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Ustad Shujaat Khan biography, Ustad Shujaat Khan discography
This video will appear on your blog shortly.Please login to add to your playlists.This video has no Responses.Be the first to Post a Video Response.Change this to see only comments above a certain value.Change the value of a comment by clicking on a thumb.In indian classical music a gharana is basically a "school" of a particular style.It is silly but very human.These two players are from two of the biggest rival gharanas.Enjoy this and praise their open minds and huge talent.If you think you know enough about ICM to criticize them you are either ignorant, or you are a gharana bigot that cannot accept the greatness of players from other gharanas.Give me more Parth Sarathy, he is quite good.Shujaat is talented but lack of talim has done him in, that's why he has to play other's composition.It is Khansahib's inner security that allows him to play a composition from another gharana.Would you like to comment?This is from a live recording in Calcutta.Accompanying them on tabla is Ashish Pal.The Yaman Kalyan performance lasted for almost 3 hours!!The Making Of Sex And T..."YouTube recommends upgrading to a safer, modern browsersuch as Firefox.Accompanying SHUJAAT HUSAIN KHAN on tabla in his inventions is the great percussion master Shanka Chatterjee.Most CDs have been
imported from Europe or Asia.Please do not use these files without contacting the appropriate copyright holders.Search for music
Need Help?It deals with the union of classical traditions (West Africa, North Indian and South India) which have little in common with the vague idea of popular music that we usually associate with the music of the Indian sitar and violin and the Malian kora.In "Birds first flight," by Lalgudi, on the contrary, it is all about the accelerated and repeated cadenzas, which make the track an enthusing crescendo, with some brilliant improvisations."Himalayan Rain" (by Shujaat) depicts an introspective, meditative mood, while the final "Sigui Dyarra" is a perfect example of interaction between the three.From that moment his name has appeared on the programmes of every major festival of his country and after that his art began to be appreciated all around the world, and in particular in the United States.The Strings Traditions are accompanied by Gourishankar on tabla and Muraly Trichy on ghatam.Most CDs have been
imported from Europe or Asia.All sound files and images are the property of the artists and record labels, and are used with their express permission.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.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.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.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.UK, Japan, Taiwan, Korea, More...Having always been more of a listener than a viewer, I would love to have a recording of this concert on CD.The camera produced exactly what I wanted to see: a tight close up on Vilayat Khan, conveying each and every delicate shade of emotion in his face and eyes as he sang those beautiful lines.CD: interviews with the musicians and some backstage chat and audience reactions.Future generations will be extremely grateful to have some kind of visual record of the grand old master of the sitar.Beautifully shot using multiple cameras, it represents one of the most intimate looks at the performance of Indian music...For further information on each title, click on the appropriate link.Although much raga music comes to us through live performances, Gayaki Ang was recorded at the Felmay studio in Torino, Italy, so it is a crisp, clean recording.Alap," is in no hurry to get anywhere.Along the way, the repetition of a number of charming phrases are offered.Then almost 20 minutes in, Husain Khan finally adds a bit of his solemn voice.It doesn't seem as if he's singing to anyone but himself, and being let in on such a secret conversation is a rare treat.They each seem to offer a little more of themselves in the process.For those unfamiliar with classical Indian music, the liner notes do offer a bit of helpful terminology.Whereas I, too, am at a loss for understanding the complexities of the forms represented on this album, from this perspective I reckon that such an understanding would be nothing more than superfluous.For those well versed in the intricacies of ragas, I can't imagine that the craftsmanship and inspiration are lacking in any way.Or better yet, if your significant other isn't too far away across vast stretches of sea and land then curl up together and enjoy the sweet melodies offered by Gayaki Ang.
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