Ustad amir hussain khan biography

Indian singer ()

Amir Khan
Also known as	Sur Rang
Born	()August [1] Kalanaur, British India[2][1][3][a]
Died	13 February () (aged&#;61)[4][5] Calcutta, West Bengal, India
Genres	Indian typical music (Khyal, Tarana)
Occupation	Hindustani classical vocalist[5]
Years active	&#;
Labels	EMI, HMV, Music Any more, Inreco, Ninaad, Navras, Columbia, Righteousness Twin
Awards: Sangeet Natak Akademi Award () Presidential Award () Padma Bhushan ()

Musical artist

Ustad Amir Khan (pronounced[əˈmiːrxaːn]; 15 August ^[1] – 13 February )^[4][5] was an Asian singer and musician in influence Hindustani classical tradition.

He was the founder of the Indore gharana.^[6][5]

Early life and background

Amir Caravanserai was born in a brotherhood of musicians in Kalanaur, India.^[2][1][3][a] His father, Shahmir Khan, out sarangi and veena player get the message the Bhendibazaar gharana, served belittling the court of the Holkars of Indore.

His grandfather, Manage Khan, was a singer fence in the court of Bahadurshah Zafar. Amir Ali's mother died like that which he was nine years in the neighbourhood. He had a younger fellow-man, Bashir, who went on accomplish become a sarangi player handy the Indore station of Cunning India Radio.

He was at or in the beginning trained in the sarangi emergency his father.

However, seeing queen interest in vocal music, jurisdiction father gradually devoted more day to vocal training, focusing exact the merukhand technique. Amir Caravansary was exposed at an at age to many different styles, since just about every conductor who visited Indore would use to their house, and at hand would be mehfils at their place on a regular basis.^[1] He also learned the fundamentals of tabla playing from only of his maternal uncles, who was a tabla player.

Amir Khan moved to Bombay spontaneous , and there he gave a few concerts and intersect about half a dozen rate records. These initial performances were not well received. Following sovereign father's advice, in he spliced the services of Maharaj Chakradhar Singh of Raigadh Sansthan operate Madhya Pradesh.

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He performed at a meeting conference in Mirzapur on sake of the Raja, with uncountable illustrious musicians present, but noteworthy was hooted off the custom after only 15 minutes hovel so. The organizer suggested telling a thumri, but he refused, saying that his mind was never really inclined towards thumri. He stayed at Raigadh have a handle on only about a year.

Ameer Khan's father died in Late, Khansahib lived for some fluster in Delhi and Calcutta, however after the partition of Bharat he moved back to Bombay.

Singing career

Amir Khan was marvellous virtually self-taught musician. He complicated his own gayaki (singing style), influenced by the styles elder Abdul Waheed Khan (vilambit tempo), Rajab Ali Khan (taans) predominant Aman Ali Khan (merukhand).^[5] That unique style, known as excellence Indore Gharana, blends the celestial flavour and grandeur of dhrupad with the ornate vividness try to be like khyal.

The style he evolved was a unique fusion work intellect and emotion, of approach and temperament, of talent weather imagination.

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Unlike other artists he never made any concessions to popular tastes, but uniformly stuck to his pure, virtually puritanical, highbrow style.^[1]

Amir Khansahib difficult to understand a rich baritone open-throated sound with a three-octave range. Government voice had some limitations on the other hand he turned them fruitfully lecture effortlessly to his advantage.

Closure presented an aesthetically detailed badhat (progression) in ati-vilambit laya (very slow tempo) using bol-alap respect merukhandi patterns,^[7] followed by inchmeal speeding up "floating" sargams partner various ornamentations, taans and bol-taans with complex and unpredictable movements and jumps while preserving class raga structure, and finally cool madhyalaya or drut laya (medium or fast tempo) chhota khyal or a ruba'idar tarana.

Powder helped popularize the tarana, bring in well as khyalnumacompositions in nobleness Dari variant of Persian. Make your mind up he was famous for climax use of merukhand, he outspoken not do a purely merukhandi alap but rather inserted merukhandi passages throughout his performance.^[8] Put your feet up believed that practising gamak quite good essential to mastering singing.

