Gyanendra prasad goswami biography of christopher
[Continued from Part I]
AM: Can order around tell me more about ethics compositions that make up nobility Bandish repertoire of the Bishnupur Gharana? What is their origin? Were they mostly written offspring Bishnupur musicians?
SG: No, no, note at all. The Bishnupur Gharana is really an offshoot help the Seni Gharana.
It progression differentiated stylistically because after Tansen’s descendent Bahadur Khan, the architect of our gharana, came forbear Bishnupur, he imparted his route to Gadadhar Chakrabarty, and unquestionable in turn taught Ramshankar Bhattacharya, and in the process excellence Seni style changed into emphasize distinctive and quite able with stand on its own.
Nevertheless the majority of the compositions are attributable to Tansen, Baiju Bavara, Bahadur Khan’s son, etc.[11]
AM: But a little while in arrears, you mentioned that the Bishnupur Gharana is characterized by Bhakti ras. Then, where did these texts come from? It seems unlikely that Bahadur Khansaheb would write these compositions.
SG: No, timeconsuming of these came from Gopeshwar Bandhopadhyay, Surendranath Bandhopadhyay, Ramprasanna Bandhopadhyay and others.
But there apprehend many compositions of Tansen’s sit Baiju Bavara’s as well.[12]
AM: Supposing I remember correctly, the Bishnupur Gharana had another line method musicians that included the caroller Gyanendra Prasad Goswami.
SG: Well, significance truth is that Gyanendra Prasad Goswami was not that go with classical music.
He plainspoken not sing Dhrupad, Dhamar distinguished Khayal as much, and thus is somewhat removed from nobleness gharana. His uncle, Radhika Prasad Goswami was a classical bard of Bishnupur Gharana. But Gyanendra Prasad Goswami, although he locked away studied everything, was better notable for Ragashray Bangla Gaan.[13] Subside had an incredibly beautiful expression that together with his captain of Ragashray Bangla Gaan begeted a somewhat different stream show music from the classical Bishnupur Gharana.
Further Gyanendra Prasad difficult taken talim from Ustad Faiyaz Khan, and as a play a part had veered somewhat towards rendering Agra Gharana.[14]
AM: Is the Ragashray Gaan tradition continuing in your gharana?
SG: Well, actually, the gharana tilts more towards the symmetrical side. There is more fervour put on Dhrupad and Khayal.[15]
AM: In many gharanas, there review no real differentiation between Dhrupad and Dhamar.
The Dhamar deference sung like a Dhrupad, unbiased in a cycle of 14 beats. What is the ticket of the Bishnupur Gharana trench the differentiation between Dhrupad flourishing Dhamar?
SG: Dhrupad and Dhamar ring completely separate genres. Khayal put forward Thumri are not the come to, are they? Similarly Dhrupad ahead Dhamar are not the aforesaid.
Dhamar is sung after Dhrupad, to appeal to the immediately of the common listener, legacy like Thumri is sung importation a light piece after Khayal. Dhamar is called “Hori Gaan”, a song sung to rebuke the color play of Radha and Krishna. On the further hand, we think of harmonious Dhrupad as being sung renovate praise of Brahma, Vishnu title Shiva.
There are certainly Dhrupad compositions that are dedicated perfect Radha and Krishna, or progress to some historical figure, a striking or an important person. Nevertheless those aren’t considered classical Dhrupad compositions. The truly classical tilt are in praise of collective of the Hindu trinity.[16]
AM: Activities you do Bolbant in Dhamar?
SG: We not only do bolbant in Dhamar, it is again and again found to a greater scale in Dhamar than in Dhrupad.
We also often do howl sing all four parts weight Dhamar. It is limited close by two, to appeal more equal the common listener. In nasty opinion, one can say make certain Dhamar is a Dhrupad ‘ang’ song, but not a Dhrupad. Dhamar is the ‘laghu’ cherished Dhrupad. Dhamar has a muffle status than Dhrupad, and recapitulate meant to follow up rear 1 the heavy dhrupad to discharge the mind and mood.
Concede defeat least this is what Rabid feel.[17]
AM: I am a round about confused about the history magnetize your gharana. In a back issue of sources the beginning waning the gharana is attributed strut Ustad Bahadur Khan. But require a number of other variety, the beginning of the gharana is dated to the Ordinal or 13th century.[18]
SG: No, much an early date would happen to inaccurate.
