From: naik@nynexst.com (Jay Naik)
Subject: Kirana gharana 
Organization: Nynex Science and Technology
Date: Sun, 23 Aug 92 03:40:51 GMT


>From: dvf@kepler.unh.edu (David V Feldman)
>Message-ID: <1992Aug17.065537.4298@newshost.unh.edu>

>Who are the exponents of this style, besides Pran Nath, who is
>famous in the United States for his association with LaMonte Young?
>How does this style relate to other Indian traditions?  
>Is there a closely related instrumental music?

	Ustads Abdul Karim Khan(1872-1937) and Wahid Khan (?-1949) were the
leading exponents of Kirana Gharana, the former, by far the better known
of the two. Khansahib Abdul Karim Khan had a remarkably sweet voice, 
which has been fortunately preserved for us in the two or three records 
that were made in the 20's and 30's. His thumree in Jhinjhoti, "piya
bin nahi awata chayin" is still as popular as ever. Born in Kirana, in
the Saharanpur Dt. in U.P., his vocal style came to be known as the
Kirana gharana. He moved through Baroda, Bombay, Pune and settled in 
Miraj. He also founded the Arya Sangeet Samaaj in Pune in 1913.
Khansahib was particularly fond of singing 'saragams' in the  Karnatak
style and introduced several Dakshinaadi raagas into Hindustani music,
such as, saaveri, gauri and Devgaandhaar(i). He was a non-conformist
who stressed the element of 'appeal' in music performance and his
rendering of khyaal and thumri were often very similar in style.
He was also criticized for paying less attention to rhythm than he did
to raag development (A.D. Ranade). He left behind many disciples and a
legion of admirers. His khyal in shuddha kalyaan, "maunder baaje" and
thumri in jogiya, "piya ke milan ki aas" are my favorites.

   Wahid Khan had a different approach to khyal, which emphasized 
elaborate aalaaps and improvisations. Hirabai Badodekar had trained
under him for some time. I think Prannath also trained under him ??
Old timers say that Gangubai Hangal's style is reminiscent of his.

   I think Sawai Gandharva had a style which was very similar to 
that of his guru, Abdul Karim Khan, especially in the frequent use
of taar saptak (higher octave). So he 'sounds' like AKK in his 
recordings of Raags Shankaraa and Bahaar, for ex. But Bhimsen
Joshi does not 'sound' like either of them, although he belongs to
the same gharana; he employs a much wider range (at least 
two octaves) of notes. Roshanara Begum is another example of such
a difference and she also trained under Sawai Gandharva. IMO, 
Bhimsen Joshi's voice is not 'melodious' in the same way that AKK's
was. Compare AKK's and BJ's rendering of the thumris in Jogiya
(piyaa ke milan ki aas) and gaara (jaadu bhareli) to hear the 
contrast. 

	There were instrumental styles under the Kirana banner, most
notably the been players of Bande Ali Khan's line.  Ustads Rajjab Ali
Khan and Amir Khan were both influenced by the Kirana style. Lata
Mangeshkar trained under Rajjab Ali for a while. 

   With increasing access to different gharana styles, we see a blending
(or 'blurring', depending on your point of view) of musical styles and
ideologies, as evidenced by the styles of Amir Khan, Kumar Gandharva and
D.V. Paluskar. Perhaps this is paving the way for newer styles, just as
khyaal, thumri and tappa evolved in the 1700's and 1800's. 

Cheers,
-----------------------
Jayant Naik

p.s. For admirers of Kumar Gandharva : 
             RPG/HMV has come out with a 4-cassette set titled 
"Swaranjali - Homage to the Maestro", which has his classics
spanning his entire life, including four delightful recordings from
pre-1940, when he was under 16 years of age. And, the classic bhajans,
Nirbhaya Nirguna and Avadhoota, yugan yugan, both in Nirguni Mand.
I highly recommend this set!
 
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