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Strings for Peace

A Concert with Amjad Ali Khan, Sharon Isbin, Amaan Ali Bangash & Ayaan Ali Bangash

Performance Dates

• Fri Mar 24 2023 8:00 PM
• [email protected]
• (206) 543-4880
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Co-presented with SAMA: Seattle Sacred Music & Art

Amjad Ali Khan is an undisputed virtuoso of the sarod and one of India’s most celebrated classical musicians. Performing with his talented sons, this first family of the sarod represents seven generations of sarod players and musicians. In Strings for Peace, Khan and his sons are joined by Grammy-winning guitarist Sharon Isbin. By interweaving the two distinct worlds of Spanish guitar and Indian ragas, these legendary artists make an eloquent and impassioned call for harmony across cultures.

The ENCORE+ digital program for this performance is available to  READ ONLINE

Uniting people through music and melody … the power of their performance rocked the hall.  — Times of India

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About the Artist

Amjad ali khan, amaan and ayaan ali bangash team up with classical guitar veteran sharon isbin on ‘strings for peace’, when the sarod and guitar converse, strings for peace: weaving traditions.

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ASO Welcomes Indian Classical Music Star Amjad Ali Khan

Amjad Ali Khan, an Indian classical sarod player, best known for his clear and fast fingering technique known as ekhara taans , will play two concerts with the Atlanta Symphony Orchestra as part of the Delta Classical Series on October 19 and 21, at 8 p.m., in Atlanta Symphony Hall.

The orchestra will perform “Samaagam,” a sarod concerto featuring ragas composed by Khan, who will perform with his family of acclaimed sarod artists.

The program opens with Gabriela Lena Frank’s “Elegía Andina,” a piece that mixes strains of Peruvian folk song with contemporary sounds to highlight the composer’s multicultural heritage. The night also includes the suite from Prokofiev’s ballet masterpiece, Romeo and Juliet , led by Russian conductor Lidiya Yankovskaya.

Gaetan Le Divelec, vice president of artistic development with the ASO, was Khan’s manager for many years before coming to Atlanta and was influential in the development of the concerto. 

“When I came to Atlanta last year, it was really clear to me that I was joining an institution that was, first of all, adventurous with programming, but also had an interest in fostering diversity and inclusion in classical music,” Le Divelec said. “For me, it became obvious that ‘Samaagam’ would be one of the works that could achieve that.”

A free Visions of India Festival will take place before the Oct. 21 concert from 5-8 p.m., and will feature an artist display by Malika Ghosh Garrett; Henna artist stations; dancing from the Jathiswara School of Dance; a Mandala art station by the Shashikala Foundation; and an interactive instrument booth.

For more information or to buy tickets, visit aso.org .

Photo: Sarod playerAmjad Ali Khan will perform at Atlanta Symphony Hall.

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Report: HCL Concerts’ San Francisco Sojourn with Amjad Ali Khan and Amaan and Ayaan Ali Bangash

The sarod maestro and his sons performed separately and together at what is likely the first of many international shows hosted by the Indian tech giant

(From left) Amaan Ali Bangash, Amjad Ali Khan and Ayaan Ali Khan at HCL Concerts' San Francisco edition on December 9th, 2019. Photo: Courtesy of HCL Concerts

A week after the performance in frigid (but welcoming) New York City (at the hallowed Carnegie Hall, no less) sarod and Indian classical music legend Ustad Amjad Ali Khan found himself in San Francisco performing at a much smaller United Club, playing to about 300 people.

It was the third international edition of HCL Concerts , which have been a mainstay in different parts of India since 1998, as a means to bring music lovers together, plus as a treat to their employees, clients and customers. Over at San Francisco, they were testing the waters at a small club housed within the massive Levi’s Stadium, which usually hosts National Football League matches.

Dressed in suitably formal (and Indian formal) attire, the technology company’s clients were treated to Khan and his sons performing for over two hours. Whether it was jugalbandis or Rabindranath Tagore compositions or arrangements in raag desh, malkauns and rageshri , the trio’s separate and collective performances were picked out to showcase perhaps the more globally accessible sides of Indian classical music. As Amaan Ali Bangash mentioned at the start of an interview held a few hours before the performance, they only consider themselves as messengers and vessels of music. If that means changing their own form “so that it goes through to the audience,” he’s more than happy to do it.

Ayaan adds, “When you’re on stage, you have to be a performer, you’re not there to educate people. You’re there at the end of the day to owe them something, because they’ve bought a ticket.”

