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Ibteda - Ghulam Mustafa Khan . |
Ghulam Mustafa Khan - Vocal
Hidayat Khan - Tabla
Liaquat Ali Khan - Sarangi
Anant Ketkar - Harmonium
Raga Kaunsi Kanada
1. Vilambit Khayal 37.54
2. Bandish in Medium Teentaal 7.42
3. Bandish in Drut Ektaal 5.29
Raga Sindhura
4. Bandish in Medium Teentaal 13.17
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Endowed with an exceptionally melodious and sensitively adaptable voice, Ghulam Mustafa Khan's music gives witness to the rigorous traditional training that he received from his distinguished gurus. He hails from a family steeped in North Indian Classical vocal music culture, his forefathers being some of the most prized court musicians honoured and celebrated by the Kings and Maharajas in a musical lineage that goes back to more than 150 years.
Ghulam Mustafa Khan has brought these traditions into the present with great effect, and added his own personal traits.
Born over six decades ago, on March 3, 1931, in the Badayun city of Uttar Pradesh, Ghulam Mustafa Khan was initiated into music by his father, Ustad Waris Hussain Khan. Later he was groomed under Ustad Fida Hussain Khan, and then later his son Nissar Hussain Khan.
Ghulam Mustafa Khan belongs to an illustrious school of music known as Sahaswan Rampur Gharana. This gharana, or house style, has produced an abundance of khayal singers since the time of its founder Ustad Inayat Hussain Khan (1849-1919).
Khayal, a Hindu word meaning imagination, is the most popular genre of North Indian classical vocal music, designed to give the singer optimum scope for improvisation. Originating in the courts of the Moghul emperors as a less rigid alternative to the Dhrupad style, it has evolved into a remarkably flexible form that allows an artist's individuality considerable rein. Even within the past five decades the form has undergone many changes, and the tradition of innovation continues through pioneers like Ghulam Mustafa Khan.
Khayal has several schools following different style traditions. Most of these gharanas have been built around certain families or specific locations like Gwalior and Rampur. Gharanas traditionally followed the guru-shishya system of instruction in which direct, one-on-one teaching and personal supervision meant a clearer and therefore deeper understanding, of both the traditions of that gharana, of the raga, and of the role of a particular style in exploring and presenting that raga. As Inayat Hussain, the founder of the gharana, hailed from Sahaswan and was trained and lived in Rampur, this gharana came to be called Rampur Sahaswan.
It's always been a struggle for khayal singers to establish themselves on the world music scene, because of the barrier of language. In fact, the lyrical content of the khayal while certainly enhancing the beauty of the presentation is regarded as secondary to the ability of the performer to improvise within the framework of the specific raga. The emphasis on lyrical content varies from artist to artist, many of the texts of khayal are written an ancient form of Hindu known as Brij Bhasha. Khayal has also had a profound influence on instrumental music. Many instrumentalists point out that Indian music IS vocal music, and that the instrument should sing in the style of khayal.
Ghulam Mustafa Khan's contribution goes beyond his own performance. He has trained and moulded some of India's finest film singers including Manna Dey, Sonu Nigam and Hariharan. He was awarded the Padma Shree in 1991 by the Indian government in recognition of his service to Indian music heritage.
Ghulam Mustafa Khan was specially invited to perform in Ahmedabad for this concert on the 5th January 2004 as a celebration of the twenty fifth anniversary of Saptak, India's premier Music Festival which showcases the very best of India's Classical music for a full twelve days at the beginning of each year. In this recital, Ghulam Mustafa Khan has chosen to perform Kaunsi Kanada, an evening raga, which is blend of two older and more established ragas, Malkauns and Kanada. After a short alap outlining melodic phrases of the raga and establishing a calming mood, the khayal begins in a slow rhythmic cycle of 12 beats, the pulse is slow enough for the beat to be further subdivided making it effectively a 48 best cycle.
Ghulam Mustafa khan has chosen to employ the traditional accompaniment of Sarangi which is best suited to emulate the subtle nuances of vocal inflexions.
That support is provided through the skilful hands of Liaquat Ali Khan who skilfully echoes the imaginative phrases sung by the master vocalist.
Hidayat khan is an expert tabla player with many years experience of accompanying great masters. Here he provides sensitive support appropriate to the accompaniment of khayal. The continuity of the tradition is manifest in the presence of his son Ghulam Murtaza Khan who provides vocal support.
Ghulam Mustafa Khan presents three compositions in Kaunsi Kanada in different tempos giving us a full picture of the capacity of the raga.
In this recital he concludes with a composition of great beauty in Raga Sindhura.
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