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Faiyaz Khan |
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Info: Biography, Pictures, Discography of all CDs & DVDs |
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| On the dais he was the symbol of a dignified personality, always clad in a silk sherwani, his chest blazing with rows of sparkling gold medals and chains, and complete with an immaculate pugree.Flanked by his disciples on both sides, together with the sarangi and tabla players, he sang with a deep, masculine, jawaridar voice, all in keeping with his grand stage presence.Mausiqi alone testifies to the musical phenomenon that he was, and the magical and musical spell he cast over his audience whenever he performed.Faiyaz Khan was born in 1886 at Sikandra in Agra.He belonged to a family of
great musicians, going back to Haji Sujaan Khan in the court of Emperor Akbar.Both were very eminent singers of the Agra gharana.In his formative years, Faiyaz Khan was also deeply influenced by Zohra Bai and other contemporary ustads.Faiyaz Khan blended the styles of his different gurus giving the Agra gayaki a new direction.He also included many thumris, dadras, ghazals and qawalis in his repertoire.Agra singers to this day.Faiyaz Khan was a reformist among traditionalists and a traditionalist among reformists, and his gayaki is still an example of the evolution of Hindustani classical music from dhrupad to khayal, thumri, dadra and ghazal.He was an architect in music with the feeling of a poet.He was appointed court singer at Baroda in 1912.However, Faiyaz Khan also performed in various other darbars, festivals and conferences.Latafat Hussain Khan, K.Saigal, Dipali Nag, Dilip Chandra Vedi, D.Chatterjee and Sharafat Hussain Khan among others.In his last years, he suffered from tuberculosis.His demise, in November 1950, marked the end of a great era in Hindustani Classical Music.Faiyaz Khansaheb, honcho of the (alas!Fattu, Umrao Khan, Ghulam Abbas Khan, Nathan Khan, and
so many others.He summed up in himself the finest traditions of his gharana
and was its greatest exponent in recent times.Hindustani classical music in recent tirnes.Ustad Kallan Khan, both of whom were leading musicians
of the rangila gharana in the second half of the last century.Rangeela Ramzan Khan his paternal great
grandfather.Faiyaz Khan's uncle, Fida Hussain was a court musician
in Tonk (Rajputana).Faiyaz was born at Sikandra near Agra in 1880
and he died in Baroda on 5th November 1950.Hussain died very early, his grandfather adopted him and brought
him up as his own son.Miyanjan Khan, a pupil of the great Fateh Ali Khan
of Patiala.Immediately after him, Faiyaz was asked to sing.Mysore between Ustad Faiyaz Khan
and Ustad Hafiz Khan of the Mysore Durbar.Soon after this, the Lahore All India
Music Conference gave him the.Sri Krishna Narayan Ratanjankar and took
him to Kashmir, from where his fame spread fan and wide.Bombay, Delhi, Calcutta
or Lucknow.Music must please
and move."Faiyaz Khan to visualise each raga as a sentient
being through which he could unravel for us a vast range of emotions.Gwalior style, enlivened by his own creative
inspiration.Yet I am an inveterate optimist and believe that some good
will come out of the present revival."Khan's music had certain distinguishing traits.His renderings of Thumri and Dadra are said to have
been like those of the great Moizzuddin.From alap to Thumri, his genius occupied a range which mediocre
talents cannot even survey."He has composed many songs under the pseudonym "Prem
Piya" and contributed many old songs to Bhatkhande's "Kramik Pustakmala."Mohan Brij ko Rasiya (in Paraj) which Faiyaz Khan has made famous,
is a sample of Saras Piya's compositions.Faiyaz Khan himself composed
many songs under the penname Prem Piya.Faiyaz Khan sat in the company of great artists like
Moizzuddin, Bhaiya Ganapatrao and Malkajan.Thumri style and could render Dadras and Ghazals
so imaginatively.Bhairavi Thumri "Babul Mora" and drawing tears out of the listeners'
eyes.And Malka even in her obscure later years never missed
the Ustad's concerts in Calcutta.Unlike some highbrow musicians,
Faiyaz Khan never looked down on light classical types of songs."It is not a child's play to sing a Thumri or a
Ghazal.Even into a simple Dadra he could pour a lot of genuine
emotion.In spite of
his short stature, Ustad Faiyaz Khan had a dignified personality.Though he had no school education he had an innate sense of culture
which enabled him to appreciate the good things of life.People from all walks of life were drawn to him by his
suavity, natural culture, humility and kind heartedness.As an artist
he was surrounded by admirers wherever he went.No amateur's music
was too insignificant for this great Ustad.Even in his late sixtes, he
carried with him the exotic atmosphere of the Moghul court.Hussain (now teaching in the ITC Research Akademy Calcutta), the
late Dr."He was the
last of the race of giants.Faiyaz Khan left behind no child when he died in 1950, but
he was mourned by thousands of admirers all over the country.Faiyaz Khan Saheb marked the end of a great era in music.Though, he was 70, his music had retained a youthful vigour, and
a variety that age could not wither.It is indeed
