Let me make this clear: the sarod is not a beginner's instrument. It demands knowledge of vocal theory and percussion before it can be attempted. For someone who hasn't got a firm grasp of where the notes should be, the sarod is possibly one of the worst instruments to start off with.
I'm consistently amazed at the number of people who take up Indian classical instrumental music without going through (even informal) vocal training. Not sure of who their gurus are, but unless you are a genius, attempting the instrumental idiom without vocal training is not a path I'd recommend. More so if you are a westerner - it should then be a mandatory requirement.
Monday, April 19, 2010
Saturday, February 27, 2010
The Monumental Music of Ustad Amir Khan - Raga Darbari
This post is inspired by the title on a Vilayat Khan CD: The monumental Music of Ustad Vilayat Khan. In recent days, I've gone back to listening to my favourite raga - Darbari. And, the greatest Darbari ever recorded in my opinion is one by Ustad Amir Khan - which can be found here.
If anyone deserves the title of "Monumental Music", it is Ustad Amir Khan. I agree with Mr. Parrikar that this recording is possibly one of the greatest music pieces ever recorded.
What makes this so special? Full adherence to the spirit of Darbari - not rushed, but not repetitive - this rendition takes the listener into an ocean of Darbari - you come out drenched, and the raga sticks in your mind for days. Of particular importance is the "giving up" movement to the lower Dha - signature of a Darbari - many singers/musicians come back to Sa - that is not "true" Darbari in my opinion, where the movement must fall back to Komal Dha and stay there a while, and then gradually come back again.
What a monumental rendition !
If anyone deserves the title of "Monumental Music", it is Ustad Amir Khan. I agree with Mr. Parrikar that this recording is possibly one of the greatest music pieces ever recorded.
What makes this so special? Full adherence to the spirit of Darbari - not rushed, but not repetitive - this rendition takes the listener into an ocean of Darbari - you come out drenched, and the raga sticks in your mind for days. Of particular importance is the "giving up" movement to the lower Dha - signature of a Darbari - many singers/musicians come back to Sa - that is not "true" Darbari in my opinion, where the movement must fall back to Komal Dha and stay there a while, and then gradually come back again.
What a monumental rendition !
Friday, February 19, 2010
An online debate on Usenet
I recently sparked off a debate on the Indian Classical Music Newsgroup by protesting against comments against Ustad Amjad Ali Khan.
This led to some good exchanges with other posters.
In Indian Classical Music, we are taught to respect our elders and seniors. I respect Ustad Amjad Ali Khan deeply and so it was hurtful for me to see comments which I felt were in poor taste. I have personal views about other musicians, but at no time would I contemplate raging against them in public. I felt I had to speak up.
What these posters do not realise is that their words have been captured for eternity on the internet. I can see them at the age of 50 looking back on their rants and wishing they hadn't written them. Or when a google search turns up their comments next to the news of the artist in question passing away....
"Words are like arrows - you can't get them back".... Yiddish saying
Let us all express our opinions in a cordial manner - music is nothing to get abusive about.
This led to some good exchanges with other posters.
In Indian Classical Music, we are taught to respect our elders and seniors. I respect Ustad Amjad Ali Khan deeply and so it was hurtful for me to see comments which I felt were in poor taste. I have personal views about other musicians, but at no time would I contemplate raging against them in public. I felt I had to speak up.
What these posters do not realise is that their words have been captured for eternity on the internet. I can see them at the age of 50 looking back on their rants and wishing they hadn't written them. Or when a google search turns up their comments next to the news of the artist in question passing away....
"Words are like arrows - you can't get them back".... Yiddish saying
Let us all express our opinions in a cordial manner - music is nothing to get abusive about.
Friday, January 15, 2010
Ustad Amjad Ali Khan's sarod damaged: Hemen Sen no more
A friend sent me this link:
http://timesofindia.indiatimes.com/india/Air-India-breaks-sarod--Ustad-Amjad-Alis-heart/articleshow/5446944.cms
What a disaster ! Not sure what' happened there - is it only the skin (easily replaced) or they've cracked the base?
Not sure if musicians have travel insurance with specially insured items. The problem is that you may get your insurance claim honoured, but finding the right person to repair the instrument is difficult.
