This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (December 2011)

This article may require cleanup to meet Wikipedia's quality standards. No cleanup reason has been specified. Please help improve this article if you can; the talk page may contain suggestions. (March 2012)

Sarangi

Classification	Chordophone
Related instruments
Esraj (India) Sarinda (India)

The sārangī (Hindi: सारंगी, Punjabi: ਸਰੰਗੀ, sarangī) is a bowed, short-necked string instrument of India which originated from Rajasthani folk instruments. It plays an important role in India's Hindustani classical music tradition. Of all Indian instruments, it is said to most resemble the sound of the human voice – able to imitate vocal ornaments such as gamakas (shakes) and meend (sliding movements).

History[link]

Surjeet Singh tuning his Sarangi

There are different versions for the meaning and origins of sarangi but the most logical and widely accepted ones are that the word sarangi is derived from two Hindi words: sau (meaning hundred) and rang (meaning colour) hence meaning the instrument of 100 colours while the other one is that the word sarangi is combination of two sanskrit words: saar (summary) and ang (form, herein different styles of playing instrumental music for e.g. gayaki ang) hence meaning the instrument that can summarize every style of music or playing. Both the versions though point towards the same quality of sarangi, that it can play any type of repertoire of music and still sound beautiful.

The current form of sarangi is said to have originated from the traditional stringed and bowed instruments from Rajasthan which were further developed and amalgamated with Persian instruments that came along with the Muslim invasion in India.

Sarangi now enjoys the status of a solo classical instrument due to the single-handed efforts of Ram Narayan. There is a variation to the fingering technique that was used by Ram Narayan. It differs from the standard fingering as to when one shifts from the first finger (index) to the second finger (middle finger). By Ram Narayan's own admission it is a non-standard approach, and under any other circumstance we would dismiss this as being a somewhat idiosyncratic technique. However Ram Naryan is considered unequalled in the 20th century for his skill and influence over the entire field of sarangi.

Well known sarangi players include Bundu Khan, Mamman khan, Nathu Khan, Shakoor Khan, Sagiruddin Khan, Hanuman Prasad Mishra, Abdul Lateef Khan and Sultan Khan.

The repertoire of sarangi players is traditionally very closely related to vocal music. Nevertheless, a concert with a solo sarangi as the main item will probably include a full-scale raag presentation with an extensive alap (the unmeasured improvisatory development of the raga) in increasing intensity (alap-jor-jhala) and several compositions in increasing tempi called bandish. As such, it is on a par with other instrumental styles such as for sitar, sarod, and bansuri.

Sarangi music is often vocal music. It is rare to find a sarangi player who does not know the words of many classical compositions. The words are usually mentally present during performance, and performance almost always adheres to the conventions of vocal performance including the organisational structure, the types of elaboration, the tempo, the relationship between sound and silence, and the presentation of khyal and thumri compositions. The vocal quality of sarangi is in a quite separate category from, for instance, the so-called gayaki-ang of sitar which attempts to imitate the nuances of khyal while overall conforming to the structures and usually keeping to the gat compositions of instrumental music. (A gat is a composition set to a cyclic rhythm.)

The sarangi is also a traditional stringed musical instrument of Nepal, commonly played by the Gaine or Gandarbha ethnic group but the form and repertoire of sarangi is more towards the folk music as compared to the heavy and classical form of repertoire in India.

Structure[link]

