Archive for the ‘Aminuddin Dagar’ Category
Ustad Nasir Aminuddin Dagar sings Raga Purvi – recorded from a radio broadcast in the 1960s by Maharawal Mahipalsinghji Sab of Dungarpur. Accompaniment to Chowtal composition on Tabla. Names of Tabla and Sarangi accompanists not known. As in all his early performances the tanpura is tuned higher in D# than the lower B or B flat that he used later.
Many Dhrupad compositions which still survive fragmentarily in the living repertoire of singers or in old recordings can be found in their entirety in old manuscripts, books and journals.
Here is a composition in Sooltal in Raga Adana by Ustad Nasir Aminuddin Dagar from a concert in Delhi in the 1980’s. Pakhawaj player not known. The beginning is missing which is why he seems to start abruptly with the antara and comes back to sing the sthayi again. The composition curiously refers to the martial feats of fanatical Mughal emperor Aurangzeb who had banned music from his kingdom.
The composition obviously dates before 1668-69 when Aurangzeb imposed the ban. While this recording has only the first two parts of the composition, I found all the four parts in a manuscript of about 400 dhrupad compositions written by Sanatan Sil, a dhrupad singer who studied both instrumental and vocal dhrupad from several prominent musicians of the Seni, Vishnupur and Betiah traditions – like Birendrakishor Roychowdhury, Shibkumar Mitra and Bamacharan Sil – a student of the well known Dhrupad singer Danibabu of the Betiah tradition.
Like many fine dhrupad singers in the last century, he never took it up as a profession despite reaching a high standard of excellence, but worked in a bank while keeping up a regular routine of practice, teaching and occasional performances. The notations in Sil’s manuscript are so clear and well written that it could be straightaway published as a book.
Sil’s manuscript lists it as a Khandarbani composition which agrees well with what my teacher Rahim Fahimuddin Dagar told me about such fast paced compositions in the veer rasa or valourous sentiment. Sources which list Ragas or compositions on the basis of the Banis of Dhrupad are quite rare. Examples of such classification are the Sarod Rasa Chandrika of Nirendrakrishna Mitra 1938 as also the recordings of Bharatji Vyas in the SNA archives.
Another dhrupad singer of the 1st half of the 20th century associated with the Vishnupur and Betiah traditions who never took it up as a profession was Nalinbehari Ghosh. Like Sanatan Sil he also worked in a bank. His manuscript of notations of dhrupads seems to have been more for his personal reference rather than publication. Here is his notation of a Dhamar composition in Kumari and a chowtal dhrupad in Kamod Nat. Nalin Behari Ghosh was an associate of Aghorbabu and Amarbabu two well known dhrupad singers of the 1st half of the 20th century. A lot of valuable material of Dhrupad especially compositions has been preserved by singers like Sanatan Sil and Nalinbehari Ghosh who pursued it as a private passion while supporting themselves from other professions. It was difficult in those times to make a living from Dhrupad. Even a well known singer like Danibabu had a job in the Railways. After independence survival as a professional Dhrupad singer became even more difficult with the disappearance of aristocratic patrons.
Till a few decades ago Bengal had many Dhrupad singers who were associated with the traditions of Vishnupur and Bettiah. Many of these singers published compositions in books and journals. The best known of them being the brothers Ramprasanna and Gopeshwar Bandopadhyaya who published the Sangeet Manjari and the Sangeet Chandrika. Another renowned Dhrupad singer of Bengal was Radhika Prasad Goswami whose obituary appears in the January 1925 issue of the journal Sangeet Vigyan Praveshika to which he often contributed.
Here is a Dhrupad composition notated by him in the uncommon Raga Hem Khem that appeared posthumously in the July 1925 issue of the magazine. The article accompanying his obituary also mentions that shortly before his death he was awarded the second prize in the All India Music Conference at Lucknow, the first prize being given to Allabande Khan. It is even now possible to find in Bengal, old students of students of singers like Danibabu, Radhika Prasad Goswami and Ramprasanna and Gopeshwar Bandopadhyaya, many of whom never took up music as a profession but possess a wealth of knowledge and sometimes also old notes and manuscripts of their teachers.
Several compositions whose first two parts exist in recordings by Aminuddin Dagar or his brothers can be found in their entirety with all the four parts in manuscripts or old books and journals.
Here is an example from the notes of Sanatan Sil of a Dhrupad of Sujan Khan in Jhaptal in Raga Megh whose first two parts are often sung in the Dagar tradition in Raga Surdasi Malhar in the same Tala and another in Raga Darbari Kanada in Tala Chautal from the November 1925 issue of the Sangeet Vigyan Praveshika.
