Ustad Amjad Ali Khan was in his elements when he played for ‘Harshotsava’, the 61st birthday celebrations of Pandit Sajan Mishra, the younger brother in the famous Mishra-Bandhu at Kamani Auditorium this Sunday. The event coincided with the Independence Day. Wishing him, Khan Saheb said, “This is the day of celebration of ‘azadi’ and also of the love our musical fraternity shares. We musicians express our joy and sorrow, both with music. Sur-laya ka yeh rishta khoon ke rishte se bhi zyada mazboot hota hai!”
The legendary sarod player chose raga Khamaj for the main raga this evening; one of the most basic ragas of Hindustani music which is hardly sung or played these days in concerts, except for the dessert served as thumri-dadra after the main course. The melodious demeanour of the raga sounded just perfect for the happy occasion right from the introductory aalap. The precious ‘taksaali’ compositions he played had the old world charm. He specially offered one of his own composition set to the intricate tala cycle of six and a half beats, to Birju Maharaj, who is considered to be an authority on laya-tala, sitting just in front of him in the first row.
A day before, this writer met Ustad Amjad Ali at his residence in New Delhi. By that time the buzz about him being denied the U.K. visa had died down and he elaborated upon the melodic synergy between the east and the west. He has sound training of his classical inheritance, representing the sixth generation of the illustrious family of musicians and groomed under his father Ustad Haafiz Ali Khan, the court musician of Gwalior Darbar. But he is equally appreciative of composers like Bach, Beethoven and the Western symphony orchestra. He said we had taken the angrezi and angreziyat from British rulers but never tried to imbibe their good qualities. “They would never sing or play music if the neighbour is sick, and we never bother about things like that and recite our ‘azaan’ or ‘bhajan-kirtan on the deafening volume of loud speakers.”
He has played for most of the prestigious festivals and venues world over including Carnegie Hall in the U.S. and the Womad Festival, UK. He has also played with Britten Sinfonia Orchestra. Invited by him, he has also played sarod concerts for Prince Charles with whom he and his wife maintained a cordial relationship after the (much talked about) incident when he draped his Jamawar-Pashmina shawl around the shivering princess Diana during a banquet.
He was invited to compose a concerto for the Scottish Chamber Orchestra. He composed the 45-minute-long composition named ‘Samagam’, the confluence, sang it and sent them the recording, which was transcribed in Western Staff notation by the famous conductor friend David Murphy, who also conducted ‘Samagam’ during its premiere in Orkney Islands, Scotland. This was perhaps the first ever Sarod Concerto, where Ustad Amjad Ali Khan played solo in the first half and the whole orchestra comprising a huge number instruments like violin, viola, flutes, etc followed with the written score of his composition. It was also recorded later, in a very old church and produced/released by the famous label World Village Records.
Samagam later travelled in five-six cities in India also after its winning rounds in Scotland and UK. He recalled how Pandit Ravi Shankar came for this at the Delhi’s Siri Fort auditorium, gave standing ovation and waited along with his wife and the huge crowd outside the green room to compliment him after the concert. This was perhaps the last meeting of the two legends.
After its huge success in Scotland, UK and India, Samagam was invited by other countries also like France where he played in ten different cities. The concert would open with a composition of Bach or Beethoven, by the symphony orchestra, then his solo recital, concluding with Samagam. In Dubai, it was conducted by a female conductor from China. Ustad admires the discipline of the orchestra, their regard for the conductor and the understanding they share. He is amazed to see so many musicians playing in total tunefulness in unison.
“My father and Guru Ustad Haafiz Ali Khan used to say try to become a ‘mukammal’ (complete) musician. I did not realise its meaning in my young days. Now I have come to realise that you become a complete musician when you are able to understand and appreciate the nuances and beauty of music coming from traditions other than your own. I have collaborated with great musicians from other musical traditions. Music is, in fact, beyond the boundaries of caste, creed, religion or nationality. The musical confluence of two or more cultures is very much in vogue today. The fusion is not the correct word. It is actually collaboration which is the need of the day.”
He regards his father Ustad Haafiz Ali Khan as a saint musician, far from the worldly jod-tod. The illustrious son recalled how innocently he shared his joy with his wife that the President of India has assured him about the sanctity of raga Darbari, after returning from the reception in the Mughal Gardens for the Padma Awardees. Ustad Hafiz Ali Khan was conferred the Padma Bhushan that year. When the then President of India Dr. Rajendra Prasad asked him if he could do anything for him, he had requested him to save raga Darbari, explaining with all seriousness that this raga was created by none other than Tansen, and how musicians were taking liberty with it. When asked if any thing else, he requested for his ijaazat to leave because it was his prayer time. “Those were the days of hardship, when they were living in a rented house, but it never occurred to him that he could ask for a government accommodation.” He adores his father not only for the precious vidya but also for the values he lived for and inculcated in his children and disciples.
The idea of ‘Sarod Ghar’ as Guru Dakshina, came to his mind when he visited the home of Beethoven in Bonn, converted into a museum where one could see his piano, his notation books or his other personal belongings. He realised that there is none like this in his own country and decided to convert his ancestral house in Gwalior, the home town of Miyan Tansen, into a museum. With financial help of the Madhya Pradesh government, he built Sarod Ghar that inhabits the instruments and other belongings of his father and his contemporary musicians. This was the house where Ustad Haafiz Ali Khan and he himself were born and brought up with their exquisite taalim.
His father never encouraged commercialisation of music. He used to say you should not sell knowledge. This is the reason Ustad Amjad Ali Khan never charges a single penny from any of his disciples. Although he tells them in the very beginning, take up classical music only after great deliberation. “This is the dark tunnel which does not promise any monetary gain. In fact, this dark tunnel not even promises you a ray of light on the other end. If you are fully dedicated and lucky enough, then only one fine day you may see the light at the other end. So if you take up this profession beware of the fact that it takes a long time to make any mark, if at all! The government also recognises you after you have established yourself as a musician.”
Having started performing at a very early age, Ustad collaborated with stalwarts from different streams. He had close association with M.S. Subbulakshmi who took him to the Shankaracharya of Kanchi Kamkoti Peeth and got blessed him by none other than the Paramacharya.
The Ustad is working on compositions these days. He has created many new ragas and compositions but does not take the credit because he feels that it comes through the spiritual intimation and the blessings of his Guru. He has played overnight in places like Kolkata but one should think afresh. “People think in stereotypical ways like taking the masitkhani and razakhani gats to be slow and drut compositions, linking them with the tempo or speed. The fact of the matter is that they have got more to do with the structure than the tempo.” He has created compositions of varied structure, where at times the ‘sam’ falls on ‘khala’ or a vacant space. He has composed in difficult time cycles of nine-and-a-half, six-and-a-half, and 15 beat tala ‘Pancham Sawari. He has composed exquisite taranas as well, which are very popular abroad because they don’t require the knowledge of any language, just understanding of sur and laya is enough.
As we part, he thanked God for all his kindness. He was also indebted to music lovers of his country who made him what he is. “Hindustan ke logon ne mujhe Amjad Ali Khan banaya, main unka shukra-guzaar hoon!”