A sarangi laid flat

Carved from a single block of tun (red cedar) wood, the sarangi has a box-like shape with three hollow chambers: pet (stomach), chaati (chest) and magaj (brain). It is usually around 2 feet (0.61 m) long and around 6 inches (150 mm) wide though it can vary as there are smaller as well as larger variant sarangis as well. The lower resonance chamber or pet is covered with parchment made out of goat skin on which a strip of thick leather is placed around the waist (and nailed on the back of the chamber) which supports the elephant-shaped bridge that is made of camel or buffalo bone usually (made of ivory or Barasingha bone originally but now that is rare due to the ban in India). The bridge in turn supports the huge pressure of approximately 35–37 sympathetic steel or brass strings and three main gut strings that pass through it. The three main playing strings – the comparatively thicker gut strings – are bowed with a heavy horsehair bow and "stopped" not with the finger-tips but with the nails, cuticles and surrounding flesh. (talcum powder is applied to the fingers as a lubricant). The neck has ivory/bone platforms on which the fingers slide. The remaining strings are resonance strings or tarabs (see: sympathetic strings), numbering up to around 35–37, divided into 4 "choirs" having two sets of pegs, one on the right and one on the top. On the inside is a chromatically tuned row of 15 tarabs and on the right a diatonic row of 9 tarabs each encompassing a full octave plus 1–3 extra notes above or below that. Both these sets of tarabs pass from the main bridge to the right side set of pegs through small holes in the chaati supported by hollow ivory/bone beads. Between these inner tarabs and on the either side of the main playing strings lie two more sets of longer tarabs, with 5–6 strings on the right set and 6–7 strings on the left set. They pass from the main bridge over to two small, flat and wide table like bridges through the additional bridge towards the second peg set on top of the instrument. These are tuned to the important tones (swaras) of the raga. A properly tuned sarangi will hum and buzz like a bee-hive, with tones played on any of the main strings eliciting echo-like resonances. A few sarangis use strings manufactured from the intestines of goats — these harken back to the days when rich musicians could afford such strings.

Players[link]

India and Pakistan[link]

• Navdip Singh Paras
• Chamkaur Singh Jalalabadi
• Abdul Latif Khan
• Bharat Bhushan Goswami
• Ahmed Khan (musician)
• Aruna Narayan Kalle
• Datararra Kazino
• Dattaramji Parwatkar
• Deepak Paramashivan (Bangalore)
• Dhruba Ghosh
• Farukh Latif Khan
• Faiyaz Khan (Bangalore)
• Ghulam Sabir Khan (Ambalewale)
• Ghulam Farid
• Gopal Mishra
• Harsh Narayan
• Ikram Khan
• Kamal Sabri
• Khalifa Hafizullah Khan
• Mouddin Khan
• M.A. Banne
• Murad Ali
• Ram Narayan
• Vasanti Shrikhande
• Rafiq Ahmed Khan
• Ramesh Mishra
• Sabri Khan
• Sarwar Hussain
• Shakur Khan
• sultan khan
• swami nirdosh swaruap dasji
• Kashyap Dave^[1]
• Vinod Pawar
• Sabir Khan
• Abubakar Javed
• Dilshad Khan
• Dr Taimur Khan
• Bundoo Khan
• Nathoo Khan
• Umrao Khan
• Ghulam Mohammad
• Nazim Ali Khan
• Hamid Hussain Khan
• Khawar Hussain
• Sharfuddin Khan
• Piroo Khan
• Mubarik Ali Khan
• Nabi Bakhsh
• Zohaib Hassan Khan
• Zahoori Khan
• Allah Rakha Khan
• Abdul Wahab Ch.

Nepal[link]

A bamboo sarangi from Nepal

• Parashuram Bhandari
• Jhalak Man Gandarbha
• Khim Bahadur Gandarba
• Tirtha Bahadur Gandarbha
• Hari Sharan Nepali
• Shyam Nepal
• Hiralal Gandarbha
• Rubin Gandarbha
• Diwas Magar
• Honimaya Gandharba (from Prabash, Palpa)

United Kingdom[link]

• Surjeet Singh
• Surinder Sandhu (Disciple of Ustad Sabri Khan)
• Harjider Singh Matharu (Disciple Of Ustad Sabri Khan and Kamal Sabri)

Makers[link]

• Masita (Meerut)
• Behra (Meerut)
• Rajesh Dhawan (Meerut)
• Raj Musicals (New Delhi)
• Krishna Gopal Manandhar (Nepal)

