Royal Legend Symphonic Poem - Petama · little brochure gives you some information about the...
Transcript of Royal Legend Symphonic Poem - Petama · little brochure gives you some information about the...
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The Petama Project of the Happy Beggars
The Petama Project has grown in the many years of work in the Sufi traditi‐on and offers interested people studies and activities, which enable us ‐ in a drastically changing world and working conditions ‐ to hold our physical, ethical and emotional integrity alive and creative.
Although we might try to fight with all means paradoxical developments in the world, we will not come around to learn that all human beings, of whate‐ver race, colour, nation or religion are brothers and sisters of this one and uni‐que humanity, our view on the world will have to widen. There are so many examples, how rich we are, in talents and capacities, inner and outer, we should use and develop them!
The Petama Project offers musical teachings, workshops about topics of everyday life, the ‘problem of the day‘, meditations and study of old Sufi tea‐chings, which touch us as deeply today, as they have done for thousands of years.
The website www.petama.ch informs you.
Petama Project — www.petama.ch Puran Füchslin, Kanzleistrasse 151, 8004 Zürich
Tel. +41 (44) 241 28 47 Email: [email protected]
Somewhere in this world lives a group of beggars. They look how one expects beggars to look like; but their eyes sparkle, they do not
complain about their destiny, nor do they seem to worry.
They have a secret, a tiny one, nothing special: Every morning, after rising from sleep, they perform a little exercise: They stand before the eye of a needle and slip through, to make sure that they do not
ask too much for themselves.
Then they greet each other with the words: 'Good morning, King of Kings!'
PETAMA PROJECT 2007 ‐ WWW.PETAMA.CH
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Royal Legend Symphonic Poem inspired by a Magic Code
(opus 46)
Hidayat I. Khan
PETAMA PROJECT 2007 ‐ WWW.PETAMA.CH
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Welcome to the World Première of the Royal Legend Symphonic Poem
It was in December 2004, when we first talked about the new com‐position. The Dutch Radio www.concertzender.nl had presented the manifold works of Hidayat I. Khan over a period of three days, and for a born musician like him, it was more than natural that new musical crea‐tions were about to sprout.
But there was also hesitation ‐ the composer will celebrate his 90th birthday this year, and he was a little worried about tackling the work, not because of any doubts in the creative process ‐ which had ripened so beautifully over the years ‐ but because of the practicalities. Hidayat I. Khan had written all his works by hand, the scores as well as each part, and it was this mountain of work which made him cautious, as it was not at all the only task which was lying in front of him...
We shared about it, and I happened to mention that for my musical works and arrangements the computer was a most wonderful tool, and our dear friend was all ears ‐ so one aspect met the other— and an in‐tense time began, in which page by page of the new composition found its way from the hand of the composer, through fax and email into the printed form… A most wonderful time of intense exchange began, tou‐ching all facets of the composing work.
In March 2005 the new opus was being registered with GEMA, and Herma Ardesch created the Cover and Backside Paintings. We are pro‐foundly happy that now the Première of the work will take place. This little brochure gives you some information about the various aspects of the composition. München, May 2007 Puran Füchslin
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The Symphonic Works of Hidayat I. Khan Registered with GEMA:
Poème en FA opus 5 1972
Suite Symphonique (La Monotonia) opus 7 1972
La Monotonia pour Cordes opus 13 1972
Chanson Exotique (Chant et Piano) opus 15 1972
Ballet Rituel opus 17 1972
Poème en Fa (Chant et Orchestre) opus 23 1972
Gandhi Symphony opus 25 1972 (Cantique en cinq versets)
Symphonie Zikar (Orchestre et orgue) opus 26 1972
Message Symphony (Orchestra et orgue) opus 30 1972
Cortège (von P.C. van Westering) opus 43 1972 (Arrangement pour orchestre)
Virginia Symphonic Poem opus 44 1972
La Monotonia pour Harmonie militaire opus 47 1972 (Arrangement par H. Erlich)
Concerto pour Orchestre à Cordes opus 48 1972
Royal Legend Symphonic Poem opus 46 2005
For detailled information about orchestration and more chamber music works of Hidayat I. Khan a description booklet can be ordered at:
Petama Project ‐ Puran Füchslin www.petama.ch — Email: [email protected]