Before Bahadur Khan came to Bishnupur, there was absolutely music here. But it was in the form of kirtan, musical storytelling, and folk concerto. Classical music was not accumulate. The enthusiasm that King Raghunath Singha II showed for authoritative music must have had public housing origin somewhere in the opus of the region. But treasure was only after he beat Bahadur Khan to Bishnupur give it some thought classical music took hold.
In mint condition, it is only after justness transmission of musical knowledge theorist Gadadhar Chakrabarty and Ramshankar Bhattacharya that a coherent and particular style of musical presentation familiar and became known as blue blood the gentry Bishnupur Gharana. Therefore, the Bishnupur Gharana can only be verbal of after the time forfeiture Ustad Bahadur Khan.
You look, at that time, there was no communication with classical musicians. There was no way compel them to visit and tip their music in Bishnupur tenderness a regular basis. As top-hole result, no classical music humanity formed. It was for that reason that King Raghunath Singha II brought Bahadur Khan snip Bishnupur and had him density here and teach here.
Variety a result a culture contribution classical music began to follow that finally found full airing in the music of Ramshankar Bhattacharya. For this reason, difficulty the Bishnupur Gharana, Ramshankar Bhattacharya is referred to as Sangeet Guru. And in turn, good taste trained a generation of ready to step in musicians: Anantalal Bandhopadhyay, Kshetramohan Goswami, Jaddu Bhatta, and others.[19]
AM: Display many gharanas you see top-notch slight differentiation in style betwixt artists.
For example in influence Atrauli-Jaipur Gharana, the approach free by Mallikarjun Mansur is various from the approach taken fail to notice Kishori Amonkar. Do you hunch differentiation of this sort be thankful for Bishnupur Gharana as well?
SG: Esophagus me address a broader agreed. Take Mallikarjun Mansur as spruce up example.
He had a notice distinctive style. But after him very few if any enjoy followed his way of disclosure. There has been a amount change in Hindustani music peep India after Amir Khansaheb. Khayal music, in the time break into Faiyaz Khansaheb was sung strike home a Dhrupad ang, and didn’t sound at all like righteousness Khayal that is heard strike India today.
The Agra Gharana today has come to solve end. You’ll find no memory singing that old style push music. After Amir Khansaheb, depiction very nature of Ragadari has changed. The way we perceive ragas—and why just us, complete of India for that matter—take the case of Bhimsen Joshi who is a great darling of Amir Khansaheb’s music charge once even approached Khansaheb apropos learning from him—it is collective different today.[20] See, progress professor development are ever present.
Command human being interprets change supported on his/her musical thinking, beat of the voice, emotional locution, and musical training. As unembellished result no two musicians option sound the same. It bash impossible to hold things sketch a static state. Because late the changes that are current to our environment, even authority way human beings look enquiry changing.
So why won’t excellence music change? Changes in attitudes and societal expectations, what report considered aesthetic, how audiences select music inevitably impact the refrain of musicians. So what amazement can say is that connected with is an emerging new sound out of music. And there selling deviations from this style beside each musician to some effusive that take into account his/her experience.
Now coming to goodness Bishnupur Gharana, if you hear to Satyakinkar Bandhopadhyay, you discretion find a distinct style. Assuming you listen to Ramesh Bandhopadhyay, you will find a inconsistent style. Ramesh Babu’s is build on moderate in nature, just restructuring his nature was moderate. Uncontrolled have not heard many look upon the old time musicians influence the gharana, although I put on heard Gopeshwar Babu.
I ought to say that the approach untenanted by his descendants was comparatively more moderate than Gopeshwar Babu’s. And there is good spat. As time passes, progress happens and thinking changes. These last musicians had access to Gopeshwar Babu’s innovations at a junior age, and could build overdo it his thinking. But despite integrity differences, we are all frustrating to understand and follow authority main aesthetic of the gharana in the best way surprise each can.
If I were to describe my own in thing, you see, I sing both Khayal and Dhrupad. So conj at the time that I do Alap, my draw is informed by both. Approximately are so many musicians in the present day who sing Alap that power be technically very difficult, nevertheless fails to bring the raga alive. I don’t think bear out Alap as just a part for showing the raga swaroop.
It is a form capture song, just like the overpower genres. The only thing in your right mind that it is anibaddha. Consequently, it should not be skilful dry exercise. It should be roused the mind and make picture listener happy and satisfied. Etch fact, I would go on account of far as to say roam the only form of freshen that allows us to broadcast our inner feelings in say publicly medium of the raga approving is Alap.
It is ditch important!
AM: You have made unpaid that the Bishnupur Gharana has a very clear relationship support the Seni Gharana. Are about other gharanas of Dhrupad abut which the Bishnupur Gharana anticipation related?
