Kashi's indestructible music

Kashi's indestructible music

In Kashi, when the Mokshadatri Uttarvahini Ganga, Varuna and Asi Dhar also connect with the love of Sohan Shivoham, the owner of this feeling finds gravity in smallness by making each rank the king of bliss. That is why the civil owner of Kashi uses the king and guru daily in his speech. The gullible mind of this city robs the juice made of nature even in the crematorium, becoming a vihari of the Anand forest. The basis of musical coherence in this city is Sangeet Ganga in which Anboude, Boode Tire, Je Bude Sab Anga-

Thumri singing of Banaras is a medium of simple expression in place of playful style, where instead of skill, the raga, pada are given prominence and gradually the swars are progressively developed. Banaras is a place in the whole world where there is a special and in general. It is very difficult to differentiate. The common people in Kashi assimilate the specialties in such a way that the specialties are easily absorbed in them. Kajari represents all the states of the specific and general public mind and is probably the co-artistic mass medium of the whole world in which any event starts getting reflected as soon as it happens. It is said that literature is the mirror of society, but the mirror is silent, which shows left as right and right as left. It is weak in itself that as soon as it is released from the hand, it breaks into pieces and it starts stinging. But Kajri calls, caresses, refines and adorns every thing. She chuckles, annoys, woos her and dazzles her with her Savani style. Therefore she is spiritually associated with Kajjala Devi, who sometimes becomes Muniya and sometimes Dhunmuniya. From hut to palace, from gaiety to compassion, and from 'Asi' to 'Varuna', the edge of the sword, has covered Varanasi.

In Banaras, when something happens in the thumri, the kajari reaches - decorate the plate of expression; When Kajri comes to sing, she is explained by commentary and thumri. In this way, both share in each other's work purpose and being mechanical in this market age, the poignant layer of sensations gets protection from them.

Dr. Rajeshwar Acharya

Music Tradition in Kashi

Role and history

Kashi has a specialty of its own. Music has been an important link in this specialty. In the expression of Tandava dance of Lord Shiva and the sound of the damru wearing it, the source of music and dance can be considered. Music space, time, emotion The different forms inherent in music are created by the higher state of the waves inside the person and they are expressed in different forms. The tradition of music in Kashi is very old, but today's music is the form of Dhrupad, Khayal, Thumri, etc., a sophisticated developed form of ancient music. Music was revered in Kashi since ancient times by musicians like 'Guthil'. According to the Jataka legend, he was a master in playing the veena. The music of Kashi is described in the play 'Vikrant Kauravam' composed by Hastimal in the 14th century. During the time of Govind Chandra, the ruler of Kashi in the 16th century, Ganapati in his work 'Madhavanal Kamakandala' gives details of dance, puppetry and tamasha. Chaitanya Mahaprabhu's Bhajan-Kirtan and Mahaprabhu Valbhacharya's Haveli Sangeet are still alive in Kashi. It was in this Kashi that the descendants of Tansen adorned the court of Kashiraj. The practice of music seekers in Kashi has been going on for a long time. As a result of this, Kashi has been the birthplace of music and the work place of many seekers. The religious atmosphere and cultural environment in Kashi has provided the best opportunities to the music artists to explore and showcase their talents.

Influence of religious-cultural tradition and other factors –

Pt. Omkarnath Thakur and his disciple Acharya Nandan

Looking at the temples, ghats, monasteries of Kashi and the havelis and palaces built by all the princely states, it can be easily estimated that a large number of people from different places of the country have been associated with Kashi, which has remained till date. All these have been created and contributed by the kings, rulers and landlords, wealthy and seths of different places. Along with this, the contribution of the kings and nobles of Kashi in the cultural tradition has also been prominent. The exchange of traditions took place in such an environment, as a result of which religious satsang, bhajan-kirtan and many different types of programs were organized, in which the musicians got an opportunity to refine their art. At the same time, the life and folk tradition, folk-life (religious, cultural, social) of the common people of Kashi and surrounding areas have been rich, which seems to have definitely helped the musicians in giving creative form to music. would have been helpful.

The area next to Kashi was Jaunpur which was ruled by the Sharqi dynasty in the medieval period. The rulers here had a special interest in music. Here the musicians created Chhota Khayal by mixing Qawwali with Dhrupad style. It is mentioned that the rulers of Jaunpur encouraged the Kathaks of Kashi to sing Chhota Khayal. The musical tradition and rise of Kashi during the British period was possible because many kings, Nawabs and Peshwas were sent here under the pressure of political developments. Many artists-musicians also came with these people, which led to cultural exchange and a golden opportunity for music here at that time. The experimentation or revival of this period did not stem from the interest of the British, but due to the developments of that period, music got a new dimension from the stage.