[edit] Modern performers who have used sarangi in compositions

• A. R. Rahman for the song "Tum Ko" performed by Kavita Krishnamurthy in the feature film Rockstar.
• "Yuvan Shankar Raja" for the song "Yogi theme in saarangi" in his 2009 film "Yogi", performed by "Ustad Sultan Khan".
• Kamal Sabri
• Aerosmith, sarangi parts performed by Ramesh Mishra (featured on the track "Taste of India" from the 1997 album Nine Lives)
• Surinder Sandhu, The Fictionist with The Royal Liverpool Philharmonic Orchestra, SauRango Orchestra with Steve Vai and Cycles and Stories.
• Cheb i Sabbah
• Digital Bled
• Howard Shore (the Lothlórien portions of the score for The Fellowship of the Ring)
• Musafir, or Gypsies of Rajasthan
• Nitin Sawhney
• Robert Miles (on his 2001 album Organik)
• Secret Chiefs 3
• Steve Shelley of Sonic Youth
• Tabla Beat Science
• Tool (featured on the track "Reflection")
• Talvin Singh
• Robin Williamson of the Incredible String Band (notably in the song White Bird on the Changing Horses album)
• Blind Melon's track Sleepyhouse from their debut album Blind Melon
• [ ustad shaheen parvez sarangi player
• Suhail Yusuf Khan from Delhi based Indian band Advaita

See also[link]

• Esraj
• Sarinda
• Hindustani music

References[link]

External links[link]

Wikimedia Commons has media related to: Sarangis

• Sarangi Video by Nasir Khan
• Resham Firiri A popular Nepali folk music with a Sarangi and madal.
• Nicolas Magriel's Sarangi Site most informative, a veritable treasure of information and archives
• sarangi.info – downloadable sarangi and vocal music, including the integral of two important books, The Voice of the Sarangi, Joep Bor; The Sarangi, by Ram Narayan and Neil Sorrell
• The Sarangi – This article on sarangis includes pictures of an exquisitely crafted sarangi by Paul Martin.
• Sadarang Archives Gallery of Pakistani sarangi players
• Nepali Sarangi Video from YouTube

Three historic sarangi from The Metropolitan Museum of Art

• Sarangi, Gujarat, 19th century
• Sarangi, ca. 1900
• Sarangi, North India, late 19th century
• Autobiography of sarangi posted by paromita

Pankaj Mishra ( पंकज मिश्रा ) born 1969 in Jhansi in Uttar Pradesh (North India), is an Indian essayist and novelist. He is particularly notable for his book Butter Chicken in Ludhiana, a sociological study of small-town India, and his writing for the New York Review of Books.

He graduated with a bachelor's degree in commerce from Allahabad University before earning his Master of Arts degree in English literature at the Jawaharlal Nehru University in New Delhi.^[1] He was the Visiting Fellow for 2007-2008 at the Department of English, University College London, UK.

Writing career[link]

In 1992, he moved to Mashobra, a Himalayan village, where he began to contribute literary essays and reviews to The Indian Review of Books, The India Magazine, and the newspaper The Pioneer. His first book was Butter Chicken in Ludhiana: Travels in Small Town India (1995), a travelogue that described the social and cultural changes in India in the new context of globalization. His novel The Romantics (2000), an ironic tale of people longing for fulfillment in cultures other than their own, was published in eleven European languages and won the Los Angeles Times Art Seidenbaum award for first fiction. His recent book An End to Suffering: The Buddha in the World (2004) mixes memoir, history, and philosophy while attempting to explore the Buddha's relevance to contemporary times. Temptations of the West: How to be Modern in India, Pakistan and Beyond (2006), describes Mishra's travels through Kashmir, Bollywood, Afghanistan, Tibet, Nepal, and other parts of South and Central Asia.

In 2005, Mishra published an anthology of writing on India, India in Mind (Vintage). His writings have been anthologized in The Picador Book of Journeys (2000), The Vintage Book of Modern Indian Literature (2004), and Away: The Indian Writer as Expatriate (Penguin), among other titles. He has introduced new editions of Rudyard Kipling's Kim (Modern Library), E. M. Forster's A Passage to India (Penguin Classics), and J. G. Farrell's The Siege of Krishnapur (NYRB Classics). He has also introduced two volumes of V. S. Naipaul's essays: The Writer and the World and Literary Occasions.

