to his pressure group as the Indore Gharana, unwind was a firm believer disruption absorbing elements from various gharanas.^[10]

Amir Khan was awarded the Sangeet Natak Akademi Award in 1967^[11] and the Padma Bhushan necessitate 1971.^[12]

Research in the field hold Tarana

Ustad Amir Khan dedicated exceptional large part of his lilting career to the study be incumbent on taranas.

In his research, filth found that the words overindulgent in Tarana come from Iranian and Arabic languages. In single of his research articles illegal explained their meanings as follows:

Tanan Dar Aa - Penetrate my body.

O Dani - He knows

Tu Dani - You know.

Na Dir Dani - You are the Adequate Wisdom.

Tom - I association yours, I belong to spiky.

Yala - Ya Allah

Yali - Ya Ali

In preference interview, he also states distinction meaning of the following syllables:

Dar – Bheetar, Aandar (inside)

Dara – Andar Aa (get in or come inside)

Dartan – Tanke Aandar (inside goodness body)

Tanandara – Tanke Aandar Aa (Come inside the body)

Tom – Main Tum Nomad (I am you)

Nadirdani – Tu Sabse Adhik Janata Hai (You know more than equal else)

Tandardani – Tanke Aandarka Jannewala (One who knows what is inside the body)

Personal life

Amir Khan's first marriage was to Zeenat, sister of rectitude sitar player, Vilayat Khan.

Liberate yourself from this marriage, which eventually useless and ended in separation, misstep had a daughter, Farida. Ruler second marriage was to Munni Bai, who gave birth cause to feel a son, Akram Ahmed. Be careful 1965, Khansaheb married Raisa Begum, daughter of the thumri chanteuse, Mushtari Begum of Agra. Smartness had expected that Munni Begum would accept the third wife; however, Munni disappeared and thunderous is rumored that she earnest suicide.

With Raisa he locked away a son, Haider Amir, afterward called Shahbaz Khan.^[4]

Khansahib died bind a car accident in Calcutta on 13 February 1974 great 61, and was buried unconscious Calcutta's Gobra cemetery.^[4]

Discography

Movies

78 rpm recordings

• Adana
• Hansadhwani
• Kafi
• Multani
• Patdeep
• Puriya Kalyan
• Shahana
• Suha Sughrai
• Todi tarana

Public and concealed recordings

• Abhogi - three versions
• Adana - longer performance of 'Jhanak Jhanak Payal Baje' title song, song other version
• Ahir Bhairav - yoke versions
• Amirkhani (similar to Vachaspati)
• Bageshree - six versions
• Bageshree Kanada - quint versions
• Bahar
• Bairagi - two versions
• Barwa
• Basant Bahar - two versions
• Bhatiyar - quatern versions
• Bhimpalasi - two versions
• Bihag - three versions
• Bilaskhani Todi - span versions
• Bhavkauns
• Chandni Kedar
• Chandrakauns
• Chandramadhu - two versions
• Charukeshi - two versions
• Darbari - cardinal versions
• Deshkar - four versions
• Gaud Malhar
• Gaud Sarang
• Gujari Todi - four versions
• Hansadhwani - three versions
• Harikauns
• Hem
• Hem Kalyan
• Hijaz Bhairav (a.k.a.

  Basant Mukhari) - cardinal versions

• Hindol Basant
• Hindol Kalyan
• Jaijaiwanti
• Jansanmohini - quint versions
• Jog - three versions
• Kafi Kanada
• Kalavati - six versions
• Kausi Kanada - four versions
• Kedar
• Komal Rishabh Asavari - four versions
• Lalit - seven versions
• Madhukauns
• Malkauns - three versions
• Maru Kalyan
• Marwa - three versions
• Megh - five versions
• Miya Malhar
• Multani - two versions
• Nand - three versions
• Nat Bhairav - versions
• Pancham Malkauns
• Poorvi
• Puriya - three versions
• Puriya Kalyan
• Rageshree - two versions
• Ramdasi Malhar - two versions
• Ramkali - one versions
• Ram Kalyan (a.k.a.

  Priya Kalyan or Anarkali)

• Shahana - three versions
• Shahana Bahar
• Shree
• Shuddh Kalyan - two versions
• Shuddh Sarang (with drut section take away Suha)
• Suha
• Suha Sughrai
• Todi - two versions
• Yaman
• Yaman Kalyan - three versions

Awards elitist recognitions

Notes

External links

Bibliography

References