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Allaudin Khan

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Hafiz Ali Khan, Ustad Amjad Ali Khan

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  • Genre: World
  • Instrument: Performer, Liner Notes

Biography

A devout Hindu and Moslem, Allaudin Khan (born Padma-Vibhusan Acharya Allaudin Khan) was one of the most important North Indian classical musicians of the 20th century. While his musical career spanned more than 100 years, Khan was equally influential as a mentor and teacher of Ravi Shankar; his son Ali Akbar Khan; and his daughter and Shankar's wife, Annapurna Devi. A native of East Bengal (Bangladesh), Khan enjoyed a financially secure childhood. Although his parents had little money, they owned land and many animals. Descended from Mian Tansen, a 16th century musician in the court of Emperor Akbar, the family had close ties to music. Khan's father played sitar while an older brother, Aftabuddin Khan, played flute, harmonium, tabla, pakhawaj, and dotora. As a child, Allaudin Khan would sneak into the family's music room and experiment with his brothers' instruments. Despite his obvious talents, Khan was discouraged from playing music by his father. Running away from home at the age of eight, Khan met up with a group of itinerant musicians that was heading towards Dacca. Telling them that he was an orphan, he was accepted into the group. He soon learned to play Indian drums including tabla, dhol, and pakhawaj, and wind instruments including clarinet, cornet, and trumpet. Leaving the group after six years, Khan traveled to Calcutta and apprenticed himself to a Bengali singer, Nulo Gopal. For the next seven years, he was instructed in the traditional style that emphasized solfeggio, scales, and technique.

Accepting a position as tabla player in the orchestra of the Star Theater, Khan was mentored by conductor Robert Lobo who introduced him to the Western classical music tradition. Khan often participated in orchestral parties, held by composer Habu Dutt, that combined Western and Indian instrumentation. Although he augmented his meager salary from the Star Theater by playing recitals, Khan struggled financially. He often ate his one meal a day at food dispensaries provided for the poor. Traveling to Muktogacha, in eastern Bengal (now East Pakistan), in his early 20s, Khan was awe struck when he attended a performance by Ustad Ahmad Ali, a sarod player in the court of Raja Jagat Kishore. Inspired by what he heard, he convinced Ali to become his guru. For the next four years, he devoted his full attention to learning the sarod. Although he accompanied Ali to Rampur, Khan's playing abilities were so threatening to the senior sarod player that he was instructed to begin playing on his own. Rampur provided an inspiring setting. The center of Hindustani classical music, the city boasted of more than 500 musicians who served in the court of the Newab of Rampur.

After studying with many of the city's musicians, Khan managed to meet and convince the most important musician in Rampur, Wazir Khan, to become his guru. During the first two and a half years that he lived under Wazir Khan's control, Khan served as a servant and errand boy. The disillusioning arrangement changed after a letter, telling Khan that his wife, who he had left the day after marrying, had committed suicide, was intercepted by Wazir Khan. With the truth of his tales of being an orphan revealed, Khan was instructed to return home and make amends with his family. Upon his return to Rampur, Khan was promised that Wazir Khan would make him his chief disciples and reveal the secrets of music. He continued to be instructed by Wazir Khan for the next few years and received a blessing when his guru was on his deathbed. Following Wazir Khan's death, Khan began performing on his own. In addition to serving as a court musician to the Maharajah of Maihar, he became the principal of the Maihar College of Music and formed the Maihar Band with 100 orphaned children that he had taught to play strings, brass, bagpipes, and drums. In 1952, Khan was made a Fellow of the Sangeet Natak Akademi (National Academy of Performing Arts). Six years later, he received the Padma Bhusan, an honorary title bestowed upon him by the president of the academy. ~ Craig Harris, All Music Guide
 
 
Wikipedia: Allauddin Khan

Allauddin Khan (Bangla: ওস্তাদ আলাউদ্দীন খান, also known as Baba Allauddin Khan) (18621972), was an Indian Sarod player and multi-instrumentalist and one of the greatest music teachers of the 20th Century, father of Ali Akbar Khan and Annapurna Devi and guru to Ravi Shankar, Nikhil Banerjee,Vasant Rai,IndranilBhattacharya, Pannalal Ghosh, Rabin Ghosh and other influential musicians. He himself was a disciple of many great musicians, most importantly the legendary Wazir Khan.

Early life & musical education

Allauddin Khan was born in Shibpur village in Brahmanbaria, in present-day Bangladesh, the son of Sabdar Hossain Khan, also known as Sadhu Khan. Alluddin's elder brother, Fakir Aftabuddin, first taught him some music in the home.

At the age of ten, Allauddin ran away from home to join a jatra band, a traditional Bengali form of theater. This experience exposed him to the rich folk tradition of Bengal. After some time, he went to Kolkata, and was accepted as a student by singer Gopal Krishna Bhattacharya, alias Nulo Gopal. Allauddin committed to a 12-year practice program; However, Nulo Gopal died of plague after the seventh year. Khan then became a disciple of Amritalal Dutt, a close relative of Swami Vivekananda and music director at Kolkata's Star Theatre, with the goal of becoming an instrumentalist. At this time, he also took lessons in European classical violin from a Mr Lobo, a bandmaster from Goa.

