Moksha

The sarod is a beautiful, complex string instrument, which originates from the Afghan rabab —a central Asian wooden lute. The name comes from the Persian sarood, meaning ‘melody’, referring to its more melodic tone. Smaller than the more widely known sitar, the sarod easily sits in the player’s lap at around 3 feet long. It is played with a plectrum of ivory or coconut shell, which can be used very lightly or with more force to create a vast range of sounds and moods.

The instrument has six strings, four melodic and two drones, which provide the rhythmic background, and between eleven and sixteen sympathetic strings which improve resonance, tuned to the notes of the particular raga. A sarod is normally made from teak to give a full rich sound and the front of the wooden belly is covered in goatskin. The fretless steel-clad fingerboard, introduced by Amjad Ali Khan’s forefathers to replace the wooden fretted neck of the rabab, allows the player’s fingers to slide easily over seven notes or more, a technique used at the beginning of a composition to establish the raga.

It is the instrument’s melodic strings which allow the player almost to sing through the sarod, and its range and sonority allow a great diversity of sound and mood. Amjad Ali Khan’s own particular technique is to use the fingernails of his left hand to stop the strings (others might use the fingertips) and it is the fast staccato passages up and down the neck for which he is renowned.

The ragas on this album are all composed by Amjad Ali Khan. His love for and belief in his music has enabled him to interpret long established traditions of Indian classical music in a new and refreshing way, whilst still respecting the time-honoured tradition so closely associated with his family.

About the Music

1. Sandhya

This has the age-old flavour of early evening ragas. It’s like a twilight moment moving from light into dark, plus an obvious feeling of loneliness.

2. Vignaraja

Vignaraja is another name for Lord Ganesha, the popular elephant god associated with good luck. In India, it’s widely believed that he overcomes all the hurdles in life. I performed this raga for the first time at the Ganesha Festival in Pune in 1992. It has a very positive energy and you can hear a lot of colour in the notes of this raga.

3. Calcutta City

This piece (played by Amaan) is based on the folk music of West Bengal called Bhatyali. It’s a style that the boatman of Bengal hum while they go at work to the sea.

4. Ebaadat

Raga Charukeshi is beautiful raga from the South Indian system of music. The word Edaabat has very deep and sacred meaning. It’s a moment when one is in communication with the heavens or when you feel connected to god. I have not played this raga often in my musical career but I guess there is a time and place for everything.

5. Maa Durga

This track, once again, declares my love for Bengal. It is the music capital of India. The goddess Durga is worshipped there in all her glory. In fact, there is a nine day festival called Durga Pooja that takes place every year not only in Bengal but all over the world now. This pentatonic raga is very ancient and I’ve played it since my childhood. It is my prayer to Maa Durga.

6. Atma

This raga is a tribute to my wife and to all those women, who have dedicated their lives to their families. Aesthetically this raga came to me with the most unusual combination of notes and structure. The reason I called it Atma, which is soul, is because the role of my wife has been such. She is the soul, the Atma in my life and that of my sons Amaan and Ayaan.

7. Himaalaya

The State of Himachal Pradesh has very strong and appealing folk music which has influenced this track. The raga is called Pahadi from the Hindi word ‘pahad’— mountain. Ayaan’s performance strikes me as splendid and pictorial.

8. Moksha

Although I am always singing through the sarod, this is the first time I have sung on record. I was pursuaded by the young artists recording with me. Based in Raga Bahar, this type of singing is called taraana with musical syllables that don’t have any particular meaning. A lot of rhythmic freedom goes along with this taraana singing and it makes a climax to the album. Moksha is the ultimate goal of Hindu religious life. But, like any natural phenomenon, music has no religion. Through music —and through this instrument— I feel connected with every religion and every human being —or every soul, I should say.

Notes by Amjad Ali Khan