Mishra writes literary and political essays for the New York Times, the New York Review of Books, the Guardian, and the New Statesman, among other American, British, and Indian publications. His work has also appeared in The Boston Globe, Common Knowledge, the Financial Times, Granta, The Independent, the London Review of Books, n+1, The Nation, Outlook, Poetry, Time, the Times Literary Supplement, Travel + Leisure, and The Washington Post. He divides his time between London and India, and is presently working on a novel.^[2]

His book Temptations of the West: How to be Modern in India, Pakistan, Tibet and Beyond was reviewed by The Economist (1–7 July 2006 issue).

In 2008 he was one of the first authors to take part in the Palestine Festival of Literature. He was elected a Fellow of the Royal Society of Literature in 2008.^[3]

• He also Honored with “Proud Past Alumni" in the list of 42 members, from "Allahabad University Alumni Association", NCR, Ghaziabad (Greater Noida) Chapter 2007-2008 registered under society act 1860 with registration no. 407/2000^[4].

Criticisms[link]

In a lecture Prof Jagdish Bhagwati had this to say in reference to Mishra's op-ed pieces in the New York Times: "Perhaps the most articulate critics are the ‘progressive’ novelists of India, chief among them Pankaj Mishra whom the op-ed page editors of the New York Times regularly and almost exclusively invite to write about the Indian economy, a privilege they do not seem to extend symmetrically to American novelists to give us their profound thoughts on the US economy!" He then said of Mishra's economic analysis "While economic analysis can often produce a yawning indifference, and Mishra’s narrative is by contrast eloquent and captivating, the latter is really fiction masquerading as non-fiction." ^[5]

Patrick French in response to Mishra's review ^[6] of French's book India: A Portrait(2010), suggested that his writing is aimed to please his readers in his new home, Britain: "Pankaj has obviously been on a long journey from his self-described origins—in what he calls a 'new, very poor and relatively inchoate Asian society'—to his present position at the heart of the British establishment, married to a cousin of the prime minister David Cameron. But he seems oddly resentful of the idea of social mobility for other Indians."^[7]

Personal life[link]

He is married to Mary Mount, a second cousin of British Prime Minister David Cameron, and he divides his time between Delhi, Shimla and London.^[8] His father-in-law is Ferdinand Mount, former head of Margaret Thatcher's policy unit. He has one daughter.

Bibliography[link]

Book reviews[link]

• "Impasse in India" The New York Review of Books 54/11 (28 June 2007) : 48-51 [reviews Martha C. Nussbaum, The Clash Within: Democracy, Religious Violence, and India's Future]
• "Watch this man" London Review of Books, Vol.33 No. 21 (3 November 2011) [reviews Niall Ferguson, Civilisation: The West and the Rest]

Books[link]

• Temptations of the West: How to Be Modern in India, Pakistan, Tibet, and Beyond (Farrar, Straus and Giroux, 2006)
• India in Mind, edited by Pankaj Mishra (Vintage Departures Original, 2005)
• A Passage to India, by E. M. Forster, edited by Pankaj Mishra (Penguin Classics, 2005)
• An End to Suffering: the Buddha in the World (Farrar, Straus and Giroux, 2004)
• The Siege of Krishnapur, by J. G. Farrell; introduction by Pankaj Mishra (NYRB Books, 2004)
• Kim, by Rudyard Kipling; introduction by Pankaj Mishra (Random House Modern Library, 2004)
• The Romantics (UK Picador 1999; Anchor Books, 2001)
• Butter Chicken in Ludhiana: Travels in Small Town India (Viking Penguin, 1995)

References[link]

External links[link]

• Pankaj Mishra, resource website at Columbia University
• Philosopher King by Adam Goodheart—book review in New York Times
• "Pankaj Mishra, Intellectual and Spiritual Vagrant". An interview by Wendy Cheng at Loggernaut.
• Interview with Pankaj Mishra by Sarah Fay for "The Believer" 2007.
• [1]. Report by Pankaj Mishra regarding Kashmir on July 22, 2002 in the UK Guardian newspaper.
• of Pankaj Mishra and Arundhati Roy discussing "India in the World" at the Shanghai International Literary Festival

Reviews & articles

• Pankaj Mishra at The New York Review of Books
• Pankaj Mishra at The Guardian
• Pankaj Mishra at The New Yorker
• Pankaj Mishra at Outlook (magazine)
• Pankaj Mishra at Bloomberg L.P.