With Hemen Sen passing away, an era of sarod making has passed. I remember him as a old man sitting in his shop at Rashbehari Avenue - hard to negotiate with. The moment he realised that I lived overseas, he'd mark up the price.
I remember going to his shop to pick up a sarod on a Saturday. He was sitting all by himself at 11am (I was given a time of 10am, but decided to allow an extra hour just in case). He complained about his sons : "Look at them - the old father is here, and no sign of them". Then, a young girl appeared, who first proceeded to bring me someone else's sarod and then had to go back to get the right one. I left after noon - still no sign of his employees/sons.
RIP, Hemen Sen !
http://timesofindia.indiatimes.com/india/Air-India-breaks-sarod--Ustad-Amjad-Alis-heart/articleshow/5446944.cms
What a disaster ! Not sure what' happened there - is it only the skin (easily replaced) or they've cracked the base?
Not sure if musicians have travel insurance with specially insured items. The problem is that you may get your insurance claim honoured, but finding the right person to repair the instrument is difficult.
With Hemen Sen passing away, an era of sarod making has passed. I remember him as a old man sitting in his shop at Rashbehari Avenue - hard to negotiate with. The moment he realised that I lived overseas, he'd mark up the price.
I remember going to his shop to pick up a sarod on a Saturday. He was sitting all by himself at 11am (I was given a time of 10am, but decided to allow an extra hour just in case). He complained about his sons : "Look at them - the old father is here, and no sign of them". Then, a young girl appeared, who first proceeded to bring me someone else's sarod and then had to go back to get the right one. I left after noon - still no sign of his employees/sons.
RIP, Hemen Sen !
Wednesday, December 2, 2009
Not paying attention to lyrics
Among one of my principal failings is that when I listen to a song, I completely filter out the lyrics. When asked about the song, I can hum along the tune but fail to remember even a single word of lyrics. This has the advantage that I'm looking for melodic/harmonic content rather than literature but has the disadvantage of making me oblivious to some nice literature.
I've tried to fix this problem, unfortunately, it's a bit too late. Can't teach an old dog new tricks.
I've tried to fix this problem, unfortunately, it's a bit too late. Can't teach an old dog new tricks.
Monday, November 30, 2009
Journey of Discovery: Western Music
When it comes to Western music, I'm like a small kid in a candy store. I keep discovering masterpieces and delight in them. Seasoned western classical connoisseurs look at me in disdain wondering why I'm so excited about such staple compositions.
I however, get all excited about my new find, as this music is in many ways the complete opposite of Hindustani classical music. My latest "discovery" is Erik Satie's Gnossiennes No.1 -I found it by chance as I was passing by my TV set which had a movie (The Painted Veil) playing and I heard the composition. I was hooked - I then set about finding out its name. What wonderful music! Kya baat hai !
Here's a Youtube video on this:
I however, get all excited about my new find, as this music is in many ways the complete opposite of Hindustani classical music. My latest "discovery" is Erik Satie's Gnossiennes No.1 -I found it by chance as I was passing by my TV set which had a movie (The Painted Veil) playing and I heard the composition. I was hooked - I then set about finding out its name. What wonderful music! Kya baat hai !
Here's a Youtube video on this:
Review: Concert by Ghulam Abbas Khan
I recently attended a concert by Ghulam Abbas Khan of the Rampur Sahaswan Gharana. Overall, it was quite good - however, there were too many ghazals for my liking (my Urdu level is intermediate at best, and I could understand most of the shayari - which means that it wasn't that upmarket !).
The only thing I remember is that I had to ask the sound controller to turn down the volume. The hall was such that there was no need for microphones - we were sitting in a small group and the music was way too loud for my taste. Among the ragas he sang were Purvi and Madhuwanti - both good. He did not bore us with long winded bada khayal, but kept to the chota khayal, and plenty of ghazals, most of them in Khamaj and Kirwani.
The only thing I remember is that I had to ask the sound controller to turn down the volume. The hall was such that there was no need for microphones - we were sitting in a small group and the music was way too loud for my taste. Among the ragas he sang were Purvi and Madhuwanti - both good. He did not bore us with long winded bada khayal, but kept to the chota khayal, and plenty of ghazals, most of them in Khamaj and Kirwani.
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