Early Life and Musical Roots
Born in the culturally rich city of Patiala in 1881, Ustad Abdul Aziz Khan was destined to make a mark in Indian classical music. Before becoming synonymous with the Vichitra Veena, he was highly regarded as a Sarangi player, having mastered the instrument over a distinguished career spanning more than 35 years. His artistry led him to accompany many great vocalists of his time, making him a respected figure on the concert stage.
A New Chapter: Journey into the Veena
Already an accomplished Sarangi vidwan, Ustad Abdul Aziz Khan found his path crossing with the Vichitra Veena, a rare and fretless instrument known in Northern India also as the Batta Been. He trained under the eminent ‘Veena Vinod’ Ustad Jamaluddin Khan, the revered Beenkar of Baroda Riyasat. With his profound understanding of string phrasing and meend-laden expressions, he adapted swiftly to the instrument, translating the emotive power of the Sarangi to the Vichitra Veena.
Reviving the Forgotten Sound
The revival and popularisation of the Vichitra Veena in the Hindustani Classical Music tradition is largely attributed to Ustad Abdul Aziz Khan. The instrument, played with a glass ball (batta) that glides across its strings, posed a challenge due to its fretless nature. Yet, in the hands of the Ustad, it began to sing. His playing evoked a vocal quality so rich and expressive that the instrument seemed to breathe with emotion.
Style and Legacy
Unlike the typical Dhrupad-dominated approach associated with veenas, Abdul Aziz Khan infused his Veena recitals with the lyrical phrasing of the Sarangi, creating a unique style. His renditions were not just performances—they were musical conversations, blending melodic fluidity with emotive depth. In every recording, the Ustad’s ability to caress each note, to let the Veena weep, sigh, or smile, shines through.
A Lasting Contribution
Ustad Abdul Aziz Khan passed away in 1946, but his contributions to the world of Indian Classical Music, particularly the revival and shaping of the Vichitra Veena, remain invaluable. His work laid the groundwork for future generations to explore this beautiful and rare instrument, not just as a novelty, but as a powerful voice in the world of Hindustani music.
Listening from the Archives
In this recording, Ustad Abdul Aziz Khan performs a thumri-inspired composition in Raag Jogiya, set to the Kaherva taal. The piece carries a gentle and expressive mood, reflecting themes of longing and anticipation. It closely resembles the well-known thumri “Piya ke Milan ki Aas” in both melody and sentiment. Through his sensitive and nuanced playing, Ustad Abdul Aziz Khan brings out the emotional depth of the composition, offering listeners a glimpse into the rich tradition of thumri within the classical framework.
In this recording, Ustad explores the different shades of Raag Darbari through a short aalap followed by a gat set in drut teentaal (a fast 16-beat cycle). The aalap introduces the mood of the raag in a slow and expressive way, helping the listener feel its deep and serious nature. After the aalap, the performance moves into the ‘Gat’, which is a type of instrumental composition.
A gat doesn’t have any lyrics—it’s made up of musical notes and rhythms, and is usually used in instrumental music. In this fast-paced section, Ustad adds quick patterns and playful rhythmic variations while still staying true to the mood of the raag.Through both the aalap and the gat, Ustad brings out the beauty and depth of Raag Darbari in a powerful way, giving the listener a glimpse into the raag’s rich character. The recording is a 78 RPM recording published by HMV in 1938.
In the featured recording, Ustad Abdul Aziz Khan renders a Dadra composition in Raag Bhairavi, beautifully set to the Kaherva taal. Through his refined musical expression and nuanced melodic movements, he delves into the deep emotion of spiritual surrender—a heartfelt offering of the self to a higher reality. His performance is not just a display of technical mastery, but a profound journey inward, where each phrase and ornamentation reflects a quiet submission to the divine. The gentle yet emotive nature of Raag Bhairavi, combined with the earthy rhythm of Kaherva, allows Ustad Abdul Aziz Khan to evoke a sense of peace, devotion, and transcendence, making this rendition a moving experience for the listener.
The Vichitra Veena, though relatively obscure today, gained prominence in the early twentieth century. Its form—resembling the rudra veena—was standardised during this time, yet its playing technique remains deeply embedded in ancient musical traditions. As such, the Vichitra Veena is not simply a modern creation but rather a refined and evolved successor to an age-old stringed instrument. While the gottuvadyam, or chitra veena, continues to hold a significant place in Carnatic music, the Vichitra Veena has become a rarer presence in the contemporary musical landscape.
References
- Book — हिन्दुस्तानी संगीत के रत्न, by S.K.Chaubay
- Scroll article by Aneesh Pradhan https://scroll.in/article/694645/classics-rare-abdul-aziz-khan-and-other-maestros-of-the-vichitra-veena
- Image 1 — Vintage Raga Sangeet FB page https://www.facebook.com/share/19b7zGD9EZ/
- Image 2 — Britannica https://images.app.goo.gl/Hp8NjbZLBxUPA1Zz6
- Image 3 — Chitraveena Ravikiran FB page https://www.facebook.com/share/1ZfaKRD7Md/
- Image 4 — Flicker https://flic.kr/p/2jsbMDs
- Image 5 — Discogs https://www.discogs.com/release/10583687-Prof-Abdul-Aziz-Khan-Of-Patiala-%E0%A4%B5%E0%A4%9A%E0%A4%A4%E0%A4%B0-%E0%A4%AC%E0%A4%A8-%E0%A4%B5-%E0%A4%A4%E0%A4%AC%E0%A4%B2-%E0%A4%97%E0%A4%A4-%E0%A4%A6%E0%A4%B0%E0%A4%AC%E0%A4%B0-%E0%A4%9C%E0%A4%97%E0%A4%AF-%E0%A4%86/image/SW1hZ2U6Mjk0OTY2OTM=
- Image 6 — Discogs https://www.discogs.com/release/26108326-Prof-Abdul-Aziz-Khan-%E0%A4%B5%E0%A4%9A%E0%A4%A4%E0%A4%B0-%E0%A4%AC%E0%A4%A8-%E0%A4%B5-%E0%A4%A4%E0%A4%AE%E0%A4%AC%E0%A4%B0/image/SW1hZ2U6OTA3MDA4NzY=
- Image 7 — Book by Aftab Datta, Early radio artists a pictorial https://images.app.goo.gl/XGnGLF7rBTreKseF9
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