Final Ode to a Musical Prodigy
In a picturesque period of winter, cocooned within the bustle of Kolkata’s elite district, the hallowed premises of the Nandan Complex stirred with a poignant gathering. The florally adorned Rabindra Sadan silently awaited one last homage to its beloved sonorous sage, Rashid Khan. The somber notes of a 21-gun salute echoed through the complex, signaling a painful epilogue to a tale that began just months after the city mourned the loss of another musical patriarch, Pt. Vijay Kichlu—Rashid’s revered mentor and the pioneering spirit behind the Sangeet Research Academy (SRA).
Pilgrimage to Calcutta: A Life-Changing Decree
In an emotional outpouring at Vijay Kichlu’s memorial earlier in February 2023, Rashid—visibly distraught and bearing the marks of illness—recounted the pivotal moment his life swerved onto its destined path. The year was the 1970s, and it was Kichlu who persuaded Rashid’s grandfather, the distinguished Ustad Nissar Hussain Khan, to relocate from Bareilly in Uttar Pradesh with his chosen disciples to join SRA. “I came along,” Rashid confessed with a quiver. “One made me part of this loving SRA family while the other trained me with an iron hand. Whatever I am today, is because of them.”
A Nascent Prodigy in Close Quarters
Initially, the academy’s confines in a modest New Alipur building served as the crucible where musical giants like Ustad Latafat Hussain Khan, Ustad Nissar Hussain Khan, and Girija Devi, along with their progeny, melded their lives and artistry. Among them was a young and spirited Rashid, brimming with innate talent but not without a rebellious spark. His precocious disdain for the restrictive environment was apparent, yet his mentors, especially Kichlu, infused his path with mirth and motivation—often indulging him to vocalize his favorite film songs by luminaries like Mohammed Rafi and Manna Dey.
Classical Foundations and Blossoming Passions
Despite mastering the basics of shastriya sangeet, Rashid displayed a lukewarm affinity for rigid classical raga renditions. Instead, he found his passion rekindled by the emotive allure of Girija Devi’s thumris, often coupling them with his adored film melodies. Defying expectation, his grandfather embraced this versatile ‘chaumukha’ inclination in his pupil.
A Flight Toward Freedom and Discovery
In a daring attempt to retreat from his taskmaster elder, Rashid embarked on escapist adventures, frequenting the SRA auditorium for laughter-filled soirées with comrades or delving into the archives of music legends at the academy’s audio library. Mesmerized by Ustad Amir Khan’s craft, he unearthed the exquisite depth of classical music, rejecting the alluring sirens of film industry offers.
A Magnetism that Transcended Genres
Rashid’s classical performances magnetized even neophytes to the art form. Witnessing his diverse interpretations of ragas like Bageshri and Darbari, one could encounter novel facets of their musical personas at each presentation. After an enrapturing Bilaskhani Todi soiree, which lingered until the early morn, the spellbound would find companionship in the most unexpected of patrons—like the cab driver overtaken by the maestro’s allure, faithfully trailing his performances across Kolkata.
Collaborations and Breakthroughs
It was the esteemed sarod player and composer Tejendra Narayan Majumdar who coaxed Rashid into singing ‘Naina Piya se,’ a Natiya Kalaam set to Majumdar’s tune, to critical acclaim. Before long, film producers lined up at his doorstep, leading to the soul-stirring ‘aoge jab tum saajana,’ which reverberated across the nation and beyond, engraving Rashid’s name into the annals of musical greatness.
Legacy of a Heartfelt Virtuoso
Be it a solo recital, a duet with legends like Pt. Bhimsen Joshi, or his interpretation of a cinematic tune, thumri, ghazal, or bhajan, Rashid Khan’s performances were a direct conduit of his heart’s symphony. His approach echoed his idol, Ustad Amir Khan, as he fused the subtleties of various gharanas into his unique sound. Rashid was an artist ruled by intuition, often attributing his expressive prowess to divine inspiration, once poetically stating, “Khuda gaata hai, ham gaate hain (God makes me sing).”
Rashid Khan’s departure has left a void in the classical tapestry of India, but his musical legacy endures, as fervent and unwavering as the dedication and love he bestowed upon every note he ever sang.
