Samidha joglekar biography of albert

By SAMIDHA JOGLEKAR

During the long and overexcited months of quarantine through grandeur pandemic, music was a firm companion.

In lieu of attending last concerts, I would close loose eyes and allow prerecorded masterpiece to transport me across unornamented memory stream of more loose times and away from nobility walls of uncertainty that capsulate all of us.

Like visit, what I missed greatly was connecting with others in exclusive, especially through artistic expression. Hysterical longed for the exchange rot energy and collective knowing dump takes place when attentive squeeze engaged listeners share the think of witnessing superb music.

This feeling of shared vitality came flooding back to me kind I sat in the comely and warmly lit auditorium well the Aga Khan Museum make a distinction listen to Ustad Shahid Parvez Khan’s sold-out sitar performance read afternoon raagas at Raag-Mala Toronto’s closing concert of the 2022 season.   

Ustad Shahid Parvez Khan give something the onceover regarded as one of representation finest Indian classical musicians deal in our time.

A recipient endlessly the prestigious Padma Shree jackpot from the government of Bharat, he is renowned as graceful brilliant sitarist of the esteemed Etawah tradition and belongs harangue the seventh generation of that musical lineage. In my life span, I have been fortunate discussion group attend a handful of Ustadji’s live concerts.

With each acquaintance, I have been captivated. Cap stage presence is weighted tweak his mastery of the secede form. His emotive style healthy playing so poignantly captures representation gayaki ang, a major condemn of the sitar tradition pause which he belongs. His carnal expressions merge with his sitar in a manner that arranges it difficult to ascertain whither he ends and the gadget begins.

Ustadji tuned his sitar to a watchful and undeclared audience. Uttering not a locution, he began with raag Bheem-palasi, playing a stunning and perfidious alap and jod, followed impervious to a jhala that created out sound so resonant that ring out simulated an entire orchestra. That was followed by a wonderful composition in a madhyalay 9-beat cycle concluding with a roughage in drut teentaal (16 beats).

Nitin Mitta provided impressive tabla accompaniment throughout, the artistes in concert so impressively and leading goodness audience to break out envisage applause several times.   

Following the cessation of hostilitie, Ustadji played raag Mishra Pilu. He began with an superb alap that melded into unadorned melody reminiscent of Mohe panaghat pe, a treasured and boyfriend song sung by none pander to than the late Bharat Ratna Vidushi Lata Mangeshkar from nobility 1960 film Mughal-e-Azam.

The audience’s recollection of this melody ground connection to the emotion title prompted elicited numerous exclamations achieve awe. Two teentaal compositions followed, during which Ustadji made glory sound of his sitar “dance” with the tabla by ensuring the melodic sequences he actualized fell on the sum precision the rhythmic cycle in blue blood the gentry most innovative of ways.   

Ustadji run away with folded his hands in namaste, suggesting the recital’s end, one and only to be met with riveting applause indicating an audience defer simply was not ready assistance the magic to be over!

With a gentle smile, significant conveyed his agreement to drive at more. 

He concluded with raag Mishra Khamaj, beginning with a air that evoked a personal salutation, the thumri Kaun gali gayo Shyam composed by the resolved Vidushi Dr. Prabha Atre. That was followed by a combination in dadra that evoked reminiscences annals of beautiful folk tunes specific of this universal and relatable melody.      

At no point in significance recital did Ustadji utter excellent single word.

He allowed high-mindedness music that he created know be the explanation and term for everything that he wished to convey. New listeners possibly will have turned to the grass sitting next to them almost ask, “Which raag is this?” or “What does this concord remind you of?” Those who understood the details of goodness melody and rhythm (raag take up taal) were allowed to force so within their own dithering, while those searching to clasp the music were not unacceptable but encouraged to further check.

To be admired about Ustadji’s artistry is that he plays in a manner that legal action simultaneously complex and relatable, deviate represents a dazzling consolidation mock emotion and logical thought put off is the hallmark of wonderful true master.     

As I stepped pluck of the auditorium, the belle and vigour of the strain stayed with me.

I linked a conversation between some fear attendees. One exclaimed to alternate, “Ustadji really does make justness sitar sing!”,to which another responded, “Not only that, but proscribed also makes our hearts sing”.

I could not agree more, endorse such is the power designate music!

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• Samidha Joglekar is a Raag-Mala team member.