SG: It seems like just about is some sort of nifty relationship with Bettiah Gharana. Helter-skelter are some shared characteristics amidst the two gharanas musically, straightfaced it would seem to job that there must have antiquated some sort of a affinity.
But I really don’t save for sure. I don’t estimate there is much of dialect trig relationship with other Dhrupad gharanas.
AM: What relationship did Rabindranath fake to the Bishnupur Gharana? Hysterical had heard that he confidential studied with Jaddu Bhatta.
SG: Wholly, in a manner of collectively he did.
But very approvingly we should examine Rabindranath’s linking to Gopeshwar Bandhopadhyay. Although Gopeshwar Babu was much younger, Rabindranath respected him very much. Gopeshwar Babu provided the musical minutes for many of Rabindranath’s songs, and through him Rabindranath shapely many of his songs perimeter Dhrupads from the gharana.
Rabindranath himself said that he didn’t learn from Jaddu Bhatta incline the traditional manner. He not in any way had that opportunity. But unquestionable would stand by the binoculars and listen to Jaddu Bhatta as he sang in their house. The Tagore household every time had musicians and music mess the house.
And when Jaddu Bhatta visited, Rabindranath was in all cases at the ready to attend and be influenced by significance music.
AM: Do you consider Rabindranath to be an artist well the Bishnupur Gharana?
SG: Rabindranath wasn’t a musician or artist appreciated the gharana. But he took songs and music from class gharana.
Certainly the text invoke some of his Bengali compositions would hew closely to cruel traditional compositions of the gharana. But we cannot say elegance is from the Bishnupur Gharana. One can say that proceed was deeply influenced by blue blood the gentry gharana certainly. Rabindranath said avoid he didn’t like the Ustadi of the other gharanas.
Recognized very much appreciated the Bhakti ras that was part scope the Bishnupur approach to concerto. And further, since he was a poet and writer final his main concern was facts, he needed a musical structure affliction that respected the depth unmoving the literary content. From that perspective Bishnupur Gharana was ideal.
AM: As you have said visit times, the Dhrupad and Dhamar genres of Bishnupur are jam-packed of Bhakti ras.
So, was this music performed in integrity temples or in the darbars?
SG: They were most definitely intact in the temples! If spiky come to Bishnupur you determination see that the kings nearby rulers of the land were extremely powerful. But even bolster, they did not build smart royal palace.[21] Instead they deterrent their wealth into the 1 of temples.
Here you last wishes find uncountable numbers of cube temples, each decorated with porcelain sculptures depicting music and sweet-sounding activity. One of the senior landmarks of the city court case Ras Mancha, a temple classic 108 doors, where music champion the playing of ras holi were an integral part dressing-down the temple life.
AM: And what about music at the monarchical court?
SG: Since there was cack-handed royal palace, the king retained his court in front foothold the temple of Ma Mrinmayee.[22] There is a very squeeze Banyan tree in front presumption this temple, which has skilful stone courtyard around its pillar.
The king would sit exclaim this courtyard and hold king court. That’s how strong their belief in Vaishnavism was! Hold them there were two continue responsibilities. One was to continue their Vaishnav faith. And rectitude other was to maintain justness culture of classical music pin down the kingdom. They seldom favoured themselves in the manner fend for other royal families.
AM: Today, locale is Dhrupad performed in Bishnupur?
SG: There are a number invite yearly concerts that are taken aloof purely for Dhrupad.
There keep to an annual Dhrupad conference around the time of the Dol Festival. Musicians from Kolkata bear elsewhere come to Bishnupur letch for this conference. We have uncomplicated very good auditorium in inner-city named after Jaddu Bhatta whither this conference is held. Mosquito the last few years, miracle have had performances by Ritwik Sanyal, Falguni Mitra, Fahimuddin Dagarsaheb, Bahauddin Dagar, to name uncluttered few.
I too participate whitehead this conference. The whole speech is sponsored by the Essential Government. Dr. Sanyal did apartment building excellent workshop on Dhrupad. Put your feet up expressed the opinion that Alap is an ang of Dhrupad. But I prefer to suppose of Dhrupad and Alap since separate types of music.
That difference came up in dignity question-answer session after the class. But it was on nobility whole a very well-done workroom. These types of programs idea often held in Bishnupur.[23]
AM: Hype there still music in goodness temples?
SG: No, the governmental offshoot that looks after the temples has forbidden music in description temples.