a pity that gramophone records do him no justice."Daiya Kahan gaye we log" (Where have
those great ones gone"?Ustad Faiyaz Khan is the most well known exponent of Agra Gharana.Born near Agra in 1880, Faiyaz Khan's musical lineage goes back to Tansen himself.Mousiqui" by the Maharaja of Mysore.By the time he died in 1950, he had earned the name of being one of the most influential vocalists of that century.PT Jasraj has commented that Faiyaz Khan and Ustad Amir Khan would remain the most important vocalists of the 20th century.See Copyrights for details.Profile
Ustad Faiyaz Khan is the most well known exponent of Agra Gharana.Born near Agra in 1880, Ustad Faiyaz Khan's musical lineage goes back to Tansen
himself.Faiyaz Khan had become a fine vocalist.There are very few cds of Ustad Faiyaz Khan.But amid the welter of dissension, there is a broad general consensus that the music reached an extraordinary peak of artistry in the first half of the twentieth century, just in time for the recording industry to document some of the world's finest and most expressive singing.He seems utterly relaxed in this set of recordings from (I believe) the 1930s; his invention is palpably spontaneous, which means that the music continues to be surprising and fresh after multiple reissues on cassette and LP in India.Even people who already have all the material on this disc will enjoy this reissue, though.Nothing of the sort occurs."Jhan Jhan Jhan Payal Baje" in raga Nat Bihag is one of the most famous of Faiyaaz Khan's recordings, and justifiably so, his rhythmic variations are incredibly exciting.Less euphemistically, he was a bit of a showoff.The lengthy treatment of Behag is followed by a "thumri" (romantic song) which is described as being in "Mishra Behag" (a variant in which other notes and raga phrasings are included).If my memory serves me, the original LP did include a Mishra Behag thumri, but it's nowhere to be found on this disc.Bade Ghulam Ali's 78 rpm discs currently available from the Gramophone Company of India for those seeking a good first exposure to this brilliant artist.Finally, we come to a contemporary singer with close ties to the lineage of Bade Ghulam Ali Khan.Sangeeta Bandyopadhyay comes from Calcutta, where she learned with Pandit Chinmoy Lahiri and Ustad Munawwar Ali Khan, noted above as the son of Bade Ghulam Ali.Chatterjee plays straightforward tabla patterns with little variation (a great help for vocalists), and Saibal Bandyopadhyay, the singer's husband, provides understated harmonium accompaniment.Bandyopadhyay also sings a long rendition of raga Behag, and gives it the same leisurely treatment it received from Bade Ghulam Ali several decades before.The JogKauns is lovely; the singer's voice is at ease and the emotional shades of the two ragas Jog and Chandrakauns are evoked, contrasted and synthesized.The two bhajans are nicely sung with careful attention to text and expression.Bandyopadhyay composed the music for both, setting lyrics by Guru Nanak (in the intervallically tense raga Sohini) and Saint Mirabai.The accompanying VCD fleshes out the performance and gives insights into Bandyopadhyay's training, the meaning of some of the song texts, and Indian musical culture in general.This is welcome material, a nice concept and a nice execution.Would that we could see and hear that on a video disc!Looking for More Information?No reproduction of any part of this page or its associated files is permitted without express written permission.Ustad Faiyaz Khan is the most well known exponent of Agra Gharana.Born near Agra in 1880, Faiyaz Khan's musical lineage goes back to Tansen himself.He served for long as the court musician of Baroda.Mousiqui"
by the Maharaja of Mysore.By the time he
died in 1950, he had earned the name of being one of the most influential vocalists of that century.PT Jasraj has commented that
Faiyaz Khan and Ustad Amir Khan would remain the most important vocalists of the
20th century.Library
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Need Help?Golden Shadows features the great voice of one of the legendary figures of North Indian classical music of the first half of the 20th century.The CD comprises fourteen tracks originally recorded by Ustad Faiyaz Khan Sahib between 1935 and 1948 accompanied by a group consisting of second voice, harmonium, tampura and tabla, digitally remastered to unveil to fans of Hindustani music all the mysteries of a unique vocal talent that has survived the decades to reach us with all its vigour intact.The genre first became popular during the 19th century and Faiyaz Khan was without doubt one of the figures who have contributed most to its diffusion.Faiyaz Khan was born into a prestigious family whose musical lineage dates back as far as the 16th century, yet in his own raga interpretations always tried to transcend the consolidated traditions of his forefathers, giving free reign to his taste and sensibility and endowing the music with an unprecedented freshness.Your orders are placed on a secure server, so your information is safe and private.Benegal
Ustad Faiyaz Khan (l.Khan's stature was the eclectic Pandit Bhaskarbua
Bakhle.And it is to his credit that the younger
Khan's style became the hallmark of the gharana itself. |
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