Recording from the personal archives of Ashish Sankrityayan
All articles on this blog © Ashish Sankrityayan. No part may be used except with written permission and explicit acknowledgement.
CDS AND DVDS OF DHRUPAD ON CDBABY
A rare recording of the Elder Dagar brothers Nasir Moinuddin and Aminuddin Dagar singing Bihag with Ahmadjan Thirakwan on Tabla. Recorded from a All India Radio Broadcast of a live concert early 1960s by Maharawal Mahipalsinghji of Dungarpur.
The compulsion of giving short performances in the kind of festivals that are organized nowadays with three or four artists sharing the stage and the audience not staying on till late and also the emphasis on improvisation is probably why often only one or at the most two parts of Dhrupad compositions are heard nowadays. Gradually the last two parts of many compositions have been forgotten since they are not often sung. However since the last two parts are essentially variations of the first two, it should be possible to reconstruct them if the entire text of the composition is available.
In books like the Dhrupad Swaralipi of Shri Harinarayan Mukhopadhyay published(1929) and available on the link, or the Geet Vadya Saar Sangraha of Charucharan Mukhopadhyaya (1905) or the Nad Vinod Granth of Pannalal Goswami 1896 can be found the complete texts of many such compositions.
For example though there is no recording of all the four parts of the composition Bansidhara Pinakadhara sung in the Dagar Tradition in Multani, we can find the song text in the Dhrupad Swaralipi and reconstruct the entire composition since the third part is essentially a close variation of the sthayi and always begins with a characteristic hudak ornament spanning a large part of the octave from the lower to the middle. The fourth part is essentially like the second with slight variations. The words of the last two parts of this composition as given in the book (in Raga Shree) are -chandanadhara bhasmadhara maalaadhara sheshadhara gopivara parameshwara gopishwara ishwara. kahe miya taansen dou swaroopa ek tuma garudasana vrishavahana teenaloka kara uddhara. The Raga Vigyan of Vinayakrao Patwardhan gives the following lyrics for the last two parts – nandidhara garudadhara kailasdhara vaikunthadhara kahe baiju baware sunahu gunijana nisadina harihara dhyana uradhara.
A well trained Dhrupad singer should be able to reconstruct compositions in this way. Which again brings us to the important task of collecting all recorded and written material on Dhrupad and going about reconstructing whatever is possible.
Another frequently heard composition whose 3rd and 4th parts can be found in the Geet Vadya Saar Sangraha and the Sangit Manjari of Ramprasanna Bannerjee of Vishnupur (1935) is – niranjana nirakara parabrahma parameshwara. ek hi anek hoye vyapyo vishambhara. alakha jyoti avinashi jyoti rupa jagatarana. jagannatha jagatapati jagajivana jagadhara. baahi mein sab jiva jantu suranara muni guni gyani. nabhi kamal te brahma pragatayo shataroopa manvantara. kahe baiju vahi brahma vahi virata roopa vahi. aap avataar bhaye chaubis vapudhara. The same composition can often be found in different Ragas in different traditions. The first book gives it in Raga Bhairava while the second lists it in Bhairavi.
Here is a recording of the Elder Dagar Brothers singing alap in Sudhdha Rishabh Chandrakauns followed by this composition in a Radio broadcast from the 1960s.
A later recording of the Younger Dagar Brothers has both the sthayi and antara
Here are two more compositions commonly heard in the Dagar tradition with the first two parts along with the texts of all the four parts from the Nad Vinod Granth which could again be reconstructed by singers who are well trained in the tradition.
First two parts of Chowtal Composition in Bhimpalasi sung by the Elder Dagar Brothers
The first two parts of a Dhrupad composition in Raga Bhupali in Chowtal sung by the Elder Dagar Brothers
The Nad Vinod Granth is a valuable book with the texts of many dhrupad compositions and notations of instrumental gats and interesting prastara exercises in various Ragas. The notations of Ragas given in the book show how they have changed over more than a century. However the book would have been infinitely more valuable had the author also included notations of the Dhrupad compositions instead of notations of only the gats and the prastara exercises.
The photos in this post show Ramprasanna Bannerjee playing the Rudra Veena and his younger brother Gopeshwar Bannerjee of the Vishnupur Dhrupad Tradition. The world of Dhrupad will be eternally grateful to them for being farsighted enough to publish their two gems with Dhrupad compositions – The Sangit Manjari and the Sangit Chandrika.
All articles on this blog © Ashish Sankrityayan. No part may be used except with written permission and explicit acknowledgement.
