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- He challenged his audiences with his elaborate architecture, richness of musical content, and sophisticated presentation. Attempts have been made to portray Vilayat Khan as a representative of the romanticist movement in 20th century Hindustani music. Amongst instrumentalists, he was, without doubt, the peerless master of the romanticist genres.
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Khan spent much of his life in Calcutta (now Kolkata). He was married twice. [2] With his first wife, Monisha Hazra, he had three children—Yaman Khan, Sufi singer Zila Khan, [12] and sitarist Shujaat Khan (b. 1960). [13] [2] By his second marriage, Vilayat Khan had one son, Hidayat (b. 1975), also a professional sitarist. Vilayat Khan was ...
- The Surbahar Player
- The Duet Artist
- Film Music
- The Repertoire
- The Gayaki Anga
- The Man-Machine Relationship
- Re-Engineering The Instrument
- The Vilayat Khan Legacy
In Ustad Vilayat Khan’s gharana, musicians were routinely trained on the sitar as well as the surbahar (a magnified and bass version of the sitar). This tradition was a part of the 19th century practice of presenting the elaborate Rudra Veena/Dhrupad-style alap on the surbahar followed by post-Dhrupad bandish-es on the sitar. In this tradition, Vil...
Vilayat Khan had a minor, but distinguished, presence as a duet artist. During the 1950’s he did several memorable concerts with the sarod maestro, Ustad Ali Akbar Khan, whom he admired immensely. He also launched a partnership with the violinist, Gajananrao Joshi, which turned out to be short-lived. During the 1960s, he released two LPs of duets w...
Not surprisingly for an elitist musician – and much like classical music stalwarts of his generation – Vilayat Khan’s formal involvement in film music was negligible. He composed and conducted the score for three feature films – Satyajit Ray’s Jalsaghar in Bengali, Merchant-Ivory Productions’ The Guru in English, and Madhusudan Kumar’s Kadambari in...
Vilayat Khan’s gharana has a tradition of specializing in a few raga-s for concert performance. His grandfather, Ustad Imdad Khan, for instance, became the most influential sitar and surbahar player of his times by concentrating on just two ragas: Yaman and Puriya. Likewise, his father, Ustad Enayet Khan, an equally influential sitarist, performed ...
The term “Gayaki Anga” refers to that facet of Ustad Vilayat Khan’s music that enabled him to simulate the experience of vocalism in all phases of the rendition. The classification distinguishes his music from the “Tantkar Anga” (the idiom of the plucked instruments) which was performed on the Sitar until the era of his father, Ustad Enayet Khan. T...
For involuntary processes to have taken charge of the Ustad’s music – as they do in vocal music – he would have needed to weld his body and his instrument into a single unified musical machine. This is probably the most fundamental, and least understood, facet of Vilayat Khan’s contribution to the art of the sitar. He had probably not reasoned out ...
Executing melody on the sitar is subject to two kinds of melodic discontinuity – that imposed by the frequency of left hand moving between frets, and that imposed by the frequency of sound priming by the right hand. Both these had to be minimized if Vilayat Khan was to simulate the aural experience of vocal music on the sitar. He had to get many mo...
The legacy of a musician consists of his style, and his recordings. Judged on these facets of his legacy, Vilayat Khan ranks amongst the greatest musicians of the 20th century. Vilayat Khan looms so large over the world of the sitar, that the gharana, named originally after his grandfather, Ustad Imdad Khan, may now legitimately be re-christened th...
Admitting that they were close friends and had lived together in Delhi and Saharanpur, in the same house, Ustad Vilayat Khan claims Ustad Amir Khan was a “gandaband” shishya of his maternal ...
Both Vilayat Khan’s maternal grandfather (Ustad Bande Hussain Khan) and maternal uncle (Ustad Zinda Hussain Khan) were great vocalists of Shaharanpur. Vilayat Khan’s prime Gurus (teachers) were his father, paternal uncle Ustad Wahid Khan, maternal grandfather and maternal uncle.
Nov 8, 2018 · While drawing the portrait of an older Vilayat Khan, Namita touches upon his uneasy relationship with his son Shujaat Khan, a well-known sitar player and his younger son Hidayat Khan’s...
Dec 22, 2018 · For those who can’t have enough insights into Amir Khan, the man with a molten throat, there are some wonderful nuggets about his abiding friendship with Vilayat Khan.
Vilayat Khan stands out as one of the greatest sitarists of our era. He was born into a musical family on Aug 28, 1928 in the village of Gauripur (present day Bangladesh). In his life, he emerged to become one of the most influential musicians of the 20th century.
