A
Mesmerizing Evening Of Melodious Sarod Strains, Stirring Souls & Stealing Hearts!
By – Lt Col (Retd) D Purushothaman
Pillay
On Friday,
8th November 2013, the Kerala Sangeetha Nataka Academy, Ernakulam District
Administration, Ernakulam Fine Arts Society and Ernakulam District Tourism
Promotion Council, presented Padma Vibhushan - Ustad Amjad Ali Khan, to an
enthralled evening gathering of Kochi music lovers, at the Fine Arts Hall. It
was purported to be, the opening presentation of their new, year-long, weekend
cultural extravaganza.
This Sarod
concert was divided into three parts. The 45 minute long, first part, had the
Bangash brothers, the elder Amaan Ali Bangash and the younger Ayaan Ali
Bangash, who represent the seventh generation, in an unbroken chain of the
Bangash Senia Gharana of Sarod players, breathing new life into ancient
traditions. The duo recited the haunting rendition ‘Sur’ with aplomb and
floored the audience, with their fast passages, delivered with brimming energy
and acute precision.
The second part
had the soulfully sensuous, 68 year old Sarod virtuoso Ustad Amjad Ali Khan,
enrapturing the audience, by making the strings of the Sarod render delicate,
evocative notes with the magic, of the grooved edges of the fingernails, of the
first and second fingers, of his left hand. He played two exquisite renditions,
with sophisticated elegance. First, the
melodious ‘Raag Khamaj’, followed by the euphonious, ‘Raag Zila Kafi’. The
maestro used his signature trembling-pitch ornamentation, and highlighted
important notes between rhythmic beats. His phrases began ever so mildly,
became distended and plunged into apparent silence, only to re-emerge with an
uplifting intense escalation. He alternated with some lightning fast phrases,
but refrained from overwhelming you with unbridled power.
The third
and final part of the evening recital was indeed a rare treat to watch. It was
an enthralling, dynastic coming together, of a genius father and his two
talented sons. The whole concert was bound together, with the exhilarating
percussion accompaniment, provided by Tabla maestro Satyajit Talwalkar. This
masterful accompanist gave a subdued performance, which occasionally drew
rapturous applause for providing the crescendo time and again. But not for a
single moment, the whole evening, did he allow his tabla to upstage the Sarod,
which was the undeniable star of the occasion. It would indeed be pertinent, to
apportion a part of the credit, to the invisible presence of the Master
Sarod-Maker, late Hemendra Chandra Sen also. This perfectionist, is fabled to
have custom-crafted, the many Sarods used by this trio, of the Bangash Gharana.
To those
who are unfamiliar with this musical instrument, it is worth touching upon what
this resonant, stringed fretless, wonder-provider, of the proverbial perfect
musical 'Slide/Sweep' or 'Glissandi' is all about. Sarod, is a distinguished
looking lute-like, stringed teak wood, instrument used in Indian classical
music. It has a distinct rounded wooden back, with a goat skin soundboard,
stretched across its resonator, having a chrome cast steel, unfretted finger
board, across which is strung the 17 to 25 delicate steel or phosphor bronze
strings. These strings are plucked with a triangular plectrum, traditionally
made with polished coconut shell, ebony or cow bone.
The
invention of the Sarod is attributed, by some historical accounts, to the
ancestors of Ustad Amjad Ali Khan. Around three centuries ago, an unknown
Afghan horse-trader and musician, Mohammed Hashmi Khan Bangash, migrated to
India with a Central Asian Rubab. He then went on to become a court musician,
to the King of Rewa. Little did he realise that his grandson Ghulam Ali Khan
Bangash, around 1820, would end up as a
court musician of the Gwalior royalty and would be credited with remodeling the
Rubab to create a Sarod. The Ghulam Ali / Gwalior Bangash Gharana, has ever
since, preserved the tradition of playing the Sarod with distinction, to this
day and generation.
Ustad Amjad
Ali Khan is a disciple of his father, a renowned Sarod exponent, Ustad Hafiz
Ali Khan, from Tansen's Senia Gharana. It is common knowledge that grand
tradition, bears great responsibilities. But far from being burdened by history
and lineage, Ustad steeped himself in a culture of liberal secularism. He is
one classical musician, committed to a tradition, which offers freedom to
innovate. Mind you it is a tough act, over these long years, to both maintain
tradition, yet discover a new musical soul for the instrument. But our genius
has managed to weave a rich tapestry of music, transcending generations. He has
since the early 60s, been rightly credited with, popularizing the sounds of
Asia, all over the world. That is an achievement of over half a century now,
which any artiste can be justifiably proud of.
The
highlight of the evening, for me personally, must certainly be the compelling
trilogy, which was organized on a series of subtle cues. They intermittently
played the theme in unison without percussion. Then the Ustad unfolded phrases,
for each son to copy. There were compelling moments of hushed intimacies,
stolen glances, which almost disappeared into elusive silences, amid disarming
smiles. Gradually the music gained tempestuous intensity, with vigorous nods of
the head, the rhythm gained momentum, to end in an unrestrained, enchanting
euphoric unison passage. The crowd stood up to give a standing ovation to the
Ustad and his team for creating the bewitching enchantment they did, those two
memorable hours, which would remain forever etched in memory.
The packed
hall was overwhelmed by this, unique fusion of the seven notes, showcased so mellifluously
by the Bangash clan. It was a wonderful evening, for the lovers of this refined
and pristine musical tradition. I will remember this as an unforgettable performance,
which poured from the soul of a genius, for whom music is an undying and
everlasting passion.
God bless
the Ustad!!
