Darbari, Malkauns excerpts.
Ustad Bade Ghulam Ali Khan was the greatest interpreter of the Patiala gharana. LAKSHMI VISWANATHAN
pays tribute to the master in his birth centenary year (2002).
RECENTLY a host of disciples and music lovers celebrated the centenary of Khan Sahib Bade Ghulam Ali Khan's birth. He was from Lahore. Many in South India do not know of his connections with this part of the country. He stormed Madras in the 1950s, when he was still a citizen of Pakistan and gathered around him ardent fans, among whom were the giants of Carnatic music.
Old sabhas like Parthasarathy Swami Sabha, and a host of other institutions and wealthy patrons, organised his concerts. Among his devoted rasikas was the famous singer and music director Ghanatasala. In fact, for Khan Sahib's sojourn in Madras, Ghantasala offered his house as a guesthouse. Elders in my family, along with people like GNB the great maestro, Veena Balachander, M.S. Subbulakshmi, M.L. Vasanthakumari, and others flocked to spend their evenings with the great Hindustani master.
Many a time, I accompanied my mother to these soirees and became addicted to the music that only Bade Ghulam Ali Khan could create. He was a genius, and a romantic. Plucking the strings of the swara mandal on his lap, Khan Sahib would take his listeners on a journey into the ethos of the princely courts, rose gardens, cool fountains and the lingering poetry of love — the hallmark of Mughal India. Much later the whole country heard him in the film "Mughal-e-azam".
Bade Ghulam Ali Khan was the greatest interpreter of the Patiala Gharana. But like a true artiste, he brought his own to a tradition and made Hindustani music a vivacious and innovative essay.
He composed songs of great beauty, with the signature "Sabrang", and reached millions through the radio. There was a time when All India Radio banned this "Pakistani" singer's records! An imposing personality, he had a child-like simplicity which endeared him to all. His repertoire consisted of khayals, thumris, ghazals and bhajans.
In all, he excelled with his imagination and innovations. His voice was very special. The timbre and quality of its resonance had a lingering delicate quality, which communicated nuances of infinite variety.
From an erotic teasing thumri, which created pictures of the nayikas one sees in miniature paintings, he would easily switch to "Hari Om Tat Sat" in Pahadi, mesmerising his listeners to journey with him in search of the Divine.
His appeal to a wide section of the public naturally drew criticisms from the purists. But none could fault his technique or his mastery of the swaras. He had learnt from his uncle and father the authentic Patiala gayaki noted for its emotional appeal and clear articulation.
He realised early in his singing career that chamber music lasting many hours was not what big audiences wanted. He was the master of brevity in his elaborations of ragas, and drew his listeners into an intimate circle of pure melody, which lingered in their minds. He was able to chisel his tradition of music to suit the contemporary circumstances of performance without sacrificing the fundamental principles of a grand technique.
The singing of thumri was Khan Sahib's forte. In the purab ang of thumri singing, which has its origin in the eastern region of Uttar Pradesh, the songs are sung in the dialects of the region like Purabi and Brij Bhasha. The style follows a tradition, which is distinct.
What Khan Sahib introduced in his thumris was essentially a blend of the folk tunes of Punjab. This form came to be known as Punjab Ang and had an irresistible charm of its own. As Khan Sahib was soaked in the culture of that region, his artistic instincts were true to an ethos with clear characteristics. Khan Sahib made frequent trips to India to perform as all his fans were here.
Eventually, after considerable effort and with the help of influential people, he decided to settle in India, dividing his time between Bombay and Calcutta. He received the Padma Bhushan and the Sangeet Natak Akademi awards. A charitable man, he gave a lot of his earnings to the needy.
In his lifetime he trained disciples, including his son Munawwar Ali Khan, a mature singer, and a good man whose life was sadly cut short in 1989.
Ajoy Chakraborty who learnt from him is at present keeping the links with the Patiala Gharana alive.
Memories of this great artist and his music will linger for long. The term "Bade" (big) defined his music, his personality, and his heart.
His affection for children was touching and when I danced for him he blessed me with a generosity, which only a great artist and a good human being can command.
* * *
# Ustad Bade Ghulam Ali Khan was born in Lahore in 1902.
# At the age of seven, he ws put under the training of his uncle Khan Saheb Kale Khan of Patiala for the next 10 years.
# Following the Khan Saheb's death, he continued his training under his father Khan Saheb Ali Bux.
# His favourite bhajan was "Hari om tat sat".
# Under the pen name "Sabrang", he has left numerous compositions.
# Ustad Bade Ghulam Ali Khan amalgamated the best of four traditions: his own Patiala-Kasur style; the sculpturesque Behram Khani elements of Dhrupad; the intricate gyrations of Jaipur; and the robust behlavas (embellishments) of Gwalior.
# He died in the Basheerbag Palance, Hyderabad, in 1968. Source: Internet
source:
http://patialakasurgharana.com/j/index.php?option=com_content&task=view&id=22
Tags: Ustad Bade Ghulam Ali Khan kasur patiala gharana india indian classical music vocal vocalist
