Photo taken from the April 1989 issue of the Herald
Secondly, I think that singers should be decorated only if they display extraordinary talent. What value do awards have if they are given to every Tom, Dick and Harry? None at all. When we were awarded the Pride of Performance award it was a big honour, but look at those who received it subsequently. The award has come to mean nothing. The television awards are given on a regional basis. If this year Punjab wins, then it's got to be Sindh the next year and Baluchistan after that, and so the rotation goes on. Awards should be conferred strictly on the basis of merit.
The arts councils have done nothing at all for musicians, not even for those of exceptional standing. Our tours abroad are always sponsored by private organisations. The government never sends us. Someone should stand up and question the arts councils about their performance. Millions of rupees have been granted to these institutions and yet they've failed to do anything. In so many years. they have not produced a single artist having, say, even a little talent. Classes are held in airconditioned halls, but no singers ever come out. I wonder why the deeds of the arts councils are not accountable.
Herald: Are you happy with Pakistani television and radio?
Khan: I think that in its own small way, Radio Pakistan has done a lot for classical music. But as far as television is concerned, they have done nothing. All they are interested in isgood looking face - no matter how poor 'the singing is. They want to put good faces on the screen - not good music. A board should be set up to decide, purely on the basis of talent. whether or not a particular singer should appear on television. In music programmes only the songs should be projected. Nothing else.
Herald: Do you think that the average Pakistani is interested enough in classical music to justify such promotion?
Khan: People are very interested. It is wrong to think otherwise. I have had countless well-attended concerts where everyone has enjoyed my songs. It may appear unbelievable, but a lot of today's jean-clad youngsters like my singing.
Herald: Do you think that classical dance is as important as classical music?
Khan: There is a saying - Utham gana, madham bajana, nikhad nachna. Song is the highest of all art forms, accompaniment comes next, and dancing is the least important one.
I accept the fact that classical dance is a major art form, but dancers are at their peak only in their youth, while singers go on singing for a long time. In addition, classical dance has nothing whatsoever to do with our culture or with our religion.
Herald: And classical music is not un-lslamic?
Khan: Of course not. I am a singer myself and say in all honesty that nothing brings me as close to God as singing does. Who has done more for music than Amir Khusro? Was he not a Muslim? Shah Abdul Latif Bhitai was fond of music. His taanpuras exist even today. Baba Farid and Baba Bulleh Shah listened to music. Were they non-Muslims? If somebody claims that singing is un-lslamic then he is only displaying his ignorance.
Herald: You belong to the Patiala gharana of classical vocalists. What are the qualities peculiar to the followers of this school of singing?
Khan: The Paliala gharana was founded by 'Jarnail' Ali Bakhsh Khan and 'Karnail' Fateh Ali Khan, who combined, and further refined, the knowledge they had gained from their study with major representatives of four of the ancient schools of music. There were Mian Taan Ras Khan of the Delhi gharana, Mubarak Ali Khan of Riva, Haddu Hassoo Khan of Gwalior and Behram Khan of the Jaipur gharana. The singing of Patiala, therefore, embodies the qualities of four different schools of music and is comparable in excellence.
An important quality of our singing is that we always maintain the purity of the raga we're singing, and, therefore, our renditions are paradigms of the ragas in their purest form. Our durrat khayal is remarkable. We place great emphasis on the correct sounding of notes. The notes are not merely touched, rather, they are examined and felt deeply. In addition, we remember some of the most appealing and beautiful asthaees and antaraas being sung in the subcontinent.
Herald: But it is rarely that you sing the entire text of a song, singing only the asthaee and almost never the antaraa. Why do you guard your knowledge so jealously?
Khan: It is true that I usually do not sing the entire text of a song, but I am fully justified in doing so. My asthaees are being copied everywhere. I was making a mistake when I was singing rare asthaees and antaraas of my gharana in front of lesser singers, who later copied these compositions.
Herald: Is there much harm in that?
Khan: Yes, there is. They pass off these songs as being those of their own fathers and never give credit to Fateh Ali Khan or to other singers of the Patiala gharana. I can't tolerate that.
Herald: Don't you think that . if all singers become so wary of being copied, then a time will come when there will be no one left who remembers these songs?
Khan: No, this is not likely to happen. I have many students whom I teach with complete sincerity and from whom I hold back nothing if they are serious and show promise. I sing rare songs, songs which only Fateh Ali Khan remembers, in private mehfils.
Herald: The singing of khayal is divided into two portions - the vilambit khayal in slow tempo and the durrat khayal in fast tempo. Each is equally important. You, however, seem to place very little emphasis on the vilambit khayal by winding it up quickly and switching to the durrat khayal rather soon. Why is it so?
Khan: The vilambit khayal deals with the gradual exposition of a raga. In it, various aspects of the raga are unfolded one by one and the mood of the raga is established. The tempo is very slow and today's listener, who has little patience, finds it hard to concentrate and enjoy the songs. I, therefore, shift to durrat, after a short vilambit in ordinary concerts, but when l have a knowledgeable audience, I give vilambit the importance it deserves.
Herald: One aspect of your singing is that you always use very simple talas (rhythmic cycles), confining your songs almost always to teentala and ektala. Why is it that we never hear something in, say, farodust or sulphakta or pancham savaari?
Khan: Teentala and ekmla are the most commonly used rajas in our music and most listeners are familiar with them. They know where the sam is, where the khali is and where the taali is. So, when we sing in these cycles, the listener finds it easy to enjoy and understand the song. lf we used rare talas then the listener would get confused and his attention would get divided between melody and rhythm. I do not want that and, therefore, use simple cycles. Otherwise. I remember many a bandish in rare talas, and anyone who has doubts can come and test the facility with which I handle them.
Herald: In recent years, classical vocalists have started indulging in rhythmic dialogues, which they call sawaal jawaab, with the percussionists, during the course of the song. One never hears such interplays with rhythm in the recording of the songs of senior musicians and this seems to be a recent addition. Is it a valid one?
Khan: I agree that this is a relatively new trend, but nevertheless, a valid one. Laykaari, the expert handling of rhythm, is a very important aspect of classical singing. A dialogue between the singer and the tabla-nawaz is a good display of the singer's laykaari and the percussionist's prowess and it makes the song more interesting.