It is heartening to see musicians turning organisers as their artistry comes by way of in the curation. So it was with the Malhar Utsav held lately in Delhi. It was put collectively by tabla exponent Ustad Akram Khan’s Tabla Academy of Ajrara Gharana.
The first live performance was a jugalbandi between Imdadkhani gharana sitarist Shakir Khan, and Kirana gharana vocalist Arshad Ali Khan. They have been accompanied on the tabla by 22-year-old Zargham Akram Khan, scion of the Ajrara gharana.
Shakir and Arshad have collaborated on stage earlier than, although this was their first efficiency in Delhi. Shakir is the son of sitar maestro Ustad Shahid Parvez, with a powerful eight generational musical legacy. Arshad is a baby prodigy, belonging to the household of the founders of the Kirana gharana, Ustad Abdul Karim Khan and Ustad Abdul Wahid Khan. Though the camaraderie was seen, this efficiency had each artistes showcasing their taalim and riyaaz. The live performance was not about musical one-upmanship, the two artistes made it thrilling by matching one another’s prowess.
They selected the raag of the season, Mian Malhar. Shakir the older and senior began the live performance together with his gharana’s customary flourish; Arshad responded by going straight to the ‘sa’ in the decrease octave, a tough feat for any vocalist earlier than the voice warms up. They rendered a short alap as per the instrumental custom, then moved onto the composition. The live performance was quick, beneath 60 minutes, however each minute was used properly.
The composition was a conventional vocal bandish on Mughal emperor Mohammed Shah Rangile. Arshad’s guru Ustad Mashrur Ali Khan is well-known for his treasure trove of uncommon previous bandish. Shakir held his personal, not needing the prop of the evocative lyrics to make his level, musically. The ‘choot’ taans that Shakir effortlessly performed, in lightening pace, have been gorgeous. These have been matched by Arshad’s lengthy and complicated taans in three octaves. Zarkham on the tabla was not over-awed by his senior co artistes. His sangat was mature and most applicable. The concluding tarana once more was an previous composition with a lovely ‘antara’, which sadly Arshad sang solely as soon as, most likely because of time constraints.
Abhisek Lahiri on the sarod
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Special Arrangement
Striking the proper be aware
Abhisek Lahiri on the sarod is one other proficient younger artiste. Having learnt from his father Alok Lahiri, he’s apparently educated in the sarod’s three traditions — Maihar, Shahjahanpur Senia and Bangash.
Starting with raag Megh, the unique raag of the monsoons, which predates Malhar, Abhisek created a serene atmosphere. His ‘jor’ was in the dhrupad model, his ‘jhala’ in depth, crystal clear and immensely satisfying. It was a pleasure to listen to a strong performer who not as soon as resorted to gimmicks to draw viewers’s consideration.
Switching to raag Surdasi Malhar, Abhisek was joined on the tabla by Ustad Akram Khan. Surdasi Malhar has a definite, concise character. The Jhaptaal gat was composed by Abhisek’s father, with an uncommon decide up of the ‘mukhda’ from the eighth beat; throughout his solo piece. Akram too ended on the mukhda as an alternative of ‘sam’.
The ‘sawaal jawaab’ between the two was refreshing. One admired Abhisek for the management over the instrument, and his easy layakaari. His artistry was a reminder of the music of an earlier period.