Even as HCL Concerts has just announced a debut Bengaluru edition, the executive team mentioned that they are looking at more global capitals to bring fusion, Indian classical and folk performances. Perhaps, they may even aim for New York’s Madison Square Garden, depending on how they scale-up. As for Khan and Amaan and Ayaan, they spoke about traveling and performing together, their upcoming collaboration with the likes of Eagles guitarist Joe Walsh and Grammy-winning artist Sharon Isbin. Excerpts:

How was your New York concert?

Ustad Amjad Ali Khan : Carnegie Hall was the first one. Thanks to HCL, it’s the first corporate house that’s professionally, with conviction and steadfastness presented a classical concert like that. Everything depends on how you present and where you perform. First, there were kings who would patronize classical music, now there’s corporate houses.

Amaan Ali Bangash : It was a good concert and it’s presented in such a nice way, Indian classical music. We had a warm house and a lot of people there. It was received very well. You feel very blessed that you get to play in Carnegie Hall, one of the world’s best venues.

Ayaan Ali Bangash : There’s a joke that when someone asked, ‘How do you get to Carnegie Hall?’ the reply was, ‘Practice, practice, practice.’ ( Laughs ) But we’re very fortunate that because of my father we get to perform at all these beautiful venues around the world. Amaan bhai and I have played there a few times.

Khan: The venue for music matters a lot in the western world. In our country, they seat us down and ask us to play anywhere. One organizer had asked us to perform by a water bank and we didn’t ask about it beforehand and just knew all our requirements were in place and took the gig. There was so much sound of the water hitting the shore, that you can’t hear the sarod only.

Ustad Amjad Ali Khan live at Carnegie Hall, New York City as part of HCL Concerts. Photo: Eventique

Is it a very 21st Century concern for Indian classical artists to think about engaging with their audience?

Amaan : In the 1920s, when there were Rajas , you had to think about the Raja not beheading you for playing bad music. Today you have to think about the audience not getting up and walking out. We as musicians are a tool – we don’t produce music, it comes through us and goes through to the audience. You have to keep changing yourself so that it goes through the audience.

Ayaan : When you’re on stage, you have to be a performer, you’re not there to educate people. You’re there at the end of the day to owe them something, because they’ve bought a ticket.

Khan : I tell many younger classical musicians, we’re born in this world to provide happiness, not worries. There are worries when you never finish your raags – that’s a national tragedy, that someone is just looking at their watch and wondering when you’ll finish your performance. This sense of proportion is so important in every field. Otherwise why would we talk about it? It’s all about conciseness, preciseness, that lacks in our system.

Amaan : The packaging has to change as per the audiences’ likes and dislikes.

Tell me about the all-night concerts you’ve performed. Does it still happen even now?

Amaan : That still happens – when he (Khan) plays in Calcutta or Poona – my father will play for three hours also, because he’s been asked to play for three hours. In those three hours, his presentation will be different, as is the case for any of us. But when you’re given a slot of one hour, the presentation has to be different. Playing in a college is different than playing at Sawai Gandharva in Poona. It’s different music. When that 10 o’ clock ban came in, I think that changed some things for Indian classical music performances.

Khan : The time was different and the era was different too. I was called to a festival by a zamindar , and it was 11 pm and I was offered tea. I thought it was time to go to sleep but I was told he’s only awoken now, and he sleeps in the day. The all-night concerts that happened today, I’m not in favor of those. I’ve played all alone through the night, I was 25 years old at the time and I played from 9 pm to 7 am once, in Calcutta. It was a ticketed show, house full.

There’s one instance where all three of us have performed through the night. Bengal could absorb, they have so much capacity. It happened, but it happened once in a while. The first time an audience sees and hears us, we want them to come back a second time too. That’s a challenge right now.

When you perform with your sons, is it in the capacity of a guru, a parent and as a fellow musician. Which one are you first? And do they surprise you enough on stage?

Khan : We’re all solo musicians, we all get called for solo performances, and these two get called for duet performances too.

Amaan : Quite often we get called for duet performances only ( laughs ).

Khan : Then there’s times when all three of us perform, which happens especially for international concerts. To show the public the connect – the bonds seem to be breaking these days. The children are detached from parents, or parents are detached from their children. I don’t travel without these two, actually. I don’t travel alone because I’m afraid. It’s a great joy when we play together.

Amaan : So do you play as a guru, father or fellow musician? The last one definitely not I’m sure ( laughs ).

Khan : Basically, we’re friends.

Amaan : They (points to Ayaan) have more conflicts

Ayaan : We all have our share of conflicts, but he (Amaan) is someone who makes peace very quickly.