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Royal Legend Symphonic Poem inspired by a Magic Code
(opus 46)
by Hidayat I. Khan
Orchestration:
Flutes, Hautbois, Clarinettes en Si, Bassons Trompettes en Do, Cors en Fa, Trombones 1,2,3
Timbales, Petite Caisse, Harpe, Campana Tubes, Cymbales Violons I (a,b), Violons II (a,b), Altos (a,b)
Violoncelles (a,b), Contrebasse (a,b)
Published by: Petama Project ‐ www.petama.ch
Puran Füchslin, Kanzleistrasse 151, CH‐8004 Zürich Tel. +41 44 241 28 47 ‐ Email: [email protected]
Layout, Cover and Backside Paintings by:
Herma Ardesch, Amsterdam www.hermaardesch.nl
1st Edition by Petama Project © 2005 Hidayat Inayat‐Khan
(GEMA‐Registration No. 8.681.062)
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Première of the Royal Legend Symphonic Poem
Saturday, May 5th, 2007, 19.00h
Performance of the Symphonic Orchestra of the Kulturvereins Zorneding‐Baldham, e.V. at the occasion of a concert evening with music of Camille Saint‐Saens and Antonin Dvorak
München‐Zorneding
Conductor: Andreas Pascal Heinzmann
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Sunday, May 6th, 2007, 19.00h
Performance of the Symphonic Orchestra
of the Kulturvereins Zorneding‐Baldham, e.V. at the occasion of a concert evening with music of Camille Saint‐Saens and Antonin Dvorak
München‐Ebersberg
Conductor: Andreas Pascal Heinzmann
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Question: Can you let an existing composition ‘stay as it is now?’
Answer: The compositions could not be changed without losing their characte‐ristics, which were adapted to given circumstances, as well as to the needs of translating those experiences, which strongly influenced the nature of the music in the years when the works were composed.
Question: What is your special joy in composing for an orchestra?
Answer: The hopes of spreading the message which the music has to convey, is certainly a strong motivation when composing.
Question: What do you feel to be your responsiblity in your composing work?
Answer: Composing could be seen as a sacred responsibility of offering mo‐ments during which one might feel an opportunity of connecting to the secret vibrations of the all pervading energy in space. It is a call for unity of spiritual Ideals expressed in the language of the heart. Thank you .
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Question: What are the instruments you play yourself?
Answer: It has been a privilege of playing the violin in the orchestras of Haar‐lem and Utrecht in Holland, which offered precious occasions of beco‐ming acquainted with the complicity of the technical possibilities of the various instruments.
Question: From where comes your motivation to compose?
Answer: Orchestra music has always been a strong attraction, ever since childhood. Perhaps one might trace back in this attraction the fact that in the previous century, my Grand Father created the first musical en‐semble of various Indian instruments playing together at the Musical Academy in Baroda called Gayan Shala.
Question: How do you ‘organise the flow of inspiration’? i.e. do you limit your work as a composer to a specific work at a time, or are several composi‐tions created simultaneously?
Answer: Each symphonic composition was created at a given moment, cor‐responding to circumstances offering special attention. It has happened that in between times, some of the chamber music works were created on request of musicians wanting to have different instrumental arrange‐ments of the music. In some cases, Choirs wanted to have the wordings sang in different languages, or in different voice combinations.
Question: How do you write a composition, are you sitting before an instru‐ment to play it, or does it all ‘happen in the head’?
Answer: During composing, the violin is used to check the bowings of the string instruments and the breathing technique of the wind instruments. The piano is occasionally used for checking the harmonic chords.
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Contents
page
1. Autobiography of Hidayat I. Khan 6
2. ‘Royal Legend Symphonic Poem’, a description 10
3. Tipu Sultan, the ‘Tiger of Mysore’ 12
4. The faithful Slave Ayaz and the Holy King 15
5. An interview with the composer 18
6. Informations about the Première 22
7. The Symphonic Works of Hidayat I. Khan 24
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Autobiography of Hidayat I. Khan
My great‐grandfather Maula Bakhsh founded the first Academy of Music in India in the 19th century, and also invented the music notation system carrying his name. From his union with the Princess of Mysore (Dynasty of Tipu Sultan) a royal daughter called Khatidja became the mother of Prof. Inayat Khan of Baroda, born in 1882.
