Kirana gharana
Kirana gharana is one of the Indian classical khyal gharanas,[1] and is concerned foremost with perfect intonation of notes (swara).
Singing style
The central concern of the Kirana style is swara, or individual notes, in particular precise tuning and expression of notes. In the Kirana Gayaki (singing style), the individual notes (swaras) of the raga are not just random points in the scale, but independent realms of music capable of horizontal expansion. Emotional pukars in the higher octaves form a part of the musical experience. Another unique feature of this gharana is the intricate and ornate use of the sargam taan (weaving patterns with the notations themselves) introduced by Abdul Karim Khan under influence from the Carnatic classical style.
In the late nineteenth century Abdul Karim Khan and Abdul Wahid Khan revolutionized the khayal gayaki by introducing the vilambit (a slow tempo section) to delineate the structure of the raga note by note.
Frequently performed ragas by musicians of the gharana include Todi, Lalit, Multani, Patdeep, Puriya, Marwa, Shuddha Kalyan, Darbari Kanhara, and Komal-Rishabh Asavari. Marathi thespian Pula Deshpande has pointed out that performers from the Kirana gharana are particularly fond of the Komal Re/Rishabh (or minor second in the western system) note of the classical music scale, a frequent feature of these commonly performed ragas.
History
In the 19th-century the Kirana gharana coalesced around Miyan Bande Ali Khan, a player of the rudra veena. The gharana's style was further developed, and established as one of the prominent styles in modern Indian classical music in the late 19th / early 20th centuries by the musicians Abdul Karim Khan and Abdul Wahid Khan.[2] Abdul Karim Khan was an extremely popular musician, and was thus highly influential in popularizing the gharana. Some trace the gharana's roots back farther to the 13th-century musician Gopal Nayak, a Hindu musician (of the dhrupad style) who later converted to Islamic Sufism and in the process assimilated the predominantly Muslim khyal musical style.[3]
The name of this school of music derives from Kirana or Kairana, a town and tehsil of Shamli District in Uttar Pradesh. It is the birthplace of Abdul Karim Khan (1872–1937), who was one of the most important musicians of this gharana and of Hindustani music in general in the twentieth century. A frequent visitor to the Court of Mysore, Abdul Karim Khan was also influenced by Carnatic music, and roots of the tradition can also be traced back to his great-grandfather Ghulam Ali and Ghulam Maula, the brother of Ghulam Ali.
Owing to the popularity of Abdul Karim Khan, most contemporary Hindustani musicians from Karnataka are exponents of Kirana gharana, and Kirana gharana in turn has absorbed many of the features of the Carnatic tradition. The border region between Karnataka and Maharashtra is particularly associated with the gharana.
The other primary master of the gharana, in the early 20th century, was Abdul Karim Khan's cousin Abdul Wahid Khan who chose to settle at Lahore, Pakistan after the 1947 Partition of British India.
Ancestral pedagogy of Kirana Gharana
This tree details the hereditary lineage of the Kirana Gharana based on several documented accounts.
| Nayak Gopal | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Nayak Bhannu | Nayak Dhondu | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Ramzani Khan (Beenkar) | Gullu Khan | Gazi Khan | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Mohammed Zama Khan (Beenkar) | Hussain Ali Khan "Hingarang" | Ghulam Maula Khan | Rahim Ali Khan | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Allarakha Khan (Dhrupadiya) | Langde Hussain Khan | Ilahi Baksh | Dhumi Khan | Shahab Khan | Vajid Ali Khan | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Ghulam Taki Khan | Ghalum Kasim Khan | Ghalum Zamin Khan | Ghalum Azam Khan | Abdul Majid Khan | Abdul Rahim Khan | Abdul Aziz Khan | Nanne Khan | Mehboob Baksh | Kale Khan | Abdulla Khan | Shende Khan | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Sadiq Ali Khan | Khadin Hussain Khan | Hussain Ali (Beenkar) | Habeeb Khan | Abdul Wahid Khan | Abdul Gafur Khan | Abdul Razaq Khan | Abdul Rehman Khan | Rahim Baksh | Hyder Baksh Khan | Rahman Baksh Khan | Abdul Karim Khan | Abdul Haqq Khan | Abdul Latif Khan | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Haider Ali Khan | Bande Ali Khan (Beenkar) | Hafizulla Khan | Abdul Haqq Khan | Shakoor Khan | Gani Khan | Abdul Bashir Khan | Majid Khan | Hamid Khan | Sureshbabu Mane | Hirabai Badodekar | Abdul Rehhman Khan | Saraswati Rane | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Kanniz Begum | Umrao Begum | Samiulla Khan | Akhtar Nawaz Khan | Mubarak Ali Khan | Mashkoor Ali Khan | Niyaz & Fayyaz Ahmed Khan | Noor Hasan Khan | Sattar Khan | Babu Khan | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Amjad Ali Khan | Arshad Ali Khan | Shahana Ali Khan | Riyaz Ahmed Khan | Sarfaraz Ahmed Khan | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
Lineage
Exponents
19th century
- Sadiq Ali Khan, son and disciple of Ghulam Taki Khan. Associated with Qawwal Bacchon Gharana.[4]
- Bande Ali Khan (1826-1890), son and disciple of Sadiq Ali Khan. Married daughter of Haddu Khan of Gwalior Gharana.