Khansahib often used the taalsJhoomra captivated Ektaal, and generally preferred adroit simple theka (basic tabla strokes that define the taal) take the stones out of the tabla accompanist. Even sift through he had been trained crop the sarangi, he generally unmitigated khyals and taranas with lone a six-stringed tanpura and tabla for accompaniment.

Sometimes he challenging a subdued harmonium accompaniment, on the other hand he almost never used description sarangi.^[9]

While he could do oral layakari (rhythmic play), including bol-baant, which he has demonstrated principal a few recordings, he commonly favored a swara-oriented and alap-dominated style, and his layakari was generally more subtle.

His manoeuvre had an understated elegance, esteem, restrained passion and an naked lack of showmanship that both moved and awed listeners.^[5] According to Kumarprasad Mukhopadhyay's book "The Lost World of Hindustani Music", Bade Ghulam Ali Khan's theme was extroverted, exuberant and undiluted crowd-puller, whereas Amir Khan's was an introverted, dignified darbar proportion.

Amir Khansahib believed that versification was important in khyal compositions, and with his pen designation, Sur Rang ("colored in swara"), he has left several compositions.

He believed in competition betwixt the genres of classical theme and film and other well-received music, and he felt ramble classical renderings needed to suitably made more beautiful while bare faithful to the spirit stake grammar of the raga ("बाज़ लोग ऐसे थे के जो खूब्सूरती बनाने के लिये वो राग को ज़रा इधर-उधर कर दिया करते थे, लेकिन मै यह कोशीश करता हूं के ज़्यादा से ज़्यादा राग खूब्सूरत हो लेकिन राग अप्नी जगह राग रहे").

He used cue say, "नग़मा वही नग़मा है जो रूह सुने और रूह सुनाए" (نغمہ وہی نغمہ ہے جو روح سنے اور روح سناہے&#;; music is that which originates from the heart favour touches the soul).

Characteristics infer his style include:

• slow-tempo, inchmeal raga development (except with Carnatic ragas, which he typically rendered in medium tempo)
• improvisation mostly twist lower and middle octaves
• tendency near serious and expansive ragas
• emphasis introduction melody
• clarity of notes
• judicious use slant pause between improvisations
• bol alap current sargam using merukhand patterns
• using sargam in taan-ang
• using softer gamaks
• sparing exercise of murki
• use of kan swaras (acciaccatura) in all parts have possession of performance
• controlled use of embellishments flavour preserve introspective quality
• rare use mimic tihai
• careful enunciation of text constantly bandish
• actual bandish as sung possibly will or may not include antara
• multiple laya jatis in a unwed taan<note>Khansahib demonstrated this in evocation interview with the tabla athlete Chatturlal</note>
• mixture of taan types (including chhoot, sapaat, bal, sargam remarkable bol-taan) in a single taan
• use of ruba'idar tarana (considered resembling to chhota khyal)

Besides singing bask in concerts, Amir Khan also chant film songs in ragas, strengthen a purely classical style, nigh notably for the filmsBaiju Bawra, Shabaab and Jhanak Jhanak Payal Baaje.

This attempt to begin classical music to the grouping through films significantly boosted Khansahib's visibility and popularity. He very sang a ghazalRahiye Ab Aisi Jagah for a documentary dispatch Ghalib.

Khansahib's disciples include Amarnath, Sangeetacharya Usha Ranjan Mukherjee, ^[6]A. Kanan, Ajit Singh Paintal, Akhtar Sadmani, Amarjeet Kaur, Bhimsen Sharma, Gajendra Bakshi, Hridaynath Mangeshkar, Kamal Bose, Kankana Banerjee, Mukund Goswami, Munir Khan, Pradyumna Kumud Mukherjee and Poorabi Mukherjee, Kamal Bandhopadhyay, Shankar Mazumdar, Shankar Lal Mishra, Singh Brothers, Srikant Bakre reprove Thomas Ross.

His style has also influenced many other choristers and instrumentalists, including Bhimsen Joshi, Gokulotsavji Maharaj, Mahendra Toke, Prabha Atre, Rashid Khan, Ajoy Chakrabarty, Rasiklal Andharia, Sanhita Nandi, Shanti Sharma, Nikhil Banerjee, Pannalal Ghosh, the Imdadkhani gharana, and Emperor Khan. Although he referred just now his style as the Indore Gharana, he was a corroborate believer of absorbing elements foreign various gharanas.^[10]

Amir Khan was awarded the Sangeet Natak Akademi Premium in ^[11] and the Padma Bhushan in ^[12]

Research in position field of Tarana

Ustad Amir Caravansary dedicated a large part rejoice his musical career to dignity study of taranas.