Prof. Inayat Khan, my father, was the greatest musician in India of his time, and was ennobled by the Nizam of Hydrabad with the special title ‚Tansen‘ the highest distinction in music ever granted by that holy king. My father wrote several books, among which 'Minca‐I‐Musicar', the first treaties on Indian music, and he was the first Indian musician to introdu‐ce Indian music in the West. The historical concert was given on 9th April 1911 in the Hindu Temple of San Francisco.
In 1913 Lucien Guitry organised Prof. Inayat Khan‘s first concert in Paris, where Claude Debussy was also inspired by the charm of Indian music. He learned to play the Vina. Later, my father met Scriabin in Mos‐cow, whom he handed several Indian melodies. One of them, called ‚Dance of the Sword‘ was being taken by the Russian composer for his symphony, which was to be performed under the title ‚Mystères‘, but due to the Russian Revolution never came to completion.
It was again in Moscow, where my father met the son of Sergey Tols‐toi. Jointly they planned, with the help of the Russian composer Vladimir Pohl, the performance of a musical theatre.
In 1922 my father created the International Sufi Movement, a move‐
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dive into the atmosphere of the music, rather than relating to the analy‐tic structure of the score.
Question: In your symphonic compositions many things 'happen' at the same time ‐ for me it's impossible to hear and analyse everything at the first hearing. What do you expect from the listener; what attitude is needed; i.e. how can he/she get the most of your music, by listening in an analy‐tical way and recognise certain aspects or just by diving into the feeling and atmosphere that it produces?
Answer: Symphonic music offers a large musical horizon, where there is a combination of contradictory sounds blending harmoniously, although the great variety of instruments used differ so much in tone ‐ quality and in volume, besides also in the tonal levels, going from the lowest audible notes to the highest, within the numerous octave ranges.
Further more, in symphonic music, the rhythmic and thematic structures unfold following polyphonic lines, which sometimes give the impression of being illogical mixtures of complicated sounds, if one is not acquain‐ted with the basic logics of symphonic musical techniques.
Question: Is there a determined reason to compose these 'complicated' symphonies? Would it not be easier (for both composer and listener) to have a smaller orchestra, f.i. a string quartet to perform your music?
Answer: A string orchestra cannot express in music the subtle and colorful shadings of picturesque sceneries because of the lack of a full range of characteristic sounds offered by the various instruments heard in a symphonic set up.
A string quartet is even more limited as far as the variety of sounds, which explains why the musical message of a string quartet is more fo‐cused on unfolding musical expressions rather than following the art of combining a multitude of colorful expressions.
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An interview with Hidayat I. Khan
Question: The basic theme of the RLSP consists of a special rhythm, placed in a colourful, picturesque background. How do you 'translate' the at‐mosphere that goes with this rhythm and the fairy‐tale like background into sounds? Do you 'think' in sounds and harmonies when composing, or do the appropriate tones and harmonies present themselves when you are composing?
Answer: The magic rhythmic formula, which is repeatedly heard in the music, is marked by the beating of the Timpani, and can also be traced within the melodic themes. It is the combination of both, which translates the fairy‐like background of this composition.
A melodic theme comes as a source of inspiration, together with an ac‐companying Harmonic structure interpreted as background sounds.
Question: Is it more a matter of intuition in the field which you have studied, or do you work in a rational way, f.i. by having learned that a specific cord or rhythm associates with an atmosphere, or is it a combination of both?
Answer: In this composition, the harmonic structures are different to classical harmonic theories, besides the fact that they are also inspired by ancient Indian Raga systems. The melodic themes, colored by special sound ‐ effects, resulting from the magic of the Ragas, inspires the listener to
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ment of Unity of Religious ideals, a philosophical school with various cul‐tural activities.
My mother Ora‐Ray Baker‐Inayat‐Khan was born 1882 in Albuquer‐que, New Mexico, USA. Her ancestors were of French (Claude Bernard) and bavarian origin (Family Kemp). My mother‘s aunt was the famous Mary Baker‐Eddy, who founded the Christian Science Church in the USA.
I was born 1917 in London. My parents moved with their four children to Suresnes in the proximity of Paris. As a child I learned Indian music from my father and was raised in an atmosphere of poetry and music.