The sarod

Alauddin Khan got interested in sarod after a concert at Jagat Kishore Acharya's, zamindar of Muktagachha, where he listened to Ahmed Ali Khan, a student of Asghar Ali Khan (Amjad Ali Khan's grand-uncle). Alauddin became his student, and studied the sarod under him for five years. His next step was to go to Rampur for lessons from Wazir Khan Beenkar, court musician of the Nawab there, and one of the last direct descendants of the legendary Tansen. Through him, Alauddin was given access to the Senia gharana (Tansen school of music), arguably north India's most coveted body of musical knowledge. He later became the court musician of Brijnath Singh Maharaja of Maihar Estate in Central Province.

Maihar Gharana

During his time as a court musician, Allauddin Khan completely reshaped the Maihar gharana of Indian classical music. The Maihar gharana was established in the 19th Century, but Khan's contribution was so fundamental that he is often thought to be its creator. This was a period of rapid change for Hindustani instrumental music, thanks not least to Allauddin Khan, who infused the beenbaj and dhrupad ang, previously known from the been, surbahar (bass sitar) and sur-sringar (bass sarod), into the playing of many classical instruments.

Maihar Band in 2007
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Maihar Band in 2007

For though he gave concerts on the sarod, Allauddin played many instruments, something that shaped his pedagogy. He put together an orchestra with Indian instruments, the String Band now known as Maihar Band, and while his son, Ali Akbar Khan, was taught the sarod, his daughter Annapurna Devi learned the surbahar, students such as Ravi Shankar and Nikhil Banerjee played the sitar Rabin Ghosh on violin and Pannalal Ghosh the bansuri bamboo flute. Of course Ravi and Ali Akbar Khan were to be very famous and spread this gharana over the world – something that Allauddin himself had started when, in 19351936, he went on an international tour with Uday Shankar's dance troupe.

Allauddin stayed at Maihar from 1918 to his death. In 1955, he established a Maihar College of Music. He was given the Sangeet Natak Academy Award in 1952, and the Padma Bhushan and Padma Vibhushan – India's third and second highest civilian decorations – in 1958 and 1971, respectively.

Personal life

When many people hear the name Allauddin Khan, they think of a grumpy old man (after all, he lived to 110) with a hot temper but a heart of gold – anecdotes about him range from throwing a tabla tuning hammer at the Maharaja himself to taking care of disabled beggars. (Nikhil Banerjee said that the tough image was "deliberately projected in order not to allow any liberty to the disciple. He always had the tension that soft treatment on his part would only spoil them".[1])

Allauddin was a very religious man, and though Muslim by name, was strongly devoted to the goddess Saraswati, in the form of Sarada Devi, to whom there stands an old and famous temple atop a hill in Maihar. This is why Allauddin, despite more lucrative offers from other courts, never left Maihar, refusing to move away even for hospital treatment – he would rather die near Sarada Devi than live someplace else.

A few years before the turn of the century, he married Madanmanjari Devi (1888–?). He had one son and sarod heir, Ali Akbar Khan, and three daughters, Sharija, Jehanara and Annapurna Devi. After Sharija got married, and her jealous mother-in-law burnt her tanpura, Allauddin decided not to train his other daughters, but Annapurna proved so talented he changed his mind. She later married and divorced Ravi Shankar.

Baba never left Maihar. From the window of his room he had a clear view of the hillock where temple of goddess Sharada is situated. His son and disciples often visit the town to pay homage.

 Mazar of Baba
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Mazar of Baba

Ragas created by Allauddin Khan

Allauddin Khan was fond of sankeerna (compound) ragas, and created many ragas of his own, including Arjun, Bhagabati, Bhim, Bhuvaneshvari, Chandika, Dhabalashri, Dhankosh, Dipika, Durgeshvari, Gandhi, Gandhi Bilawal, Haimanti, Hem-Behag, Hemant, Hemant Bhairav, Imni Manjh, Jaunpuri Todi, Kedar Manjh, Komal Bhimpalasi, Komal Marwa, Madanmanjari, Madhabsri, Madhavgiri, Malaya, Manjh Khamaj, Meghbahar, Muhammed, Nat-Khamaj, Prabhakali, Raj Bijoy, Rajeshri, Shobhavati, Subhabati, Sugandha and Surasati. Many of these have not become common Maihar repertoire; Manjh Khamaj is perhaps the best known. Some of Allauddin's recordings have been released on CD, on the Great Garanas: Maihar compilation in RPG/EMI's Chairman's Choice series.

Films

Footnote

^  "One day I heard him speaking out rather candidly, 'Don't you see that I am a grandsire? Don't I feel like taking them (meaning his grandsons) in my arms – patting and loving them? But I am afraid it may spoil them.' Here was the inner voice which could be heard seldom or never. Beneath the veil of toughness was the soft and tender soul bubbling with humanity." (My Maestro As I Saw Him, essay by Banerjee printed in the booklet to Afternoon Ragas, Raga Records Raga-211)

More Information

([2], A site maintained by Chandan Chakroborty)


 
 

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