Amaan : I’ve learned one thing from him (Amjad) – that everyone is here for a very short period of time, so let’s have fun, let’s love everybody but why have anything as anyone? I always feel I’m a very average student – because of that feeling, it keeps me going with my riyaaz .

Khan : Our gurus teach us to look at our weaknesses first. Our human nature, however, often leads us to look at the bad in others. Gharane ke upar ladayi hota hai , there’s a lot of rivalry. I always admire Tagore because he made his songs and poetry based on classical raags , but always added an additional note in the raag . I didn’t like it at all first, Rabindra Sangeet, then when I performed with a great Bengali singer named Suchitra Mitra – we have an album called Tribute to Tagore – it became very appealing. His music and literature was outstanding. Only a genius can take liberties. Mediocre people just follow in line.

What can you tell me about your collaboration with Joe Walsh?

Amaan : We just recorded a whole album with Joe Walsh.

Khan : And also with Sharon Isbin, we all played one piece each on her new album. It’s called Strings for Peace . The interesting thing is that God has made the seven notes that we call Sa Re Ga Ma, while the West calls it Do Re Mi Fa. The sound is the same. It’s like a flower, which can be used for all occasions, whether it’s death or celebration or whatever else. People fight over whether to call something a devotional song or not, but it’s using the same seven notes.

Ayaan : We finished the recording in two sessions. He’s been a great admirer of the sarod and when he was in Bombay he reached out to us and now owns a sarod. Amaan and I sat with him through the day and he kind of picked it up, whatever little bit we did. The first session of the recording happened when we reached L.A. from Vancouver, from a festival. Our sarods didn’t arrive in time.

Khan : All three sarods didn’t turn up!

Amaan : It went off somewhere else.

Ayaan : So the sarod we’d given him in Bombay came to the rescue, which was actually made by the same maker who does ours.

Khan : We recorded at this studio in Beverly Hills. The second time we went, though, we had our own sarods.

Amaan : It should come out by February. He’s a great musician, his whole team as well. They’re not show-offs. The problem with our musicians sometimes is, when they see you in the green room, they’re looking at you and performing, they’re trying to prove a point. Over there, they’re so subtle, you don’t know if he’s going to play or if he’s even a musician until he holds an instrument. They respect each other so much and that’s something we need to learn from them.

Khan : We even met the famous drummer of the Beatles, Ringo Starr. He was also there. He’s 79! I couldn’t tell. The way he plays drums, it feels like a god-given gift. I was singing something and he gave a beat, I was shocked. He was just playing on the table, that’s it.

Ayaan : Ringo is Joe Walsh’s brother-in-law. We just met after one of the sessions.

Amaan : Ringo has got the energy of a 25-year-old.

View this post on Instagram A post shared by Amjad Ali Khan (@aaksarod)

Your father performed “Journeyman” on your album Infinity , which you worked on with Karsh Kale. What was that like?

Ayaan : I think it was the first time people were hearing my father in that light. I don’t think he’s ever played in this electronic space. The sarod’s tone is extremely different. We thought it was something interesting that we could get our father to do and he was very sporting.

Khan : It’s about communication through music. Our trio show, in Russia with the Moscow Symphony Orchestra. Nirmala Sitharaman was in the audience too. Russia might be viewed as one whose government rules with an iron fist, but in their music tradition, they’re so different. They’re such gifted artists. If you look at the good in everything, then you can communicate more easily. People say so much about our music and things like ‘Fusion is confusion.’ Some fusion is not good and appealing, not everyone can do it.

Amaan : It’s not an easy thing to do.

What else is coming up through 2020?

Ayaan : There’s this album with Sharon, Strings for Peace , coming up as well. She’s one of the finest classical musicians. She’s got an American music honor that’s come to a guitarist after 57 years or so. We’re playing with the Chicago Philharmonic in April. Whole lot of things lined up. Every day is a new day.

Khan : That’s a new kind of fusion too – when you write for and with an orchestra. They’re so brilliant.

• Amaan Ali Bangash
• Amjad Ali Khan
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Buy Tickets for IAAC presents The Sarod Quintet

Visiting Presenter / Music

IAAC presents The Sarod Quintet

• Date | Sun, Aug 13, 2023
• Prices | Advance $25-$80
• Theater | Peter Jay Sharp Theatre

Expected Run Time is 90 minutes

A Visiting Presenter Event

Description

Keeping India’s ethos of traditions and legacies alive, Three Generation Quintet represents the 6th, 7th and 8th generation of musicians coming together on stage and performing together. The concert will feature Sarod Grand Master Amjad Ali Khan and his virtuoso sons Amaan Ali Bangash and Ayaan Ali Bangash on Sarods. They will be joined by Ayaan’s 10 year old Twins Zohaan Ali Bangash and Abeer Ali Bangash . Also accompanied on tabla by Anubrata Chatterjee and Amit Kavthekar. The family recently completed a five city tour in India.

