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Srishti Center Of Performing ArtsSrishti Center Of Performing ArtsSrishti Center Of Performing ArtsSrishti Center Of Performing ArtsSrishti Center Of Performing ArtsSrishti Center Of Performing ArtsSrishti Center Of Performing ArtsSrishti Center Of Performing Arts
12016 English Maple Ln,Fairfax, VA 22030
Carnatic Vocal(Anu Iyer)
$120 - 8 weeks
10-11 am
Fine Arts Class(Shuddha Sanyal)$120 - 8 weeks
Tabla(Chethan Ananth) $120 - 8 weeks
3-4 pm
Bengali Music Class(Kids Ages 4-7, Kamalika Sandell)
$120 - 8 weeks
Classical Fusion Dance(Adults & Kids Ages 8+, Durba Ray)
$120 - 8 weeks
2-3 pm
Sterling Community Center
120 Enterprise St Sterling, VA 20164
Bengali Language Class (Chandana Bose)
$95 - 8 weeks
Classical Fusion Dance (Kids Ages 4-7,
Durba Ray)$120 - 8 weeks
1-2 pm
LocationClass NameClass NameSunday
Website:Website: http://www.srishtihttp://www.srishti--dc.orgdc.org
Kamalika Sandell (703Kamalika Sandell (703--774774--6047) 6047)
Paromita Ray (703Paromita Ray (703--395395--2765)2765)
*Sibling Discount for same class *Sibling Discount for same class -- 20%20%
Hindustani Music History of Hindustani music in its current form can be traced back to the late eighteenth century. Before that, the prevalent form of vocalizing was Dhrupad – a very solemn and structured exposition of the raga. The later days of Mughal Empire saw the breaking down of this rigor. Music started getting shots of “frivolity”, if you will, in degrees. During this period, khayal came into being. Under the patronage of royalties like the then dethroned nawab of Lucknow, Wajid Ali Shah and other native states, northern Indian music reached new heights. At the same time, different forms of folk music from northern India found their way into classical music and gave birth to forms like thumri, kajri and chaiti.
Gharana – a tradition of learning One of the major discerning traits of Hindustani classical music is how the legacy has been passed on from generation to generation. Virtuosos wanted to limit their knowledge and their particular gayaki (style of singing) - often secretly guarded - among their own kin. During an age without tape recorders, only way to learn the intricacies of music was to tie the ganda or nara from an ustad and pay your dues. It is reminiscent of the Vedic tradition of learning. The reason why gharana and vocal stylization have played such an important role in our music is the element of improvisation. Western music is highly structured - the notes in a composition are written in stone. Playing Beethoven’s 5th, the artiste does not have the luxury to change one single note. Not so in Indian music. The same raga can be sung or played differently by different artistes. While the underlying structure remains the same, the way a raga is exposed and the accompanying ornamentations maybe strikingly different.
The word gharana derives from ghar – hindi for house or family. The two gharanas, Agra and Gwalior are considered to be the oldest ones in khayal gayaki. It is contended that Rampur-Sahaswan gharana, an offspring of Gwalior gharanawas started by Ustad Enayet Hussein Khan. His two sons-in-law and disciples, Ustad Mushtaq Hussein Khan (son of the famous Quwaal Kahlan Khan) and Ustad Nissar Hussein Khan extended the gayaki and made it even more popular and famous. The latter brought into his gayaki several components of Agra gharana while the former’s was tantalizingly close to Gwalior. Gharana does not constrict an artiste. Indian music is dynamic, and while a gharana teaches its students to sing a ragafollowing certain tenets, improvisation, enrichment and embellishment are not discouraged. The true artiste has only one obligation – that to the beauty of his creation. And as we all know, aesthetics does not follow guidelines of mortals. Ustad Rashid Khan is an example of this pursuit. Born in 1966, under the tutelage of Ustad Nissar Hussein Khan – his grand-uncle – he has evolved into a fine exponent of his gharana. However, he has also inducted several sub-styles from other gayaki to give his creation a distinct flavor. His alaap and bilambit gaat will remind you of Ustad Amir khan while his tarana is very much Sahaswan.
