On Sunday, February 19, 2012 at 10:21:08 PM UTC-5, Vivekanand P V wrote:
What source are you referring to here?
There is an interview with Azizuddin Khan by his disciple Shruti
Sadolikar, in which she recounted this (that Alladiya outright denied recording his music citing he is too old and cannot portray his best). Azizuddin did not nudge while she was narrating. Many years later (in
2009) when I had a chance to ask her in NCPA, she said that
recollection of her was indeed gathered from many sources, including Azizuddin Khan and other senior disciples of the dynasty.
Curiously enough, she said among those who approached Alladiya, were
the chaps from HMV and Manji Khan! That makes one wonder why Manji
Khan was not recorded even though he could take the delegation to his father. Was MK not recorded because the father denied recording his?
Yes indeed, that's what I meant. What is the name of the chapter you
are referring to?
I said it is 'The Fear of Recording'.
And what exactly does it say there?
A broad spectrum essay it is. Insightful, I should say. It starts with
the analysis of Western music vis-à-vis Indian music. The author says
that for Indian music, there is no 'certain final product' to be
achieved (as they do in WCM, supposedly). So, a recording of a raga by
an artiste is, at best, an example of the artiste's perception towards
that raga 'in that' instance of time. Essentially, that recording is
neither the perfect depiction of that raga, nor that of the artistry
of the artiste. The essay signifies the intimacy with the music and
with the ariste to be able to appreciate both in a right manner. Then
it dwells on the anecdotes of early season of recording in India.
While many musicians felt that a recording or two would immortalise
their music, some have believed that the electronic machinery would
drain the goodness of their voice. Incidentally, many were more
concerned about their art now being susceptible to stealth. The author extols the recordings saying they mark the outline of a past era, by
which she knows Abdul Karim Khan et al. The essay concludes explaining
the transformation of influence on musicians. At the end she remembers Mallikarjun Manasoor's Jaunpuri, wherein Manasoor used to interrupt
himself to explain that the Antara he was going to sing was in the characteristic style of Manji Khan, who in turn, had got it from
Rahimat Khan. She says, the sense of identifying oneself with what has
gone before is not only a part of culture, but a value unto itself in
our music.
V
I may be late to the thread, but I believe i have read somewhere that Manji Khan was set to record but then passed away unexpectedly.
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