Amjad Ali Khan is one of the undisputed masters of the music world. Born to sarod maestro Haafiz Ali Khan, he gave his first performance at the age of six, and is credited with reinventing the technique of playing the sarod. Over the course of a distinguished career spanning more than six decades, Amjad Ali Khan has won numerous accolades including the Crystal Award by the World Economic Forum, Unicef's National Ambassadorship and the Fukuoka Cultural grand prize. Ancient Sounds, a joint-venture of Amjad Ali Khan with Iraqi oud virtuoso Rahim Alhaj nominated for a Grammy award in the best traditional world music album category in 2009. He has performed at venues the world over including Carnegie Hall and the Royal Albert Hall, as well as at the prestigious Nobel Peace Prize Concert in 2014 in Oslo, Norway.

Samaagam, his first Sarod Concerto, has been performed by the Britten Sinfonia, Orchestre National d'lle de France, Orchestre d'Auvergne, London Philharmonia, Gulbenkian Orchestra, New Jersey Symphony Orchestra, Adelaide Symphony Orchestra, Welsh National Opera and Scottish Chamber Orchestra. Amjad Ali Khan has also been a visiting professor at Stanford University, University of New Mexico and Jacob’s School of Music. Amjad Ali Khan recently received coveted Global Music Awards under the Gold Medal category for their outstanding contribution to the global music industry and excellence in the classical music sphere. The UN Day Concert 2018 featured Sarod virtuoso Amjad Ali Khan, accompanied by his sons Amaan Ali Bangash and Ayaan Ali Bangash, and the Refugee Orchestra Project. The concert dedicated to Mahatma Gandhi was themed on “Traditions of Peace and Non-violence” in the presence of António Guterres, Secretary General of the United Nations.

In 2020, STRINGS FOR PEACE: Premieres for Guitar & Sarod released on Zoho Music. Steeped in the tradition Indian classical music with Sarod master Amjad Ali Khan, his virtuoso sons Amaan and Ayaan Ali Bangash, and guitarist Sharon Isbin. The recording debuted at number 3 on the Amazon Hot New Releases/World Music bestseller list and rose to number 2 in its first week. Amjad Ali Khan recently Joined Gwen Stefani, Jon Bon Jovi for the Rock and Roll Hall of Fame Inductee and multi-GRAMMY Award winning musician Joe Walsh’s Vetsaid Charity Concert on 4th December 2020. Amjad Ali Khan with Joe Walsh have come together with a 3 song EP named ‘Prayers’ as a tribute to doctors, frontline workers and for everyone who is going through these trying times. It's a wonderful project where the East meets West with an idea to bring the spirit of sharing the great unique treasures of their own artistic traditions, as well as finding common ground at both the cellular and cosmic levels of two musical traditions, which are often held to be radically different.

Cultural and musical traditions gives life and purpose to the work they bring to the stage. By asking audiences to listen from the heart, Sarod virtuosos Amaan Ali Bangash and Ayaan Ali Bangash breakthrough the troublesome polarities of continuity and change, tradition and innovation. In their sound we encounter technical assuredness bolstered by elegant lyricism and joy-filled dynamism.

It is music forged from a unique artistic vision that rests upon a legacy seven generations deep and includes their revered father and grandfather, Amjad Ali Khan and Haafiz Ali Khan. Amaan Ali Bangash and Ayaan Ali Bangash represent the 7th generation of a musical lineage, as sons and disciples of the sarod icon, Amjad Ali Khan. They have performed across the globe, including Carnegie Hall, Kennedy Center and Royal Albert Hall.

They have also collaborated with guitarist Derek Trucks, of the Allman Brothers Band, Guitarist Sharon Isbin, Chicago Philharmonic orchestra, Avignon symphony orchestra among others, and established themselves as a duo, carrying forward their musical legacy in sync with both tradition and contemporary times. They performed at the Nobel Peace Prize Concert 2014 in Oslo and recently won the Gold Medal at the Global Music Awards in LA for their new album Peace Worshippers. More recently, the performed their father’s Concerto Samaagam with New Jersey Symphony Orchestra with Conductor Xian Zhang, Moscow State Philharmonic Orchestra, Adelaide Symphony Orchestra and Bronx Arts Ensemble. The UNDay Concert 2018 featured Sarod virtuoso Amjad Ali Khan, Amaan Ali Bangash, Ayaan Ali Bangash and the Refugee Orchestra Project conducted by Lidiya Yankovskaya, Conductor themed on “Traditions of Peace and Non-violence” in the presence of António Guterres, Secretary General of the United Nations.

