ustad faiyaz khan-the maestro by batuk dewanji

Late Ustad Faiyaz Khan

The Greatest of His Time

Faiyaz Khan Became a living legend is his lifetime, yet remained a profoundly humble human being till the end. Batuk Dewanji remembers the great Ustad on the occasion of his 42^nd death anniversary which fell on Thursday.

Late Ustad Faiyaz Khan breathed his last on November 5 1950, but his music will always live on in the memory of his numerous listeners.

It was Nietzsche who once said that the existence of the world can be justified only as an aesthetic phenomenon. Amidst the unrest and uncertainty in which we live, we have the arts, particularly music which can uplift and give solace to listeners.

Although the old masters have long departed, we have on tape their music which can transport us to a world of beauty and serenity. Ustad Faiyaz Khan was one such musician who enlarged the sum total of human happiness through his music.

Khan was the brightest luminary at a time when a galaxy of great musician brightened the sky. We are not destined to see the likes of him again. Ask any musician of musicologist about Faiyaz Khan and he will doubtlessly tell you that Khan was the greatest among his confreres. Pandit Ratanjankar was once sent by his Guru Pandit Bhatkhande to receive Talim from Ustad Faiyaz Khan. In Ratanjankar's opinion, Ustad Miya Jan Khan of Patiala Gharana was the only musician who could equal Ustad Faiyaz Khan. Thakur Jaidevsingh, a great connoisseur of music, once told me that in Dhrupad and Dhamar, Allabende and Zakuddin were supreme while in Light Classical Music Gauhar and Jankibai had no peer. But Faiyaz Khan was a Chaumukhi Gavaiy a - a vocalist of many parts. He was the only musician with great expertise in Dhrupad, Khayal, Thumri, Dadra and Ghazal.

Ustad Vilayat Hussain Khan, the doyen of the Agra Gharana, would say that in his younger days, he used to give vocal support to Ustad Faiyaz Khan; but the quality of the latter's music was so high that his (Vilayat Hussain Khan) had to rest content with singing only Sargams. Pandit Bhatkhande once told Professor Deodhar, "If you want to know what amounts to real Talim, go and hear Ustad Faiyaz Khan."

Ustad Faiyaz Khan was a posthumous child and was brought up by his maternal grandfather Ustad Ghulam Abbas Khan, who gave him Talim in Dhrupad, Dhamar and Khayal. Ghulam Abbas Khan was a great musician and lived to the age of 125. In addition to an extremely rich repertoire of Agra Gharana Bandishes, Faiyaz Khan received numerous superb Bandishes by his father-in-law Mehboob Khan (Daras Piya) and his paternal ancestor Ramzan Khan (Rangile) by way of legacy. He himself was a composer of no mean calibre and has many delectable Bandishes to his credit which he often sang at his concerts. His nom de plume was Prem Piya. Most of his Bandishes are Baje Mori Payaliya in Raga Barwa, Chalo Hato Javo Javo Saiyan in Raga Sohini, Nainanso Dekhi in Raga Suha-Sughrai, and Sajan More Ghara Aye in Raga Jog.

Ustad Faiyaz Khan had a pliable and tuneful voice with a rich timbre which moved in the Mandra Saptak majestically in Ragas such as Darbari, Maluha Kedar, Megh Malhar, and Malkauns. He was adept at the depiction of Shringar and Karun Rasas. His rendition of Manmohan Brijko Rasiya in Raga Paraj was the epitome of Shringar Rasa, while in Ragas such like Todi and Lalat, he could conjure up an atmosphere of utter pathos.

In Badrava Barsan Ko Ahe in Raga Sur Malhar, his Taans emulated thundering clouds. His favourite song in Light Classic genre was Na Manungi Na Manungi, a Khamaj Thumri which was a riot colours. On the other hand, whenever he sang Wajid Ali Shah's immortal Bhairavi Thumri Babul Mora, tears well up in the eyes of his listeners. Saigal learnt this from him and later sang it in one of his films.