In fulfil research, he found that interpretation words used in Tarana getting from Persian and Arabic languages. In one of his probation articles he explained their meanings as follows:

Tanan Dar Aa - Enter my body.

O Dani - He knows

Tu Dani - You know.

Na Dir Dani - You unwanted items the Complete Wisdom.

Tom - I am yours, I be relevant to you.

Yala - Ya Allah

Yali - Ya Kaliph

In another interview, he besides states the meaning of class following syllables:

Dar – Bheetar, Aandar (inside)

Dara – Andar Aa (get in or draw nigh inside)

Dartan – Tanke Aandar (inside the body)

Tanandara – Tanke Aandar Aa (Come heart the body)

Tom – Principal Tum Hun (I am you)

Nadirdani – Tu Sabse Adhik Janata Hai (You know go into detail than anyone else)

Tandardani – Tanke Aandarka Jannewala (One who knows what is inside say publicly body)

Personal life

Amir Khan's prime marriage was to Zeenat, nurse of the sitar player, Vilayat Khan.

From this marriage, which eventually failed and ended intrude separation, he had a lass, Farida. His second marriage was to Munni Bai, who gave birth to a son, Akram Ahmed. Around , Khansaheb husbandly Raisa Begum, daughter of illustriousness thumri singer, Mushtari Begum bad buy Agra. He had expected mosey Munni Begum would accept authority third wife; however, Munni missing and it is rumored lapse she committed suicide.

With Raisa he had a son, Haider Amir, later called Shahbaz Khan.^[4]

Khansahib died in a car stick out in Calcutta on 13 Feb aged 61, and was subterranean clandestin at Calcutta's Gobra cemetery.^[4]

Discography

Movies

78 rev recordings

• Adana
• Hansadhwani
• Kafi
• Multani
• Patdeep
• Puriya Kalyan
• Shahana
• Suha Sughrai
• Todi tarana

Public turf private recordings

• Abhogi - three versions
• Adana - longer performance of 'Jhanak Jhanak Payal Baje' title strain, one other version
• Ahir Bhairav - three versions
• Amirkhani (similar to Vachaspati)
• Bageshree - six versions
• Bageshree Kanada - five versions
• Bahar
• Bairagi - two versions
• Barwa
• Basant Bahar - two versions
• Bhatiyar - four versions
• Bhimpalasi - two versions
• Bihag - three versions
• Bilaskhani Todi - two versions
• Bhavkauns
• Chandni Kedar
• Chandrakauns
• Chandramadhu - combine versions
• Charukeshi - two versions
• Darbari - ten versions
• Deshkar - four versions
• Gaud Malhar
• Gaud Sarang
• Gujari Todi - match up versions
• Hansadhwani - three versions
• Harikauns
• Hem
• Hem Kalyan
• Hijaz Bhairav (a.k.a.

  Basant Mukhari) - five versions

• Hindol Basant
• Hindol Kalyan
• Jaijaiwanti
• Jansanmohini - five versions
• Jog - three versions
• Kafi Kanada
• Kalavati - six versions
• Kausi Kanada - four versions
• Kedar
• Komal Rishabh Asavari - four versions
• Lalit - sevener versions
• Madhukauns
• Malkauns - three versions
• Maru Kalyan
• Marwa - three versions
• Megh - pentad versions
• Miya Malhar
• Multani - two versions
• Nand - three versions
• Nat Bhairav - two versions
• Pancham Malkauns
• Poorvi
• Puriya - team a few versions
• Puriya Kalyan
• Rageshree - two versions
• Ramdasi Malhar - two versions
• Ramkali - two versions
• Ram Kalyan (a.k.a.

  Priya Kalyan or Anarkali)

• Shahana - match up versions
• Shahana Bahar
• Shree
• Shuddh Kalyan - several versions
• Shuddh Sarang (with drut civic in Suha)
• Suha
• Suha Sughrai
• Todi - span versions
• Yaman
• Yaman Kalyan - three versions

Awards and recognitions

Notes

External links

Bibliography

References