By Inayat Ilahi Malik

Date:01-07-06

Source: Dawn

I HAVE a pleasing recollection of Fateh Ali Khan`s rendering of Khyal Darbari Kanhra in a private concert where he presented the raga with great skill and mastery. It was a memorable performance which lasted for good two hours. It was noteable for strength and luminosity of tone. During the œalap the singer started unfolding the charactertics of the raga; what a beautiful performance it was; smart brilliant and artistic in style. Fateh Ali shaped his rendering with profound awareness of form and design.

In order to give a vivid presentation and enhance the impact of the raga he makes use of embellishments and improvisations very lavishly. For this he uses tans (musical phrase) sung on vowel, syllables or words. The varieties are determined by an added work, such as gamak tan, kot tan and bol tan.

Largely moulded and lyrically seductive, these evoke a pleasant reaction. One admires the singing for its supple beauty, depth and equilibrium. Free from superfluities and vocal excesses, it proceeds with a smooth melodious grace, showing in its range and poise a unique interfusion of imagination and restraint. It is always striking in its tonal treatment, mellowness and suavity of utterance. Above all, it shows a dispo sition to grand art, for beneath its musical manifestations, its colouring and fashioning one could discern a striving for some nobler, some more exalted form of classicism and expression.

One of the largest modes the Darbari Kanhra requires for its proper rendering is long and continuous practice. To be able to portray its mystical mood and other subtler beauties one has to equip oneself with idioms that belong to grand art.

Fateh Ali`s voice was assiduously editivated on classical lines by his father Akhtar Hussain Khan who was the son of the maestro Ali Bakhsh Khan (one of the founders of the Patiala Gharana along with Fateh Ali Khan). The Maharaja of Patiala honoured them with the titles of Colonel and General of Music.

The Patiala Gaeki is biased for more rigorous training of swara and taal as compared to others; the first round of raga`s tawaf is completed rather hurriedly. They do not press upon vilampat too much, as compared to the Kirana gaekey but put the whole emphasis upon Durat lay.Tanas are given great importance. They are rendered in such a quick succession that even the audience is unable to assimilate the musical experience which becomes a saga of tanas and paltas. What differentiates the Patiala gaekey from the Delhi`s gharana is unlimited riaz (practice) of the Gumak Tanas. It is said that the horizon of their imagination is not too vast yet the clusters of tanas are presented with such mastery and overpowering competence that the listeners are definitely left bewitched.

Besides the Darbari Kanhra some of the favourite Patiala ragas are Adana Pahari, Aiman Kalyan, Lacha Sakh, Basant Asawari, Puriaya and Mian ke Malhar. Fateh Ali presents the ragas with great skill and in varying styles.

His interpretation of thumries is also remarkable. After winding up the khyal presentations there has always been a popular demand by the audience for a thumri recital, which he always sings with equal skill and enchantment. However, while singing khyal he shows some of the finest glimpses of his gharana. At age 72, he is the greatest living exponent and a true representative of the Patiala gaekey.