It witnessed the invention of new modes, instruments and styles of vocalisation, which blended splendidly with old forms metamorphosing in the evolution of refreshingly new forms and styles of singing.
Browsing through pages of history, one discovers that a large number of musicians, musicologists and scholars, whose creative ingenuity and inventiveness have left an indelible imprint on the annals of sub-continental music.
Included in the impressive list of luminaries are Amir Khusrau, Sultan Husain Sharqi Jaunpuri, Adil Shah Suri, Ibrahim Adil Shah, Baaz Bahadhur, Mian Taansen, Mira Bai, Naik Bakhshoo, Bilas Khan, Ghulam Nabi Shori, Nawab Wajid Ali Shah, Naimat Khan Sadarang, Feroze Khan Adarang and Mian Qutab Bakhsh alias 'Taan Ras Khan'.
Each one of them contributed significantly to the evolution of new styles of melodic expression. The genres of qawwali, tarana, kheyal, kafi, tappa and melodic ghazal serve as clear pointers to the creative ingenuity of these luminaries in the field of music. A few of those experimenters and innovators, in addition to being first-rate musicians, were ruling monarchs or ministers in the courts of Muslim rulers. Professional musicians, imbued with a spirit of inquiry, also thrived on the munificence of the rulers and their courtiers.
One person, who strikingly stands out for his monumental contributions in popularising the khayal genre is Naimat Khan Sadarang, who was employed in the court of Mughal ruler Muhammad Shah Rangeele (1719-1748). He was the only individual after Amir Khusrau, Sultan Husain Sharqi Jaunpuri and Mian Taansen, whose contributions to the refinement and popularisation of sub-continent classical music will remain enshrined in the annals of music.
Hailing from a family of distinguished beenkars (players of string instrument been), Sadarang claimed ancestral links with famous Qawwal Bachey clan of musicians, which is considered the genuine repository of the original music compositions of Amir Khusrau. One of Sadarang's ancestors, Shahabuddin Khan was employed in the court of Emperor Akbar and was a contemporary of Mian Taansen.
Together with his nephew, Feroze Khan Adarang (who was also his son-in-law), Naimat Khan Sadarang composed hundreds of asthai-antras of kheyal, a genre, which earned widespread popularity all over the sub-continent. (In the opinion of some historians, Adarang was a brother of Sadarang).
About the evolution of kheyal, there are two opinions. Some scholars claim that its seeds were sown by Amir Khusrau, which were irrigated by the genius of Sultan Husain Sharqi Jaunpuri and its fruit were reaped by Naimat Khan Sadarang. Others assert that kheyal was conceived, invented and developed only by Naimat Khan Sadarang. Notwithstanding the controversy about its real inventor(s), there is no denying the fact that even now kheyal is the most vibrant, lively, enchanting and popular mode of melodic expression among classical music buffs in Afghanistan, Pakistan, India and Bangladesh. It is unlikely to be replaced by another genre of classical singing in the foreseeable future.
Sadarang's critics claim that he was not as great a musician as has been made out to be. They also assert that he lacked originality and what he composed was a derivative from other genres.
Be that as it may, it cannot be denied that Sadarang's musical works brimmed with profundity and an unmistakable personal style. His lyrics for his own compositions, too, were bedecked with resplendent literary charm. The enchantment of his lyrics, the distinction of his form and the robustness of his compositions did not fail to attract the ears and also tantalise the auditory senses of the listeners. Smooth in texture and vibrant in nature, his compositions sparkled and radiated nuances of real life. It is because of these qualities of his music and poetry that Sadarang is probably the most remembered musicians of the bygone era.
Naimat Khan Sadarang (1676-1743) was born, bred and raised in Delhi, where he was also laid to rest. His father Parmole Khan was a beenkar of high merit, who passed his family traditions on to his son. After the demise of his father, Sadarang was employed by emperor Muhammad Shah Rangeele as one of his court musicians. Until his imprisonment on the orders of his benefactor, Sadarang had not made his mark on the melodic scene as a vocalist, although his talent as a poet and beenkar had won recognition and appreciation.
As a result of jealousy, provoked by his melodic prowess among his contemporaries in the royal court, Sadarang became a victim of conspiracies of his detractors. They incited the whimsical monarch, whose mind was poisoned against Sadarang. When Sadarang picked up enough courage to make an observation about ruler's discriminatory attitude towards his court's instrumentalists and his bias for the vocalists, he became a victim of Rangeele's wrath, who was notorious for his mercurial temperament. In a fit of anger, he ordered immediate imprisonment of the 'insolent' Sadarang.
There exist two versions of the kheyal compositions of Sadarang. According to one, it was during the dark days of his imprisonment that the musical and poetical genius of Sadarang flowered and he developed a mature expression. He is reported to have composed several hundred asthai-antras including their lyrics. Having learnt from his earlier experiences, and exercising prudence, Sadarang added the name and attributes of the monarch in his lyrics, in an attempt to panegyrise the emperor.
When the ruler learnt about it, he summoned Sadarang to his court and ordered him to make a rendition of his new poetical and musical works. Several recitals of his new kheyal compositions, feelingly rendered by Sadarang, pleased the ruler and mellowed his anger against the musician. Consequently, not only did he order the immediate release of Sadarang, but also rehabilitated him in the hierarchy of court musicians. Later, the celebrity was promoted to the rank of the chief court musician.
The other version of the evolution of kheyal compositions of Sadarang has it that when Sadarang heard of the displeasure of the king, he fled from Delhi to temporarily settle in Mathura, where he remained in hiding for some time. It was there that he trained a few pupils and composed many asthai-antras in which he shrewdly added the name of Muhammad Shah Rangeele.
He dedicated almost all of his compositions to the monarch in order to win his favour. When his pupils acquired a certain level of proficiency in the rendition of his kheyal compositions, Sadarang secretly brought them to Delhi where they practiced the new genre, winning kudos from discerning listeners and connoisseurs. When the news about their popularity reached the royal court the king summoned them to his darbar.
During their presentations, the philandering Rangeele noted his name and that of Sadarang in the compositions. On inquiry, he was told that Sadarang was the name of his former court musician whom he had expelled from the darbar. Later, he summoned Sadarang to his court and announced the reinstatement of the musician to his original status in the court.
Sadarang's pupil, Mian Ghulam Rasul Achpal, further popularised the compositions of his mentor. He trained several young musicians and the most accomplished among them was Mian Qutab Bakhsh, alias Mian Taan Rus Khan, the chief musician of the last Mughal Emperior Bahadur Shah Zafar.