Sarbari Gangopadhyay (Mukherjee) is a Hindustani Classical vocalist of the Rampur Sahaswan Gharana, Dagarbani Gharana, Khandarbani Gharana.

Rampur Sahaswan Gharana is a Gharana (musical heritage) of Hindustani classical music centered in the North-Uttar Pradesh towns of Rampur and Sahaswan. Ustad Inayat Hussain Khan was the founder of this gharana. He was the son of Ustad Mehboob Khan, a khayal singer and Veena player of the Rampur court. Rampur (UttarPradesh) which was a major centre of North-Indian classical music from the reign of its fifth nawab, Nawab Yusuf Ali (1840-1868). This line of nawabs was of Afghan origin. The second, Sahaswan is a village in the Badayun district of the same state in which most of the Gharana's famous musicians, were born. It is near Rampur.

The Rampur Sahaswan Gayaki (style of singing) is closely related to the Gwalior Gharana, which features medium-slow tempos, a full-throated voice and intricate rhythmic play. The gharana style is also known for the diversity and intricacy of the taans (rapid fire elaborations), as well as tarana singing.

The renowned singers of this Gharana include the first and perhaps the foremost disciple of Ustad Inayat Hussain Khan, Ustad Hyder Khan Sahab. In fact, Ustad Hyder Khan and his family plays a vital role in upbringing the legacy of this illustrious family.

Some of the exponents of Rampur Sahaswan Gharana

Chajju Khan and Nazir Khan, Pandit Ganpat Rao Ustad Hafeez Khan of Gudiyani (Gurgaon). Shanno Khurana, Sulochana Brihaspati , Arun Bhaduri, Deepak Chatterjee, Pradeep Chatterjee, Pranab Biswas, Prasad Kharpade, Chandan Das, A. Hariharan, Sonu Nigam and Shaan, Dr Sakuntala Narasimhan

Dagar Bani: Developed during the reign of jahangir and Shah jahan. Compared to Gauhar Bani. this Bani had lyircs amd Dhrupads were sung in both vilambit and madhya laya. The intelligent use of laya in this Bani gave credence to the view that dagar Bani was the source and origin of Dhamar songs. Its compositions reflected a wider variety of raas and moods and it also used a large variety of taalas.

Khander Bani: the main feature of the Khandar Bani is rather loudly reflected in the jod alap' of RudraBina. It is full of soft and vigorous gamak and bewildering patterns of note production. the Dhrupads in this Bani are set in madhya and drut laya. the style is laya oriented and the singer-in working out rhythmic patterns freely used bols of the Pakhwaj. there is considerable force in the view that the Merukhandi style of vistar and tanas and many tana patterns of khayal music were handed down by the maestros of the Khandar Bani to posterity. this bani epitomizes the Vira-Rasa.

Source: Google Books

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