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Bringing Ustad Amir Khan’s khayals alive

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Supriyo Dutta conveyed the essence of Ustad Amir Khan’s music in an internet live performance to have a good time Pt. Vijay Kichlu’s 90th birthday

To have a good time Pt. Vijay Kichlu’s 90th birthday, Sangeet Ashram, Kolkata, organised an internet occasion. Kichlu, a famend musician and musicologist, is the founder-director of Sangeet Research Academy. During his 25-year tenure on the academy, he skilled a number of classical musicians of reputation. After relinquishing the submit in 2002, he based Sangeet Ashram, an organisation that grooms listeners of classical music.

The occasion centered on Ustad Amir Khan – the path-breaking modernist and the founding father of the Indore gharana.

The essence of his music was highlighted by way of a crucial appreciation of a few of his favorite compositions. Instead of enjoying Khansaheb’s well-liked information, the bandishes have been rendered by Supriyo Dutta, a younger and proficient follower of Khansaheb.

Fine mix of types

This was a frightening job, however the vocalist’s deft dealing with might be attributed to his coaching underneath Acharya Ramakrishna Basu (a disciple of Ustad Amir Khan), Pt. Vijay Kichlu and Subhra Guha. His wealthy voice conveyed a superb mix of the nuances of the Indore and Agra gharanas. He was brilliantly supported by Indranil Mullick (disciple of Pt. Swapan Chaudhuri) and Jyotirmoy Banerjee (disciple of Pt. Ajoy Chakrabarty).

Dutta commenced with ‘Baje niki ghunghariyan’ (Bilaskhani Todi). Despite the raga’s pathos-ridden character, Khansaheb would convey out the frivolous great thing about this composition along with his taans; as a result of that is apparently a love tune. According to Sufi philosophy, the supreme being is a fascinating lover.

The subsequent bandish, ‘Mana ke panchhi’ (Gurjari Todi) created an atmosphere of calm, a top quality that outlined Khansaheb’s music. Dutta subsequent moved to a devotional bandish in raag Bairagi adopted by a uncommon Khansaheb composition that options his pen title, ‘Sur rang’. Most of his compositions equivalent to ‘Jinke mana raam biraje’ (Malkauns) don’t carry this moniker and are sung by musicians throughout gharanas.

Despite being a traditionalist, Ustad Amir Khan didn’t hesitate to experiment. He included minor modifications within the lyrics of conventional bandish to go well with his fashion and temper. To spotlight this side, Dutta sang a Jog bandish, ‘Saajan more ghar aaye’. For the Agra gayaki’s bol-baant, the staccato-oriented ‘ata mana sukh paave’ fits finest, however Khansaheb went on report with ‘jiyara at sukh pave’ as a result of the phrase ‘jiyara’ suited his elaboration higher. Apart from this delicate strategy to lyrics, he would interpret raags from a novel angle. One such instance is raag Marwa. Traditionally an uttarang pradhan raag, Khansaheb’s persuasive fashion remodeled it completely right into a poorvang-pradhan raag. He at all times blended method with emotion in such a method {that a} single raag may radiate totally different moods.

Interesting session

Dutta strived to showcase all these factors whereas rendering gradual and quick compositions in Marwa, Malkauns, Darbari, Miyan Malhar, Ramdasi Malhar, and Megh together with taranas. Khansaheb fully remodeled taranas as he believed that ‘every syllable of a tarana is meaningful.’

The attention-grabbing session closed with a shock merchandise. Khansaheb sang solely khayals on stage however as a playback singer in movies, he had recorded a thumri and ghazal. The ghazal, Mirza Ghalib’s ‘Rahiye ab aisi jagah’, tuned by his prime disciple Pt. Amarnath, rendered on the live performance made for a grand finale.

Since the occasion has been professionally videographed, the audio high quality is appreciably good.

The author is a Kolkata-based critic and musicologist.



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