The learning of classical music demands fulltime devotion, commitment and patience. Thus, gaining absolute command and expertise in it has generally remained confined to a few gharanas
The history of music in the subcontinent associates itself with the classical genre of music. The various ragas developed over the centuries cater to all times of the day. The learning and achieving excellence in singing these ragas or playing them on musical instruments requires an ustad (tutor), who is himself knowledgeable, practices classical music and is also capable of teaching those who are interested.
Since the learning of classical music demands full-time devotion, commitment and patience, gaining absolute command and expertise in it has generally remained confined to a few gharanas, or families of musicians. Although basic construction of ragas have remained the same since the time they were developed, there are differences amongst various gharanas in their presentation of the ragas. For instance, there is a significant difference between the singing style of the Patiala Gharana (Ustad Amanat Ali Khan and Fateh Ali Khan) and the Sham Churasi Gharana (Ustad Nazakat Ali Khan and Salamat Ali Khan). Moreover, they jealously stick to and guard their respective styles.
Since rendition and listening of classical music requires time, only a few people have remained interested and appreciative of this music. In the All Pakistan Music Conference held in Lahore every year a few decades ago, the final session of the last day remained confined to the late ustads Nazakat and Salamat Ali Khan. Their turn would come just before sunrise, when hardly 100-150 people would be left to listen to the classical vocalists of their calibre. In contrast, when the pop musicians, currently in demand, perform, some among the audience have to park their cars more than a kilometre away from the venue!
In spite of having achieved excellence, most of the classical musicians have been finding it difficult to earn a decent living from their profession. In this respect, we have to give credit to the rajas and nawabs of the Indian states who have always patronized and promoted classical musicians during their times. These musicians would be provided free boarding and lodging within precincts of the palace, and paid a handsome monthly stipend by the raja. In return, the musicians would entertain the raja and his guests whenever and wherever required. Most of the ace players of a particular musical instruments were attached to one of the rajas. For instance, tabla player Ustad Ahmad Jan Thirkwa was attached to the Nawab of Rampur; sarod player Ustad Hafiz Ali Khan to the Raja of Gwalior; and sarangi player Ustad Bundu Khan to the Maharaja of Indore. Amongst all the above, Ustad Bundu Khan was the only one who migrated to Pakistan after Partition. He was of the same stature as sitar player Ustad Wilayat Hussain Khan and shehnai player Ustad Bismillah Khan.
Born in Dehli in 1877, Ustad Bundu Khan started learning to play the sarangi at the age of eight from his maternal uncle, Ustad Mamman Khan, who was attached to the Maharaja of Patiala. Later, he also became his father-in-law. Ustad Bundu Khan’s masterly command over the sarangi led him to play it from the Dehli Radio Station, when its broadcast was started in 1935. He was a multi-talented person and also had a flair for singing and writing poetry. His sons, Umrao Bundu Khan and Buland Iqbal, also inherited these talents from both the parents. The two brothers played the sarangi superbly and also sang classical music proficiently.
Buland Iqbal represented Pakistan and gave a stunning performance on the sarangi in the International Music Festival held in Paris in 1983. They belong to a great and renowned family of musicians of the subcontinent as the famous vocalist, Ustad Chand Khan, was Ustad Bundu Khan’s brother-in-law, and all of them being stalwarts of the Dehli Gharana. After migrating to Pakistan, Ustad Bundu Khan continued to play the sarangi from all the radio stations of Pakistan till his death in 1955. Both his sons, Umrao Bundu Khan and Buland lqbal, gained prominence and became immediately known to the music circles of Pakistan. Umrao Bundu Khan died in 1979, leaving behind many fans to mourn his death.
Buland Iqbal, who joined Radio Pakistan, Karachi station, in 1950 as a staff artist also exploited his talents in music direction for films. He, along with the maestro flute player Lal Mohammad, formed a pair of music composers named Lal Mohammad Iqbal, and immediately rose to fame. Starting with the feature film, Baara Bajay in 1963, they composed music for around 35 films and became the most sought after music directors. Some of their musical hits were Nasib Apna Apna, Jag Utah Insan, Ladla and Nadan. All the top playback singers of the Pakistan film industry of that era sang their compositions, which included super hits such as Duniya kisi ke pyar mein by Mehdi Hasan and Aay abr-i-karam aaj itna baras by Ahmed Rushdi.
Today, Buland Iqbal is 73 but still energetic, active and full of enthusiasm. He continues to compose music for non-film songs, besides regularly teaching classical music to many shagirds (students). He is keeping the legend of his great ancestors alive and is one of those generous persons who feel pleasure in passing on their knowledge and expertise to willing learners.
The learning of classical music demands fulltime devotion, commitment and patience. Thus, gaining absolute command and expertise in it has generally remained confined to a few gharanas 