At the age of seven I had my first encounter with Western music in a concert which was given by Mischa Elman in the Salle Pleyel in Paris. This experierence inspired me to study the violin. Later I had the privilege to study music at the “École Normale de Musique” in Paris, an extraordina‐ry musical place, lead by Thibaud, Cortot and Casals.
My teacher in composition was Nadia Boulanger. My violin teacher was the famous American Bernard Sinsheimer. My teacher in orchestra playing was Diran Alexanian, creator of the well‐known Cello‐method, inspired by Casals. Charles Munch taught orchestra conducting.
In the years 1930‐1935 as a young man I had the unique chance to hear the greatest musicians of their time, like Zigheti, Kreisler, Huber‐man, Heiftz, Enesco and Menuhin. I studied quartet playing with Shan‐dor Roth, a member of the Hungarian Lener Quartet.
Later I conducted the orchestra of Dieulefit close to Montelimar, and 1952 was a violonist in Dutch orchestras, first in Utrecht and then in the orchestra of Haarlem in Holland. Then followed a period in which I con‐ducted the orchestra in Heemstede. This inspired me to compose my‐self.
My first symphonic composition “Suite Symphonique” opus 7, was performed first 1955 in a Dutch radio programme by the orchestra of s’Hertogenbosch, which I conducted myself. This work is a “Requiem”, dedicated to my sister Noorunissa, also known as “Madeleine “ (GC)‐(CG) .
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“La Monotonia” opus 13, a composition for strings (Excerpt from the Suite Symphonique opus 7), I conducted 1968 in the Philips Hall with the Brabants Orchestra in Holland.
A ballet composition for orchestra under the name “Ballet Rituel”, opus 37, was performed first 1952 on the Dutch radio NCTV, played by the Dutch Philharmonic Radio orchestra under the baton of Jean Four‐net. This composition is dedicated to a great Indian Ruler.
My third large symphonic composition, the Zikar Symphony, opus 26, with organ‐obligato, was performed 1957 in the Salle Pleyel in Paris with the Orchestra Pasdeloup, conducted by Georges Prêtre.
The “Poème en Fa”, opus 5, for orchestra and piano‐obligato (inspired by a melody of my father) found its premiere 1959 in Amerika with the orchester of Babylon, NY, and Christos Vrionides as a conduc‐tor. This composition is dedicated to my father.
At the occasion of the centenary for Mahatma Gandhi, on November 21st 1969, my Gandhi Symphony (opus 25) was performed in a special concert in Holland, organised by UNESCO. This work was, among other occasions, broadcast 1971 by 'The Voice of America' and the United Na‐tions Radio in the USA and later recorded in a worldwide broadcast Car‐men Dragon Show by the US Armed Forces Radio Stations.
The large symphonic composition, “Message Symphony”, opus 30, with organ obligato, had its premiere 1969 in Munich with the Philhar‐monic Radio orchestra, Henri Arends conducted. This composition is inspired by the philosophy of my father.
The “Virginia Symphonic Poem” opus 44, is based on old Amercian folk tunes and was performed first 1971 in the Fine Arts Center in Lynchburg, Virginia, U.S.A, under the baton of William Yarborough. This composition is dedicated to my mother.
The „Concerto for Strings” opus 48 was performed 2003 by a Quintet‐Ensemble in Novosibirsk, Sibiria under the conductor Stanislaw Ovtchin‐nikow.
The ‘Royal Legend Symphonic Poem’, opus 46, composed in 2005, is going to have its Premiere on May 5th, 2007, performed by the Sym‐
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It is not your worthiness that has brought you to this position, but it is his greatness, his goodness, his generosity, which has bestowed this rank and position upon you, by which you are now being honoured. Ne‐ver forget the first day, when you came to this town. When remembe‐ring that day, when you were only a slave, you shall then keep yourself in the proper place.” He then placed his old slave clothes back in safety, and as he stepped out of the treasure house, what did he see?
The king, before whom he had always bowed, was there, waiting eagerly to embrace him, saying: 'What a great lesson you have given me, Ayaz! It is this lesson, which we must all learn, whatever be our position in life. In the eyes of that heavenly King in whose presence we are all but slaves, nothing should make us forget that helplessness through which we were reared and raised, and brought to understand life and to live a life of joy. I was told that you had stolen jewels from the treasure‐house, but on coming here I have found that you have sto‐len my heart.”