He gave his first public performance at the age of 11 and in the very next year performed at the ITC Sangeet Sammelan at New Delhi. Since then his rise has been exceptional. He has received accolades from listeners in India and abroad. He has visited the US earlier and has, as usual, taken the listeners by storm. No amount of written words can do justice to the beauty and grandeur of Indian music. So, please join us in enjoying the mesmerizing voice of Ustad Rashid Khan – one of the foremost virtuoso vocalists of our time of whom Pandit Bhimsen Joshi has said, “There is now at least one person in sight who is an assurance for the future of Indian vocal music.”
Gharana by Sumitro Majumdar
The Saga Of Hindustani ClassiThe Saga Of Hindustani ClassiThe Saga Of Hindustani ClassiThe Saga Of Hindustani Classical Musiccal Musiccal Musiccal Music By Samar Saha
If someone asks what has been India’s greatest contribution to the humanity, it would be very obvious to most, like me, to state without a second thought that it is the Indian Classical Music. Some may argue but when the dust settles after an intent and close listening, all will genuinely feel that indeed the Indian classical music is a unique musical experience - developed over centuries and almost sublime in its beauty. Princeton University WordNet has defined the ‘Classical Music’ as the “Music conforming to an established form and appealing to critical interest and developed musical taste”. Certainly, the Indian classical music meets and goes way beyond such definition. It is one of the oldest unbroken musical traditions of the world, which has evolved through several thousand years and is still evolving. Many, like me, feel that when listened properly, it produces an uplifting emotional and spiritual experience, which lingers on and on and does not fade away like other pleasures. Many may ask what this music is and how it evolved to produce such mesmerizing effect. I do believe that the answer is in its evolution and perfection over centuries.
Basics of Indian music started some 3000 years ago as evidenced from the terracotta figures, the seals and the famous bronze statuette of a dancing girl from the excavation sites of the Indus Valley civilization. Later the musical form, starting from the chanting
of the hymns of Samaveda, underwent continuous evolutionary changes to get to the musical form we now recognize as Indian classical music. This evolutionary phase saw development of two branches – North Indian Hindustani and South Indian Carnatic. At the turn of the first millennium, the form of music that was prevalent in India was called Prabandha. From this prominent form of music Dhrupad developed in the north and Kirthana/Krithi developed in southern India around 13th century. Much of northern India came under Muslim rule by 1200
AD. Muslim rulers and their aristocrats brought their known language, music and culture with them, which after assimilation gave rise to a new culture. This resulted in bifurcation of ancient Indian music into two distinct styles – Hindustani in North and Carnatic in the south. Although the Muslim rulers were of either central Asian Turks or Afghani in their origins but their language, their custom and culture was distinctly Persian. Perhaps the most famous instance of Persian influence on Indian music is that of the Father of Hindustani music, Amir Khusro Dehlavi (1253-1325 AD). Around Khusro’s time Dhrupad had developed from Prabandha and was the oldest form Hindustani music. Amir Khusro is credited with modifying Dhrupad by adding Persian melody and beat to it - thereby creating Qwawalii (present day Qawwali), a form of Muslim devotional song. Later, the Mughal period saw Dhrupad becoming the court music of the time. The most prominent Dhrupad artist of the Mughal period was Tansen from Emperor Akbar’s court who is credited with reshaping the entire Dhrupad music by adding Persian ornamentations such as Meend, Gamaka etc. He is also credited with the development of Rabab (Rudra Veena). Tansen also created some of the foremost ragas of Hindustani music. Some of these are noteworthy, such as Darbari Kanada, Darbari Todi, Miya Ki Malhar, Miya Ki Sarang etc. Almost every major Gharana (musical school) of present day Hindustani music trace their lineage to Tansen. Hindustani music kept on evolving, as the Mughal power was on the decline in the northern India.