In 2020, STRINGS FOR PEACE: Premieres for Guitar & Sarod released on Zoho Music. Steeped in the tradition Indian classical music with Sarod master Amjad Ali Khan, his virtuoso sons Amaan and Ayaan Ali Bangash, and guitarist Sharon Isbin. The recording debuted at number 3 on the Amazon Hot New Releases/World Music bestseller list and rose to number 2 in its first week. Amaan Ali Bangash & Ayaan Ali Bangash joined Gwen Stefani, Jon Bon Jovi for the Rock and Roll Hall of Fame Inductee and multi-GRAMMY Award winning musician Joe Walsh’s Vetsaid Charity Concert in December 2020. Amaan and Ayaan joined together father Amjad Ali Khan with Joe Walsh for a 3 song EP named ‘Prayers’ as a tribute to doctors, frontline workers and for everyone who is going through these trying times. They are joined by several iconic Los Angeles-based musicians; drummers Stewart Copeland (of the Police) and Jim Keltner, bassists Nathan East, Leland Sklar and Abe Laboriel Sr., keyboardist Ed Roth, guitarists Davey Johnstone (Elton John’s longtime lead guitarist) and multi-instrumentalist Joe Vitale. Amaan Ali Bangash and Ayaan Ali Bangash have been announced as Associate Artists at Wigmore Hall, in advance of the Hall’s 120th anniversary celebrations. They join fellow new Associate Artists such as Lawrence Power, Nitin Sawhney and Gweneth Ann Rand, and are committed to a five-year relationship with the Hall, performing at least once every season. Sarod-playing family are partnering this year with the brilliant, multiple Grammy nominee, Chinese pipa soloist Wu Man. This cross-cultural project supports the AAPI (Asian-American and Pacific Islander) movement, raising awareness to the discrimination, victimisation, violence and racism this group has been subjected to in America. Amaan and Ayaan made tier debut at Royal Albert Hall in August 2022 at BBC Proms.

Peter Jay Sharp Theatre

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Amjad Ali Khan, sarod

Amjad Ali Khan is one of the undisputed masters of the music world. Born to sarod maestro Haafiz Ali Khan, he is the sixth generation in the legendary line of the Senia Bangash School. Since giving his first performance at the age of six, he has played for audiences worldwide, bringing a new and yet timeless interpretation to the repertoire, while being widely credited with reinventing the technique of playing the sarod.

Over the course of a distinguished career spanning more than six decades, Amjad Ali Khan has won numerous accolades including a Grammy nomination, the Crystal Award by the World Economic Forum, Unicef's National Ambassadorship and the Fukuoka Cultural grand prize.

Amjad Ali Khan has made regular appearances at Carnegie Hall, the Royal Albert Hall, Royal Festival Hall, Sydney Opera House, Suntory Hall in Tokyo, Esplanade Singapore, the Kennedy Center and Symphony Center in Chicago. He has performed at festivals worldwide including the Hong Kong Arts Festival, Edinburgh International Festival, WOMAD, World Beat Festival, Enescu Festival Bucharest, and the BBC Proms as well as for prestigious organizations such as the United Nations, UNESCO, World Arts Summit and for the Nobel Peace Prize Ceremony in Oslo in 2014.

Samaagam , his first sarod concerto, has been performed by the Britten Sinfonia, Orchestre National d'lle de France, Orchestre d'Auvergne, London Philharmonia, Gulbenkian Orchestra, Welsh National Opera and Scottish Chamber Orchestra.

Amjad Ali Khan’s passion for bringing the sarod to new audiences has seen him give numerous residencies as well as being appointed as Visiting Professor at several universities, including Stanford University, University of New Mexico, York University and Jacob’s School of Music.

Amjad Ali Khan is a Gold Medal Winner at the Global Music Awards for his outstanding contribution to the global music industry and excellence in the classical music sphere. This honor was bestowed on the trailblazing trio of Amjad Ali Khan and his sons Amaan Ali Bangash and Ayaan Ali Bangash in recognition of their “Peace Worshipers” album which was released in July 2017 by Affetto Records and distributed by Naxos.

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Amjad Ali Khan, sarod grand master

Amjad Ali Khan and sons begin their Wigmore Hall residency in UK tour this winter

1 december 2022.