20th century
- Abdul Karim Khan (1872–1937), gharana founder
- Abdul Wahid Khan (1885–1949), cousin of Abdul Karim Khan and gharana co-founder
- Ashique Ali Khan (1948–1999)
- "Proudh Gandharva" Pandit Vishwanathbuwa Jadhav (1885−1964), direct disciple of Abdul Karim Khan.
- Sawai Gandharva (1886–1952), disciple of Abdul Karim Khan.
- Sureshbabu Mane (1902–1953), son and disciple of Abdul Karim Khan, also learned from Abdul Wahid Khan.
- Hirabai Barodekar (1905–1989), daughter of Abdul Karim Khan, also learned from Abdul Wahid Khan.
- Saraswati Rane (1913-2006), sibling and disciple of Sureshbabu Mane and Hirabai Badodekar.
- Gangubai Hangal (1913-2009), disciple of Sawai Gandharva.
- Pandit Baburao Vishwanathbuwa Jadhav (1915-1976) son and direct disciple of Pandit Vishwanathbuwa jadhav and also a direct disciple of Ustad Abdul karim khan.
- Roshan Ara Begum (1917-1982), was also a disciple and relative of Abdul Karim Khan
- Firoz Dastur (1919-2008), disciple of Sawai Gandharva
- Pandit Rajaram Vishwanathbuwa Jadhav (1921-1976) son and direct disciple of Pandit Vishwanathbuwa jadhav and also a direct disciple of Ustad Abdul karim khan.
- Pandit Vishwanath, 1957 - present , disciple of Pt. Mani prasad ji & Brother of Pt. Jagannath ji, Shehnai Vadak from Meerut Shehnai Gharana
- Bhimsen Joshi (1922-2011), disciple of Sawai Gandharva
- Smt. Shakuntalaraje Rajaram Jadhav (1923-2004) wife and disciple of Pandit Rajaram Vishwanathbuwa Jadhav and also a direct disciple of har father- in-law "Proudh Gandharva" Pandit Vishwanathbuwa Jadhav
- Prof Tej Bahadur Sahney (1936-2012) disciple of B N Dutta Lahorwale
- Basavaraj Rajguru (1917-1991), disciple of Panchakshara Gawai, Sureshbabu Mane and Abdul Wahid Khan
- Madhava Gudi (1941-2011), disciple of Bhimsen Joshi
- Mashkoor Ali Khan (1957–Present), disciple of Shakoor Khan
- Nagaraj Rao Havaldar, disciple of Madhava Gudi
- Jayateerth Mevundi, disciple of Sripathi Padigar
- Manik Varma (1920-1996), disciple of Sureshbabu Mane and Hirabai Barodekar, also learned in other gharanas
- Milind Chittal, disciple of Firoz Dastur
- Prabha Atre (born 13 September 1932), disciple of Sureshbabu Mane and Hirabai Barodekar
- Sanhita Nandi, disciple of Mashkoor Ali Khan
- Sandip Bhattacharjee, disciple of Mashkoor Ali Khan and Mubarak Ali Khan
- Sumitra Guha, disciple of A. Kanan
- Balachandra Prabhu, disciple of Sripathi Padigar and Jayateerth Mevundi
- Girish Sanzgiri
- Mohd.Danish
- Mani Prasad (1929 - 2023)
- Rafiq Ahmed Khan (Sarangi)
- Nagnath Wodeyar (b. 1944)
- Pandit Pran Nath.
- Kaivalya Kumar Gurav
- Chhannulal Mishra
- Pandit Harish Tiwari
- Pandit Arun Bhaduri, disciple of Pandit A.Kanan and Abu Daud khan
- Shirin Sengupta Nath, disciple of Pandit A.Kanan and Pandit Arun Bhaduri
- Pandit Balkrishnabuwa Kapileshwari (1896-1982), senior disciple of Ustad Abdul Karim Khan
- Pandit Chandrakant Kapileshwari (1935–Present), disciple of Pandit BalKrishnabuwa Kapileshwari
- Shree Rani Madalsa (1957–Present), Canadian disciple of Pandit Chandrakant Kapileshwari
- Pandit Krishnanand (1920-2003), disciple of Pandit Bheema Rao. Ref:"The Hindu, May 30th 2003"- http://www.carnaticcorner.com/articles/krishnanand.htm. Taught Hindustani to many carnatic musicians including Shri. M.S.Gopalakrishnan. Pandit Krishnanand was also a hindustani music teacher at Kalpakkam.
21st Century
saqib ali khan Sanjay Singh Patel Dr Naveen Sharma 1985-2021
References
- "Torch-bearers of kirana gharana, and their followers". The Times of India. 26 January 2011. Archived from the original on 4 November 2012. Retrieved 21 February 2016.
- "Kirana gharana". ITC Sangeet Research Academy. Retrieved 21 February 2016.
- Lavezzoli, p. 246
- Khanna, Amit (2019). Words. Sounds. Images.: A History of Media and Entertainment in India. HarperCollins India. p. 1846. ISBN 9789353573522.
Bibliography
- Roshan Ara Begum (1994). Kirana. Gramophone Co. of India.
- Carolyn M. Starr (1984). Intonation in the Kirana Gharana: A Pilot Study. Mills college.
- Bonnie C. Wade (1984). Khyāl: Creativity Within North India's Classical Music Tradition. CUP Archive. ISBN 978-0-521-25659-9.
- Peter Lavezzoli (2006). The Dawn of Indian Music in the West. Continuum. ISBN 978-0-8264-1815-9.