Gauhar Jaan, who was generally known as the primary recording celebrity of India
From the time London-based Chandra Chakraborty started her recital of raag Malkauns, it was a visit down melody lane. The particular factor about this composition, ‘Koyaliya bole ambuva’, was that it was popularised within the early 20th century by Gauhar Jaan, generally known as the primary recording celebrity of India.
Chandra introduced ‘The saga of songstress’, a thematic live performance organised by the National Centre for the Performing Arts (NCPA) on the Experimental Theatre not too long ago. The programme reminisced the contributions made by courtesans to Indian music. Thus the live performance included repertoires of Gauhar Jaan (1873-1930), Janki Bai (1880-1934), Zohra Bai Agrewali (1868-1930), and the favored Begum Akhtar (1914-1974).
In her 90-minute efficiency, Chandra used a very good mixture of uncommon materials and standard tunes, sung in chhota khayal, thumri or ghazal codecs. However, one wished the present was longer to accommodate extra songs. Some songs had been lower quick due to time constraints.
Chandra Chakraborty acting at The Experimental Theatre in NCPA
| Photo Credit:
NARENDRA DANGIYA
An fascinating function was that Chandra narrated a number of fascinating anecdotes concerning the singers she was paying tribute to. Janki Bai of Allahabad, as an example, was additionally known as ‘Chappanchuri’ as she was stabbed 56 instances, with one story being that it was by a spurned lover. Another anecdote was of Swami Vivekananda being impressed by the singing of Zohrabai Agrewali.
The work of the legendary singers was well-researched and introduced by Chandra, who skilled on the ITC Sangeet Research Academy in Kolkata, and whose gurus included A. Kanan, Malabika Kanan and Girija Devi. Through Kalakar Arts UK, which she based, she has scripted and directed musicals on Indian ladies singers, together with Begum Akhtar. She has additionally collaborated with English people singer Saskia Griffiths-Moore on the 2022 album ‘Together in love and separation’, a mix of British people, conventional Bengali and Hindustani semi-classical music.
Chandra was accompanied by Farooq Lateef Khan on the sarangi, Sudhanshu Gharpure on the harmonium and Tejas Burse on the tabla. The part on Gauhar Jaan, recognized to have recorded over 600 songs in 10 languages, was elaborate. After Malkauns, Chandra rendered ‘Sundar naari pyaari pyaari’ in raag Bihag, adopted by the Mishra Khamaj thumri ‘Piya bina mohe naahi aawat chain’. From Janki Bai’s repertoire, she sang ‘Saiyyan nikas daye’, a dadra popularised by Shobha Gurtu. A presentation of ‘Rangi saari gulabi chunariya’, additionally sung by Shobha Gurtu earlier than being introduced by many different singers, received a very good response from the viewers, which was conversant in the tune.
Zohrabai Agrewali
Zohra Bai Agrewali was represented by a uncommon bandish in raag Yaman Kalyan. Naturally, listeners had been awaiting the Begum Akhtar part, questioning which songs Chandraq would select. She started from the center of Shakeel Badayuni’s standard ghazal with the sher, “Yoon toh har shaam umeedon mein guzar jaati hai; aaj kuchh baat hai jo shaam pe rona aaya” earlier than singing the unforgettable opening traces, “Aye mohabbat tere anjaam pe rona aaya, jaane kyon aaj tere naam pe rona aaya”. She sang solely a part of the tune, earlier than transferring on to the Bengali tune ‘Piya bholo abhimaan’ and Momin Khan Momin’s ghazal ‘Woh jo hum mein tum mein qaraar tha’. This half might have been longer, contemplating Begum Akhtar’s reputation even at the moment.
Begum Akhtar
Chandra Chakraborty concluded on a philosophical word with Kabir’s ‘Humka udhaave chadariya’. It was an apt ending to a night full of nostalgia and melody, bringing to life songs that had been recorded over a century in the past.