Ustad Vilayat Khan (Bengali: বিলায়েত খাঁ Bilaeet Khã; August 28, 1928 ^[1] – March 13, 2004) was one of India's well known sitar maestros.^[1] He recorded his first 78-RPM disc at the age of 8, and gave his last concert in 2004 at the age of 75.^[2][3]

Early life[link]

Vilayat Khan was born in Gauripur, British India to Enayat Khan, a sitar maestro.^[4] His family of musicians trace their pedigree back to the court musicians of the Mughals. His father, recognised as a leading sitar and surbahar (bass sitar) player of his time, as had been the grandfather, Imdad Khan, before him. He was taught in the family style, known as the Imdadkhani Gharana^[5] or Etawah Gharana, after a village outside Agra where Imdad Khan lived.

However, Enayat Khan died when Vilayat was only nine, so much of his education came from the rest of his family: his uncle, sitar and surbahar maestro Wahid Khan,^[6] his maternal grandfather, singer Bande Hassan Khan, and his mother, Bashiran Begum, who had studied the practice procedure of his forefathers. His uncle Zinde Hassan looked after his riyaz (practice). As a boy, Vilayat wanted to be a singer; but his mother, herself from a family of vocalists, felt he had a strong responsibility to bear the family torch as a sitar maestro.^[2]

Performing career[link]

Vilayat Khan performed at All bengal Music Conference, as his first concert, organized by Bhupen Ghosh in Kolkata with Ahmed Jan Thirakwa on tabla. His performance made headlines as "Electrifying Sitar" in Bombay next day of his concert organized by Vikramaditya Sangeet Parishad, Mumbai (1944). In the 1950s, Vilayat Khan worked closely with instrument makers, especially the famous sitar-makers Kanailal & Hiren Roy, to further develop the instrument. Also, he liked to perform without a tanpura drone, filling out the silence with strokes to his chikari strings.

Some ragas he would somewhat re-interpret (Bhankar, Jaijaivanti), others he invented himself (Enayatkhani Kanada, Sanjh Saravali, Kalavanti, Mand Bhairav), but he was first and foremost a traditional interpreter of grand, basic ragas such as Yaman, Shree, Todi, Darbari and Bhairavi.

When he died from lung cancer in 2004, Vilayat Khan had been recording for over 65 years, broadcasting on All-India Radio since almost as far back and been seen as a master (ustad) for 60. He had been touring outside India off and on for more than 50 years, and was probably the first Indian musician to play in England after independence (1951). In the 1990s, his recording career reached a climax of sorts with a series of ambitious CDs for India Archive Music in New York, some traditional, some controversial, some eccentric. Towards the end of his life, he also performed and recorded sporadically on the surbahar. He has performed duet concerts with maestros like Bismillah Khan, Ali Akbar Khan, brother Imrat Khan.

Khan composed and conducted the score for three feature films - Satyajit Ray's Jalsaghar in Bengali,^[7] Merchant-Ivory Productions' The Guru in English, and Madhusudan Kumar's Kadambari in Hindi. In addition to these, he also gave music for a little known documentary film in Bengali produced by Dr. Barin Roy.

Personal life[link]

The Imdad Khan family is of Rajput lineage ^[8]. The family is of Hindu origin and later converted to Islam. In an informal continuation of his rajput lineage Ustad Enayat Khan (father of Ustad Vilayat Khan) kept a Hindu name of Nath Singh. Ustad Vilayat Khan himself composed many bandishes using the pen name Nath Piya.

