#darbarfestival | “If you don’t give a good treatment to a raga, then the raga can curse you, it can feel unhappy with you…” (Amjad Ali Khan)
► Join our newsletter at http://www.darbar.org/newsletter for the finest in Indian classical music and dance, and watch full length exclusive concerts in pristine HD on the Darbar Player: http://www.darbar.org/darbarplayer
Learn more about the music:
Amjad Ali Khan’s illustrious career has lasted almost seven decades since his debut at the age of six. His Bangash lineage ancestors gave shape to the modern sarod, and he first learned it from his father Hafiz Ali Khan, going on to master both the slides of gayaki ang [singing style] and the rapid picking of tantrakari ang [instrumental style].
He made his US debut in 1963, and has since collaborated with choirs, jazz groups, and symphony orchestras alongside a constant schedule of classical performance. Over the years he has devoted himself to expanding the instrument’s physical capabilities: “From the time it was first invented the sarod has been modified...Even now, I am still redesigning and modifying, making the drum smaller or the bridge higher. I'm always looking for a different kind of resonance”.
Widely recognised as his instrument’s leading modern master, Amjad sees his music as an attempt to create peace as well as beauty. He credits his father with opening his eyes to the universality of spiritual practice, and went on to played at the 2014 Nobel Peace Prize ceremony. He now tours to worldwide acclaim with his sarod-playing sons Amaan and Ayaan.
The Malhar family of ragas are associated with rejuvenation, heroism, and growth, and are said to summon monsoon rains if sung correctly. Legend has it that Emperor Akbar once asked Miyan Tansen to sing Deepak, the light-bringing raga, which caused all the lamps near him to ignite and burn so brightly that Tansen’s body began to be scorched. He went to the river to cool himself, but the water started to boil around him, forcing him to set out on a search for someone who could sing Raag Malhar to cure him. He eventually met two sisters, Tana and Riri, whose evocation of the raga caused a great storm to break, finally cooling him.
Miyan Ki Malhar is said to be Tansen’s own variant of the basic Malhar structure. Both use Kafi as their base scale (SRgmPDnS), but Tansen’s version takes a shuddha [natural] Ni in ascent before reverting to a komal [flat] Ni for the descent - some say that the melodic contrast between the two Ni swaras helps clouds to descend. Pa and Sa form a strong core as the vadi and samvadi [king and queen notes]. Some associate the raga with the kadam tree, used for perfume and ornamental craftwork. Listen to more Miyan Ki Malhar here:
-Budhaditya Mukherjee (sitar) | https://www.youtube.com/watch?v=pFenlzgBEns
-Mita Nag (sitar) | https://www.youtube.com/watch?v=OVwr50qAeC8
Recorded at Darbar on Sep 18 2016, at London’s Southbank Centre
-Amjad Ali Khan (sarod)
-Kumar Bose (tabla)
-Anindo Chatterjee (tabla)
Darbar believes in the power of Indian classical arts to stir, thrill and inspire. Through shared experiences and digital connectivity we ensure that one of the world’s finest art forms reaches the widest possible audience. Founded in 2006, we deliver premium quality live events, music education, broadcasts and online engagement through promoting artistic innovation and creative technology. We are also committed to providing a platform for new talent from India and the UK.
All Rights Reserved ©2019 Darbar Arts Culture Heritage Trust