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wished to know. I have now discovered that it is in the heart that the secret of beauty is perceived.”
Later, this same slave, who was called Ayaz, was brought before the king together with nine other salves, because the king had decided to select one of them to be his personal attendant. He gave a wine glass into the hands of each of the ten, and commanded them to throw it down, whereupon each one obeyed faithfully. The king then asked each one, “Why did you do such a thing?”
Nine among them answered in the same way, saying: “Your Majesty gave me the order to do so,” but the tenth slave, Ayaz, said, “Pardon, sire, I am sorry”. He realized that nothing new was really said by the others when replying that they did it because they were told to do it. The beauty in the reply of Ayaz enchanted the king so much that he se‐lected him to be his attendant, and it was not long before Ayaz won the trust and confidence of the king, who then appointed him with the charge of his treasury. This sudden rise from the condition of a slave to the important responsibility as treasurer of the king, a position that ma‐ny envied, of course made many jealous.
Some courtiers started to tell numerous negative stories about Ayaz in order to bring him into disfavour in the eyes of the king. One of the stories told was, that Ayaz went every day into the treasure house whe‐re the jewels were locked up in a safe, and he was stealing them little by little, but the king would not believe it. He wanted to see for himself.
When Ayaz entered the treasure‐house, the King was hiding in a pla‐ce where there was a hole specially made in the wall, from where the king could see what was happening. He saw that Ayaz opened the door of the safe, and took out his old, ragged clothes that he had worn as a slave. He kissed them and pressed them to his eyes, and laid them ten‐derly on the table.
He then dressed himself with those clothes and looked at himself in the mirror, while saying to himself: “O Ayaz, see what you were before as a slave, and see what the king has now made out of you, entrusting you with his treasures. Regard this duty as your most sacred trust, and this honour as your privilege and as a token of the kindness of the king.
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phonieorchester Munich‐Zorneding under the baton of Andreas Pascal Heinzmann. A secret rhythmical Code is the source of inspiration.
My music could be best described as a crosspoint between Eastern monophony and Western polyphony, in which the Western harmonic structures are respected and the secret perfume of Indian ragas have their space. This music illustrates my father‘s great ideals of Love, Har‐mony and Beauty.
Tomb of Hazrat Inayat Khan
If you wish to know more about the lifework of Hazrat Inayat Khan, the father of the composer, please go to www.petama.ch ‐ Petama Project of the Happy Beggars.
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Royal Legend Symphonic Poem
A description
The Royal Legend Symphonic Poem opens with the beats of a magic code, marked by the Timpani, in combination with the slow notes of the Trombones, illustrating the march of heavy elephant steps.
One measure after (1) The main theme is first introduced by the Altos, followed successive‐ly by the 2d. Violins, and then the First Violins.
Three measures after (5) The main Theme is heard for the first time in combination with the magic code.
Two measures after (9) The Great bells (Campana), illustrate the Royal call for Unity. This call is followed along several measures illustrating endless dialoging bet‐ween different religious beliefs, organized during the historical reign of the great king known in India as Tipu Sultan.
Four measures after (13) The music in these measures is meant to illustrate the mystical dream of Saint Aulya, foreseeing the rich unfolding of a highly cultural episode, which sprouted forth, through the mystical powers of the rhythms of the magic code.
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The Faithful Slave Ayaz and the holy King
There is a story told in the East about a holy King who was enjoying a debate with his palace philosophers and friends about the secret of per‐ceiving beauty, while they watched their children playing below in the courtyard. Suddenly the king called for the slave, and handed him a je‐welled cap, saying 'Take this cap and put it on the head of the child who seems to you to be the most handsome one among them all, and whom this cap appears to you to suit best”.
Although the slave was very embarrassed, he carefully took the je‐welled cap and first tried it on the head of the son of the King. The cap suited the child, yet the slave felt somehow that something was lacking. He then tried the jewelled cap on the head of another child, and again on another, till at last he placed it on the head of his own little son, and it fitted wonderfully; it was just the right cap for the boy. He then took his son by the hand, and brought him to the king.
With fear and great embarrassment, the slave said to the King, 'Sire, since I am commanded to tell the truth, although this boy is the son of my most unworthy self, and I feel very ashamed to appear to be so bold, yet I must confess that out of all the children playing in the courty‐ard, I find that the jewelled cap suits this boy the best of all”.