Vilayat Khan spent much of his life living in Calcutta. He was married twice. He had two children from his first marraige - Sufi singer Zila Khan^[9] and Yaman Khan. From his second marraige he had two sons, Shujaat (b. 1960)^[10] and Hidayat (b. 1975), both sitarists. He was survived also by his younger brother, Imrat Khan, the post-war star of the surbahar field. The brothers played celebrated duets in their youth, but had a severe falling-out and for years were not on speaking terms. His nephew Ustad Rais Khan is also a star sitar-player. Ustad Vilayat Khan took few disciples other than his sons; among the best-known are Kashinath Mukherjee (younger brother of film director Hrishikesh Mukherjee), Arvind Parikh, Kalyani Roy. Debashis Datta. Mrs. Lakshmi Seshan now a teacher of the instrument in her 80th year was a student of Vilayat Khan starting at the age of 12. The Maestro also gave sitar lessons to Big Jim Sullivan, the famous English session musician.^[11]

Ustad-e-Maa Zila Khan, the great Sufi singer from the Imdad Khani Gharana and daughter of Ustad Vilayat Khan’s was a formal student (gandabandh shahgird) and Ustad Vilayat Khan empowered her to also be a successor of this great Gharana. She is the first and only woman of this gharana who performs public concerts and her CD’s are very popular with the masses and the intellects alike.

He enjoyed horse-riding, pool playing, swimming and ballroom dancing. His successes made him rich, and though he grew more pious late in life, he used to drive sports cars and dress in haute couture, and also collected such various items as firearms, smoking pipes, antique European crockery, cut glass and chandeliers.

Controversy[link]

Fans and media alike liked to play up Vilayat Khan's rivalry with and animosity towards Ravi Shankar. However, in calmer moments Vilayat would admit there was not much to it. His animosity for the politics and institutions of India's cultural life was another matter. In 1964 and 1968, respectively, he was awarded the Padma Shri and Padma Bhushan awards – India's fourth and third highest civilian honours for service to the nation – but refused to accept them, declaring the committee musically incompetent to judge him.

In January 2000, when he was awarded the Padma Vibhushan, the second highest civilian award, he again refused, going so far as to call it "an insult". This time, his criticism had a slightly different twist: he would not accept any award that other sitar players, his juniors and in his opinion less deserving, had been given before him. "If there is any award for sitar in India, I must get it first", he said, adding that "there has always been a story of wrong time, wrong person and wrong award in this country".^[3]

Among other honours he turned down was the Sangeet Natak Akademi Award. For a while, he also boycotted All-India Radio. The only titles he accepted were the special decorations of "Bharat Sitar Samrat" by the Artistes Association of India and "Aftab-e-Sitar" (Sun of the Sitar) from President Fakhruddin Ali Ahmed.

Footnotes[link]

^ He kept his childhood interest in vocal music all his life, often singing in concerts, and composed khyal bandishes using the pen name Nath Piya.

^ Sitar Maestro Vilayat Khan Refuses Padma Bhushan, The Hindu, February 7, 2000.

References[link]

Further reading[link]

• The Autobiography of Ustad Vilayat Khan: Komal Gandhar, written with Sankarlal Bhattacharjee. Published by Sahityam. Kolkata.
• Hindustani Rag Sangeet Online, Patrick Moutal's Website. Audio and video archives of Vilayat Khan.

This article has multiple issues. Please help improve it or discuss these issues on the talk page. This biography of a living person needs additional citations for verification. Tagged since September 2010. It may contain wording that merely promotes the subject without imparting verifiable information. Tagged since September 2010.

Ustad Sabri Khan (Hindi: उस्ताद साबरी खान,(Urdu: استاد صابری خان), born 1927 in Moradabad, Uttar Pradesh^[1]) is an Indian sarangi player, who is descended on both sides of his family from a line of distinguished musicians.

Family[link]

Khan has 4 sons- Sarwar Sabri (Musician - Tabla; living in Birmingham), Jamal Sarwar Sabri (Chartered Accountant ; living in Dubai), Kamal Sabri (Musician - Sarangi ; living in Delhi) and the youngest Gulfam Sabri (Singer ; living in Delhi) and 5 Daughters.He has many Grandsons either learning to or playing musial instruments: Sohail (Sarangi),Faisal (Tabla),Sharig (Tabla),Junaid (Guitar) and Nabeel (Sarangi).

Gharana and the music training[link]

Khan belongs to the Sainia Gharana. This Gharana traces the tradition of its music back to Mian Tansen, the great vocalist in the court of Moghul Emperor Akbar. Khan was initiated into Sarangi – playing by his grandfather, Ustad Haji Mohammed Khan and later continued his training under his father Ustad Chajju Khan, both accomplished Sarangi exponents of their time. Khan also learned some important and rare techniques of playing this ancient and difficult instrument from his uncle Ustad Laddan Khan of Rampur.