classical music in kashi

Incentive by Kashi Raj Darbar –

Mir Rustam had come to Kashi (Benaras) as a Subedar, he also had a keen interest in music and folk music. After his removal, the Kashi dynasty was established. Here the Maharajas encouraged many musicians and dancers in their court. Raja Balwant Singh (1739-1770 AD) patronized and encouraged musicians like Chatur Bihari Mishra, Jagraj Das Shukla and Kalawant Khushal Khan. Many singers are mentioned during the time of Raja Chet Singh (1770-81 AD). During his time, the event of Old Age Mangal was at its peak. In the court of Raja Mahipnarayan Singh (1781-1795 AD), there are also descriptions of some great artists, in which Tansen's descendant Bhushat Khan, his son Jeevansah, Angulikat Pyare Khan etc. have been prominent. In the court of Raja Udit Narayan Singh (1795-1835 AD), Thakur Dayal Mishra's Kul Deepak was a famous-Manohar (Pieri Gharana) pair. Jeevan Sah's son Nirmal Sah, Tansen's descendants Zafar Khan, Rababi, Basat Khan, Dhrupadiya Pyare Khan, Nirmal Sah's son-in-law Binkar Umrao Khan and his brother Mohammad Ali, the innovators of Banarasi Tappa singing Shori Mian, Gammu Mian, Shivsahai Ji, Shade Khan, Kali Mirza, (Kalidas Chattopadhyay) Jafar Khan's son Sadiq Ali who was not only wonderful in singing but also classical knowledge of music. Mahesh Chandra Sarkar and Mithai Lal, (Pt. Shivdas-Prayag ji Dharana) Saadat Ali Khan (1795-1814 AD) were court singers.

Maharaja Ishwari Narayan Singh (1835-89 AD) was interested in literature, art and music, he was a scholar. There was a gathering of modern Hindi writers and poets in his court. His court was full of musicians. Jafar Khan, Pyare Khan, Basat Khan The singers and artists of the last Mughal emperor Bahadur Shah Zafar's court had taken shelter in his court. Basat Khan's sons Ali Mohammad and Mohammad Ali Waris Ali, Daulat Khan of Rewan, Tappa singer Akbar Ali, Dhrupadiya Nisar Ali, Khayal singer Sadiq Ali, sitar player Aashiq Ali, Alibakhsh, Kamta Prasad Mishra, Shivnarayan, Guru Narayan were in the court of Maharaja. Jwala Prasad Mishra, Shivdas ji Prayag ji, Bakhtawar Khan were the beauty of his court. Maharaja Prabhunarayan Singh (1889-1932 AD) patronized and encouraged musicians like Basat Khan's son and famous singer Ali Mohammad Khan (Badai Miyan), Ram Gopal, Ramsevak and Prayag ji in his court.

Gharanas of Classical Music in Kashi –

The music gharana of Kashi has been rich in all three genres since ancient times in singing, playing and dancing. Music developed in the style of kirtan or pad singing in temples due to the influence of saints and Mahatmas of religious, social reform movements. On the occasion of Raga, Bhog, Shringar service by Goswami Shri Vilnath ji in the sixth peeth established by Mahaprabhu Shri Vallabhacharya ji in the temple of Vaishnava sect, four gharanas are told in the tradition of singing, in which there is also a Kashi gharana. Nanddas ji, a poet of Ashtachap, belonged to Kashi. The credit of providing important status to classical music in Kashi goes to Pt. Dilaramji Mishra, the singer of Radha Vallabh sect in the early 16th century. He received the education of music from the music teacher of Swami Haridas, Shri 108 Lahit Hit Harivansh Swami. Jagman Mishra, Devi Dayal Mishra are named after him. He was a specialist in Dhrupad. After him the name of Pt. Thakur Dayal ji is found. Those who were in the time of Sadrang Adarang. Pt. Thakur Dayal ji also used to sing Dhrupad. After learning khyal from Sadrang Adarang, he taught khyal along with Dhrupad to his sons Pt Manohar Mishra, Pt Hari Prasad Mishra (Prasidhu ji). These two brothers got the artists of all over India to prove their mettle with their artistic abilities.

Through them the Piri Gharana was established. Fame reached heights. These people used to address them as 'Laya Bhaskar'. Ramsevak ji, son of famousu ji also attained proficiency in singing, playing and dancing. He first wrote the books Taal Vigyan and Taal Prakash of Tabla using Swaralipi system. Shiv Sevak ji, brother of Pt. Ramsevak ji also gained fame in singing tappa along with singing. After the famous-Manohar ji in the field of music of Kashi, the pair of Shiva-Pashupati earned a lot of name. They were all called Sher-Babbar. Both brothers composed many beautiful compositions in singing. Manohar ji's grandson Laxmidas ji became a unique veena player along with singing. You made many disciples in Kolkata.

Pt. Shivdas-Prayag ji Gharana –

Pt. Shivdas ji and Prayag ji both brothers, their maternal uncle Ram Prasad Mishra and the disciple of Mohammad Ali (Badku Miyan), both had patronized their singing in the court of Maharaja Ishwari Narayan Singh (1835-89 AD). Pt. Mithai Lal Mishra, son of Pt. Prayag ji, was famous for his singing and playing the veena. Ali Khan and Fatte Ali Khan of that era who came from Punjab, who were famous as Aliya Fattu and Taan Kaptan. Hearing the song of Mithai Lal ji hugged him. In his disciple tradition, Shri Shyama Shankar Chaudhary (Veena) was the father of the eminent sitar player Late Ravi Shankar. Shri Santu Babu (Veena) Shri Khetu Babu (Sitar) India's best Sarangi player Pt. Siya ji achieved fame in the world of music. Among the singer disciples, Shri Dhiren Babu, Shri Beni Madhav Bhatt, Shri Dau Mishra and Pt. Shri Chandra Mishra gained a lot of fame.

Pt. Jagdeep Mishra Gharana-

Jagdeep Mishra, who is called the Thumri Emperor of Kashi, was the guru of Ustad Maujuddin. He was a master artist of Thumri. Bade Ramdas ji's house