REM GENRE "Indian Classical"REM DATE 2008REM DISCID 0D0E5802REM COMMENT "ExactAudioCopy v0.99pb4"PERFORMER "Sharan Rani"TITLE "The Legendary Queen of Sarod (Disk 1)"FILE "Sharan Rani - The Legendary Queen of Sarod (Disk 1).flac" WAVE TRACK 01 AUDIO TITLE "Raag Miyan ki Todi" PERFORMER "Sharan Rani" ISRC 000000000000 INDEX 01 00:00:00 TRACK 02 AUDIO TITLE "Raag Kaunsi Kanhara" PERFORMER "Sharan Rani" ISRC 000000000000 INDEX 01 30:18:08

REM GENRE "Indian Classical"REM DATE 2008REM DISCID 1C0E6703REM COMMENT "ExactAudioCopy v0.99pb4"PERFORMER "Sharan Rani "TITLE "The Legendary Queen of Sarod (Disk 2)"FILE "Sharan Rani - The Legendary Queen of Sarod (Disk 2).wav" WAVE TRACK 01 AUDIO TITLE "Raga Shree" PERFORMER "Sharan Rani " ISRC 000000000000 INDEX 01 00:00:00 TRACK 02 AUDIO TITLE "Raga Puriya Dhanashri" PERFORMER "Sharan Rani " ISRC 000000000000 INDEX 01 18:18:21 TRACK 03 AUDIO TITLE "Raga Mishra Mand" PERFORMER "Sharan Rani " ISRC 000000000000 INDEX 01 46:16:14

The sarod and Sharan are almost synonymous. It was not the same, however, way back in her childhood. Hailing from a family of famed scholars and successful businessmen of Delhi, music was sidelined to the level of a hobby for its members. Her in-laws were also no nearer to the musical muse. In both these families, however, music had remained of paramount interest. During festival times, like Holi and Basant, it was customary for the entire joint family household in old Delhi, especially the women folk, to assemble and sing while the culinary preparations for the festival were in progress. Even professional troupes were invited to perform on the occasion. Strangely enough, Sharan's introduction to sarod was almost an accident. She just chanced upon this new musical instrument in her brother Brij Narayan's cupboard, and it caught her fancy. She took it down and struck the strings of this instrument. The sound struck such a chord in her heart that in that decisive moment she knew that this was her instrument for life and that she must master it and become a great ustad in it. But the journey from there to being an ustad was not all that easy. When she announced her resolve to pursue the sarod she was discouraged to do so, not just by her family but also by her guru, Baba Allauddin Khan himself. Sarod in those days was considered as predominantly a male instrument that required a lot of stamina in its user. But her tenacity paid off and Baba consented to be her guru. He put his heart and soul into teaching her this instrument. Defying social and traditional norms, Sharan became a residential disciple of Baba. Shorn off all external distractions, she worked hard at her art, and practised for 10 hours a day. She developed a strong sense of layakari (rhythm) and the technique of sarod playing. Her guru instilled in her a command of raga that exuded his personality rather than the mere mechanics of sound and pattern. Ultimately, Sharan's determination and devotion paid off. As the demand for burgeoning musical talent rose, Sharan took her place on public platforms as a musician and performer. She has not only held music lovers enthralled for half a century, her devotion and passion for the sarod have also opened up a new avenue in the field of music, a new genre for women. Together with fame and money, a flood of awards has also come her way. In 1968, Sharan made history by being the first woman musician in India to receive the Padmashri award. The Sangeet Natak Akademi award came her way in 1986. The Delhi State honour was given to her in 1974. Universities in India and abroad have showered her with justifiable acclaim. She has received doctorates of music from universities in the USA. The Delhi University, on its platinum jubilee celebrations, conferred on her the Alumnus Award. The future will remember Sharan Rani not only as a great musician who is going to leave behind a great legacy for womankind but also for her gift of 300 musical instruments that are now a national treasure. Housed in the Instruments Gallery of the National Museum, her contributions are a rare collection of rare musical instruments. Intrigued by the origins of her instrument, Sharan has also delved deep into its research and recorded her findings in a book, The Divine Sarod, published in 1992. In this book she traces the instrument back to a second century sculpture. The sarod is not just a musical tool for her. It is her source of inner strength and sustenance. No surprise then that she is known as 'Sarod Rani'. A staunch believer in the guru-shishya parampara, Sharan strives to relate with her own disciples and assuage their troubles. We cannot help but salute this septuagenarian 'Lady of the Sarod'. - Sita Gita.

