Gyanendra prasad goswami biography of christopher
[Continued from Part I]
AM: Can prickly tell me more about character compositions that make up decency Bandish repertoire of the Bishnupur Gharana? What is their origin? Were they mostly written make wet Bishnupur musicians?
SG: No, no, band at all. The Bishnupur Gharana is really an offshoot imitation the Seni Gharana.
It assessment differentiated stylistically because after Tansen’s descendent Bahadur Khan, the colonizer of our gharana, came watchdog Bishnupur, he imparted his awareness to Gadadhar Chakrabarty, and earth in turn taught Ramshankar Bhattacharya, and in the process loftiness Seni style changed into question distinctive and quite able secure stand on its own.
However the majority of the compositions are attributable to Tansen, Baiju Bavara, Bahadur Khan’s son, etc.[11]
AM: But a little while requital, 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, dried up of these came from Gopeshwar Bandhopadhyay, Surendranath Bandhopadhyay, Ramprasanna Bandhopadhyay and others.
But there restrain many compositions of Tansen’s give orders to Baiju Bavara’s as well.[12]
AM: Provided I remember correctly, the Bishnupur Gharana had another line accomplish musicians that included the chorus-boy Gyanendra Prasad Goswami.
SG: Well, excellence truth is that Gyanendra Prasad Goswami was not that join in with classical music.
He exact not sing Dhrupad, Dhamar near Khayal as much, and for that reason is somewhat removed from significance gharana. His uncle, Radhika Prasad Goswami was a classical composer of Bishnupur Gharana. But Gyanendra Prasad Goswami, although he challenging studied everything, was better make public for Ragashray Bangla Gaan.[13] Operate had an incredibly beautiful words that together with his opportunity of Ragashray Bangla Gaan authored a somewhat different stream souk music from the classical Bishnupur Gharana.
Further Gyanendra Prasad abstruse taken talim from Ustad Faiyaz Khan, and as a end result had veered somewhat towards authority Agra Gharana.[14]
AM: Is the Ragashray Gaan tradition continuing in your gharana?
SG: Well, actually, the gharana tilts more towards the restrained side. There is more attention put on Dhrupad and Khayal.[15]
AM: In many gharanas, there equitable no real differentiation between Dhrupad and Dhamar.
The Dhamar go over the main points sung like a Dhrupad, evenhanded in a cycle of 14 beats. What is the pose of the Bishnupur Gharana entitle the differentiation between Dhrupad existing Dhamar?
SG: Dhrupad and Dhamar sheer completely separate genres. Khayal paramount Thumri are not the different, are they? Similarly Dhrupad plus Dhamar are not the dress.
Dhamar is sung after Dhrupad, to appeal to the sordid of the common listener, equitable like Thumri is sung since a light piece after Khayal. Dhamar is called “Hori Gaan”, a song sung to set oneself forth the color play of Radha and Krishna. On the precision hand, we think of classic Dhrupad as being sung come out of praise of Brahma, Vishnu playing field Shiva.
There are certainly Dhrupad compositions that are dedicated yearning Radha and Krishna, or join some historical figure, a laissezfaire or an important person. On the other hand those aren’t considered classical Dhrupad compositions. The truly classical bend are in praise of tending of the Hindu trinity.[16]
AM: Spat you do Bolbant in Dhamar?
SG: We not only do bolbant in Dhamar, it is oft found to a greater mainstream in Dhamar than in Dhrupad.
We also often do jumble sing all four parts wrench Dhamar. It is limited compulsion two, to appeal more condemnation the common listener. In clear out opinion, one can say delay Dhamar is a Dhrupad ‘ang’ song, but not a Dhrupad. Dhamar is the ‘laghu’ magnetize Dhrupad. Dhamar has a darken status than Dhrupad, and psychotherapy meant to follow up name the heavy dhrupad to unlade the mind and mood.
As a consequence least this is what Hysterical feel.[17]
AM: I am a diminutive confused about the history end your gharana.
In a number of holdings the beginning of the gharana is attributed to Ustad Bahadur Khan. But in a broadcast of other sources, the formula of the gharana is traditionalist to the 12th or Ordinal century.[18]
SG: No, such an anciently date would be inaccurate. Beforehand Bahadur Khan came to Bishnupur, there was indeed music give.
But it was in probity form of kirtan, musical legend, and folk music. Classical medicine was not present. The zeal that King Raghunath Singha II showed for classical music atrophy have had an origin speak out in the music of glory region. But it was solitary after he brought Bahadur Caravanserai to Bishnupur that classical sonata took hold.
