Strings of the heart
ANJANA RAJAN
|
In the series on accompanists, meet sarangi exponent Ustad Ghulam Sabir Khan.
|
SONG OF THE SOUL Ustad Ghulam Sabir Khan in New Delhi PHOTO: V.V. KRISHNAN
Some things change, some remain constant. Trite but true, this statement is reiterated in the person of Ustad Ghulam Sabir Khan, whose melodies on the sarangi bring tears to the eyes. It is not just a question of magic fingers .
"The sarangi comes as near to the human voice as an instrument can get. That is why it is held close to the player's heart. This has a great effect on the music," explains the ustad, who belongs to the fifth generation of a family of sarangi nawaaz owing allegiance to the gharana of Moradabad.
The sarangi's proximity to the human voice makes it imperative for a good player to be trained in vocal music before starting to play. The ustad, who trained in the art under his grandfather Ustad Rafeeq Ahmed Khan and his father Ustad Siddique Ahmed Khan, also teaches singing. "The teaching process is the same for both vocal and the sarangi. The compositions, say khayals, thumris, dadras, tappas, are the same. That is why sarangi players can accompany vocalists so faithfully," says the veteran, who has accompanied India's musical stalwarts like Pandit Rajan and Sajan Mishra, Ustad Rashid Khan, Shobha Gurtu, Shanti Hiranand, Rita Ganguli, Farida Khanum, and a host of other vocalists, besides great dancers like Pandit Birju Maharaj and the late Pandit Durgalal.
Infinite range
Gats, which are compositions for other stringed instruments like the sitar and sarod, etc., were not initially part of the sarangi's repertoire, but now these too are used sometimes. Simply put, the sarangi can execute music "from folk to Dhrupad and back," he sums up.
"What praise can be worthy of being bestowed on the sarangi? It is a very ancient instrument. It is associated with the saints and ascetics of old." Yet its qualities of adaptability are legendary. "It goes with every kind of music," says the ustad. "Besides classical vocal, it is used in film music too. Every composer has made use of the sarangi in different ways. And then as a solo instrument, it is becoming popular," relates the maestro, who is known for organising the Saurangi Utsav, in which he presented an orchestra of 12 sarangis.
"In olden days, it had only three strings, with no sympathetic strings. Then the number increased to nine. Nowadays musicians use the 36-or 40-string sarangi." Technology notwithstanding, "The sarangi cannot be learnt from a cassette, like maybe a song could be learnt," he muses. "The manner of teaching has not substantially changed. Yes, perhaps students are in more of a hurry. But the value of riyaaz is irreplaceable. Early morning, or the late night hours are the best." Then there is the question of competitions. Where does the question of rivalry arise, he wonders. "Sur is pure (paak). What can be the relation between yalgaar and sur? One is a war cry, while the other, by definition, means God."
Printer friendly
page
Send this article to Friends by
E-Mail
Entertainment
Bangalore
Chennai and Tamil Nadu
Delhi
Hyderabad
Thiruvananthapuram