In the winter of 2022-2023, Amjad Ali Khan and sons Amaan Ali Bangash and Ayaan Ali Bangash return to the UK to begin their five-year Associate Artist residency at Wigmore Hall with four concerts and collaborations with violinist Jennifer Pike, guitarist Sean Shibe, and culminating in a performance of Amjad Ali Khan's sarod concerto Samaagam with the Refugee Orchestra Project.

They will also perform in a further four concerts in major venues across the UK. In November-December 2022, the sarod players also perform at St George’s Bristol (sarod trio), at the Barber Institute in Birmingham ('Soul Strings' with Jennifer Pike), and at Opera North’s Howard Assembly Rooms in Leeds (sarod trio), and in January 2023 they will bring 'Soul Strings' to the Royal Conservatoire Scotland in Glasgow.

Over the course of a distinguished career spanning more than six decades, Amjad Ali Khan has won numerous accolades including a Grammy nomination, the Crystal Award by the World Economic Forum, Unicef's National Ambassadorship and the Fukuoka Cultural grand prize. He and his sons Amaan Ali Bangash and Ayaan Ali Bangash represent the sixth and seventh generations in the legendary Senia Bangash School, and are credited with reinventing the technique of playing the sarod, and widely praised for their timeless interpretations of the repertoire and pioneering approach to collaborative music-making.

Amjad Ali Khan and sons have appeared at major venues and festivals worldwide including New York’s Carnegie Hall, Sydney Opera House, Suntory Hall Tokyo, Esplanade Singapore, and for prestigious organisations such as the United Nations, UNESCO, Google, World Arts Summit and for the Nobel Peace Prize Ceremony in Oslo in 2014. Previous chamber and concerto dates in the UK include concerts at the Royal Festival Hall, the Royal Albert Hall for the BBC Proms, Kensington Palace, Edinburgh International Festival, and WOMAD with esteemed orchestras including the Philharmonia Orchestra, Britten Sinfonia and Scottish Chamber Orchestra.

More information on the concerts can be found here:

7th January 11:30 : Morning Rags (Amjad Ali Khan)

7th January 19:30 : Soul Strings (Amaan Ali Bangash, Ayaan Ali Bangash and Jennifer Pike)

8th January 19:30 : Sarod to Guitar (Amjad Ali Khan, Amaan Ali Bangash, Ayaan Ali Bangash, Sean Shibe)

9th January 19:30 : Samaagam sarod concerto (Amjad Ali Khan, Amaan Ali Bangash, Ayaan Ali Bangash and Refugee Orchestra Project)

Amjad Ali Khan

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Amaan Ali Bangash and Ayaan Ali Bangash

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Tools of the Trade: Sarod by Simon Broughton for Songlines - The World Music Magazine

Like chicken tikka, the sarod is a sublime product of the Moghul influence in India. Simon Broughton learns the secrets of the instrument from its leading contemporary virtuoso, Amjad Ali Khan

first encountered it at the BBC Proms in the Royal Albert Hall in 1994 when a sarod recital at 2am was the finale of a late night concert of Indian music. It was a revelation –Amjad Ali Khan, distinguished and silver-haired, leading a refined journey into musical equivalents of the Taj Mahal, Moghul palaces and hilltop fortresses. Elegance and refinement, supported by a cohesive structure and deep foundations.The sarod is much smaller than the sitar. It sits comfortably in the player’s lap and is leaner and cleaner in sound, without that predominant jangling of sympathetic strings. The sarod has resonant sympathetic strings, but they are fewer and far less prominent in the soundscape. Still, it’s no less demanding to play. “People like to talk about the king or prince of sarod, but actually I’m the slave of sarod,” laughs Amjad Ali Khan acknowledging how hard it is to master, yet also confident that no one is likely to outshine him. “I am devoted to it and I always want to try and find out what it wants to say.”

Amjad Ali Khan, born in Gwalior (Madhya Pradesh) in 1945, is the sixth-generation sarod player in his family and his ancestors have developed and shaped the instrument over several hundred years. “You could say it’s my family instrument”, he says with justifiable pride. “Whoever is playing the sarod today learned directly or indirectly from my forefathers.”