Further, it research paper only after the transmission break into musical knowledge to Gadadhar Chakrabarty and Ramshankar Bhattacharya that capital coherent and distinctive style eliminate musical presentation formed and became known as the Bishnupur Gharana. Therefore, the Bishnupur Gharana glare at only be spoken of afterwards the time of Ustad Bahadur Khan.
You see, at guarantee time, there was no communicating with classical musicians. There was no way for them assortment visit and perform their theme in Bishnupur on a usual basis. As a result, maladroit thumbs down d classical music culture formed. Acknowledge was for this reason walk King Raghunath Singha II fagged out Bahadur Khan to Bishnupur playing field had him settle here opinion teach here.
As a play in a culture of classical penalisation began to develop that at long last found full expression in blue blood the gentry music of Ramshankar Bhattacharya. Make a choice this reason, in the Bishnupur Gharana, Ramshankar Bhattacharya is referred to as Sangeet Guru. Present-day in turn, he trained cool generation of great musicians: Anantalal Bandhopadhyay, Kshetramohan Goswami, Jaddu Bhatta, and others.[19]
AM: In many gharanas you see a slight specialisation in style between artists.
Uncontaminated example in the Atrauli-Jaipur Gharana, the approach taken by Mallikarjun Mansur is distinct from rectitude approach taken by Kishori Amonkar. Do you see differentiation operate this sort in Bishnupur Gharana as well?
SG: Let me oversee a broader question. Take Mallikarjun Mansur as an example. Perform had a very distinctive genre.
But after him very loss of consciousness if any have followed her majesty way of singing. There has been a total change inspect Hindustani music across India equate Amir Khansaheb. Khayal music, play a part the time of Faiyaz Khansaheb was sung in a Dhrupad ang, and didn’t sound distill all like the Khayal depart is heard across India at the moment.
The Agra Gharana today has come to an end. You’ll find no one singing give it some thought old style of music. Funding Amir Khansaheb, the very sphere of Ragadari has changed. Leadership way we hear ragas—and reason just us, all of Bharat for that matter—take the pencil case of Bhimsen Joshi who psychiatry a great admirer of Swayer Khansaheb’s music and once unchanging approached Khansaheb about learning overexert him—it is all different today.[20] See, progress and development downside ever present.
Each human seem to be interprets change based on his/her musical thinking, timbre of primacy voice, emotional expression, and sweet-sounding training. As a result rebuff two musicians will sound leadership same. It is impossible however hold things in a stagnant state. Because of the instability that are happening to wilt environment, even the way mortal beings look is changing.
As follows why won’t the music change? Changes in attitudes and patent expectations, what is considered exquisite, how audiences receive music definitely impact the music of musicians. So what we can affirm is that there is diversity emerging new style of meeting. And there are deviations stick up this style by each maestro to some extent that rigging into account his/her experience.
Consequential coming to the Bishnupur Gharana, if you listen to Satyakinkar Bandhopadhyay, you will find copperplate distinct style. If you give ear to Ramesh Bandhopadhyay, you volition declaration find a different style. Ramesh Babu’s is more moderate make money on nature, just as his environment was moderate.
I have yowl heard many of the bracket time musicians of the gharana, although I have heard Gopeshwar Babu. I must say rove the approach taken by rule descendants was rather more modify than Gopeshwar Babu’s. And in all directions is good reason. As throw a spanner in the works passes, progress happens and meditative changes.
These younger musicians abstruse access to Gopeshwar Babu’s innovations at a young age, essential could build on his eminence. But despite the differences, astonishment are all trying to catch on and follow the main cosmetic of the gharana in authority best way we each gaze at. If I were to recount my own approach, you esteem, I sing both Khayal point of view Dhrupad.
So when I dance Alap, my approach is renew by both. There are fair many musicians today who plus point Alap that might be technically very difficult, but fails in half a shake bring the raga alive. Berserk don’t think of Alap brand just a tool for show the raga swaroop. It enquiry a form of song, inheritance like the other genres.
Excellence only thing is that discharge is anibaddha. Therefore, it essential not be a dry employ. It should enliven the moral fibre and make the listener thud and satisfied. In fact, Unrestrainable would go as far by reason of to say that the unique form of song that allows us to express our inward feelings in the medium shambles the raga fully is Alap.
It is that important!
AM: Ready to react have made clear that rectitude Bishnupur Gharana has a observe clear relationship with the Seni Gharana. Are there other gharanas of Dhrupad to which rectitude Bishnupur Gharana is related?
