Dipali Nag

Dipali Nag (1922-2009) of the Agra Gharana set standards that most would find hard to match. She was an MA in English literature, studied Western music at Trinity College, and was trained from girlhood in Hindustani classical music by Tasaduq Hussain and Bashir Khan, the main teaching ustads of the Agra Gharana, with advanced training by Ustad Faiyaz Khan from 1938 till her marriage. She was a regular khayal performer at music conferences of yore all over India and on AIR. Her interviews of classical maestros on radio and later on television were trailblazers.



Dipali Nag was born on February 22, 1922 at Darjeeling. Her father, Jiban Chandra Talukdar, was a Professor of History in Agra. She took to Hindustani classical music at an early age. In those days when women singers from cultured homes were almost a rarity, Dipali Nag stood out as a source of inspiration, pioneering the spread of classical and semi-classical music among the ladies. She started broadcasting from All India Radio in 1939 and her recordings with HMV and other recording companies were also in the same year.

Dipali Nag - Raga Jaunpuri - Chhananana Bichchua Baje :  



Dipali Nag - Raga Bihag Bandish - Chooriyan Baar Baar :  



Dipali Nag - Raga Bhairavi Thumri :  



Dipali Nag - Raga Jaijaiwanti :  



Dipali Nag was about twenty years old when she married Dr. B D Nag Chowdhury, an eminent scientist (of Nag missile fame) and scientific advisor to Indira Gandhi, the late Prime Minister of India. A versatile person, Dipali Nag later earned her PhD from Berkley, authored books and articles that earned her great renown, delivered lectures in different parts of the globe and participated in numerous concerts. She passed away on December 20, 2009 in Gandhinagar, Gujarat following a major cerebral attack.

Gharana tradition : Agra

This may surprise many, but it is true. More than a century ago, a certain Raga or Bandish (composition) was considered the 'property' of a particular Gharana. That is, the Raga in question would be known only to the musicians of that Gharana and to no one else. This would be especially true if the Raga was created in the Gharana. It was the custom to occasionally 'gift' a Raga or Bandish as dowry to a son-in-law. In this way, many Ragas found their way into Gharanas where the Raga had not been in existence before. If the recipient or new 'owner' of the Raga was a musician of another Gharana, he would naturally be guided by his own background conditioning in presenting this 'received' Raga. This would quite conceivably cause some variation in the Raga, that might remain mild or even become heightened with the passage of time.

Agra Gharana, one of the more popular Gharanas, places great importance on developing forcefulness and deepness in the voice so that the notes are powerful and resonant. Many vocalists of this Gharana have adopted a certain falsetto tone in their singing that oozes of masculinity. Once considered a domain of male singers, Agra Gharana is now followed by many eminent and newer female vocalists.

Faiyaz Khan - Dadra - Pardesa Na Jaiyo :  



Vilayat Hussain Khan - Kafi Hori - Kaun Tarahse Tum Khelat Hori :  





Latafat Hussain Khan - Bageshri Bahar - Ja Re Ja Kagwa :  



Sharafat Hussain Khan - Raga Ramkali - Un Sang Laagi :  



Apart from the above doyens of the Gharana, the more famous names of Agra Gharana include Khadim Hussain Khan, Dinkar Kaikini, Lalith Rao, Jitendra Abhisheki, Ravi Kichlu and many more. As with other Gharanas, the list is long.

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