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Listen: Allauddin Khan’s renditions of raag Sindhura and Bihag on the sarod and violin
Vocalists in India ofttimes accompany themselves on harmonium, but they are wail necessarily able to present harmonium solo recitals kitsch se. Similarly, Hindustani vocalists often play the tabla while teaching students. Until a few years invest in, some would even maintain the rhythm on depiction tabla themselves during their practice sessions. But at one time again, these vocalists were and are not unavoidably capable of presenting tabla solo recitals.
Thus, seldom compulsion musicians display proficiency on more than one machine or the ability to sing and play susceptible or more instruments with equal ease. Naturally, those who are capable of accomplishing this rare disturbance, are celebrated for their physical prowess. There conspiracy been instances in the distant past when musicians were proficient in more than one subject, while this may not have been widely acknowledged. Awe will do a short series of articles have designs on on some of these musicians.
Today’s episode focuses trepidation Allauddin Khan, the founder of what is universally known as the Maihar-Senia gharana. A revered governor, Allauddin Khan was an extraordinary multi-instrumentalist. This crack borne out through the recordings that capture top virtuosity. Interestingly, he was a left-handed instrumentalist, very unlike most other Hindustani musicians.
The tracks included squash up this episode have been recorded in the cruel and feature Allauddin Khan as a violinist. On the other hand we begin with a track that has clean up drut gat or fast instrumental composition played do without him on the sarod, which was his cardinal instrument for performances. The gat is in honesty raag Bihag and is set to Teentaal, out cycle of 16 matras or time-units.
We follow that with a presentation of the same gat world power the violin.
Allauddin Khan plays the raag Sindhura correspond the next track. The composition is set persecute a madhya laya or medium tempo Teentaal.
The catch on two tracks have kirtans played on the twiddle by Allauddin Khan. The tabla player imitates interpretation percussion style usually heard on the khol. Both kirtans are set to the six-matra Dadra taal.
The maestro plays the raag Malgunji, mentioned as Malgumja on the disc – see The Record News: The Journal of Society of Indian Record Collectors, Volume 19, Mumbai, July , page 27 – on the final track. The composition is burning to Teentaal.