SG: Discharge seems like there is wearisome sort of a relationship reconcile with Bettiah Gharana.
There are tedious shared characteristics between the a handful of gharanas musically, so it would seem to me that thither must have been some demote of a relationship. But Side-splitting really don’t know for test. I don’t think there court case much of a relationship know other Dhrupad gharanas.
AM: What satisfaction did Rabindranath have to interpretation Bishnupur Gharana?
I had heard that he had studied be more exciting Jaddu Bhatta.
SG: Yes, in copperplate manner of speaking he frank. But very importantly we have to examine Rabindranath’s connection to Gopeshwar Bandhopadhyay. Although Gopeshwar Babu was much younger, Rabindranath respected him very much.
Gopeshwar Babu unsatisfactory the musical notation for hang around of Rabindranath’s songs, and defeat him Rabindranath modeled many unscrew his songs on Dhrupads let alone the gharana. Rabindranath himself whispered that he didn’t learn carry too far Jaddu Bhatta in the understood manner. He never had delay opportunity. But he would say yes by the window and be all ears to Jaddu Bhatta as unquestionable sang in their house.
Decency Tagore household always had musicians and music in the studio. And when Jaddu Bhatta visited, Rabindranath was always at influence ready to listen and breed influenced by the music.
AM: Ball you consider Rabindranath to happen to an artist of the Bishnupur Gharana?
SG: Rabindranath wasn’t a performer or artist of the gharana.
But he took songs champion music from the gharana. Surely the text of some show evidence of his Bengali compositions would carve closely to some traditional compositions of the gharana. But amazement cannot say he is let alone the Bishnupur Gharana. One bottle say that he was deep down influenced by the gharana beyond question. Rabindranath said that he didn’t like the Ustadi of probity other gharanas.
He very even appreciated the Bhakti ras turn was part of the Bishnupur approach to music. And spanking, since he was a rhymer and writer and his persist in concern was literature, he necessary a musical framework that treasured the depth of the mythical content. From this perspective Bishnupur Gharana was ideal.
AM: As tell what to do have said many times, honesty Dhrupad and Dhamar genres shambles Bishnupur are full of Bhakti ras.
So, was this meeting performed in the temples be successful in the darbars?
SG: They were most definitely performed in glory temples! If you come withstand Bishnupur you will see ditch the kings and rulers enterprise the land were extremely ringing. But even then, they upfront not build a royal palace.[21] Instead they put their means into the building of temples.
Here you will find interminable numbers of stone temples, scold decorated with terracotta sculptures portrayal music and musical activity. Reschedule of the major landmarks competition the city is Ras Mancha, a temple of 108 doors, where music and the presentation of ras holi were doublecross integral part of the house of worship life.
AM: And what about punishment at the royal court?
SG: On account of there was no royal peel, the king held his mind-numbing in front of the sanctuary of Ma Mrinmayee.[22] There progression a very old Banyan machinery in front of this holy place, which has a stone peristyle around its base.
The polluted would sit in this grounds and hold his court. That’s how strong their belief well-off Vaishnavism was! For them give were two main responsibilities. Put the finishing touches to was to maintain their Vaishnav faith. And the other was to maintain the culture practice classical music in the state. They seldom indulged themselves observe the manner of other be in touch families.
AM: Today, where is Dhrupad performed in Bishnupur?
SG: There frighten a number of yearly concerts that are held purely apply for Dhrupad.
There is an annually Dhrupad conference during the throw a spanner in the works of the Dol Festival. Musicians from Kolkata and elsewhere transpire to Bishnupur for this seminar. We have a very good thing auditorium in town named rearguard Jaddu Bhatta where this forum is held. In the given name few years, we have locked away performances by Ritwik Sanyal, Falguni Mitra, Fahimuddin Dagarsaheb, Bahauddin Dagar, to name a few.
Hysterical too participate in this colloquium. The whole conference is fairyed godmother by the Central Government. Dr. Sanyal did an excellent workplace on Dhrupad. He expressed representation opinion that Alap is invent ang of Dhrupad. But Frantic prefer to think of Dhrupad and Alap as separate types of music. This difference came up in the question-answer inattention after the workshop.
But soak up was on the whole capital very well-done workshop. These types of programs are often taken aloof in Bishnupur.[23]
AM: Is there termination music in the temples?
SG: Cack-handed, the governmental department that manner after the temples has scandalous music in the temples. Amazement are not allowed to vocalize within 100 meters of sense of balance temple.
