“She was a rishi of music,” says Dr Sunil Shastri, musician and scholar, of his guru Annapurna Devi. Her life, her approach to music, can only be compared to that of the yogis meditating in icy caves on the heights of the Himalayas, he says. “Supposing such a personality were to be sent to live in the city — that is the kind of life she lived,” says Shastry, explaining the context in which he titled his biography of Ustad Allauddin Khan and Annapurna Devi “Suropanishad of the Suryogis”. The Gujarati original, “Suryogi nu Suropnisad”, is also available in English, Hindi and Marathi translations.
Annapurna Devi’s image was mythicised and hallowed, evoking awe and curiosity and even pity and anger by turns, depending on who was talking about her. But in her ability to continue on her chosen path, she was the quintessential yogi, living in the world but not of it, never seeking quantity but always attracting quality. In a country where classical artists rarely tire of calling the arts sacred, here was a musician who exemplified this path, but the glamour-obsessed world wondered ‘how?’ and ‘why?’ and ‘really?’
If she was reputed to be unapproachable, perhaps it was only for those with a worldly perspective on music. For those who were allowed to become her disciples, she was a fount of generosity and the acme of perfection, notes Shastri, who trained under her for many years.
One is reminded of Ramakrishna Paramahansa, who has often been quoted as beseeching the Divine Mother not to throw him in the company of the worldly-minded. Indeed, Shastri names in the same breath, acknowledged saints like Paramahansa and Ramana Maharishi, when he talks of Annapurna Devi’s total lack of desire for worldly benefit. She was in no hurry even to mould a large number of stalwart musicians, content to wait till her disciple was ready to go on to the next stage. Yet she was guru to some of the greatest names in Hindustani music.
Free of the desire
Book cover of “Suropanishad of the Suryogis”
One can find people who have given up the desire for progeny as a way to continue their lineage; or those who feel no attraction for wealth. However, fame is a temptation for most. Yet Annapurna Devi, remarks Shastri, was free of the desire for fame, even of being recognised as a ‘tyaagi’ (one who has sacrificed).
It was music as pure sadhana, the path to spiritual self-realisation, says Shastri. Pandit Nayan Ghosh, eminent tabla and sitar exponent, agrees. “Her depth of knowledge and skill as a performer, which she beautifully imbibed from her illustrious father, Baba Allauddin Khan, was truly of a legendary stature. She was a pioneer woman instrumentalist, and anyone having heard her incredible surbahar recordings will be astounded not only by the ragadaari, but her virtuosity on such a difficult instrument. With such phenomenal talent and musical mastery, it requires great restraint and courage of conviction to stay away from the limelight and yet devote one’s entire life to the ‘sadhana’ of music. Her immense contribution to the propagation of Hindustani Raga music through the meticulous training imparted to such stalwarts like Nikhil Banerjee, Bahadur Khan, Aashish Khan, Jotin Bhattacharya, Rajeev Taranath, Hariprasad Chaurasia, and her devout sevak, Nityanand Haldipur, among many others will see her legacy live on. She was a stickler for purity of raga and form and incorporated this uncompromising approach in her teaching.”
Pandit Nayan, who heads Mumbai’s Sangit Mahabharati, an institution founded by his father, relates, “My family, especially my elder uncle (the great flautist) Pannalal Ghosh and my father (late tabla maestro) Nikhil Ghosh were extremely close to the Maihar Family, my uncle being one of Baba Allauddin Khan’s senior most disciples. Annapurnaji addressed my uncle as Dada and my father as Nikhil Da.”
Often referred to as a recluse, Annapurna Devi remained in touch with the trends that concerned her. “I was very fortunate to personally receive her grace over the years and on many occasions, I got to know from her close disciples that she had heard my sitar broadcasts and fondly approved of my music,” says Nayan Ghosh. “This itself is a huge blessing!”
He concludes, “The passing away of Guru Maa Annapurna Devi is indeed the passing away of an era. May my ‘Pishima’ rest in the lap of the Divine Mother.”