Dhrupad Compositions With Four Parts – Rahimuddin, Hussainuddin, Aminuddin, Zahiruddin and Faiyazuddin Dagar
One often hears it being said that singers of the Dagar Tradition do not sing all the four parts of a Dhrupad composition. The reason could be that the style lays much greater emphasis on improvisation and because of this, the last two parts being not sung often are gradually forgotten. Rahim Fahimuddin Dagar used to tell me that in a Dhrupad composition the first two parts the Sthayi and Antara were the most important – encompassing all the angs of the raga that the composition tries to demonstrate. The last two parts are essentially variations of the first two. Often due to the vagaries of the oral system of transmission and the peculiarities of the family relations and learning histories, some members of the Dagar family remembered all the four parts of certain compositions while others didn’t.
Another quirk of theirs is in the nomenclature of the four parts. The Dagars would insist that the last two parts of a Dhrupad composition are called Abhog and Sanchari and not the other way round. Fahimuddin Dagar told me that the third part always starts with a special ornament spanning a large part of the octave – the hudak and the fourth is more or less the same as the second – the Antara. He said the fourth part should be called the Sanchari or Samachari because it summarized the content of all the four parts and brought the composition to an end. He also added that it doesn’t really matter anyway if it is Abhog, Sanchari or the other way round.
When it came to remembering compositions the Late Nasir Aminuddin Dagar had probably the largest repertoire of them all. He also remembered many compositions of his maternal grandfather Inayat Khan. When I first met him in Calcutta, he spontaneously sang without tanpura accompaniment, several that I had never heard before. It is a real pity that he did not methodically record all that he remembered.
Here are two compositions by him with all the four parts.
Pujana Chali Mahadeva – Raga Malkauns – Chowtal, Composition of Tansen. Notice the tanpura tuning in Pancham. Something he insists on in the beginning before the alap as being required to preserve the tonal relations within the Raga.
Manus Hu To Vahi Ras Khan – Raga Kambhoji – Chowtal – text by Ras Khan – poet and Krishna devotee (16th – 17th century).
Another gem of a composition with four parts attributed to Tansen is Muraliya Kaise Baaje sung here by Nasir Zahiruddin and Nasir Faiyazuddin Dagar the younger sons of Nasiruddin Khan Dagar
Aminuddin Sab sings another composition with four parts in Raga Adbhut Kalyan which I recorded from a radio broadcast around 1990. He probably missed out a part of it somewhere since he has to repeat a phrase in the end to come to the first beat. He told me that the Raga was originally called Khem Kalyan. The composition is of Kalidas – the Pandit from whom his ancestor Baba Behram Khan had learnt in Varanasi.
This composition in Todi sung by Hussainuddin Dagar (Tansen Pandey) mentions the names of Nayak Gopal and Nayak Baiju. The pakhawaj accompaniment is probably by Rajiv Lochan Dey.
This composition in Lalit sung by Aminuddin Dagar mentions the name of Dhondi in the last part. The pakhawaj accompaniment is by S. V. Patwardhan. Recorded by Maharawal Mahipalsinghji of Dungarpur in 1966 from a radio broadcast.
Two more compositions with four parts are these in Miya Ki Malhar and Komal Rishabh Asavari by Rahimuddin Khan Dagar which are also there in his EP records released by HMV.
Raga Miya Ki Malhar
Raga Komal Rishabh Asavari
It is often difficult to understand the text from such recordings. The text of this Asavari composition can be found in vol 3 of Raga Sangraha of Master Krishnarao along with a notation that is more or less along the lines of the rendition of Rahimuddin Dagar. Popular compositions like this one remained in wide circulation in the oral tradition and the amazing thing is that usually the different versions agree in the overall structure and design despite coming from vastly different lineages of singers in widely separated parts of the country.
Young Aminuddin and Zahiruddin Dagar appear in this photo taken in 1936 in Indore – appearing solemn and downcast – understandable since their father Nasiruddin Khan had passed away a few months ago and their mother and elder brother Moinuddin had left for Jaipur. The little child in the lap of their uncle Rahimuddin Khan Dagar could be Faiyazuddin Dagar or one of their sisters – I am not sure. Standing between Zahiruddin and Aminuddin is young Fahimuddin Dagar.
The importance of Dhrupad compositions is that each is a model of the various angs or aspects of a raga – composed by a master Dhrupad singer and passed on from generation to generation as an example of the raga. Compositions document history, folklore, mythology, philosophical and musical concepts. Special compositions were created as pedagogical tools to illustrate certain concepts or methods of treatment. One huge task before us is to locate and digitize and make accessible to the public all existing material on Dhrupad.