The singing sarod

The instrument speaks eloquently of the close connections between India and Afghanistan and the Persian world. Architecture, food and music are amongst the great hybrids born of the Islamic invasion of northern India through Afghanistan. The sound of the sarod as we know it today is distinctly Indian in character, but it links to the sinewy, muscular style of the Afghan rabab - a wooden Central Asian lute, covered with skin. For Amjad Ali Khan it’s the tone quality that’s the attraction: “The skin makes the sound very human - it’s not wooden. It has flexibility, sensitivity and depth.” The sound of the sarod is dominated by the singing, vocal tone of its melodic strings. Many instrumentalists -including violinists, clarinettists, sarangi and sitar players - like to compare the sound of their instruments to the human voice. And sarod players are no exception. “I actually spend as much time singing as playing,” admits Amjad Ali Khan and through his father he learned about applying the vocal traditions of dhrupad and khayal to his instrument.

“I am singing through my instrument,” he says. One of the principal modifications of the sarod from the Afghan rabab is its long metal fingerboard, which allows swooping melismatic slides between the melody notes. This is something you can’t do on fretted instruments. This is a big advantage of the sarod over the sitar”, he explains. “On the sitar you have to pull the string sideways to create the slides. And you can’t pull that far - not more than 3 or 4 notes. But on the sarod you can slide over 7 notes or more, skating up the fingerboard.” As well as this lyrical, vocal style, Amjad Ali Khan is renowned for his fast staccato passages up and down the instrument - something he has made very much his own. This is the latest addition to a long tradition of sarod playing and Amjad Ali Kahn’s two sons, Amaan Ali Khan and Ayaan Ali Bangash, are now taking it forward to the next generation. As with the Griots of West Africa, lineage and family are hugely important in Indian music. You wonder what would have happened had one of Amjad Ali Khan’s sons said they were more interested in the electronic keyboard, or accountancy!

Wood, skin and steel

Some sarods, like the Afghan rabab, are made from mulberry wood, but most are made, like the sitar, from teak. According to Amjad Ali Khan, teak gives a fuller, richer sound. The front of the wooden belly is covered with goat skin. The best place to get goat skins is Calcutta and that’s where most of the sarod makers are based, including Hemendra Chandra Sen, of Hemen & Sons, who is around 80 years old and the most important sarod maker in India. “In Bengal,” explains Amjad Ali Khan, “there is a strong cult of Kali worship and there are lots of sacrifices to her. There are lots of goat skins in Calcutta and that’s why you find most of the tabla makers there too. This is the character of India and its history. A Hindu woman wears a beautiful Sari made by Muslims in Varanasi. I myself am a Muslim, but I play an instrument made in Calcutta by a Hindu. We all have different religions, but we depend on each other. The history of India is like that.”It was Amjad Ali Khan’s forefathers that effected the most important development in the instrument and replaced the wooden, fretted neck of the rabab with a smooth polished-steel fingerboard which permits the characteristic slides (or meend) which are used extensively at the beginning of a composition to establish the raga. Just as a tabla player will always have his bottle of talcum powder to sprinkle on his drums, Amjad Ali Khan has a small, decorated box of palm oil to help his left had slide effortlessly around the fingerboard. The rabab’s gut strings have also been replaced by steel ones – piano strings in fact – which give a much more ringing, and singing tone. There are just four strings used for playing the melody, two drone strings and two chikari strings (raised drone strings which are used to punctuate the melodic phrases with rhythmic accompaniment). Amjad Ali Khan uses 11 sympathetic strings (tuned to the notes of the raga), although other players use more which increases the reverberant effect. The four melody strings are generally tuned (from the top) doh, fa, doh, mi. The lowest string is made from bronze and has a deep, powerful sound, “full of passion”.

The strings are not plucked with the fingers, but with a java or coconut-shell plectrum. “This plectrum can be a hammer or a feather,” says Amjad Ali Khan. “You can play very loud, or give it just a feather touch, skimming gently across the strings.” Actually, the range of colours that a player like Amjad Ali Khan can get out of the instrument is quite incredible and is certainly why it’s found such an important role in classical Indian instrumental music.

Nail-biting technique

Like many musicians who play an instrument that’s been ‘elevated’ from folk to classical status, Amjad Ali Khan can talk quite dismissively of the rabab. “It’s not a very expressive instrument,” he says, “and quite limited.” Using the soft tips of his fingers, he imitates the duller, more gutty sound of the rabab and contrasts it with the clear, ringing tone of the sarod. There are actually two schools of sarod playing – one in which the strings are stopped by the fingertips and the other in which the strings are stopped by the finger-nails of the left hand (as practised by Amjad Ali Khan). This is what makes the clear ringing sound and is one of the things that makes it so difficult to play. “These two nails I never cut,” says Amjad Ali Khan, showing the first and second fingers of his left hand. “They just get worn down. I have to file them after every concert. People might think I am just beautifying my nails, but it’s essential maintenance. They get little grooves cut into them from the strings.” I get a vivid picture in my mind of the ridges worn into wells in India by the continuous pulling of ropes. It is nails on steel that gives the sarod its clear, muscular sound. “In Hindi we say ‘Swara hi ishwar hay’ - ‘Sound is god’ and whilst you are playing you can feel god. I often have my eyes closed to feel the sound.”

