USTAD USMAN KHAN
Sitarist Usman Khan Exhibits Mastery
by Prem N. Mohlajee
Ustad Usman Khan of Pune, Indian, presented a lilting Sitar recital at the Iowa Community Center in Villa Park, a suburb of Chicago, on May 15 under the auspices of India Classical Music Society.
He enravished the classical music lovers with his emotively tranquil rendering of Raag Bhimplasi, a late afternoon melody. Bhimplasi, a Kafi group Raag was played in a usual system of alaap, jod, jhala and Gath, but depicted with astonishing adroitness, exquisite "Meend" work and very pleasing nuances.
An embodiment of simplicity and modesty, Ustad Usman Khan delineated the beautiful rag shape during an expansive alaap through microtonal elaborations of Pancham and Komal Gandhar (fifth note and soft third note) and Madhyam and Komal Gandhar (fourth note and soft third note). The brilliant phrases during jod were remarkable in their complexities and serenities, and many upper scale taans were rendered effortlessly. With amazing requiescence he made extensive use of portamento, his fingers gliding down from one fret (Sitar Purdah) to another producing dainty tones.
Noteworthy however, was the resilient "Meend" (pulling the strings across the sitar frets) work in the lower part of the Sitar (upper scale, which is quite arduous) that was performed with bewildering comfort where Usman Khan played many quick phrases and combinations followed by the echoing notes of raag Bhimplasi.
Masitkhani Gath that began with Pancham (5th note) set to slow teen taal of 16 beats was a peerless rendition of raag Bhimplasi. This elegantly played composition delighted the perceptive audience who were convinced that this Sitarist has a unique place among the top sitar players of India. A Tritaal (teen taal, 16 beats) drut (fast) composition in Raag Bhupeshi, a complex raag, having occasional shades of raag Bhoopali, was presented in very bewitching Roopak tall of seven beats as the pre-intermission concluding item.
Ustad Usman Khan chose Raag Kirwani as his first post-intermission melody. This raag is adapted from South Indian raagas into North Indian style. The in depth raag treatment depicted his sensibilities and perception. Sitar playing embellished by supple "Meend" work and intricate "Layakari" (rhythm) showed his prowess and excellent back ground. A pleasing Bhairvi for almost 40 minutes concluded this recital. Usman Khan is the grandson of Sitar ratna Ustad Rehmat Khan of Dharwad, recognized as the greatest sitar wizard of his time. He learned sitar playing from his father Ustad Abdul Karim Khan, who headed the faculty of instrumental music at the Karnataka University, Dharwad.
An excellent Tabla accompaniment was provided by Nishikant Barodekar who is the grandsom of legendary vocalist Shrimati Hirabai Barodekar. A disciple of Ustad Alla Rakha, he played complicated and difficult "Tablo Bol" throughout the recital with great dexterity. His Sangat (accompaniment) did further enrich the remarkable recital. Young as he is, he very deftly responded to the Sitarist's Laykari with brilliant laykari, thus showing his good upbringing under the tutelage of ustad Alla Rakha and his brilliant son Zakir Hussein. |