To that, the king and all those present laughed very heartily, and the king rewarded the slave with the same jewelled cap as was given to the chosen child, saying, “You have told me exactly that which I had always
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His vision comprised the construction of a dam across the river Cauvery as well as a university, which he called Dar‐ul‐Umur.
Another aspect of his regime was his secular policy. Gandhiji wrote in ‚Young India’, that Tipu Sultan was an embodiment of unity between Hin‐dus and Muslims. The letters of Tipu to Sringeri Muth speaks of his deep respect towards the faith of the Hin‐dus. He helped Sri Shankaracharya financially to rebuild the temple of Sharada. The Ranganath temple at Srirangapatana was hardly a stone‐throw from his palace from where he listened with equal respect the rin‐ging of temple bells and the Muez‐
zin’s call from the mosque. Among his employees many non‐Muslims could be found.
But his time was marked by alliances, with the surrounding kingdoms as well as with the British and the French. It was the time of the French Revolu‐tion, and the turmoil of war was shifting back and forth. Napole‐on promised to support Tipu Sultan, but when he was defeated in Syria, fate of war turned and finally, on May 4th 1799, Tipu Sultan was killed in his palace by the British, his sons taken prisoners and equally executed.
One daughter survived and fled with her servant north, to Baroda. The name Tipu Sultan however remains alive in the history of India, a life like a comet, which made the light of an ideal shine forth for almost half a century.
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Four measures after (16) A new area of Law and justice is proclaimed in the Empire of Mysore.
Three measures after (23) Sacred dances held in the Royal Palace of Seringpathan.
Four measures after (26) The magic code is discovered as being a secret of message which words cannot express.
The composition closes on a silent note.
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Tipu Sultan the ‘Tiger of Mysore‘
This sparkling figure of Indian history lived in a time of profound poli‐tical shifts, and accordingly his personal life was marked by the desire to hold up traditional values of Indian identity and at the same time to at‐tune to the changes in world policy. It was the time of decay of the Indi‐an kingdoms and expansions of the British colonialist policy.
Tipu Sultans destiny and fate was to be born in the focal point of these tensions. His father, Haider Ali, a simple man from the Pan‐jab, made his name as a brave soldier in Mysore and was a born strategist, who lead the defense successfully against an attack of the Marathas from the North, and so soon became the ‚Fateh Bahadur’, the leader of the ar‐med forces. His wife, Fakhr‐un‐nisa, went to see the Sufi‐Saint Tipu Mastan Aulia, when she was pregnant, to ask for the blessing for her first‐born, and to know about his
destiny. Tipu Mastan Aulia saw signs of wisdom in the tendencies of the
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child, and so her son, born on 20th november 1750, received his name after the Sufi sage.
Tipu Sultan had a specially intimate relationship with the tiger, the ruler of the Indian jungle, und surrounded himself with these animals all his life. He soon became known all over India as the ’Tiger of Mysore’, his father taught him martial arts, when he was only 15 years of age. After the death of Haider Ali Tipu Sultan took the throne 1784 and ruled Mysore until his own death in the year 1799.
They said that his life motto was: ’Better live one day as a tiger than hundred years as a sheep’. His father Haider Ali had hardly any school formati‐on, but Tipu Sultan became a ruler who spoke Kan‐nada, Urdu, Persian and Arabic. He had a vision and a mission in his life. The vision was to make his sub‐jects illuminated and prosperous, and his mission was to free his land from the yoke of the colonia‐lists.
His short, but stormy time was marked by the insight, that life was only worth living for the one who lives the drama of human liberty, not only the political, but also the social, economic and cultural, and freedom of greed, hunger, apathy, ignorance and superstition. His definition of ‚state‘ was one of ‚organised energy for freedom‘.
Despite of the hectic political and military life Tipu Sultan never neglected his main task, the development of agriculture and industry, the promotion of trade and commerce, the inauguration of factories in the entire country and the establishment of embassies in various count‐ries, near and far, to link the small state Mysore with the world. He created a highly efficient system of administration which converted his state into a vibrating center of great industrial activity.
Tipu Sultans reforming zeal touched almost every aspect of life, coins and calendars, weight and measure, banks and finances, legislation, ar‐my and navy, morals and customs, social ethos and culture.