Many encomiums and titles like Sangeet Bhaskar, Sangeet Chudamani and Sangeet Saroj were showered on him, but the most noteworthy one, Afteab-E-Mauski (Sun of Music) was awarded to him along with a Kangan studded with diamonds and precious stones by Maharaja of Mysore. The Maharaja invited him every year for Dassera. Maharaja Tukojirao Holkar of Indore would invite him every year for Holi and once presented him with a diamond necklace and ring along with Rs10,000 in cash. Maharaja Sayajirao appointed Faiyaz Khan his court signer in Baroda. Faiyaz Khan also received numerous invitations from rulers of various native states and organizers of music conferences. He would always sing to a full house in concerts arranged by music circles.

Faiyaz Khan was a picture of humility. Unlike other musicians, he was always reticent about his own exploits in the field of music. If someone began to praise him, he would immediately change the subject.

Once, at a concert organized by the Suburban Music Circle in Santa Cruz, Faiyaz Khan sang so well that I could not help but congratulate him. He told me, "I am an nonentity. It is the grace o God that you people like my music.." He added, "It is only when forgets oneself can one can sing really well." On another occasion he told me, "you people study for four or five years, give an exam, and get a BA or MA degree. But for us every concert is tantamount to an examination."

Once I accompanied Ustad Allauddin Khan and Pandit Ravi Shankar to a concert at Ahmedabad. Some time after the concert had commemced Faiyaz Khan entered the Hall. On seeing Allauddin Khan, who was senior in age, stopped playing, put down the Sarod, stood up and bowed to him. I was greatly surprised by the respect shown to Faiyaz Khan as also by the utter humility of Allauddin Khan.

Ustad Khadim Hussain once narrated to me an incident that took place during a music conference at Lucknow. The listeners were largely ignorant of classical music and many reputed artistes were being hooted out. When it was Faiyaz Khan's turn to sing, Ustad Khadim Hussain, who was to play the Tanpura, was very apprehensive about the behavior of the listeners. Faiyaz Khan asked him not to worry and commenced his programme with a Dadra in Bhairavi, Banavo Batiyan Chalo Kaheko Juthi. It had a magical effect on the listeners who gave him a thunderous applause.

Faiyaz Khan sang in Bombay for the last time about a year before his death. He had come here to inaugurate the Vallabh Ashram at Sion established by Swami Vallabhdas. He was in poor health and at first declined to sing, but later yielding to requests, sang two Thumries in Raga Khamaj and Raga Desh. It was an unforgettable experience for all those present.

It was Ustad Latafat Hussain who came to me with the news of his death, his eyes brimming with tears. It brought to my mind Shakespeare's lines in Hamlet:

Good night, sweet prince:
And flights of angles sing thee
to thy rest

-Batuk Dewanji

azmat hussain khan-the forgotten maestro

Late Ustad Azmat Hussain Khan The Emperor of Music On the 18th death anniversary Ustad Azmat Hussain Khan, Batuk Dewanji writes a tribute. Ustad Azmat Hussain Khan was a multi-faceted personality and each facet had a charm of its own. He was a unique amalgamation of a singer, poet, sportsman and a master of culinary art. The influences that shaped his life and career both in music and poetry, came from his family. His maternal grand father Ustad Zahur Khan, wrote poetry in Urdu and Persian and was a Sanskrit scholar. He was a great vocalist and a composer par excellence. He composed many superb Bandishes under the nom de plume 'Ramdas'. He composed several Ragas like Pat Bihag and many Prakars of Raga Gauri. Ustad Zahur Khan had about a dozen daughters but no son. Muslim artistes usually did not teach music to females in the family and Zahur Khan, in utter desperation, sat afire seven trunks full of manuscripts and books on music, all of them heirlooms. Thereafter his wife gave birth to a son named Altaf Hussain. He was 13 when his father died but by that time Zahur Khan had taught him hundred of Ragas and Bandishes. He later conferred on his sister's son Azmat Hussain, this great heritage of music. Thus Azmat Hussain had a rich repertoire of Bandishes of Khurja Gharana to which Altaf Hussain belonged. Being a close relative of Ustad Alladiya Khan of Jaipur of the Atrauli Gharana, Azmat Hussain learnt many rare Ragas and Bandishes of this Gharana from Alladiya Khan. He also learnt numerous Bandishes from his brother-in-law, Ustad Vilayat Hussain, and from Ustad Faiyaz Khan of the Agra Gharana. Thus Azmat Hussain's music was a coming together of the Khurja and Jaipur Gharana. Azmat Hussain had composed nearly 50 excellent Bandishes and some Ragas, the most noteworthy being Devta Bhairav. His nom de plume was 'Dilrang'. Azmat Hussain was a Shahgird of well-known Urdu poet Simab and composed a large numbers of Ghazals under the nom-de-plume 'Maikash'. He was fond of Shikar and would often go on shooting expeditions. He knew many recipes that would delight a gourmet but derived greater pleasure from serving rather than eating. Of all his performances Azmat hussain recall the one with particular nostalgia. It was the one at Kolhapur in the year 1954 at Deyal Club. Despite his young age he gave such a sterling performance that Aftab-E-Mausiqui Ustad Faiyaz Khan, Who was to sit next, did not sing by way of tribute to the young artist. Azmat Hussain was invited by King Zahir Shah of Afghanistan who heard him twice and was greatly impressed by his music. He sang at three public concerts there, which were largely attended and appreciated. Azmat Hussain was surprised by the Afghans' keen interest and understanding of Indian music. In a concert at the residence of Neelambai in Bombay, Ustad Bade Ghulam Ali Khan gave a superb recital of Raga Marwa. It was Azmat Hussain's turn to sing next and he, too, sang same Raga so beautifully that Bade Ghulam Ali Khan embraced him and complimented him. At a concert organized by Prof. B. R. Deodhar, Azmat Hussain gave a memorable recital after Bade Ghulam Ali Khan had regaled listeners with delectable Thumries and classical songs. Azmat Hussain has left behind a rich legacy of music in the form of such illustrious disciples as Ustad Aslam Khan, Pandit Jitendra Abhisheki, Ustad Yunus Hussain Khan, Manik Verma and others. The Bombay Municipal Corporation has honored Ustad Azmat Hussain by naming a road near the Income Tax office as Gayan Samrat Ustad Azmat Hussain Khan Marg. The great maestro breathed his last on July 26th, 1975. Every year his death anniversary is observed by his disciples and admirers with a feast of music. -Batuk Dewanji The Independent, 26-7-93

tribute to sharafat hussain khan-by batuk dewanji

Late Ustad Sharafat Hussain Khan

Gone But Not Forgotten

Batuk Dewanji pays tribute to the Agra Gharana Vocalist, Ustad Sharafat Hussain Khan, who died this month 7 years ago, having received much less than he deserved.

I had my first glimpse of Ustad Faiyaz Khan about 45 years ago at peoples' Jinna Hall in Bombay, the doyen of the Agra Gharana and the most popular and perhaps the greatest vocalist of his time, a young lad of about 13 years was on the Tanpura, giving vocal support to the Ustad.

Suddenly the Ustad stopped singing and told the youngster to come forward and continue. The young lad picked up the strains of Raga Purvi where the Ustad had left off and sang beautifully like and ustad in the true idiom of the Agra Gharana. He won the hearts of his listeners who vied with each other in extolling the virtues of the young singer and the Ustad patted his back. The boy's name was Sharafat Hussain.

I was fortunate enough to attend many concerts of Sharafat Hussain after that and was greatly impressed by his music, his personality and humility. During on concert in Bombay, he told his listeners, "I am a non entity. You like my music because you have often heard Ustad Faiyaz Khan, but I am not fit even to polish his shoes."

Sharafat Hussain was born 60 years ago in a small village called Atrauli in Uttar Pradesh. Many maestros from Atrauli have made their mark in the world of music. To name a few, Ustad Mehboob Khan of the Atrauli Gharana who have composed numarous Bandishes under the name 'Daras Piya', Ustad Alladiya Khan of Jaipur Gharana and Ustad Vilayat Hussain Khan of Agra Gharana who has also composed music under the name 'Pran Piya'. These and many other notable musicians had settled down in a locality in Atrauli called Mousiki Mohalla (Music Street).

Ustad Faiyaz Khan who happened to be the maternal grand-uncle of Sharafat Hussain, took him under his wings and taught him the intricacies of classical music. As a result of incessant Riyaz, Sharafat Hussain gained a deep insight into music and his voice gained a rich timber. During this time he used to accompany Ustad Faiyaz Khan on the Tanpura in many concerts and gained valuable experience in gauging the pulse of the listeners and creating the right atmosphere towards the commencement of a Mehfil.

