The gottuvadyam or chitraveena has been used in Carnatic music for several generations. But the introduction of the vichitra veena, its northern Indian cousin, to Hindustani music has been attributed to Abdul Aziz Khan (1881-1946), originally a sarangi player from Patiala. A fretless instrument, the instrument is also called batta been. Batta in Hindi refers to the stone that grinds spices, but here it refers to the round glass piece resembling a paper-weight that is used to press the strings with the left hand, while the right hand plucks the strings.
While most music lovers would associate dhrupad-like renditions with any veena, Abdul Aziz Khan’s music demonstrates that he incorporated his sarangi phrasing in the vichitra veena recitals. Each of the recordings displays the maestro’s amazing ability to caress the melodic phrases and almost make the instrument "sing", a difficult task on a fretless instrument.
Abdul Aziz Khan
Raag Darbari Kanada
This recording features a medium tempo composition in the raag Darbari Kanada set to the 16 count Teentaal.
Prof. Abdul Aziz Khan of Patiala
Thumri
A rendition of a composition in the raag Pilu set to the eight matra Kaherva taal.
Ustad Abdul Aziz Khan
Raag Jogia
A thumri-based composition in the raag Jogia set to the Kaherva taal.
Ustad Abdul Aziz Khan
Raag Bhairavi
The last of Abdul Aziz Khan’s recordings included here is a composition in the raag Bhairavi, once again set to the Kaherva taal.
Abdul Aziz Khan’s younger brother Habib Ali Khan (1898-1971), also called Faqir Habib Ali Khan, was also a vichitra veena player.
Ustad Habib Khan and Ustad Ahmedjan Thirakwa
A performance captured on film recording by Wadia Movietone in 1937. He is accompanied here by tabla maestro Ahmed Jan Thirakwa.
Faqir Habib Ali Khan Beenkar
Raag Hameer Kalyan
In the next track, a recording from Radio Pakistan, features Habib Ali Khan playing a composition in raag Hameer set to the ten matra Jhaptaal. He is accompanied on tabla by Asad Ali Khan.
Dr Lalmani Misra
Raga Nat Bhairav
We conclude with a track featuring scholar-musician and pedagogue Dr. Lalmani Misra. The first is a detailed elaboration of the morning raag Nat Bhairav. Beginning with an introduction or aalaap, he moves on to a vilambit or slow composition in Teentaal followed by a drut laya or fast speed composition in the same taal.
We welcome your comments at
letters@scroll.in.
While most music lovers would associate dhrupad-like renditions with any veena, Abdul Aziz Khan’s music demonstrates that he incorporated his sarangi phrasing in the vichitra veena recitals. Each of the recordings displays the maestro’s amazing ability to caress the melodic phrases and almost make the instrument "sing", a difficult task on a fretless instrument.
Abdul Aziz Khan
Raag Darbari Kanada
This recording features a medium tempo composition in the raag Darbari Kanada set to the 16 count Teentaal.
Prof. Abdul Aziz Khan of Patiala
Thumri
A rendition of a composition in the raag Pilu set to the eight matra Kaherva taal.
Ustad Abdul Aziz Khan
Raag Jogia
A thumri-based composition in the raag Jogia set to the Kaherva taal.
Ustad Abdul Aziz Khan
Raag Bhairavi
The last of Abdul Aziz Khan’s recordings included here is a composition in the raag Bhairavi, once again set to the Kaherva taal.
Abdul Aziz Khan’s younger brother Habib Ali Khan (1898-1971), also called Faqir Habib Ali Khan, was also a vichitra veena player.
Ustad Habib Khan and Ustad Ahmedjan Thirakwa
A performance captured on film recording by Wadia Movietone in 1937. He is accompanied here by tabla maestro Ahmed Jan Thirakwa.
Faqir Habib Ali Khan Beenkar
Raag Hameer Kalyan
In the next track, a recording from Radio Pakistan, features Habib Ali Khan playing a composition in raag Hameer set to the ten matra Jhaptaal. He is accompanied on tabla by Asad Ali Khan.
Dr Lalmani Misra
Raga Nat Bhairav
We conclude with a track featuring scholar-musician and pedagogue Dr. Lalmani Misra. The first is a detailed elaboration of the morning raag Nat Bhairav. Beginning with an introduction or aalaap, he moves on to a vilambit or slow composition in Teentaal followed by a drut laya or fast speed composition in the same taal.
