The guru-shishya or master-disciple format of transmitting knowledge to students of Hindustani music is not restricted solely to the musical. It imparts extra-musical concepts and conventions that also form an integral part of the Hindustani music milieu.
One of the many extra-musical aspects that a student imbibes is a respect for the tradition. It is incumbent on the student to exercise humility, not just in the presence of seniors, but to approach musical knowledge and the tradition that continues to pass down this knowledge through successive generations with humility too.
Having said that, it is also true that performers seldom publicly accept their limitations, particularly when they have reached the zenith of their careers. It is certainly not expected from a performer of the eminence of Ahmed Jan Thirakwa (c.1880s-1976), one of the greatest tabla players of all time. But his candour in the interview conducted by vocalist Madhuri Mattoo for the Urdu service of the All India Radio is overwhelming.
In answer to a question at approximately 5.40” whether he ever faced a moment of failure in a concert, he readily answers in the affirmative. Mattoo ventures to attribute this singular failure to ill-health, but Thirakwa honestly lays the blame on his "ghuroor: or pride and vanity at the time. For those who believe that the performers on stage are in direct communication with the Almighty and that they personify humility, Thirakwa’s answer comes as a revelation. It illustrates that even the most accomplished of musicians have foibles and are therefore as human as anyone else. It also proves that while honesty is difficult to come by, it can perhaps be seen among those like Thirakwa, who are confident of their work and are not insecure about their position in the musician fraternity.
Recorded when he was 80 or thereabouts, Thirakwa describes his early training, at first in vocal music and then in tabla. Without a moment’s hesitation, he sings a vocal bandish or composition that displays the intense musicality he was seeped in right from his childhood. Similarly, he describes his training in Mumbai and his concerts across the country, including his employment at the court of the Nawab of Rampur.
Thirakwa admits that he had never performed overseas, despite having been requested to do so by Jawaharlal Nehru, when was prime minister. In a manner that is amazingly disarming, he says he did not comply with the request as he was not comfortable with air travel. Madhuri Mattoo tries convincing him to undertake such travel in future, as audiences overseas were keen to hear him. Thirakwa responds that he has flown from Calcutta to Guwahati and is now aware of what air travel entails. But his self-respect is evident when he states that he will travel overseas only if he is invited, as he has never requested anyone for performance opportunities and would never do so in future as well.
The interview moves on to illustrations of compositions from various schools of tabla playing. The audio clip ends with a solo recital by the maestro.