In due course, Sharafat Hussain gained the stature of an independent vocalist and gave numerous delightful concerts, some of which were memorable. He had a vast repertoire and many rare Ragas of the Agra Gharana in an authoritative manner. I still remember his rendering of Raga Malati Basant at the Suburban Music Circle in Santa Cruz. That was the only time I heard this melody at a concert. The Khem Kalyan and Ramdasi Malhar he sang on the radio many years ago are fresh in my memory. He recorded 2 LPs and in one of them he sang Raga Hussaini Kanada with pristine purity.

He was proficient in Thumris and Dadras as well. In a concert at Akash Ganga in Bombay, he first elaborated the Darbari Raga, bringing out the majesty of the melody with consummate skill and then immediately switched over to a Jaipuri Mand which was a riot of colour.

His favourite Thumri was Babul Mora Naihar Chhuto Jaye composed by Wajid Ali Shah at the time of his banishment by Company Sarkar. The poignancy and pathos in Sharafat Hussain's rendition of this Bhairavi song was heart-rending.

Sharafat Hussain had Taleem from Ustad Vilayat Hussain and Ustad Ata Hussain Khan. The latter was the brother-in-law of Ustad Faiyaz Khan. He was a singer of no mean calibre and used to give vocal support the maestro in concerts. Due to certain reasons, Ata Hussain parted company with Faiyaz Khan and settled down in Culcutta along with Sharafat Hussain.

During latter years of his life, Sharafat Hussain settled down in Atrauli. He preferred its quiet atmosphere and the surrounding countryside to the glamour of the big cities. He was also extremely fond of Shikar and fishing.

There are some artists who receive much more then their due by way of appreciation or monetary gains and there are others whose merits are never fully recognized. Sharafat Hussain belonged to the latter category.

In 1984, Sharafat Hussain was stricken with lung cancer and he died seven years ago on July 7. Who knows, had he lived longer he might have received the acknowledgment he so rightly deserved.

the maestro-ustad faiyaz khan sahib

Late Ustad Faiyaz Khan

The Greatest of His Time

Faiyaz Khan Became a living legend is his lifetime, yet remained a profoundly humble human being till the end. Batuk Dewanji remembers the great Ustad on the occasion of his 42^nd death anniversary which fell on Thursday.

Late Ustad Faiyaz Khan breathed his last on November 5 1950, but his music will always live on in the memory of his numerous listeners.

It was Nietzsche who once said that the existence of the world can be justified only as an aesthetic phenomenon. Amidst the unrest and uncertainty in which we live, we have the arts, particularly music which can uplift and give solace to listeners.

Although the old masters have long departed, we have on tape their music which can transport us to a world of beauty and serenity. Ustad Faiyaz Khan was one such musician who enlarged the sum total of human happiness through his music.

Khan was the brightest luminary at a time when a galaxy of great musician brightened the sky. We are not destined to see the likes of him again. Ask any musician of musicologist about Faiyaz Khan and he will doubtlessly tell you that Khan was the greatest among his confreres. Pandit Ratanjankar was once sent by his Guru Pandit Bhatkhande to receive Talim from Ustad Faiyaz Khan. In Ratanjankar's opinion, Ustad Miya Jan Khan of Patiala Gharana was the only musician who could equal Ustad Faiyaz Khan. Thakur Jaidevsingh, a great connoisseur of music, once told me that in Dhrupad and Dhamar, Allabende and Zakuddin were supreme while in Light Classical Music Gauhar and Jankibai had no peer. But Faiyaz Khan was a Chaumukhi Gavaiy a - a vocalist of many parts. He was the only musician with great expertise in Dhrupad, Khayal, Thumri, Dadra and Ghazal.

Ustad Vilayat Hussain Khan, the doyen of the Agra Gharana, would say that in his younger days, he used to give vocal support to Ustad Faiyaz Khan; but the quality of the latter's music was so high that his (Vilayat Hussain Khan) had to rest content with singing only Sargams. Pandit Bhatkhande once told Professor Deodhar, "If you want to know what amounts to real Talim, go and hear Ustad Faiyaz Khan."

