Ustad Irshad Khan recently showcased his mastery in classical music at the sitar and surbahar recital. Organised by India Habitat Centre in association with Society for the Promotion of Indian Classical Music And Culture Among Youth, this was the last of its morning concerts for this season.
The second son of Ustad Imrat Khan, Irshad is a worthy representative of his illustrious Imdadkhani gharana, established around five generations ago. True sitar craft, correct posture, correct hold of the instrument, the use of only two fingers of the left hand, correct position of the right hand on the instrument – it was truly a visual and aural delight.
He started off the recital with a small “auchar”, (introduction) in raga Jaunpuri and proceeded straight to the “ek taal” (12 beat) “gat” (composition) he had himself composed. One notices that most of his own compositions are in taals other than teen taal, which is the much favoured taal of his family. As he later explained, at the start of a the concert when there were constant interruptions, to start off with a full fledged aalap is disturbing as the audience needs to settle down. This was indeed true; he was distracted and needed time to settle into his own music. The second gat was in teen taal, based on a traditional composition with beautiful “dir dir strokes”. Nowadays when one hears so many other instruments that are not equipped to showcase “tantrakari” ang, like santoor flute, violin mandolin, it is a real pleasure to hear the sitar correctly played.
The second piece was on the surbahar, an instrument undoubtedly his own, and one which he plays with the ease of a true master. His effortless five note meends, strong sure strokes, and dexterity were inspiring. Truly he is the finest player of the surbahar today. Irshad played raga Alaiya Bilawal, which is essentially Bilawal with a hint of the uttri Ni. His work on the baaj (main) and two kharaj (bass) wires, creating the effect of harmony was wonderful. The sonorous sound of his instrument, his adept handling, the sequential progression, the measured, completely proportionate sequences were deeply satisfying; no aspect was given undue importance. His sense of proportion is admirable. The surbahar “baaj” in the jor portion was magnificent, played in the old dhrupad style; his gamaks equally so. In fact, his gamak work was so reminiscent of his great father, Ustad Imrat Khan, whose strong hands on his instrument were unmatched in his time.
He ended his perfectly timed recital with a raga mala in Bhairavi which he called Malika Bhairavi. He sang a thumri “mat choro saath”, before moving onto another composition; an old one, heard before and hauntingly familiar. He sang the words of this too, in his tuneful baritone “bali umareeyana chero baalama”. What was his own was the way he intertwined several ragas into his Bhairavi with great delicacy moving smoothly from one to another, showing snatches of Maru Bihag, Basant, Hameer and Kedara. He also played snatches of the famous “baju band khul khul jaaye”. On the tabla was the equally “gharaanedaar” Zuheb Ahmed Khan of the Ajjrara gharana, again the youngest generation in a chain of tabla players.
What Irshad Khan’s recital showed was the undoubted importance of “taalim” in classical music. One can have a great lyrical sense and innate musicality but if one is not trained correctly, the music presentation remains somewhat inchoate, and the presentation of musical ideas jumbled. Knowing all the aspects of a performance, mastering them all, and then knowing how much of what to present is true “Ustadi”.
