Pt. Taranath Rao
Practice of the art of music is an endeavour directed towards self-realisation. All endeavour irresistibly emanates from an inner urge, may it be obscure or evident. In the evolution of living beings from the beast to the perfect Guni, every individual represents a stage in the attainment of self-realisation.
The choice of the means for fulfilling this innate urge depends upon the individual's evolution and level of awareness. This explains the diversity of paths to self-realisation, which in the case of music may take the form of vocal music, instrumental music (such as sitar, sarangi, tabla, etc.), and the various styles of dance.
It is therefore not justifiable to discriminate between one path and another, for this is tantamount to criticism of the individual's state of evolution. The criterion of judgment, therefore, is not the attainment of the destiny, but the spirit behind the quest. The spiritual application of the endeavours to a particular form or style is like one of many roads terminating at the same destiny: self-realisation.
The preceding quote is from Shri Jef Feldman's edition of Pt. Taranath's manuscript on Tabla:
'The Tabla Legacy of Taranath Rao - Pranava Tala Prajna' - an excellent textbook for learning tabla.
Early Years -
Taranath Rao was born March 6, 1915 to a musical family of Saraswat Brahmins in Mangalore (Kannada), South India. Taranath's early years were rich in musical experiences. His uncle was a famous Carnatic violinist, Prof. A. K. Rao. Young Taranath learned tabla from Vishnuji Goakar, tala with Laya Brahma Bhaskar Khapruji and mridangam and maddalam from his father, Ramarao Hattiangady. Besides being a musician, Ramarao was an actor in the Yakshagana, the folk theater of South Kannada that features night-long performances of traditional stories with elaborate costumes and make-up. Ramarao was a specialist in the depiction of women's roles. A wealthy patron bequeathed to Ramarao a successful tobacconist business, enabling him to invite musicians from both the North and South to his home for extended visits, to the benefit of Taranath's musical education. (Incidentally, young Taranath displayed an aptitude for wrestling, and his father occasionally invited worthy opponents for him.)
Ud. Shamshuddin Khan accompanying Ud. Abdul Kareem Khan
Ustad Shamshuddin Khan
Bombay Years -
In 1932, Taranath migrated to Bombay to study commercial art at the Sir J. J. School of Arts, where he eventually took a degree, and to join his Ustad, but met with disappointment. Shamsuddin Khan had accepted a staff position at All India Radio (AIR) which occupied him day and night, leaving no time for a student. However he promised to teach Taranath whenever he became free of his responsibilities to AIR. That was not to happen for seven years.
Taranath with his elder brother Sundar Rao and his nephew Ravi Bellare.
The Ustad, before seeing him, had thought him to be just a novice. The hall was packed with connoisseurs, and the Ustad in his royal regalia started the concert with alap and jor in Rag Jhinjhoti on the rudrabeen, followed by the vilambit Reza Khani Gat in Ada-chautal (14 beats) with an obvious side glance toward Taranath on the tabla, but quick as lightning, the budding artist had shot the 'Sum' with a thrilling mukra which drew a spontaneous `Ah' from the Ustad and a simultaneous applause from the audience. This wonderful instrumental concert was the first of its kind in Mangalore, and it established indisputably Taranath's virtuosity on the tabla.
A Rupak Tal Chakradhar Gath composed by Ud. Ahmedjan Thirakwa, notated by Pt. Taranath in my lesson book.
Ustad Shamshuddin Khan.
Listen to his tabla solo on youtube.
A devout Muslim, Shamshuddin Khan made preparations late in his life for his hajj, his pilgrimage to Mecca. His younger students were especially anxious about his departure, but he reassured them by saying that he had given to Taranath the "keys to the treasury," and they could rely on him as a teacher. Khan-Sahib completed his hajj, but tragically, died on the return voyage and was buried at sea.
To understand Pt. Taranath's position in the history of the art of drumming, it is necessary first to understand that his Ustad, Shamshuddin Khan, was a fellow student since boyhood with Ahmedjan Thirakwa. Together they studied in the Farukkhabad style with Thirakwa's uncle, Fayyaz Khan of Moradabad, and from Thirakwa's father's uncle, Karam lftal Khan. Karam Iftal was a student of the founder of the Farukkhabad gharana, Hajji Vilayit Ali. This remarkable figure was not only an exciting tabla player, he was also a renowned dancer of the Lucknow Court. Many of his compositions are included in the book, and are distinguished by the beauty with which a wide variety of strokes are employed. Hajji Ali (as he is also known) is also remembered for having married the daughter of Bakshu Dhadi, founder of the Lucknow Gharana of tabla, and thus for having received a large repertoire of compositions as a dowry. Therefore Taranath stands in a direct line of discipleship from the founders of the Farukkhabad and Lucknow Gharanas.
Pt. Taranath Rao playing pakhawaj.
K.G. Ginde, S.C.R. Bhatt - vocal, Taranath Rao - pakhawaj
Raga Jaunpuri, Dhamar and Drupad in Sultal - 9.16.84
Taranath's unique perspective on Indian drumming stems not only from his mastery of the tabla, but of the pakhawaj as well. His teachers Baburao Gokhle and Shankarrao Alkutkar provided the Dhrupad perspective on drumming to complement the Khyal and dance-influenced styles of playing gained from his teachers of tabla.
