Meet the family from Moradabad that has kept the tradition of sarangi alive

Sarangi exponent Murad Ali, who belongs to the Moradabad gharana

The sarangi is North India’s premier accompanying instrument for vocalists, because it most intently resembles the human voice. Its antiquity dates again centuries — in its present form and measurement, the instrument is roughly 250 to 300 years previous. The authentic intestine strings have been changed by metallic wires in the final 100 years. Hugely versatile, the sarangi is irreplaceable for vocal and Kathak performances. 

Surprisingly, regardless of its significance, there are only a few unique gharanas for sarangi gamers — the two that come to thoughts are the just about defunct Jhajjar gharana, close to Panipat, and the Jaipur-based family of Ustad Moinuddin Khan. Rajasthan’s Sikar, from the place Ustad Sultan Khan hails, additionally had a number of generations of sarangi gamers. Ustad Mamman Khan, considered the best sarangi participant of the final century, apparently learnt from Ustad Chajju Khan of Morababad.

However, as an instrument, the sarangi was all the time essential, with enterprising musicians from each musical family taking part in it professionally.  Prominent examples are Pt Ram Narayan (a Padma Vibhushan awardee, he learnt the strategies of the sarangi from his father who performed the dilruba), Ustad Shamir Khan, father of iconic vocalist Ustad Amir Khan, Pt. Gopal Mishra of the Benaras gharana (uncle of Pt Rajan-Sajan Mishra), Ustad Shakoor Khan of the Kirana gharana;  Ustad Sabri Khan and Pt. Dhruv Ghosh (son of tabla maestro Pt. Nikhil Ghosh).    

In the second version of its Legacy Series, the Kiran Nadar Museum of Art selected to give attention to the Moradabad sarangi gamers — the family of Ustad Murad Ali Khan. Wisely, it didn’t confine the occasion to solely efficiency — the occasion was moderated by tabla exponent Aneesh Pradhan, whose bond with Murad and data about his lineage resulted in a significant interplay. Murad, representing the sixth technology in his family to play the instrument, recalled his grandfather speaking of his grandfather’s reminiscences of music. “Every sarangi player had to learn compositions from every gharana. These rare compositions remain in the family and are a vital source of musical history.”

Musicians at the Legacy Series that featured an interplay between famend tabla artiste Aneesh Pradhan and Murad Ali

Like in different sarangi-playing households, in the Moradabad gharana, one additionally finds sitar gamers (Fateh Ali Khan) tabla gamers (Amaan Ali Khan) vocalists (Mohammad Ayaan Warsi).  Only counting on the sarangi for one’s sustenance was not a sensible possibility.

Despite being the best-suited to accompany vocalists, the sarangi is right now not the principal accompanying instrument, having been overtaken by the harmonium. Younger vocalists who’re but to develop stage confidence generally keep away from accompaniment by sarangi maestros as their huge repertoire and mastery of intricate taans may be intimidating.   

 Somehow, the sarangi is linked with khayal and thumri gayaki, and fewer with dhrupad. Vocalists of the Darbhanga gharana of dhrupad, together with Pt Siyaram Tiwari, used to have the sarangi accompany them. Perhaps, the lack of good sarangi gamers who have been taught ‘dhrupad’ has resulted in sarangi not getting used right now in dhrupad concert events. 

Another inexplicable side of the sarangi is its perceived inferior  standing as a principal instrument. Sarangi has historically not been acknowledged as a solo instrument. The tabla too was in the same place, however in the final 75 years, nice maestros established its standing as a solo instrument. Pt Ram Narayan,  arguably considered the face of the instrument in our instances, had declared “my mission was  to obliterate the blemish that the sarangi carried due to its social origins. I hope I have succeeded in this.”  

Some uncommon compositions of the Moradabad gharana have been offered at the occasion

 Murad performed some great bandishes from his treasure trove of compositions. In raag Paraj, a Jaipur Atrauli bandish ‘Pawan chalat’ was a delight to listen to on six sarangis. They additionally performed lovely compositions in the raags of the season  — Bahar, the evergreen Khamach, a tarana in Hameer, and ‘Daata mope karim keejeeye’ in Sahana. The transient snatches of music gave a glimpse of the enormous selection of uncommon compositions the family has rigorously nurtured.  

Interestingly, amongst the six disciples on stage,  two have been ladies — one was Manonmani from Chennai, who had learnt from Ustad Sabri Khan, Murad’s father. Her mom Saroja had learnt the dilruba, as had her grandfather. 

The occasion was superbly offered by KNMA. In the foyer there have been sarangis of totally different classic on show, in addition to snippets of uncommon recordings of bygone sarangi maestros have been performed.