By the end of the Moghul Empire musicians migrated from Delhi to smaller states for patronage. Their crystallised form of styles emerged as gharana. These gharanas were named after the places of their origin but followed the style of their top representative for generations. For example, the Agra gharana became synonymous with Faiyaz Khan while Kirana is associated with Abdul Karim Khan’s style. Gharanas were fiercely protected as family assets. The advent of radio and gramophone records, the popularity of music conferences and the socio-economic changes threatened to demolish the protective walls of gharanas because almost every secret was easily accessible now and a synthesis of styles seemed inevitable.
Despite all, gharanas have survived: simply because gharana music revolves around the continuity of a process that welcomes individualistic contributions by musicians. Recent recitals by two such young torchbearers of different gharanas kindle fresh hope.
Aniruddha Bhattacharya
Blessed with amazing long breath and sur-filled voice, Aniruddha was singularly lucky to have found the style that suited his introvert personality when his mother Gouri Bhattacharya initiated him into the gayaki of her guru Pandit A Kanan.Subsequently, as an ITC SRA scholar, Aniruddha continued to learn from Kanan-saheb and Vidushi Malabika Kanan. The beautiful blend of extra slow elaboration (badhat), rhythm-melody-lyric-laced swinging phrases (behlawa) and intricate taan-patterns were handed down to him by both his mentors.
This quiet science graduate (Zoology) from Calcutta University is an accomplished pianist (Western classical) and a wonderful trainer as well whose melodious voice has an uncanny similarity with Pandit Bhimsen Joshi’s. His highly emotive raga rendition and intellectual, ‘damdaar gayaki’ won accolades at Dover Lane, ITC Sangeet Sammelan and many such prestigious conferences, the latest being his impressive performance at the Darbar Hall, London.
Parthasarathi Desikan
Born in a music-loving family from South India, settled in Kolkata, Parthasarathi was initiated into music by Deepti Mukherjee, a disciple of Pandit Vinayakrao Patwardhan of the Gwalior gharana. He later came under the tutelage of Pandit Ajoy Chakrabarty. An extrovert, pleasantly articulate, multilingual Partha found the the Patiala gayaki with its intrinsic open aakar and highly ornate melodic and rhythmic patterns the most suitable mode of expression. His vibrant raga renditions speak volumes for his rigorous riyaaz with a refreshing individualistic approach that refuses to blindly copy his renowned guru.