During his years in Bombay Taranathji distinguished himself as a soloist, accompanist, and teacher. He frequently performed and lectured on All India Radio. He often served as a talent judge for AIR, and in 1961 gave an hour-and-a-half discourse on the radio, comparing the North Indian rhythmic system to the South Indian system. In the courtly tradition he was honored by the Maharajas of Baroda, Kholapur, and Savant Wadi. He was for many years a teacher at the Bharatiya Vidya Bhavan, an esteemed cultural institution in Bombay, and since 1952 has been a postgraduate examiner in tabla theory and performance for the Bhatkhande University. He also taught at Ravi Shankar's Kinnara School in Bombay.
Pt. Taranath and his wife Sushila
(Guru-ji and Maami-ji).
Later Years -
In 1967 Ravi Shankar opened a branch of his Kinnara School of music in Los Angeles, and Taranathji was a natural choice as a tabla instructor. Unfortunately the school did not survive the end of the Beatles Era, but Taranathji proved that he could communicate his knowledge effectively to Western musicians; he was destined to return to Los Angeles.
After a short stint at Wesleyan University, Taranathji toured extensively in Europe and Africa with various artists, including Zia-Mohi-uddin Dagar. In 1978, after three years at the Government Kala Academy at Goa, Taranathji was invited to the California Institute of the Arts to join Amiya Dasgupta in the North Indian music program, where he remained as a beloved faculty member for the next 12 years.
Pt. Taranath with his nephews Shashi and Ravi Bellare.
Pt. Taranath performing in memory of his guru, Ud. Shamshuddin Khan.
Performing Career -
During his long and illustrious career, Taranath performed at public and private concerts and conferences (festivals) with the major artists of the day, such as Abdul Kareem Khan, Allauddin Khan, Nissar Hussain Khan, Ravi Shankar, Ali Akbar Khan, Enayat Khan, Vilayat Khan, Vilayat Hussein Khan, Khadim Hussein Khan, K.G. Ginde, S.C.R. Bhatt, Chidanand Nagarkar, Omkarnath Thakur, Hirabai Barodekar, Suresh Babu Mane, Hafiz Ali Khan, Amir Khan, Bade Ghulam Ali Khan, Pannalal Ghosh, Devendra Murdeshwar, V.G. Karnad, Faiyaz Khan, Sawai Ghandarva, Kumar Ghandarva, Rais Khan, Gangubai Hangal, Bhimsen Joshi, Amir Khan, Krisnarao Shankar Pandit, Azmat Khan, Malikarjan Mansur, Salamat and Nazakat Hussein Khan, Amanat Ali Fatali, Lakshmi Shankar, Sabri Khan, Ram Narayan, Dinkar Kaikini, Appa Jaogaonkar, Lalith Rao, G. S. Sachdev, Mohinuddin and Aminnudin Dagar, Rahimuddin Dagar and Ziamohiuddin Dagar.
Pt. Taranath, Ud. Papa Miya (son of Ud. Amir Hussain Khan), Pt. Nikhil Ghosh, Ud. Ahmedjan Thirakwa.
If you asked Taranathji, 'Have you ever played with (such-and-such) a musician,' he would often times say, 'Yes, I played with him. I also played with his father, and with his grandfather!'
In India it goes without saying that one learns more than music from a guru. Like all classical Indian arts, music is considered a yoga, a discipline leading to enlightenment. Merely being in the presence of a guru is said to develop a person spiritually. A student who spent time with Pandit Taranath would be impressed by his sure-handedness, which he showed not only in his music but also when he wrote in a student's lesson book, in his maintenance and decoration of tablas, in his carpentry, in his fashioning of tabla accessories, his formidable skills as a chef, and he even displayed his intangible aesthetic sense in an action as mundane as slicing fruit. If Guruji had a fault, it is that he lacked the aloofness expected of venerated teachers; his house was regularly filled with boisterous students eating, drinking and making merry. He was an eminent multi-disciplinary artist and scholar, a generous and kind teacher, a devoted husband, father and grandfather, and a down-to-earth guy with a zest for living. As we remember him, let us give him a hearty Jai Guru!
The preceding text is from Shri Jef Feldman's edition of Pt. Taranath's manuscript on Tabla: 'The Tabla Legacy of Taranath Rao - Pranava Tala Prajna' with additional material from the souvenir booklet for the Felicitation program for Pt. Taranath in Los Angeles, 1982, written by Jan Steward.
Watch a documentary by The Peshkar Foundation celebrating the birth centenary of Pt. Taranath Rao.
More about Pt. Taranath Rao:
I have known Shri Taranath since 1945 when I lived in Bombay. He was at that time an excellent tabla and pakhavaj player. He accompanied me on tabla at that period to many of my sitar recitals. Then through the years he emphasized on teaching and became a great teacher of tabla and pakhavaj.
He had many outstanding tabla players as his students who were so attached to him as he taught them with such love and care. Apart from being a wonderful artist and teacher, he was a great friend and human being.