Pandit Chhannulal Mishra: The Voice of Banaras

Why in the News?

1. Pandit Chhannulal Mishra, Padma Vibhushan awardee and one of the greatest Hindustani classical vocalists, passed away on 02 October, 2025.
2. His death marks the end of a seven-decade-long career that blended classical and semi-classical traditions, deeply rooted in Banaras’s cultural ethos.

Key Highlights

1. Early Life and Struggles
   1. Born in humble circumstances, he faced hardships in his youth before success reached him.
   2. His rise was delayed but meteoric, shaped by patrons like Mahant Maharaj ji (Sankat Mochan Mandir) and Prof. Veer Bhadra Mishra (IIT-BHU).
2. Training and Gharana Influence
   1. A disciple of Ustad Abdul Ghani Khan of the Kirana Gharana, known for its lyrical and melodious style.
   2. He contributed to enriching the Banaras Gharana.
3. Musical Range and Contributions
   1. Mastery across genres: alap, khayal, thumri, bhajan, tappa, dhrupad ang, tarana.
   2. Specialized in singing from Ramcharitmanas of Goswami Tulsidas, connecting music with spirituality.
   3. Composed music for Odissi dance performances (1979–2019), including the renowned “Kewat Prasang.”
4. Recognition and Mass Appeal
   1. Garnered a pan-India following through his ability to render both classical and semi-classical forms.
   2. Admirers included cultural icons like Amitabh Bachchan.
   3. His singing evoked sahrdayatvam (shared emotional resonance) among audiences across classes.

Hindustani Classical Music

1. Origin & Evolution: Hindustani music evolved in North India from around the 13th century onwards, influenced by ancient Vedic chants, temple music traditions, and later by Persian & Central Asian musical elements during the Delhi Sultanate and Mughal period.
2. Nature: It is primarily improvisational and based on ragas (melodic framework) and talas (rhythmic cycles).
3. Instrumental music plays a vital role (sitar, sarod, tabla, shehnai, sarangi).
4. Distinctiveness from Carnatic Music: Hindustani music focuses more on improvisation and slow elaboration (alap), while Carnatic is more composition-based.
5. Gharanas in Hindustani Music: A gharana is a school or style of music, developed around a guru-shishya (teacher-disciple) tradition. Each gharana has unique techniques, compositions, and performance aesthetics.
6. Major Styles in Hindustani Musical Compositions
   1. Dhrupad
      1. Oldest and purest form of Hindustani music (origin in temples, devotional).
      2. Characterised by serious, austere, spiritual mood.

• Uses long, slow alap (elaboration of raga) and strict tala.

1. Famous Dagar brothers, Tansen (Mughal court) linked with this tradition.

1. Khayal
   1. Most popular classical style today.
   2. Known for improvisation, ornamentation, and emotional expression.

• Flexible compared to Dhrupad.

1. Developed during the Mughal period (credited to Sufi singer Amir Khusro and later popularised by Niyamat Khan “Sadarang”).

1. Thumri
   1. Semi-classical style, lighter than khayal.
   2. Themes often based on love (sringara rasa), especially Radha–Krishna devotion.

• Highly expressive and lyrical.

1. Banaras and Lucknow are its main centres.

1. Tappa
   1. Originated from folk songs of camel riders of Punjab.
   2. Very fast, full of quick, intricate taans (fast notes).

• Short, romantic themes.

1. Tarana
   1. Uses meaningless syllables (like na, tom, tana, derena) instead of words.
   2. Focus is on rhythm and speed, showcasing taal and vocal agility.

• Introduced by Amir Khusro.

1. Dadra
   1. A light classical style, similar to thumri but shorter.
   2. Based on romantic and devotional themes.

• Usually composed in Dadra tala (6 beats).

1. Bhajan
   1. Devotional song, sung in classical or semi-classical form.
   2. Focus on bhakti (devotion) rather than complex raga elaboration.
2. Ghazal (though more linked to Persian/Urdu poetic tradition, it blends with Hindustani music)
   1. Based on Urdu poetry, emotional and romantic themes.
   2. Sung in semi-classical style with raga base.

Challenges and Way Forward

Conclusion

Pandit Chhannulal Mishra was more than a musician; he was a living bridge between tradition and modernity, between Banaras’s spiritual ethos and India’s evolving cultural landscape. His voice and philosophy exemplified humility, universality, and devotion. His passing is a reminder of the urgency to preserve India’s rich classical heritage while making it resonate with future generations.