Ustad Vilayat Khan - Live At The Royal Festival Hall

Posted By MiOd On Tuesday, December 17, 2013 Under
Performance of Ustad Vilayat Khan & eldest son Shujaat Hussain, Indian classical music SITAR and SURBAHAR. Ustad Sabir Khan on tabla. Live at The Royal Festival hall, London, November 1993. Featuring the Ragas Shahana and Bageshri. Shujaat Husain Khan, who has performed with his father and teacher many times, has emerged as a musician in his own right.
Vilayat Khan, one of the greatest Hindustani musicians of the 20th century, was born in Gouripur in East Bengal (later Bangladesh) in August 1922. (Various other dates are strewn throughout the literature but that is the date that he confirmed in 1993.) His grandfather, Imdad Khan (1848-1920) and his father Enayat Khan (1894-1938) -- Vilayat Khan gives the spelling Inayat Khan -- were famed musicians in their lifetimes and Vilayat and his younger brother Imrat Khan inherited their musicality. Their gharana is known as the Imdadkhani gharana after their grandfather.

He studied initially with his father. On his father's death in 1938 his training became the responsibility of his mother, Bashiran Begum, his grandmother, Bande Hussain Khan, and his maternal uncle, Wahid Khan. Around the same period Vilayat Khan began recording 78s. Peculiarly it is reported that he had to cope with odious comparisons with his father. Gradually he developed a style which, while acknowledging his kinsfolk's contribution, spoke with his own distinctive voice. His most outstanding contribution to his gharana's tradition is the evolution of what is known as a vocal style or gayaki ang on sitar. To some degree this is a term of convenience. Other contemporary musicians were striving to develop instrumental styles which more closely resembled the human voice -- it was after all the goal of all instrumentalists to mimic as far as possible the human voice -- and Vilayat Khan did not have a monopoly in this endeavor whatever some commentators claimed. That is not to detract from his achievement which was considerable and caused a sensation.

Vilayat Khan's strides in compensating for the sitar's shortcomings were immense. His career was marked by a regally consistent musical quality. An outspoken critic of low standards, he maintained levels of personal integrity that on occasion earned him the disfavor of the establishment. Little of his work was in any context other than the strictly classical one although he worked with Satyajit Ray on the soundtrack to the film Jalsaghar and the Ismail Merchant/James Ivory film The Guru. He might be summed up as a keeper -- not a quencher -- of the flame.

Ustad Shujaat Khan stands at the head of a long line of master musicians and is today's leading proponent of the Imdadkhani gharana (tradition) of sitar playing. Seventh in a continuous thread of distinguished instrumentalists, Ustad Shujaat Khan's legacy includes many of the most venerable figures in Indian classical music: great-great grandfather Ustad Sahabdad Khan, great-grandfather Imdad Khan, grandfather Inayat Khan, and father Vilayat Khan. From Ustad Sahabdad Khan's important addition of the tarab (sympathetic strings) to the sitar, to Vilayat Khan's development of the gayaki ang (vocal playing style) and brilliant melding of technical, melodic, compositional, improvisational, and rhythmic artistry, Ustad Shujaat Khan's family legacy is undeniably impressive.

In line with the ancient concept of khandan, whereby a father's status is passed down to the first born male, Ustad Shujaat Khan was groomed for success by his father and guru, Vilayat Khan. At the age of three, Ustad Shujaat Khan began playing on a custom made mini-sitar under the expert tutelage of his father. By the age of six the child prodigy was giving highly successful public concerts. Since that time, Ustad Shujaat Khan has gone on to perform in the world's most important venues, Royal Albert Hall and Carnegie Hall among them. In accordance with the Imdadkhani Gharana founded by his great-grandfather and the gayaki ang innovated by his father, Ustad Shujaat Khan is celebrated for his elegant use of meend (glissando), lyrical sensibility, mastery of technique, and euphonious tone. Ustad Shujaat Khan was a visiting professor in the Ethnomusicology Department at UCLA.

Disc: 1
1. "Raga Shahana" - Alap Jor

Disc: 2
1. "Raga Shahana" Vilambit Gat in Teental
2. "Raga Bageshree" - Drut Bandish in Teental

FLAC (EAC Rip): 350 MB | MP3 - 320 kbs: 210 MB | Scans

Archives have 3% of the information for restoration

Part 1 | Part 2

OR MP3 320 kbps
Part 1 | Part 2


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