Beginning of the Khayal style of Hindustani music is traced to the court of Muhammad Shah “Rangile” (1720-1748) although many believe that Amir Khusro started both Khayal and Qawwali. Considering the fact that most of the Khayal Gharanas were originally Dhrupad
Gharanas, it should be safe to say that Khayal originated as a leisurely form of Dhrupad with
more ornamentation and improvisation, signifying a major Persian influence on this form. For Khayal, the first musical evidence of court support is noted at the Delhi Darbar (court) of the eighteenth century Mughal Emperor Muhammad Shah “Rangile”, where the musicians Nyamat Khan with penname of Sadarang (1670-1748) and Firoz Khan with the penname of Adarang composed songs that have been transmitted to the present time. It is believed that Sadarang and Adarang also formalized the structure of modern day Khayal. Whatever be the origin of Khayal style, no doubt Dhrupad was the style that received patronage from kings and aristocracy till the time of later Mughal emperors. The Dhrupad compositions and style was serious and mostly in Sanskrit phraseology. Khayal compositions, on the other hand, were in commonly spoken language and the theme was mostly romantic. The singing style consequently was leisurely, ornamented and given to improvisation. Also, not being part of the religious ritual it was necessarily fostered outside the places of worship - hence an element of physical pleasure, particularly of the courtier, became predominant.
The period British Raj (1857 to 1947) saw the establishment of various famous Gharanas (school of music) in the north. The British rulers had no interest in Indian music. But large areas of India were still under various Indian kings, called Princely States. These
Princely States had enough resources to support artists and musicians in their courts. They also enjoyed political stability and were free from worries of war, making it possible for most of the kings and aristocracy to lead a life of leisure, which was very conducive to growth of arts and music. Most of the Gharanas are named after these Princely States that supported the artists. Further developments of Khayal happened in various Gharanas, each evolving a distinctive style of singing. Artists guarded their Khayal compositions and musical style like heirloom passing the knowledge orally from one generation to the other, mostly within the extended family. It was during this period that Hindustani music was resurrected from Kothis
and accorded a social acceptance – resulting in development of newer musical forms, like Thumri, Tappa and Tarana. Recorded music of this era brought Hindustani music from the royal courts to the millions of middle class music lovers – again changing the patronage, taste and evolution. We would never know how Dhrupad’s of Tansen or Baiju Bawra sounded. But, thanks to recording technologies, we know and feel the magic of Hindustani classical music of last 50 years or so.
Our artist today is Ustad Rashid Khan who bears the torch of Rampur-Sahaswan Khayal Gharana, which started, in the court of the fifth Rampur Nawab, Yusuf Ali (1840-1868). The founder of this Gharana was Ustad Inayat Hussain Khan (1849-
1919) who brought with him the Dhrupad style of Gwalior. The tradition continued with his two son-in-laws, Ut. Mushtaqe and Nissar Hussain Khan. But it was Ustad Ghulam Mustapha Khan who added new dimensions in singing style of this Gharana by using Sargams popularized by Kirana and Gwalior Gharana, introducing slow melodic elaboration (Vistar) and a slower tempo preferred by most singers of our time. In Ustad Rashid Khan we see the brilliance of this Gharanaat almost perfection level. His slow elaboration in vilambit khayals, the use of sargams, sargam taankari, and use of other features of Rampur-Sahaswan style is simply unparallel. The brilliant Inayat Hussaini Drut and medium pace Khayalsring as true in his voice as they must have felt down the ages. His masterful Tarana in Khayalstyle rather than Nissar Hussaini instrumental stroke based style, infusion of emotion in his melodic elaboration, mastery over tonal variations, dynamics and timbre adjustment has left very little to be desired in the realm of voice culture. Ladies and Gentlemen, in Ustad Rashid Khan we experience today the 3000 years of musical evolution of north India. In him we have the belief and our hope of continuation of a tradition, which took almost 3000 years to evolve. We sincerely believe that we shall be hearing a legend tonight – a legend of our time and of our tradition.
I thought that they would never again come, but as I looked out my window I started to see some.
They blushed as they hung there, revealing their true color, they would have their time but they wouldn’t stay much
longer.
They reflected the autumn sun with much poise, surrounded by the children and suburban noise. For a moment in time they are here for me, just for a moment they dance on the trees.
I tried to steal that moment by plucking it from my tree, but I’ll never have it forever, it lost its soul and now I see.
It’s not forever, it just can’t be, it’s lost forever now just an autumn memory.
-Priya Bose
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