Music pieces:
Raag Puriya Dhanashree, Thaat: Poorvi, Samay: dusk
Raag Saugandh, Thaat: Kafi, Samay: afternoon
Dadra in Mishra Khamaj
Thumri in Mishra Sindhu Bhairavi

In this video from 2010, Murad Ali Khan plays a memorable sarangi solo that includes a rare raga and some enticing compositions. Along with a rare repertoire of ragas and compositions, it is Khan’s soul-piercing sound and dense tonal quality that make his music so special to Sarangi fans all over the world.

Carved from a single block of cedar wood, the sarangi bears an uncanny resemblance to the human voice and is awfully painful to play. Yet, Khan combines technique and soulfulness to bring out a copious, thickset sound to create intense experiences for his listeners both as an accompanist and a soloist.

Apart from the main presentation in Puriya Dhanashree, he plays Raag Saugandh, a dadra in Mishra Khamaj and a thumri in Sindhu Bhairavi.

Kousic Sen gives a spirited accompaniment to the recital, precipitating the energetic parts with rumbling solos and underpinning the subdued moments with poised companionship.

With a consummate alap (rhythmless introduction), Khan swiftly introduces Puria Dhanashree. His gentle movements radiate a sombre glow, reflective of the reclusive personality of this masculine raga. Moving in luxuriant strides, his tonal sentences brim with notes and float on spacious structures alternately. He creates subtle shifts and surprising modulations, transforming the lissome, tightly packed phrases into stockier movements, ushering in the heroic, contemplative mood of Puria Dhanashree.

The first composition set to vilambit Ektaal is followed by two faster compositions in Teental and Ektaal. Through rigorous and lusty developments, Khan builds a candid, heart-wrenching yearning, bringing this section to an end.

With thorough command over structure and emotional fluidity, he presents the rare raga Saugandh. Based on Kafi thaat, this too is an afternoon melody with strong shades of Raag Madhuvanti. Kousic Sen churns petite tabla syllables in fluttering movements packed in neat structures over the 16-beat fast composition.

Khan ends his solo with two lighter semi-classical pieces. The first one is a dadra in Mishra Khamaj that chronicles the playful romance between Lord Krishna and his consort Radha. “Dagar Beech Mag Roke Kanhaiya Bepeer,” which translates to “O Krishna, why occlude my path unhindered,” is Radha’s plea to the lord when he playfully obstructs her path in broad daylight – a gesture considered outrageous in the age-old societies of India - on her way to fetch water from the river.

The finale, a thumri, is based on Sindhu Bhairavi. Its lyrics, “Maike Me Jiya Ghabraaye,” is the heartfelt plea of the heroine who misses the loving company of her husband during a visit to her parents.

Musicians
Murad Ali Khan (sarangi)
Kousic Sen (tabla)
Priya Parkash (tanpura)

Music pieces:
Raag Puriya Dhanashree, Thaat: Poorvi, Samay: dusk
Raag Saugandh, Thaat: Kafi, Samay: afternoon
Dadra in Mishra Khamaj
Thumri in Mishra Sindhu Bhairavi