In praise of the Dhruv star
MANJARI SINHA
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UMAK Centre for Culture led the way in paying homage to the memory of Ustad Mushtaque Ali Khan, the great surbahar and sitar exponent.
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Known for his austerity, the late Ustad Mushtaq Ali Khan is supposed to be a true follower of the Senia baaj (style), adhering to the Dhrupad style avoiding the lighter embellishments like murki, khatkas, to maintain the purity of raga.
He maintained the 17-fret sitar, the oldest system prevailing from the times of Masit Khan of Tansen's family, the originator of the `Masitkhani baaj'. He was a rare surbahar player who played with three plectrums (mizraab) with pakhawaj in been-ang and never deviated from the Dhrupad idiom.
Miyan Ki Malhar
His memorable Puriya on the Surbahar and Miyan Ki Malhar on the sitar played for the National Programme of Music at the All India Radio in the early 1950s still linger in the minds of connoisseurs.
Pandit Debu Chaudhury, a disciple of Khan Saheb, who has been propagating his style and the tradition of playing the 17-fret sitar, organised a musical evening as a tribute to his legendary guru on his 17th death anniversary recently under the aegis of UMAK (Ustad Mushtaq Ali Khan) Centre for Culture.
Many leading performers attended the programme to pay homage to the late ustad.
Preceding the musical tribute paid by Ustad Rahim Fahimuddin Dagar and Ustad Asad Ali Khan, Chaudhury in his opening remarks, talked not only about his guru but also about UMAK Centre for Culture established in the loving memory of Khan Saheb in the year 1993.
The evening started with solemn chanting by Ustad R. Fahimuddin Dagar, who presented a dhrupad in raga Multani, followed by a lively dhamar in raga Hameer.
His application of Komal Rishabh and Komal Dhaivat in raga Multani brought out the essence of the raga. The concluding dhamar in Hameer came as a comely contrast and changed the mood to a devotional prayer. Pandit Dal Chand Sharma gave him commendable support on the pakhawaj.
The veena maestro Ustad Asad Ali Khan gave a superb exposition of raga Desh next, on his Rudra veena. An ideal raga for the monsoon season, and that too played in the inimitable style of his gharana, had a mesmerising effect.
The application of Ma Ga Re Sa Ni in avarohi ang (descending order) came as a novelty to most of the listeners who are used to the general Ma Ga Re Ga, Sa Ni phrase in the descending taans.
But this particular elaboration, based on the Nishad and Madhyam Samvaad, gave a fresh dimension and a subtle sense of wonder to the raga. Khan Saheb concluded his recital with a short piece composed in a 10-beat cycle. Pandit Dal Chand Sharma gave him brilliant accompaniment on the pakhawaj.
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