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Dhyaan - Shaukat Hussain Khan . |
Vocal - Shaukat Hussein Khan
Tabla - Vinod Vaishnav
Sarangi - Liaquat Khan
Harmonium - Shishirchandra Bhatt
Raga Chandrakauns
1. Alap
2. Bada Khayal in Vilambit Ektaal (12 beats)
3. Chotta Khayal in Madhya Teentaal (16 beats)
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Originally a Persian word signifying an idea or a concept, Khayal is a form of vocal singing believed to be the creation of Amir Khusro in the thirteenth century. The use of ornamentation in khayal is far greater than in any other classical form, and the style has a tremendous freedom. The history of khayal has been dominated by several families of musicians who have shaped the music of India through the development of their own distinct approaches to classical singing.
Shaukat Hussein Khan was born into one such family with a rich tradition in North Indian khayal music. He is the son of the legendary Late Ustad Sharafat Hussein Khan, the doyen of the Agra-Atrauli Gharana. Shaukat Hussein's initiation into the world of music began at the age of five. His prodigious talent blossomed under the tutelage of his father. Later after his father's demise, he received guidance from his maternal uncles Ustad Yunus Hussein Khan and Ustad Mubarak Ali Khan. He continues to take guidance from Shrimati Pumima Sen, a disciple of Ustad Sharafat Hussein Khan.
Shaukat Hussein Khan has emerged as one of the leading exponents of the Agra Atrauli Gharana. Blessed with a mellifluous voice ranging over three octaves, his rendition displays a perfect command over bol-baat, bol-taan and laykaari - improvisational features that are characteristic of his gharana.
A versatile artiste, Shaukat Hussein can sing in the styles of khayal, dhrupad, dhamar, thumri, tappa and bhajans with consummate ease. With a treasure trove of more than 200 bandishes (compositions), he is a performer of exceptional merit. He has been invited to participate in various music conferences and has performed at various concerts in India and abroad.
Besides winning accolades as a performer, Shaukat Hussein is also credited with grooming a new generation of performers in the Agra Atrauli tradition. He is currently the divisional head for vocal music at the Saptak school of Music, Ahmedabad, and provides invaluable guidance for young, aspiring singers.
The term Gharana means a school of music established through the continuity of musical discipline practiced at a particular place through successive generations. The Gharanas originated from distinct ancient traditions known as Banis,
Agra Gharana is a tradition of North Indian Classical Vocal Music descended from the Nauhar Bani. So far, Nauhar Bani has been traced back to around 1300 A.D., during the reign of Emperor Allauddin Khilji of Delhi. Settled in Agra in the Sixteenth century, the family converted to Islam and were allowed to sing in the court of Akbar. Through marriage they associated with Mian Tansen, Akbar's legendary court singer from Gwalior. Ustad Ghagghe Khudabuksh (1790-1880 AD) introduced the "Khayal" style of Gwalior Gharana into Agra Gharana. Furthermore the Khayal style of Atrauli Gharana was added in the late 19th century. The distinctive features of the style are the melodic fluidity and complexity of the compositions associated to simple and sober poems.
This performance was recorded on the 3rd January 2003, at the prestigious Saptak Festival, an annual twelve day celebration of the best of India's Classical Music.
Raga Chandrakauns is a late night raga associated with the full moon (chandra lit. 'moon'). It is a pentatonic raga with only one note difference to the ancient Raga Malkauns, the flat Ni (seventh) being replaced by the natural Ni.
Structure:
Sa (c), Ga (eflat), Ma (f), Dha (a flat), Ni (b flat)
The concert is divided into three parts. Firstly, a short alap (track 1) presenting the notes and specific melodic phrases of the raga sung in a meditative, un-metered fashion, is followed by a composition known as bada (big) khayal (track 2), The percussion accompanist on tabla joins the performance at this stage, with the composition set to vilambit laya (slow tempo). In khayal the words of the lyrics are usually not necessarily clearly enunciated and the stress is on the elaboration of the raga. The livelier chotta (small) khayal (track 3) is sung using a faster tempo, in this instance performed in a rhythmic cycle of sixteen beats. Rhythmic support is provided throughout by Vinod Vaishnav on tabla, with melodic support from Liquat Khan on the soulful sounding Sarangi, a bowed string instrument traditionally used to accompany classical vocalists, and Shishirchandra Bhatt features on the keyboard Harmonium.
'I have started my rendering with a Bada Khayal (slow tempo) which has been composed by the great Atta Hussein Khan of the Atrauli Gharana, also popularly known as " Ratan Piya ". This is followed by a Chotta Khayal (faster tempo) which has been composed by my Guru and father Ustad Sharafat Hussein Khan Saheb. He was also popularly known as " Prem Rang "' -------- Shaukat Hussein Khan.
Details of the compositions
Bada Khayal - Stayi ( main line )- Kaaran Tumre balamaa bekal hot shareeer.
Antara ( second line in higher octave )- Kab se Ratan tori Baat takat hun ansuwan laagi jhari piya.
The rhythm is set to Ektaal (12 beats )
Chota Khayal- Stayi- Mori pakad baiyan naa chhedo ji aise nipat nidar ho Kanha.
Antara-Hum se karat ho thithori Prem Rang, sab sakhiya sang Kanha.
The rhythm is set to Teentaal (16 beats ).
Notes: John Ball
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