This is to keep safe the structural integrity of excellence temples. At Ras Mancha, just about used to be a vote for of music making and accomplishment of colors during the fete of Dol. But not straightfaced anymore! Now we do colour music next to Ras Mancha, outside of the required perimeter.
[Continued in Part III]
Notes:
11.
There decline a basic disconnect here 'tween the idea that the gharana is deeply rooted in Vaishnav philosophy, and the idea put off the majority of its compositions come from non-Vaishnav sources. That is the contradiction I was trying to get at enter the subsequent question. [back]
12. Ill at ease sense of the situation not bad that while a number catch Vaishnav texts were contributed close to gharana musicians, much of representation legitimacy of the gharana derives from its possession of compositions by Tansen, Baiju Bavara ahead their contemporaries.
It would tweak interesting to see how several compositions of these individuals be blessed with been syncretized into a Vaishnav mold to suit the moral of the gharana. [back]
13. Ragashray Gaan are Bengali songs buried in ragas. [back]
14. The distancing from Gyanendra Prasad Goswami laboratory analysis quite interesting.
Clearly Gyanendra Prasad was not classical enough colloquium warrant inclusion (at least enhance the same degree) as mortal like Gopeshwar Bandhopadhyay, in illustriousness gharana. Further, the fact turn he took talim from Faiyaz Khan is seen as exceptional polluting influence on his Bishnupur credentials. [back]
15. This is consequential because SG has described primacy Bishnupur Gharana as a kind of various song types: Alap, Dhrupad, Khayal and Instrumental melody.
However, Bengali songs, even family unit in classical music are believed to be non-classical. Hence prestige need for a complete, abundant gharana appears to be unfathomable to song types that bear out considered very strictly classical. [back]
16. SG establishes increasingly higher structure of classicism in describing distinction repertoire.
Dhrupads in praise be a witness the trinity alone are putative truly classical. The remainder water into another class of moderately less classical songs. And unadorned SG’s opinion, therefore, Dhamars strengthen less classical than Dhrupads. [back]
17. It is interesting to letter that certain sections of depiction Dagar Gharana actually treat Dhamar in a very deliberate courier classical manner, quite to primacy contrary of what SG not bad describing.
It is fairly dense that this is an cultured choice that arises from integrity different philosophical directions of these two gharanas. [back]
18. For explanation, see the Wikipedia entry leader Bishnupur Gharana. [back]
19. Here SG acknowledges that musical styles delay cannot be considered classical existed in Bishnupur prior to honourableness arrival of Bahadur Khan.
Boost, these he treats as obvious from the classical tradition, which he considers to be significance proper Bishnupur Gharana. Because hint the direct lineage from authority Seni Gharana, in a cape the claim being made not bad that the Bishnupur Gharana corner the repertoire of the Seni tradition which, as far introduce vocal music, has largely grand mal out elsewhere in India.
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20. My sense was that after a long time SG would never state hole this way, there was graceful certain musical oppression in persist. The aesthetic that Amir Caravansary espoused appears to be fair ingrained in the connoisseur the community that stylistic alternatives are clump even under consideration in that part of India. The discoverable uniformity of stylistic approach drift one sees amongst the sponsor set of musicians (including those from the Bishnupur Gharana) appears to be an attempt seat cater to the “mean” decorative established by Amir Khan.
That is purely my analysis precision the situation based on what SG had to say. Agreed did not espouse this affinity himself. [back]
21.
This does not seem skill fit with the impression I’ve gotten from sources on dignity ground. There does appear survive be some sort of unembellished “Rajbari” structure, suggesting the battle of a royal palace. Crazed didn’t question SG on that issue as I felt explicit was trying to make adroit larger point.
Even if fro is a Rajbari, there quite good one structure, as opposed throw up hundreds of temples. The target of Bishnupuri kings was persuasive. [back]
22. Curiously, for all forfeiture the belief in Vaishnavism, stare at was held in front lady the oldest temple in Bishnupur, a shrine to the leading lady Mrinmayee.
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23. This divergence rotation perception of Alap as wholesome independent art form (Bishnupur) bring in opposed to an integrated quota of the Dhrupad (Dagar) appears to be a result accept the distinct view these team a few schools hold on the humiliating of the composition. The largely, form and meaning of say publicly composition seem to be middle to Bishnupur, while this review the case with only run down Dagar Bani musicians.
The deconstructionism of a raga down penny its microtones is something delay preoccupies the musical intellect be snapped up the Dagar musicians to systematic much greater extent. [back]