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Book Review
Appreciating music
Partho Datta
A RASIKA’S JOURNEY THROUGH HINDUSTANI MUSIC: Rajeev Nair; Indialog Publications Pvt. Ltd., O-22, Lajpat Nagar II, New Delhi-110024. Rs. 350.
This is a lovely book that introduces as well as enthuses about Hindustani classical music. For the aficionado it offers a discerning summary of the available lore and literature on musicians. The best way to read this book is to first dip into the biographical introductions to musicians. The detailed notes on the lives of legendary musicians including historical figures like Tansen are finely etched.
The section on vocalists begins with Rehmat Khan, an idiosyncratic figure from the early 20th century. He is lesser known to the lay public but is revered as “Bhugandharva” among musicians to this day. Luckily he consented to cut discs. The handful of 78 rpms that survive are a valuable archival record of singing styles practised 100 years ago, especially the pioneering contribution of Gwalior vocalism to the evolving style of khyal. These recordings prove, as Nair points out, Rehmat Khan’s influence on subsequent vocalists. Not only celebrated figures like Abdul Karim Khan and Omkarnath imbibed his style of intoning in the upper octave, but it continued to be an inspiration to Mallikarjun Mansur who learnt it from his guru Manji Khan.
Popular stars
The sections on Amir Khan and Bade Ghulam Ali Khan are also insightful. The sharp contrast of their singing styles, one reposeful, the other ornamental, made vocal performance all the more richer. Their younger contemporaries, Mallikarjun Mansur and Basavraj Rajguru had niche followings initially. Mansur became a star much later in life and his long struggle for acceptance reads poignantly since he never compromised on his musical values. The famous trio of women vocalists from Western India Kesarbai Kerkar, Hirabai Barodekar and Gangubai Hangal also have informative and lively sections devoted to them.
The popular stars in the concert circuit today Jasraj, Rajan and Sajan Mishra, Kishori Amonkar, Rashid Khan and the Gundecha brothers have all been evaluated judiciously by the author. On reading these accounts it becomes clear that vocalism in recent times has become more eclectic, perhaps the result of porous gharana walls.
Instrumentalists
Nair’s chapter on instrumentalists also makes excellent reading. Every instrument is briefly introduced before a discussion on the major musicians in that field. There are detailed analyses of the styles of the three great sitar maestros, Ravi Shankar, Vilayat Khan and Nikhil Bannerjee. One comes away with the impression that Nair would place Nikhil Bannerjee on the top since he calls him the “instrumentalist’s instrumentalist.” An attractive feature of this book is that it does not just give you accounts of the great musicians and stars. A range of younger musicians are discussed including some who are just making a name for themselves. So, for instance, the name of Purbayan Chatterjee is mentioned as one of the upcoming sitarists from Calcutta who is well worth listening.
A substantial section of the book is devoted to explicating the history of the various forms and genres as well as concepts. The history of the gharanas is well told and the significant features of these stylistic lineages are conveniently rendered into salient points. What impresses most however is Nair’s lucid exposition and his ability to convey the excitement of listening without resorting to esoteric musical grammar.
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