New twist in Aamir Khusro’s ‘Chhap Tilak’

During the Mughal period, music in North India showed Persian influence. It is said that Amir Khusrau, who was a great artist during the reign of Alauddin Khilji, created many new ragas, talas, musical instruments and styles like kal, kalbana, khayal and tarana. The Delhi gharana of Hindustani music has its origins from the Qawwal-Bachha branch of Amir Khusrau and Mian Achpal. Those were the days of Hindu-Muslim cultural synthesis. It was Amir Khusro who started the tradition of celebrating the festival of spring by singing the raga Basant in a yellow dress, which is still practiced at the Nizamuddin Chishti Dargah.

mysterious song

Khusrau also wrote many Kalams, couplets, ghazals, qatas, nazms and rubaiyats. His poetry was a serious desire to be associated with his Peer-o-Murshid, Hazrat Nizamuddin Auliya. ‘Chhap Tilak Sab Chini, Moose Naina Mila Ke’, one of his famous Kalams, depicts his devotion and joy of being united with the Almighty. Because of its mystical lyrics, the poem has been sung in many concerts. Qawwals such as Zafar Hussain Badayuni, Nusrat Fateh Ali Khan and the Nizami Brothers and singers including Abida Parveen, Farida Khanum and Reshma often incorporate this piece into their repertoire.

Panorama Music’s latest album ‘Chhap Tilak’ brings together two sarod artists and a singer. Shot at Jaipur’s picturesque Amer Fort, the album features Amrita Kak singing the famous Khusro Kalam to the accompaniment of sarod by Amaan and Ayaan Ali Khan Bangash.

The panoramic view of the city and the famous fort, along with the architectural magnificence captured on camera, is a perfect backdrop for the artists dressed in royal costumes. One only wished that the singer could bring out the emotional depth of the poem.

Amrita has sung chartbuster film songs but this kind of poetry needs special training and flair. Young brothers Aman and Ayaan belong to the illustrious legacy of their grandfather Ustad Hafiz Ali Khan and father Ustad Amjad Ali Khan. Therefore, the first thing that comes to mind is what happened in this thought.

Aman replies, “For a long time we were thinking of doing something musical together. One day we met in the studio, tried to record this song, and felt happy about the result. Though it is really challenging to work on old and popular compositions sung by famous names like Reshma and Farida Khanum, we tried to present it as Hajiri (respect) in our own way.

mix of ragas

The brothers have chosen soothing ragas such as the colors of Yemen, Bihaag, and Kalyan that enhance Amrita’s singing, and the ambiance created by the director, including the last shot that just shows the sarod on a swing.

Ayan says, “Every raga has its own color and character.

We discovered Raga Yaman, and introduced Bihag in it because both have the same vowel, with a difference in chalana (movement). ,

When asked whether this imaginative and creative approach comes from his classical training, Aman says, “Of course it does, but we also want to include people who don’t like listening to dhrupad or khayal, but then also likes to enjoy different colors of ragas in old compositions.”

Amaan and Ayaan reiterate that this is their first experiment together, and they plan to put together older compositions like Jugni, and bring them as an album apart from performing their solo and duet classical sarod concerts. are planning.

Delhi critics write on classical music.