Pran Nath was an Indian classical singer and teacher of the Kirana gharana singing style. In the 1970s, he attracted a following among several notable American minimalist composers.
Early life
Pran Nath was born into a wealthy family in Lahore in present-day Pakistan. While they were avid devotees of music, inviting musicians into the house to perform nightly, his family did not approve of his desire to become a musician, so he left home at the age of 13 and took up residence with the reclusive singer Abdul Wahid Khan of the Kirana gharana, cousin of the more widely known Abdul Karim Khan. Pran Nath served Khan for seven years before he was accepted as a student, and stayed with Khan for nearly two decades. Both guru and disciple were much attracted to mysticism: Abdul Wahid Khan, a Muslim, to Sufism; and Nath, a Hindu, to a Shaivite sect in Dehra Dun. It is said that Nath lived in a cave near the Tapkeswhar temple to Shiva for five years, serving his guru intermittently. He eventually married and reentered the world at the request of his guru, in order to ensure the preservation of the Kirana style. In 1937, he became a staff artist with All India Radio. However, Nath stuck to Abdul Wahid's extra-methodical and austere singing style, with a heavy emphasis on alap and slow tempo, which suited his voice well but was not very popular. Like his teacher, Pran Nath's singing emphasized precise intonation and the gradual, note-by-note exposition of tone and mood in the alap section of the music. Nath supported himself as a music teacher, and worked at the University of Delhi from 1960 to 1970. He was also a visiting professor of music at Mills College.
India's Master Vocalist, Ragas Yaman Kalyan and Punjabi Berva
Ragas of Morning and Night, Ragas Miya ki Todi and Darbari Kanada, two ragas for which Pran Nath was particularly noted
Midnight, Raga Malkauns, two separate recordings made in 1971 and 1976
The Raga Cycle, Ragas Shudh Sarang and Kut Todi, recorded in 1972
Unreleased recordings
Like his teacher, Pran Nath did not emphasize recording or the releasing of records, preferring live performance. While only three recordings of Pran Nath were released during his lifetime, a large number of recordings exist under the care of La Monte Young. In Pran Nath's will, Young, as executor of his estate, was instructed to begin releasing recordings.