Ustad Faiyaz Khan was a posthumous child and was brought up by his maternal grandfather Ustad Ghulam Abbas Khan, who gave him Talim in Dhrupad, Dhamar and Khayal. Ghulam Abbas Khan was a great musician and lived to the age of 125. In addition to an extremely rich repertoire of Agra Gharana Bandishes, Faiyaz Khan received numerous superb Bandishes by his father-in-law Mehboob Khan (Daras Piya) and his paternal ancestor Ramzan Khan (Rangile) by way of legacy. He himself was a composer of no mean calibre and has many delectable Bandishes to his credit which he often sang at his concerts. His nom de plume was Prem Piya. Most of his Bandishes are Baje Mori Payaliya in Raga Barwa, Chalo Hato Javo Javo Saiyan in Raga Sohini, Nainanso Dekhi in Raga Suha-Sughrai, and Sajan More Ghara Aye in Raga Jog.

Ustad Faiyaz Khan had a pliable and tuneful voice with a rich timbre which moved in the Mandra Saptak majestically in Ragas such as Darbari, Maluha Kedar, Megh Malhar, and Malkauns. He was adept at the depiction of Shringar and Karun Rasas. His rendition of Manmohan Brijko Rasiya in Raga Paraj was the epitome of Shringar Rasa, while in Ragas such like Todi and Lalat, he could conjure up an atmosphere of utter pathos.

In Badrava Barsan Ko Ahe in Raga Sur Malhar, his Taans emulated thundering clouds. His favourite song in Light Classic genre was Na Manungi Na Manungi, a Khamaj Thumri which was a riot colours. On the other hand, whenever he sang Wajid Ali Shah's immortal Bhairavi Thumri Babul Mora, tears well up in the eyes of his listeners. Saigal learnt this from him and later sang it in one of his films.

Many encomiums and titles like Sangeet Bhaskar, Sangeet Chudamani and Sangeet Saroj were showered on him, but the most noteworthy one, Afteab-E-Mauski (Sun of Music) was awarded to him along with a Kangan studded with diamonds and precious stones by Maharaja of Mysore. The Maharaja invited him every year for Dassera. Maharaja Tukojirao Holkar of Indore would invite him every year for Holi and once presented him with a diamond necklace and ring along with Rs10,000 in cash. Maharaja Sayajirao appointed Faiyaz Khan his court signer in Baroda. Faiyaz Khan also received numerous invitations from rulers of various native states and organizers of music conferences. He would always sing to a full house in concerts arranged by music circles.

Faiyaz Khan was a picture of humility. Unlike other musicians, he was always reticent about his own exploits in the field of music. If someone began to praise him, he would immediately change the subject.

Once, at a concert organized by the Suburban Music Circle in Santa Cruz, Faiyaz Khan sang so well that I could not help but congratulate him. He told me, "I am an nonentity. It is the grace o God that you people like my music.." He added, "It is only when forgets oneself can one can sing really well." On another occasion he told me, "you people study for four or five years, give an exam, and get a BA or MA degree. But for us every concert is tantamount to an examination."

Once I accompanied Ustad Allauddin Khan and Pandit Ravi Shankar to a concert at Ahmedabad. Some time after the concert had commemced Faiyaz Khan entered the Hall. On seeing Allauddin Khan, who was senior in age, stopped playing, put down the Sarod, stood up and bowed to him. I was greatly surprised by the respect shown to Faiyaz Khan as also by the utter humility of Allauddin Khan.

Ustad Khadim Hussain once narrated to me an incident that took place during a music conference at Lucknow. The listeners were largely ignorant of classical music and many reputed artistes were being hooted out. When it was Faiyaz Khan's turn to sing, Ustad Khadim Hussain, who was to play the Tanpura, was very apprehensive about the behavior of the listeners. Faiyaz Khan asked him not to worry and commenced his programme with a Dadra in Bhairavi, Banavo Batiyan Chalo Kaheko Juthi. It had a magical effect on the listeners who gave him a thunderous applause.

Faiyaz Khan sang in Bombay for the last time about a year before his death. He had come here to inaugurate the Vallabh Ashram at Sion established by Swami Vallabhdas. He was in poor health and at first declined to sing, but later yielding to requests, sang two Thumries in Raga Khamaj and Raga Desh. It was an unforgettable experience for all those present.

It was Ustad Latafat Hussain who came to me with the news of his death, his eyes brimming with tears. It brought to my mind Shakespeare's lines in Hamlet:

Good night, sweet prince:
And flights of angles sing thee
to thy rest

-------by:batuk dewanji