It is not uncommon to hear women instrumentalists today, but there was a time when Hindustani music was played primarily by male instrumentalists. The reasons for this phenomenon could be many and would be worth studying separately. But it would be rewarding to remember some key women instrumentalists who made a place for themselves in the world of Hindustani music.
Annapurna Devi
Manjh Khamaj
To begin with, here is a track featuring the respected teacher and surbahar exponent Annapurna Devi, doyenne of the Maihar-Senia gharana. A nonagenarian who trained with her father and revered guru Allauddin Khan, Annapurna Devi gave up performing several years ago, but fortunately, some of the recordings of her live concerts are available for music lovers. She plays an aalaap or introductory movement in raag Manjh Khamaj, which includes virtuosic passages towards the end of the track.
Sharan Rani
The Divine Sarod Player
Sharan Rani Backliwal was another instrumentalist from the Maihar-Senia gharana, who learnt from Allauddin Khan, the founder of this style. Coming from an affluent family, she lived in Maihar to learn from the master. Here is a documentary on her life and work.
Vidushi Zarin Daruwala Sharma
Raag Chandranandan
The concluding track features Zarin Sharma, a versatile sarod player who not only made her mark on the Hindustani music concert stage but also made a significant contribution to Hindi film music. Here, she plays raag Chandranandan, a raag composed by the maestro Ali Akbar Khan. She begins with an aalaap, followed by a vilambit gat or slow instrumental composition set to Teentaal, a cycle with sixteen time units. The second composition is faster paced and in the same taal. This recording demonstrates the unique tonal quality of her presentation that she was known for. Towards the end of the track, she plays a call and response section called sawaal-jawaab, literally meaning question-answer.
We welcome your comments at
letters@scroll.in.
Annapurna Devi
Manjh Khamaj
To begin with, here is a track featuring the respected teacher and surbahar exponent Annapurna Devi, doyenne of the Maihar-Senia gharana. A nonagenarian who trained with her father and revered guru Allauddin Khan, Annapurna Devi gave up performing several years ago, but fortunately, some of the recordings of her live concerts are available for music lovers. She plays an aalaap or introductory movement in raag Manjh Khamaj, which includes virtuosic passages towards the end of the track.
Sharan Rani
The Divine Sarod Player
Sharan Rani Backliwal was another instrumentalist from the Maihar-Senia gharana, who learnt from Allauddin Khan, the founder of this style. Coming from an affluent family, she lived in Maihar to learn from the master. Here is a documentary on her life and work.
Vidushi Zarin Daruwala Sharma
Raag Chandranandan
The concluding track features Zarin Sharma, a versatile sarod player who not only made her mark on the Hindustani music concert stage but also made a significant contribution to Hindi film music. Here, she plays raag Chandranandan, a raag composed by the maestro Ali Akbar Khan. She begins with an aalaap, followed by a vilambit gat or slow instrumental composition set to Teentaal, a cycle with sixteen time units. The second composition is faster paced and in the same taal. This recording demonstrates the unique tonal quality of her presentation that she was known for. Towards the end of the track, she plays a call and response section called sawaal-jawaab, literally meaning question-answer.