Meet the household from Moradabad that has saved the custom of sarangi alive

Sarangi exponent Murad Ali, who belongs to the Moradabad gharana

The sarangi is North India’s premier accompanying instrument for vocalists, because it most intently resembles the human voice. Its antiquity dates again centuries — in its present form and dimension, the instrument is roughly 250 to 300 years outdated. The unique intestine strings had been changed by steel wires within the final 100 years. Vastly versatile, the sarangi is irreplaceable for vocal and Kathak performances. 

Surprisingly, regardless of its significance, there are only a few unique gharanas for sarangi gamers — the 2 that come to thoughts are the just about defunct Jhajjar gharana, close to Panipat, and the Jaipur-based household of Ustad Moinuddin Khan. Rajasthan’s Sikar, from the place Ustad Sultan Khan hails, additionally had a number of generations of sarangi gamers. Ustad Mamman Khan, considered the best sarangi participant of the final century, apparently learnt from Ustad Chajju Khan of Morababad.

Nevertheless, as an instrument, the sarangi was all the time essential, with enterprising musicians from each musical household enjoying it professionally.  Outstanding examples are Pt Ram Narayan (a Padma Vibhushan awardee, he learnt the strategies of the sarangi from his father who performed the dilruba), Ustad Shamir Khan, father of iconic vocalist Ustad Amir Khan, Pt. Gopal Mishra of the Benaras gharana (uncle of Pt Rajan-Sajan Mishra), Ustad Shakoor Khan of the Kirana gharana;  Ustad Sabri Khan and Pt. Dhruv Ghosh (son of tabla maestro Pt. Nikhil Ghosh).    

Within the second version of its Legacy Collection, the Kiran Nadar Museum of Artwork selected to concentrate on the Moradabad sarangi gamers — the household of Ustad Murad Ali Khan. Properly, it didn’t confine the occasion to solely efficiency — the occasion was moderated by tabla exponent Aneesh Pradhan, whose bond with Murad and data about his lineage resulted in a significant interplay. Murad, representing the sixth era in his household to play the instrument, recalled his grandfather speaking of his grandfather’s reminiscences of music. “Each sarangi participant needed to study compositions from each gharana. These uncommon compositions stay within the household and are a significant supply of musical historical past.”

Musicians on the Legacy Collection that featured an interplay between famend tabla artiste Aneesh Pradhan and Murad Ali

Like in different sarangi-playing households, within the Moradabad gharana, one additionally finds sitar gamers (Fateh Ali Khan) tabla gamers (Amaan Ali Khan) vocalists (Mohammad Ayaan Warsi).  Solely counting on the sarangi for one’s sustenance was not a sensible choice.

Regardless of being the best-suited to accompany vocalists, the sarangi is right now not the principle accompanying instrument, having been overtaken by the harmonium. Youthful vocalists who’re but to develop stage confidence generally keep away from accompaniment by sarangi maestros as their huge repertoire and mastery of intricate taans could be intimidating.   

 By some means, the sarangi is linked with khayal and thumri gayaki, and fewer with dhrupad. Vocalists of the Darbhanga gharana of dhrupad, together with Pt Siyaram Tiwari, used to have the sarangi accompany them. Maybe, the dearth of excellent sarangi gamers who had been taught ‘dhrupad’ has resulted in sarangi not getting used right now in dhrupad concert events. 

One other inexplicable facet of the sarangi is its perceived inferior  standing as a predominant instrument. Sarangi has historically not been acknowledged as a solo instrument. The tabla too was in an analogous place, however within the final 75 years, nice maestros established its standing as a solo instrument. Pt Ram Narayan,  arguably considered the face of the instrument in our occasions, had declared “my mission was  to obliterate the blemish that the sarangi carried attributable to its social origins. I hope I’ve succeeded on this.”  

Some uncommon compositions of the Moradabad gharana had been offered on the occasion

 Murad performed some fantastic bandishes from his treasure trove of compositions. In raag Paraj, a Jaipur Atrauli bandish ‘Pawan chalat’ was a delight to listen to on six sarangis. In addition they performed stunning compositions within the raags of the season  — Bahar, the evergreen Khamach, a tarana in Hameer, and ‘Daata mope karim keejeeye’ in Sahana. The transient snatches of music gave a glimpse of the massive number of uncommon compositions the household has rigorously nurtured.  

Apparently, amongst the six disciples on stage,  two had been ladies — one was Manonmani from Chennai, who had learnt from Ustad Sabri Khan, Murad’s father. Her mom Saroja had learnt the dilruba, as had her grandfather. 

The occasion was superbly offered by KNMA. Within the foyer there have been sarangis of various classic on show, in addition to snippets of uncommon recordings of bygone sarangi maestros had been performed.