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THE ARTISTS

 Vilayat Khan: In the world of Indian classical instrumental music, Ustad Vilayat Khan occupies a pre-eminent place. There are few to equal him in his mastery over the most widely known Indian instrument Sitar.

 Vilayat Khan was born into a family of outstanding musicians and inherited the art of Sitar playing from his famous father, the late Ustad Inayat Khan. By a combination of inborn talent and assiduous pursuit of the art of playing this instrument, Vilayat Khan has come to evolve a strongly individual style. Known internationally as one of the greatest living exponents of the Sitar, he has enthralled audiences both in India and the rest of the world by the overpowering beauty of his performances.

 Bismillah Khan: Bismillah Khan occupies an unrivalled position as player of the popular Indian instrument, the Shehnai. He hails from the state of Bihar and was initiated into the art of Shehnai-playing by his uncle. Later, after he had obtained proficiency and popularity, he became attached to the famous shrine of Lord Vishwanath at Banaras, the holiest of the holy cities. He is now settled there. In recognition of Bismillah Khan’s outstanding contribution to the world of Indian classical music, and as a tribute to his pre-eminence as a master of the Shehnai, the President of India conferred on him the title of Padma Shri in 1961.

 Both these distinguished artists performed at the 1965 Edinburgh Festival and enraptured both public and critics.

THE MUSIC

SIDE ONE: Jugalbandi Raga Gujari-Todi

This is a sub-melody of Miyan-Ki-Todi, which is a morning Raga. It is distinguished from the main Raga by the complete omission of the 5^th note (Pancham) in the exposition. Like the main Raga Miyan-Ki-Todi, this has also a serene and sober character with a tinge of pathos in it.

 Both Ustad Vilayat Khan and Ustad Bismillah Khan handle their respective instruments with dexterity and skill to bring out all the salient features of the Raga. During the first few minutes, with the help of short alaps (slow movement from note to note) they lay a foundation of the Raga and gradually unfold to the listener the vivid picture of the melody. The subtle Taan-patterns (note-combinations) used to embellish the performance speak volumes for the performers’ proficiency in their art, and mastery over their instruments.

 The structure of the Raga is:

 Sa Re Ga Ma Dha Ni

Sa Ni Dha Ma Ga Re

 The Gat-composition evolved by Maestro Vilayat Khan is confined to a rhythmic cycle of 16 beats known as Teen Taal.

 SIDE TWO: 

 Band 1: CHAITI DHUN

This is a typical folk tune of the Uttar Pradesh region of India. It is immensely popular with the masses and draws its name ‘Chaiti” from ‘Chaitra’ , which is the first month of the Hindu calendar; hence it is usually rendered during this month. The lilting gait of the tune has a tremendous charm; the rhythm divided in two parts.

 The gat-composition in this and the following piece are also by Vilayat Khan.

 Band 2: Bhairavi-Thumri

 This short but sweet piece can be played at any times of the day or night as all the twelve notes are permissible during this exposition. Convention, however, holds that Raga Bhairavi is usually rendered at the end of every musical performance. The Gat-composition has for its mood the Shringara Raas (Love) and hence an atmosphere of romance persists throughout its exposition. Both the artists give memorably zestful performances, adorning their artistry with delicate touches of highly imaginative and skillful flourishes. The result is an enthrailing composition which rings in one’s ears long after it has died away.

 The rhythm employed is Teentaal.

 The Tabla accompaniment (as in all the items on this record) is provided by Pandit Shanta Prasad, a percussion player famed throughout India and a favorite with all performing astists.

Artists: 

Vilayat Khan (Sitar), Bismillah Khan (Shehnai), Shanta Prasad (Tabla)

Tracks:

 SIDE ONE: 

Raga Gujari - Todi        Jugalbandi

SIDE TWO: 

Raga Chaiti                Dhun

Raga Bhairavi             Thumri