Disques Vogue CLVLX 119, France 1966
featuring Faiyaz Khan~ tabla, Tapati Choudhuri ~ tampura
Side 1
1. Yaman Kalyan - Alap, Gat in Teental
2. Tabla Solo
Side 2
3. Bairavi - Alap, Gats in Vilambit Rupaktal, Drut Teental
The sarod and Sharan are almost synonymous. It was not the same, however, way back in her childhood. Hailing from a family of famed scholars and successful businessmen of Delhi, music was sidelined to the level of a hobby for its members. Her in-laws were also no nearer to the musical muse. In both these families, however, music had remained of paramount interest. During festival times, like Holi and Basant, it was customary for the entire joint family household in old Delhi, especially the women folk, to assemble and sing while the culinary preparations for the festival were in progress. Even professional troupes were invited to perform on the occasion.
Strangely enough, Sharan’s introduction to sarod was almost an accident. She just chanced upon this new musical instrument in her brother Brij Narayan’s cupboard, and it caught her fancy. She took it down and struck the strings of this instrument. The sound struck such a chord in her heart that in that decisive moment she knew that this was her instrument for life and that she must master it and become a great ustad in it. But the journey from there to being an ustad was not all that easy. When she announced her resolve to pursue the sarod she was discouraged to do so, not just by her family but also by her guru, Baba Allauddin Khan himself. Sarod in those days was considered as predominantly a male instrument that required a lot of stamina in its user. But her tenacity paid off and Baba consented to be her guru. He put his heart and soul into teaching her this instrument.
Defying social and traditional norms, Sharan became a residential disciple of Baba. Shorn off all external distractions, she worked hard at her art, and practised for 10 hours a day. She developed a strong sense of layakari (rhythm) and the technique of sarod playing. Her guru instilled in her a command of raga that exuded his personality rather than the mere mechanics of sound and pattern.
Ultimately, Sharan’s determination and devotion paid off. As the demand for burgeoning musical talent rose, Sharan took her place on public platforms as a musician and performer. She has not only held music lovers enthralled for half a century, her devotion and passion for the sarod have also opened up a new avenue in the field of music, a new genre for women.
Together with fame and money, a flood of awards has also come her way. In 1968, Sharan made history by being the first woman musician in India to receive the Padmashri award. The Sangeet Natak Akademi award came her way in 1986. The Delhi State honour was given to her in 1974. Universities in India and abroad have showered her with justifiable acclaim. She has received doctorates of music from universities in the USA. The Delhi University, on its platinum jubilee celebrations, conferred on her the Alumnus Award.
The future will remember Sharan Rani not only as a great musician who is going to leave behind a great legacy for womankind but also for her gift of 300 musical instruments that are now a national treasure. Housed in the Instruments Gallery of the National Museum, her contributions are a rare collection of rare musical instruments. Intrigued by the origins of her instrument, Sharan has also delved deep into its research and recorded her findings in a book, The Divine Sarod, published in 1992. In this book she traces the instrument back to a second century sculpture.
The sarod is not just a musical tool for her. It is her source of inner strength and sustenance. No surprise then that she is known as ‘Sarod Rani’.
with owl the talk of Baba Allauddin Khan lately, i thought it timely to drop some slow burners from another sarod virtuoso & one of his most talented disciples, sweet Sharan Rani. this fine offering, another LP on the mysterious Disques Vogue imprint out of France, also features a tabla solo by Faiyaz Khan, himself an exceedingly accomplished & distinguished artist who has accompanied some of the finest stalwarts of Hindustani musique thru the ages. thanks again to Arvind for illumination