Khan has a prodigious command over the Sarangi – bowed instrument, which is considered to be a difficult instrument to master in Indian instrumental music. In playing Sarangi he has generated his own style where the purity of raga, variety of tans, layakari, (rhythmic oscillations) alaap-jor are obvious and of course of the traditional form of sarangi-playing in its total originality.

Music career[link]

Khan, has toured extensively across the world and performed in Afghanistan, Pakistan, China, Japan, USSR, Russia, USA, Canada, England, France, Germany, Holland, Belgium, Italy, Spain, Czechia, Slovakia, Bulgaria, Sweden, Norway, Finland and Mexico.. The credit of introducing the Sarangi to American and European audiences goes to Khan. He has also played a duet with the renowned Yehudi Menuhin and was invited as a visiting professor by the University of Washington, Seattle, USA.

In appreciation of his contribution to the Classical Music of India Ustad Sabri Khan has received numerous honours and awards, including the Sahitya Kala Parishad Award, UP Sangeet Natak Academy Award, National Sangeet Natak Academy Award and the prestigious Padma Shree Award (1992) and Padma Bhushan Award (2006) by the President of India – Government of India.

He has his seventh and eighth generation of the family playing Sarangi in the form of his son Kamal Sabri and grandson Sohail Khan.

Awards and honour[link]

• Sahitya Kala Parishad Award
• Shobhna Kala Sangam Award – 1985
• Begum Akhtar Award
• Sangeet Natak Akademi Award - 1986
• Uttar Pradesh Sangeet Natak Academy Award, Luchnow, UP – 1990
• Padma Shree Award by the President of India, Government of India – 1992
• Ustad Chand Khan Award – 2002
• Sangeet Bhushan Award – 2002
• Lifetime Achievement Award – LEGENDS OF INDIA - DMA – Delhi – 2003
• National Artist Award – All India Radio Prasar Bharti Award – 2004
• Padma Bhushan Award by the President of India, Government of India - 2006
• Tagore Ratna Award by Governor of Bengal-2012

Khan received several national awards, including the Padma Shri in 1992 and the Padma Bhushan in 2006.^[2]

References[link]

External links[link]

• Sabri Khan at Allmusic

This Indian music-related biographical article is a stub. You can help Wikipedia by expanding it. v t e

Anindo Chatterjee is an Indian tabla player from Farukhabad gharana. He is a disciple of Pt. Jnan Prakash Ghosh. biographyby Craig Harris Gifted with an ability to summon crystal-clear melodies from his drums, Anindo Chatterjee evolved into one of the world's greatest tabla players. The director of the Farrukhabad Gharana of Tabla, founded by Haji Vilayat Khan Saheb, Chatterjee continues to give new voice to his instrument. In addition to solo performances and recordings, Chatterjee worked with sitar players Pandit Nikhil Banerjee, Budhahitya Mukherjee, and Ustad Rais Khan; sarod players Buddhadev Das Gupta and Ali Akbar Kahn; flautist Hariprasad Chaurasia; santoor player Pandit Shivkumar Sharma; and vocalists Pandit Mallikarjun Mansur and Gangubai Hangal. Inspired by his uncle, Pandit Biswanath Chatterjee, Chatterjee began playing tabla at the age of five. Studying briefly with Ustad Afaq Hussain Khan of the Lucknow Gharana, he advanced to Pandit Jnan Prakesh, with whom he studied for three decades. The recipient of the prestigious President's Award in 1970, Chatterjee became the first table player to perform in the House of Commons 20 years later.. ^[1][2] He performed at Rashtrapati Bhavan when U.S. President Barack Obama visited India in November 2010. Chatterjee received the Sangeet Natak Akademi Award for 2002.

References[link]

External links[link]

• Official site

This Indian music-related biographical article is a stub. You can help Wikipedia by expanding it. v t e

This article on a drummer is a stub. You can help Wikipedia by expanding it. v t e