This is one of the series of Sangeet Sammelans organised in memory of SRI SATGURU PRATAP SINGH JI. The presence of HIS HOLINESS SRI SATGURU JAGJIT SINGH JI is obvious whom Ustad ji repectfully and lovingly addresses as 'HUZOOR' several times. SRI SATGURUJAGJIT SINGH JI has been known as a greatest supporter and preserver of Indian Classical music tradition.
First of all my comment *was* about Vilayat, so I dont see why you've reiterated his name in your reply. Onto your query...each maestro brought something unique to the gamut of sitar playing/technique. To my mind (and let's agree that these are purely individualistic preferences) Ravi shone bright for his impeccable raagdari, terse presentation skills and rhythmic proclivities, Nikhil for his well-rounded tonality and pedantic, penetrative raag explorations, Rais Khan for his control, imagination and lyricism. But if we were to objectively comment on the sound of the instrument then Vilayat (followed so closely by Rais) has NO parallel in my eye. Vilayat wasnt the most consistent of performers (Ravi and Nikhil were far more focused) but that tone...just a gentle stroke of the chikaris can elicit such a tremor within the senses that I almost tend to forget that anyone else exists. Forgive me...just a personal thought. Which is the same reason I so adore Amjad's sarod. By the by, I have come across some of your comments on certain videos of Ali Akbar. Now someone might conclude from them that no other sarod player exists apart from Ali Akbar Khan. But knowing that you're a lettered musician yourself, I know you wouldnt think that way.
I have listened to this amazing performance again after nearly 8 years, and am stunned by it again. In the alaapkari part VK showed his extraordinary genius, moving from one raga to another including Paraj, Basant, Bahar, Pahari and several others, but maintaining the essential spirit of Bhairavi. And his tayyari, his taankari, his upaj are out if this world. In this single performance of this great man are encapsulated innumerable lessons for professional as well as serious amateur Sitarists. Just tuning up with his instrument and the thaat is itself a project for aspiring sitarists and professionals alike.
MAESTROS OF BANARAS GHARANA CAN PLAY 'NA DHIN DHIN NA' IN A VERY ATTRACTIVE WAY. STARTING FROM PANDIT ANOKHELAL MISHRAJI TO PANDIT KISHAN MAHARAJ JI, THEY ARE ALL WIZARDS OF 'NA DHIN DHIN NA.' AND WHAT A GREAT PERFORMANCE BY USTAD VILAYAT KHAN, THE BEST SITARIST OF INDIA. (IN MY OPINION).
Along with Bhairavi, there are Pahadi, Tilak kamod, Bihag, Nand, Mishra Maand,Bhairav,bilaskhani todi, asawari, Basant,Paraj, Gauri, Purvi, sohoni, Bahar ragas. Genius at work !!
One of the great things that Khansaheb used to do: tune the chikaris to komal Dha and komal Ga in harmony together for some of his Bhairavi renditions. It gave him the options to "shift" Sa (to Dha for example)....
Am so thankful to you Brigitte for having uploaded this. I have probably listened to this clip over 30 times in the last couple of weeks! What a mesmerizing start to Bhairavi. Videos of the Ustad from this particular period is hard to find which makes this a very special one indeed.
Khan Saab used to live in Dehradun and my Guruji Sri Ravi Kiran ji used visit his place to teach vocals to his daughter. Guruji says he was bit conservative about teaching sitar and never gave a single lesson to anyone except Sujat Khan during his time in Dehradun. He had his favourite tuning of gandhar -pancham for most of the renditions.
VILAYAT-E-SITAR, very emotional..... bhairanvi in pahari ang speaking to you all about her sufferings & ordeals. @17.44 he improvised Bilas Khani (son of Taan Sen Khan), it is indeed very emotional.....
I am a fan of Vilayat Khan but I found this piece more acrobatic than soulful. Many may take it offending but if listeners clap at odd moments in play, the artist tries to do more and more of it.
miguel multerer he is saying that he will play raag bhairavi and within its premises he will play other ragas of the day without changing the bhairavi sur
Can anyone please translate what Ustad Vilayat Khan is saying? I am very interesting in this composition.. I believe I hear him saying Ragamalika. Is this "Raga Bhairavi - Ragamalika in Bhairavi thumri" then at the end he tunes back to gandhar pancham from gandhar dhaivat....?
In the beginning of the video he says he would play a raagmalika based on raag bhairavi. Then he goes on to say that he would keep the other notes of bhairavi constant and show the morning to evening set of ragas by only tweaking one or two notes.
@ Clem Alford - Khansaheb used to tune komal Dha and komal Ga for some of his Bhairavi renditions. It gave him the options to "shift" Sa (to Dha for example)....
AjR it may pain you but Vilayat Khan was from another Gharana. Ali Akbar Khan,Nikhil Banerjee were of same gharana Nikhil and Anapurna Devi Ravis wife were better sitar players but she did not play so that Ravi could get popular. he left her.Listen to Annapurna, some pieces are available. Nikhil Banerjee was a better sitarplayer than Ravi from gharana of Ustad Allaudin Khan father of Ali Akbar Khan. Listen also to jugalbandis of Vilayat Khan and Bismillah Khan. Read more.
Really? No one can be better than anyone? So, a first year beginner student of sitar is not “better or worse” than a great maestro? Please, think. It is widely acknowledged by many serious listeners of Indian classical music that Pt Nikhil Banerjee and Annapurna Devi were better sitar players than Ravi Shankar, despite his fame and popularity, as stated in the previous comment. I don’t think he actually said anything about Vilayat Khan, by the way, other than to say that he was from a different gharana.
Yes, it is widely accepted among music connoisseurs that Pt Ravi Shankar was more popular than he was adept and that Pt Nikhil Banerjee (And Annapurna Devi) had both better technique as well as richer musicality. This is also partly because Pt Ravi Shankar focussed more on making Indian music popular in the masses and thus compromised on the purity and depth to make it accessible. Whereas, IMO, comparing Ustad Vilayat Khan saheb to anyone is grossly unfair. Not only was he a musical genius with a great tradition, he also improved the instrument itself and stretched its limits. I guess at the level of Ustad Vilayat Khan and Pt. Nikhil Banerjee, it boils down to personal liking, which is subjective. I love Ustad ji more because he could play majestically by the book but also went way beyond it.
What's wrong with his neck? Ok, I am being immature, but he is so seriously expressive with his neck/head movements. Also as far as I can determine he is breaking a couple of rules when one plays Sitar. For example you are not supposed to use your thumb on your left hand to hold the back of the neck. Also you use one finger when going up the neck and a second finger when sliding back down, and only rarely do you use the third and fourth fingers as he is constantly doing.
Well, if he is doing it, then I would suggest, if you play the Sitar, start doing it too, it's gonna be the new norm. And head-neck movement is quite common here in India, during singing/playing or listening to music.
@PeterDad60 The books where you crammed these rules from... this man has rewritten them all and defined a new era in Sitar playing. Show some respect. Also, it's never a good idea to learn technique from a maestro. Their journey goes like "learn the technique, master the technique, forget the technique". He's at that level where he doesn't need to abide by these rules you've crammed.