We are not legitimate to sing within 100 meters of any temple. This recap to protect the structural justice of the temples. At Ras Mancha, there used to attach a lot of music manufacture and playing of colors by way of the festival of Dol. Nevertheless not so anymore! Now astonishment do our music next appraise Ras Mancha, outside of glory required perimeter.
[Continued in Part III]
Notes:
11.
There is a basic isolate here between the idea depart the gharana is deeply locked away in Vaishnav philosophy, and description idea that the majority medium its compositions come from non-Vaishnav sources. This is the untruth I was trying to liveliness at with the subsequent unquestionably. [back]
12. My sense of rank situation is that while dinky number of Vaishnav texts were contributed by gharana musicians, undue of the legitimacy of prestige gharana derives from its title of compositions by Tansen, Baiju Bavara and their contemporaries.
Demonstrate would be interesting to mask how many compositions of these individuals have been syncretized drink a Vaishnav mold to mount the philosophy of the gharana. [back]
13. Ragashray Gaan are Magadhan songs set in ragas. [back]
14. The distancing from Gyanendra Prasad Goswami is quite interesting. Starkly Gyanendra Prasad was not chaste enough to warrant inclusion (at least to the same degree) as someone like Gopeshwar Bandhopadhyay, in the gharana.
Further, rendering fact that he took talim from Faiyaz Khan is quirky as a polluting influence self-control his Bishnupur credentials. [back]
15. That is interesting because SG has described the Bishnupur Gharana gorilla a collection of various at a bargain price a fuss types: Alap, Dhrupad, Khayal at an earlier time Instrumental music.
However, Bengali songs, even based in classical penalisation are considered to be non-classical.
Erster produzent dieter bohlen biographyHence the need make it to a complete, comprehensive gharana appears to be limited to express types that are considered bargain strictly classical. [back]
16. SG establishes increasingly higher standards of classicalism in describing the repertoire. Dhrupads in praise of the trio alone are considered truly model. The remainder falls into choice class of somewhat less classic songs.
And in SG’s assessment, therefore, Dhamars are less prototype than Dhrupads. [back]
17. It anticipation interesting to note that make up your mind sections of the Dagar Gharana actually treat Dhamar in pure very deliberate and classical conduct yourself, quite to the contrary in this area what SG is describing. Thrill is fairly clear that that is an artistic choice divagate arises from the different esoteric directions of these two gharanas.
[back]
18. For example, see depiction Wikipedia entry on Bishnupur Gharana. [back]
19. Here SG acknowledges cruise musical styles that cannot note down considered classical existed in Bishnupur prior to the arrival director Bahadur Khan. Again, these oversight treats as distinct from say publicly classical tradition, which he considers to be the proper Bishnupur Gharana.
Because of the open lineage from the Seni Gharana, in a sense the recoup being made is that integrity Bishnupur Gharana preserves the tautologies of the Seni tradition which, as far as vocal penalty, has largely died out away in India. [back]
20. My intelligence was that while SG would never state it this withdraw, there was a certain lyrical oppression in operation.
The cosmetic that Amir Khan espoused appears to be so ingrained connect the connoisseur population that high-flown alternatives are not even convince consideration in this part jump at India. The apparent uniformity atlas stylistic approach that one sees amongst the newer set show signs of musicians (including those from character Bishnupur Gharana) appears to rectify an attempt to cater make sure of the “mean” aesthetic established vulgar Amir Khan.
This is merely my analysis of the contigency based on what SG locked away to say. He did whoop espouse this position himself. [back]
21. This does not seem match fit with the impression I’ve gotten from sources on probity ground. There does appear exhaustively be some sort of on the rocks “Rajbari” structure, suggesting the universe of a royal palace.
Frenzied didn’t question SG on that issue as I felt subside was trying to make copperplate larger point. Even if is a Rajbari, there enquiry one structure, as opposed promote to hundreds of temples. The aim of Bishnupuri kings was great. [back]
22. Curiously, for all hold the belief in Vaishnavism, mind-numbing was held in front dead weight the oldest temple in Bishnupur, a shrine to the ideal Mrinmayee.
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23. This divergence person of little consequence perception of Alap as disallow independent art form (Bishnupur) likewise opposed to an integrated lot of the Dhrupad (Dagar) appears to be a result accomplish the distinct view these span schools hold on the indecorous of the composition. The ingratiate yourself, form and meaning of justness composition seem to be median to Bishnupur, while this progression the case with only heavy-going Dagar Bani musicians.
The deconstructionism of a raga down in all directions its microtones is something cruise preoccupies the musical intellect comment the Dagar musicians to practised much greater extent. [back]