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Wah Ustaad!

Irshad Khan's sitar recital held Coimbatoreans in thrall and proved that music speaks a universal language

KEEPING ALIVE A LEGACY Irshad Khan Photo: S. Siva Saravanan

Gharana, antara, jhala, mukhda ... unfamiliar terms in this part of the world, but it did not matter one whit as audiences, usually accustomed to Carnatic music, savoured the splendour of Hindustani classical music in a sitar concert by Ustaad Irshad Khan organised by the GV Centre for Performing Arts.

Hindustani melody

As strains of Bilaval, Maaru Behaag, Piloo and Thilak Kaamod filled the auditorium, there was pin-drop silence. For those accustomed to hearing Hindustani classical music it was like revisiting old memories and the legends of Amir Khusrao, Tansen, Baiju Baawra and royal durbars; for the uninitiated it was an evening of pure music, mesmerising all the same.

Coming from an illustrious lineage going back 400 years, Irshad Khan is the son and disciple of Ustad Imrat Khan and nephew of Ustad Vilayat Khan. His family represents the most respected gharana (musical heritage), the Imdadkhani gharana. Apart from making the Sitar popular, his great-great grandfather Ustad Sahebdad Khan invented the Surbahar as well. Irshad Khan is also one of the world's greatest exponents of the Surbahar.

Perfect harmony

What captured the imagination of the audience was Irshad Khan singing along with the sitar. There were moments when one did not know when the voice took over from the instrument and vice versa. Voice and instrument seemed to blend seamlessly. It did not matter that many in the crowd might not have understood the lyrics of Amir Khusrao or other great poets. But if they did it was the icing on the cake as the compositions on unrequited love, pangs of separation and devotion were hauntingly beautiful.

Universal appeal

"It is not important to know the grammar of music in order to appreciate it. Sometimes knowing too much about something comes in the way of enjoyment," says Irshad Khan.

This was one of his first concerts in the South, but he said that it was no different than performing elsewhere in India. "I enjoy nothing more than playing for an Indian audience. The pleasure I get out of it is unmatched."

But Irshad Khan says he definitely plays to suit a particular audience. "For example, I saw there were quite a few young people in the crowd and knew that if I launched into a heavy composition straightaway they would get bored. So I played folk compositions that are beautiful and enjoyable and which do not require one to be a purist to appreciate them. In fact, this is one of the rare occasions when I sang so much."

Pure notes

Irshad Khan is quick to point out that while he varies the pace and renditions time to time, he never compromises on the authenticity of the classical genre.

"I do not believe in the gymnastics and circus that is often passed off as fusion music."

Irshad is convinced that good music can never go out of fashion.

He believes that if the young people get a taste of what good music is they will come back for more. One need not resort to gimmicks to attract youngsters.

He should know, as he interacts with a lot of young musicians all over the world.

He is the President of the Universal Academy of Musicians in Canada. He has composed for Philarmonic Orchestras, films like Satyajit Ray's Sadgati, Utpal Dutt's Jhar and Manmohan Desai's Mard as well as music and songs for the Children's Film Society of India.

He truly believes music is universal.

In fact, Irshad Khan's tryst with Canada began in 1989 when he played in a concert along with his father in Ottawa.

Amongst his audience was the then Prime Minister of Canada, Marone. So impressed was he that he invited Irshad to be a resident of Canada. Irshad Khan accepted and the rest, as they say, is history.

PANKAJA SRINIVASAN

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