Meet the family from Mordabad who has kept the tradition of Sarangi alive

The ambush Murad Ali of Sarani, who belongs to Mordabad Gharna

Sari is a major means of North India for the singer, as it is most closely resembled with human voice. It has been ancient for centuries – in its current size and size, the instrument is about 250 to 300 years old. The wires of the original intestine were replaced by metal wires in the last 100 years. Extremely versatile, Sarangi is vocal and irreparable to perform Kathak.

Surprisingly, despite its importance, there are very few exclusive houses for sargi players-those who come to mind are almost guilty Jhanjar Ghar, near Pinipat, and Ustad Moinuddin Khan’s Jaipur-based families. Sikar of Rajasthan, from where Ustad Sultan Khan also had some generations of the players of Sarani. Ustad Mamman Khan, who was considered as the biggest sargain player of the last century, was apparently learned from Ustad Chaju Khan of Morbabad.

However, as an instrument, the sargi was always important, in which every music family’s entrepreneur musicians played it professionally. Prominent examples are PT Ram Narayan (Padma Vibhansi Awardee, he learned the techniques of his father who played the role of his father), The Dilruba played the role of The Dilruba), Ustad Shamer Khan, the father of the prestigious Vocalist Ustad Amir Khan, PT. Gopal Mishra of Banaras Gharana (uncle of PT Rajan-Sajan Mishra), Ustad Shakur Khan of Kiran Gharana; Ustad Sabri Khan and PT. Dhruv Ghosh (son of Tabla Mestro PT. Nikhil Ghosh).

In the second edition of its heritage chain, Kiran Nadar Museum of Art chose Mordabad Sararangi players – Ustad Murad Ali Khan’s family. Wisely, it did not limit the incident to perform only – this incident was operated by the exponent Aneesh Pradhan of Tabla, which resulted in a meaningful interaction as a result of the bonding with the binding and their descent. Murad represented the sixth generation to represent the sixth generation in his family, remembering his grandfather talking about his grandfather’s memories. “Every sargain player had to learn compositions from every household. These rare compositions remain in the family and music is an important source of history. ,

In the Legacy Series, musicians depicted a conversation between famous tabla artists Anish Pradhan and Murad Ali

Like other Sarangi-Playing families in the Mordabad house, one is also found in one Sitar player (Fateh Ali Khan) tabla player (Aman Ali Khan) singer (Mohammad Ayan Warsi). Relying on sargi was not a practical option only for someone’s livelihood.

Despite being the best-friendly with the singer, Sarangi is not the main tool today, which has overtaken the harmonium. Young singers who are yet to develop the confidence of the stage Tan Can be intimidating.

Somehow, the sargi is associated with Khayal and Thumri singer, and low with Dhrupad. Singer of Darbhanga Gharan of Dhrupad, including Pt. Siyaram Tiwari was also involved, using sargi with him. Perhaps, the lack of good sarani players, which was taught ‘Dhrupad’, resulting in the sarangi not being used in Dhrupad concerts today.

Another inexplicable aspect of Sarangi is its perceived inferior position as a main tool. The sargi is traditionally not accepted as a single tool. The tabla was also in a similar position, but in the last 75 years, Great Mestro established its position as a single tool. PT Ram Narayan, of course in our time, was considered the face of the instrument, announced that “My mission was to remove the defect that Sarangi did due to his social origin. I hope I have been successful in it.”

Some rare compositions of Mordabad house were presented in the incident

Murad played some wonderful restrictions with his treasury contingent of compositions. In the raga Paraj, a Jaipur Atuli Bandish ‘Pawan Charat’ was a pleasure to hear on six holes. He also played beautiful compositions in the rags of the season – Bahar, Evergreen Khamach, a Tarana in Hemer, and ‘Donor Mop Karim Kijiya’ in Sahna. The brief snatch of music has given a glimpse of the huge variety of rare compositions of the family that the family has carefully nurtured.

Interestingly, among six disciples on stage, there were two women – one was Manonmani from Chennai, who learned from Murad’s father Ustad Sabri Khan. His mother Saroja learned Dilruba, as her grandfather.

The incident was beautifully presented by Nama. There were separate vintage sarangis on the performance in the lobby, as well as snipyts of rare recording of Begon Sarani Mestro.