Ustad Amjad Ali Khan

BLURB: Samagam is my humble effort at a message. After seeing the destruction of the world, especially the Mumbai massacre, I felt it was time we had to express something

While fusion has been the buzzword for Indian classical artistes for some time now, sarod maestro Ustad Amjad Ali Khan had steered clear of any confluence of genres. Till now. On January 8, Khan, one of the best-known exponents of the instrument, debuted his concerto for the sarod in a concert titled Samagam — “confluence” — in Mumbai, in a collaboration with the Scottish Chamber Orchestra, Edinburgh. The Calcutta concert is on Wednesday, February 11.
The maestro speaks to t2 about the future of Indian classical and more importantly, on the spiritual, uniting gift that is music…

Tell us a little about the upcoming concert, Samagam
Samagam will see a different incarnation of Amjad Ali Khan. Unlike many of my fellow musicians who have walked the fusion path —and much of that fusion has been rhythm oriented — it took me time to collaborate with European musicians.
You know, in my younger days, in my free time, I used to listen to European classical music — Beethoven, Bach, Chopin, Tchaikovsky, Hendl. The credit for introducing me to Western classical music goes to (acclaimed music director) Rai Chand Boral. He was a great admirer of my father Ustad Hafiz Ali Khan’s music. My father used to stay at his residence whenever he would visit Calcutta. In the end-Sixties, when he was very old, he attended one of my concerts. He told me, “Beta, when I listen to your sarod, I feel absolute symphony around it.” He expressed his desire to compose a symphony around my music. Today, by the grace of god, his wish has materialised.
About 20 years back, the Hong Kong Philharmonic had invited me to compose a piece and play with them. After almost two decades, the Scottish Chamber Orchestra, based in Edinburgh, approached me to write an hour-long symphony. I made several trips to Edinburgh, met some brilliant musicians and composed and rehearsed. Fittingly enough, we gave this project the Sanskrit name of Samagam, “confluence”.
I think the most appealing thing in Western classical is that there are some 150 musicians collectively making a beautiful piece of music. Musicians in America and Europe have asked me why India doesn’t produce an orchestra of high order given its exceptionally rich classical artistes. I told them that if 150 classical musicians got together in India, there would be nothing but chaos (laughs).
Samagam is my humble effort at a message. After seeing the destruction of the world, especially the Mumbai massacre, I felt it was time we had to express something.

This is the first sarod concerto in the history of the instrument?
Yes, it is. I have composed it around some of my existing compositions. The good thing is, by doing that, now all those pieces have been documented.
I was also very happy to meet David Murphy, the conductor for Samagam. After 26/11, many foreigners were afraid to come to India. On December 6, the date of the Babri Masjid demolition, I played at an open-air concert at Nehru Park in Delhi. I called up David and told him about the experience; I told him that India is a peaceful country, that it’s safe.
It is my appeal to all the disruptive people of the world that enough is enough. The time has come to think of their own children, about the future of this world, which cannot be such a violent future.
We have to try to collectively spread love and peace, the message of unity. When the commandos came to save the people of Mumbai, it didn’t matter which state, religion or community they came from to do their job. Unfortunately, we have a number of godmen in our country. They should all convey the true message of a common god.
Language creates barriers. Through language, you abuse, you lie, you win or lose elections. But through sound, you cannot abuse, or lie. When I’m on stage, choosing a raga is really not up to me: there is a conductor in my life; only in my case, he is invisible (smiles).

What are your views on fusion?
Well, fusion is of various kinds. Many youngsters are making fusion albums, including my sons. There is a room for such collaborative music; some of it is appealing and some of it is not. My approach to this project is something totally different to whatever has been done before.

How special is playing in Calcutta?
My first concert was when I was 12 years old, at the Sadanand Music Festival in 1968 in Calcutta. Through the Forties, Fifties and Sixties, every para would have classical music festivals; there were at least 30 festivals organised all over your city. I have played the most in Bengal. I was born in Gwalior, but Bengal nurtured me (smiles).
These days, the Dover Lane Music Conference is the biggest draw. While it gets down artistes of the first rank, my grouse is with Nazrul Mancha as the venue: it is quite uncomfortable, with bad ambience. We need a world-class concert auditorium in Calcutta now.

Published in t2, The Telegraph, February9, 2009