Sharan Rani Another Biography:
Born in 1929 in Delhi, Sharan Rani was the first woman to take up the Sarod. A disciple of great music maestros Ustad Allaudin Khan and Ustad Ali Akbar Khan, she belonged to the Maihar Senia gharana. She had been performing on the concert stage from an early age and had toured countries like the United States, Britain, France and the Soviet Union. Sharan Rani has authored the book The Divine Sarod: its Origin, Antiquity and Development in India since BC 2nd century. She was an avid collector of rare musical instruments and set up the Sharan Rani Backliwal Gallery in the National Museum in Delhi, displaying nearly 450 classical instruments. A set of four postage stamps, featuring four instruments from her gallery, was also released in 1998. For her achievement in music, Sharan Rani was awarded the Padma Shri in 1968 and the Padma Bhushan some years later, the Sahitya Kala Parishad Award in Delhi in 1974, the Sangeet Natak Akademi Award for Hindustani Instrumental Music in 1986 and the Rajiv Gandhi National Excellence award among others. Sarod virtuoso Sharan Rani passed away at her residence in New Delhi at around 8 am on Tuesday morning 8th April 2008, a day before her 80th birthday. She had been combating cancer for some time. She is survived by her businessman-husband Sultan Singh Backliwal and daughter Radhika. - ITCSRA.

Legendary Sarod maestro, Sharan Rani is the first and foremost woman instrumentalist and one of the senior most and greatest musicians of our times. Sarod has become synonymous with her name and she is popularly known as ‘Sarod Rani’ that is the ‘Queen Of Sarod’. This double CD classical album features some of her finest live performances showcasing her genius with the instrument. Also includes a booklet of rare photographs from the artiste’s archives. - CD Notes.

Queen of sarod
Kuldeep Kumar

TRIBUTE Rich tributes were paid to the late Sharan Rani at a function where two CDs of her recordings were also released. Kuldeep Kumar

Omkarnath Thakur called her “Sarod Rani” while Jawaharlal Nehru described her as “India's cultural ambassador”. Sharan Rani, the first woman sarod player in the country, was unique in many ways. Hailing from a cultured Kayastha Mathur family of old Delhi, she broke the traditional conventions by going to Maihar and living in the house of the legendary Ustad Allauddin Khan to learn music and the art of sarod playing from him. All India Radio paid a tribute to her inspiring memory by organising an evening last week at Chinmay Mission auditorium and releasing a set of two CDs containing old archival recordings of her sarod recitals spanning from 1950s to 1980s. Mrinal Pande, well-known writer-journalist and Chairperson of Prasar Bharati, presented the first set to the late Sharan Rani's husband, Sultan Singh Backliwal.

A short film on Sharan Rani, made by her daughter Radhika Backliwal Narain, was also shown on the occasion. A well-made documentary, it brought back memories of the bygone era and the audiences discovered the articulate, warm and humane person behind the famed musician. Born in 1929, she was a post-graduate from Delhi University. A chance encounter with sarod had changed the life of the young Sharan Rani who one day discovered a strange-looking instrument lying on a bookshelf. Her brother Brajendra Narain had brought it into the house and forgotten all about it. She dusted if off and tried various ways of playing it. She then picked up a copper coin and used it as a plectrum. “The moment a sound emerged from the instrument, I realised that we were made for each other,” Sharan Rani informs her interviewer, well-known Dogri poet Padma Sachdev, in the film.

Extreme austerity

She began to learn from the young sarod maestro Ali Akbar Khan who frequently came to Delhi. After a few years, she went to Calcutta (now Kolkata) to attend a music festival where Allauddin Khan had also come. She went to Maihar with him and lived in extreme austerity in his house. A strict disciplinarian, Baba (as Allauddin Khan was called by all) generously taught her and soon came a time when she was practicing for as long as eight hours a day. The hard work paid and she emerged not only as the first woman sarod player but as an undisputed master of her chosen instrument. Little wonder that after listening to her, legendary theatre and film actor Prithviraj Kapoor said: “I felt as if Ma Saraswati has left her veena and picked up the sarod in her lap.”

Besides establishing herself as one of the top sarod players in the country, Sharan Rani also did pioneering work by building an impressive personal collection of musical instruments spanning the 15t{+h}to 19th centuries, and donated nearly 450 old and rare instruments to the National Museum, New Delhi where they have been permanently housed in a gallery named after her. She also learnt Kathak from Achchhan Maharaj and Manipuri dance from Nabha Kumar Sinha. She was honoured with Padmashri and Padmabhushan besides many other awards.

Kathak maestro Birju Maharaj has written the sleeve notes for the two CDs that contain Hemant, Hem Hindol, Jaunpuri, Zila Kafi and Bhairavi. Tabla wizards such as Chaturlal, Samta Prasad and Lateef Ahmed Khan accompanied her, enhancing the musical appeal of the performance. One hopes that AIR will continue to honour great musicians by making their archival recordings available to music lovers.