The task would have been much easier 40 or 50 years ago when recording technology had become widely and easily available and there were many knowledgeable musicians still around. Right now the task is daunting if not overwhelming. Its a bit like embarking on an archaeological excavation without even knowing where to start digging.
The grand old man with the elegant bordered cap on the pakhawaj in this photo is none other than great pakhawaj maestro of yesteryears Govindrao Burhanpurkar.
My Guru Rahim Fahimuddin Dagar once identified him to me in this very photograph which I had got printed then from the Sangeet Natak Akademi archives in connection with my work on the Mewar CDs. He reminisced about his magnificient playing with his father Rahimuddin Dagar and said that pakhawaj players like Govindrao Burhanpurkar and his contemporary Ayodhya Prasad used to play the ‘Angs‘ of singing on the pakhawaj and because they could anticipate these ‘Angs‘, it was possible to do very long and gradually unfolding developments of compositions with their accompaniment.
Another contemporary pakhawaj player of Govindrao Burhanpurkar he mentioned and also showed me a photo of, wearing a similar cap was S. V. Patwardhan, who played brilliantly with the Elder Dagar brothers in their great Darbari Kanada L.P. Unfortunately I never managed to make a copy of that photo. Wish I had since that might be the only picture around of this great pakhawaj player who also passed away in the 1960’s soon after the untimely death of Ustad Nasir Moinuddin Dagar. That brilliant accompaniment in the Darbari/Adana L.P. and a few recordings of his sangat in A.I.R broadcasts with the Elder Dagar Brothers assures him a place in the pakhawaj roll of honour.
Unfortunately this is a poor reproduction from the L.P and does not bring out S.V. Patwardhan’s beautiful resonant bell like sound that I had heard with very good L.P. players and reproducing equipment. I hope H.M.V does a good remastering and releases it again.
What I loved about his sangat was the grand way he gave theka in the beginning and restrained his tremendous virtuosity and speed – only gradually bringing in the fireworks, and all the time following the ‘Angs‘ of the singing with incredible closeness and anticipation.
I found a picture of this L.P. on this unbelievably named blog “Anthems for the Nation of Luobania” – which gives photos of the vinyl disc too and also discusses the merits of different pressings…which ones have low surface noise etc. !!! Real Dhrupadiyas among L.P. collectors I must say, to pay such attention to nuances 🙂 . The blog is a must see for all vinyl L.P. lovers!!
Incredibly enough I googled and found a youtube video with Burhanpurkar Ji’s solo playing taken from an old 78 rpm record. The playing is very virtuosic, but of course with the tinny sound of a 78 rpm shellac recording, we can only get a distant glimpse of what it would have sounded like in real life- a rare example of pakhawaj solo on shellac. That HMV released it showed the stature that Govindrao Burhanpurkar had among his contemporaries. Hats off to Warren Senders for uploading this and other 78 rpm gems.
Another rare recording of pakhawaj sangat or accompaniment that I have is of Ambadas Pant Agle – grandfather of pakhawaj players Sanjay and Chitrangana Agle accompanying Rudra Veena player Abid Hussain Khan of Janjira – a relative and elder of renowned Veena player Late Asad Ali Khan. Abid Hussain was also a Dhrupad singer and one of the many important tasks of Dhrupad archivists would be to locate his recordings and find students of his who might remember things taught by him.
– Raga Desh, Abid Hussain Khan, Ambadas Pant Agle. All India Radio Broadcast on 19th September 1963. Recorded by Maharawal Mahipalsinghji of Dungarpur.
Govindrao Burhanpurkar, S. V. Patwardhan, Ambadas Pant Agle – all belonged to the Nana Panse school of pakhawaj, which emphasized a kind of soft, sensuous and poetic style of playing as opposed to the more manly and forceful Kudao Singh style . The Nana Panse style was more prevalent in Maharashtra and Central India while the Kudao Singh style of which Ramashish Pathak and Ayodhya Prasad are fine examples is found in the North and in Bihar.
I have two recordings of Ustad Nasir Aminuddin Dagar singing this chowtal composition in Raga Jaijaiwanti Kanada – This one shows the melodic lines of the composition without tala or pakhawaj accompaniment and is from 1990 in Bhopal. The Raga being a blend of two Ragas has a complicated structure. A version of this composition can also be found in the book Marifunnagamat, attributed by the author and compiler Muhammad Nawab Ali Khan to the Dhrupad singer Abban Khan of Saharanpur – a relative and disciple of Baba Behram Khan.
The second performace from a concert in Delhi in the 1980’s
Recording from the personal archives of Ashish Sankrityayan