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Farrukhabad Gharana is one of six prominent playing styles or gharanas of North Indian tabla, in Hindustani classical music, and derives its name from Farrukhabad in Uttar Pradesh.
The Farrukhabad Gharana of Tabla was created in the 11th Century by a Rajput Court musician Akaasa who later had to convert to Islam and became a Muslim (Dastaan-e-akasa). He also changed his name from Akaasa to Mir Akaasa. He was the first to introduce bols into tabla playing. The first bols introduced in tabla were "tat-dhit-thun-nan". Mir Akaasa died in the year 1189 AD, and was succeeded by nine sons and one daughter.[ citation needed ] He passed on his legacy to his eldest son, Ustad Bilawal Khan, who in turn passed the torch of the gharana to Ustad Ali Baksh (famous for his kran bols). This tradition continued till the 26th descendant, Ustad Haji Vilayat Ali Khan (1779–1826). It was he who named this ‘gharana’ after the province in which he used to live viz. Farrukhabad. Ustad Haji Vilayat Ali Khan (1779–1826) gave this gharana the name of the province where he used to live, which was Farukkabad.
Ustad Haji Vilayat Khan got the title of Haji after his completion of 7 hajj. Vilayat Khan got famous after his famous battle of Tabla gats with Ustad Salaali Khansaheb, who has challenged Ustad Bakshu Khansaheb of Lucknow gharana, In order to save his pride Bakshu Khansaheb requested Vilayat Khan, who was also Salaali Khansaheb's uncle, to fight the battle of tabla Gats with Ustad Salaali Khansaheb. This battle continued for almost 15 days where many gats (authentic composition of the gharanas) and jodas (pairs of such compositions) were exchanged. On the 15th day Vilayat Khan played a unique Gat (Gat of Gazi) whose joda (pair) Ustad Salaali Khansaheb could not produce. Thus Vilayat Khan was declared the winner. Ustad Bakshu Khansaheb as a reward got Vilayat Khan married to his daughter and reputedly gave him 500 tabla compositions (although some sources say only 12 compositions). [1] Vilayat Khan on the other hand gave Salaali Khansaheb his daughter in marriage and along with that he gave 14 authentic Gats known as jahezi gats to Ustad Salaali Khan". [2]
The lineage of Farrukhabad is still carried on by the descendants of This Gharana. The Present Khalifa (head) of this Gharana is the great tabla exponent Ustad Sabir Khan who is the 33rd generation of this Gharana.
There is a huge variety in the repertoire of compositions, owing to the tremendous and creative output of great composers such as Haji Vilayat Ali Khan and Amir Hussain Khan, nephew of Munir Khan, himself a disciple of Nisar Hussain Khan. In addition, a large number of gats (compositions). [3]
The Farrukhabad gharana is among the oldest gharanas (i.e. schools) of Tabla, the other one being Delhi Gharana. It belongs to the wider "Purbi Baj", or "eastern way of playing", which regroups Lucknow, Farrukhabad and Benaras styles. Hence it is characterized by an extensive use of resonant strokes played on the sur of the daya reminding the Pakhawaj, but also, in the case of Farrukhabad gharana, by delicate strokes.
The repertoire is replete with varied compositions, makes use of open resonant baya strokes, and contains many unique stroke combinations. There is a greater emphasis on gats, chalan, and rela compositions than on qaida or peshkar. There is a prominent use of certain bols, notably DhereDhere/KitaTaka/TakitaDha. [4]
Anjan Chattopadhyay, the sitar player, born in a Bengali aristocratic family in Calcutta, India, was initiated to the art of sitar playing by his elder brother, a veteran Surbahar player, Pandit Gourisankar Chattopadhyay, a disciple of Pandit Birendra Kishore Roy Chowdhury. In addition to that he started taking further training from Vidushi Kalyani Roy, a reputed sitarist and one of the few disciples of Ustad Vilayat Khan. He also had lessons in vocal music from late Muktipada Datta, a representative of Agra Gharana. Anjan also learned tabla under the late Ustad Shaukat Ali Khan of Farukhabad gharana. Anjan lives in Calcutta.
Pandit Taranath Ram Rao Hattiangadi was a performer and teacher of Indian classical percussion, known for his knowledge of rare talas and old compositions. He represented the Farukhabad, Delhi, and Ajrada gharanas of tabla, and the Nana Panse tradition of pakhavaj. He studied formally for 47 years—an exceptional amount of time, even in the Indian master-disciple system—under many pandits and ustads, most notably Shamsuddin Khan. He had numerous disciples and students of special training.
Paṅjāb Gharānā, sometimes called Punjabi or Paṅjābī Gharānā, is a style and technique of tabla playing that originated in the Punjab region of the Indian subcontinent, now split between present-day Pakistan and India. The Punjab Gharana is considered one of the six main styles of tabla, the others being Delhi, Ajrada, Banares, Lucknow, and Farrukhabad. The repertoire of the Punjab Gharana is heavily influenced by the Pakhawaj.
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Qutub Bakhsh, more commonly known as Tanras Khan, was an Indian musician of the Hindustani Classical tradition known for being a luminary of the Delhi Gharana.(House of Delhi classical musicians). He was a court musician and music teacher to the last Mughal emperor Bahadur Shah Zafar II.
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