Amjad Ali Khan shows how he can play melodies just using his left hand. “My father used to play like that for five minutes at a time,” he says. “Many years ago, a sarangi player at the court challenged my grandfather. ‘You must play anything that I can play’, he said. My grandfather took up the challenge and copied everything the sarangi player could bow on his instrument. Then my grandfather said: ‘Now you see if you can imitate me’ and asked the sarangi player to tie-up his right hand. My grandfather played beautiful melodies with one hand, but the sarangi player could do nothing without his bowing hand and lost.”

For Amjad Ali Khan the sarod is more than an instrument. He is more than a slave and it is more than a master. It is a friend and spiritual companion: “The sarod should have human expression. The sarod should sing, should yell, laugh, cry - all the emotions. Music has no religion in the same way flowers have no religion. Through music – and through this instrument - I feel connected with every religion and every human being – or every soul, I should say.”

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Maestro Amjad Ali Khan, Amaan Ali Bangash & Ayaan Ali Bangash

Live in concert.

• Date Apr 26 , 2024
• Event Starts 8:00 PM
• Ticket Prices Starting at $39.50
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Event Description

Amjad Ali Khan is one of the undisputed masters of the music world. Born to sarod maestro Haafiz Ali Khan, he gave his first performance at the age of six, and is credited with reinventing the technique of playing the sarod. Amjad Ali Khan recently joined Gwen Stefani and Jon Bon Jovi for the Rock and Roll Hall of Fame Inductee and multi-GRAMMY Award winning musician Joe Walsh’s Vetsaid Charity Concert on 4th December 2020.  Amjad Ali Khan and Joe Walsh have come together with a 3 song EP named Prayers  as a tribute to doctors, frontline workers, and for everyone who is going through these trying times. It's a wonderful project where the East meets West with an idea to bring the spirit of sharing the great unique treasures of their own artistic traditions, as well as finding common ground at both the cellular and cosmic levels of two musical traditions, which are often held to be radically different.

Sarod virtuosos Amaan Ali Bangash and Ayaan Ali Bangash breakthrough the troublesome polarities of continuity and change, tradition and innovation. In their sound, we encounter technical assuredness bolstered by elegant lyricism and joy-filled dynamism. It is music forged from a unique artistic vision that rests upon a legacy seven generations deep and includes their revered father and grandfather, Amjad Ali Khan and Haafiz Ali Khan. Amaan Ali Bangash and Ayaan Ali Bangash represent the 7th generation of a musical lineage, as sons and disciples of the sarod icon, Amjad Ali Khan. They have performed across the globe, including Carnegie Hall, Kennedy Center, and Royal Albert Hall.

They have also collaborated with guitarist Derek Trucks of the Allman Brothers Band, Guitarist Sharon Isbin, Chicago Philharmonic orchestra, Avignon symphony orchestra among others, and established themselves as a duo, carrying forward their musical legacy in sync with both tradition and contemporary times.

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DESIGNATED PARKING GARAGE Levine Center for the Arts Parking Garage Located at 550 S. Tryon Street with an entrance on West Brooklyn Village Avenue.

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Knight Theater seats 1,192 within its orchestra, grand tier and mezzanine levels. A variety of dance and music shows are hosted here. The venue is physically connected and shares lobby space with the Bechtler Museum of Modern Art.

Amjad Ali Khan

The sixth generation of an illustrious Bangash lineage, Amjad Ali Khan is a renowned maestro in classical Indian music.

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Past Events

Here are the most recent UK tour dates we had listed for Amjad Ali Khan. Were you there?

• Dec 01 2022 Leeds, Howard Assembly Room Amjad Ali Khan
• May 27 2022 Norwich, St Andrews And Blackfriars Halls Amjad Ali Khan Amaan Ali Bangash, Ayaan Ali Bangash
• Dec 12 2020 Online / Streaming Events VetsAid 2020: Home For The Holidays Joe Walsh, Ryan Bingham, Bon Jovi, The 5 Browns, Drew Carey…
• Apr 30 2019 London, Royal Festival Hall Amjad Ali Khan, Amaan Ali Khan & Ayaan Ali Khan
• Feb 05 2015 Leeds, Howard Assembly Room Amjad Ali Khan, Amaan Ali Khan & Ayaan Ali Khan
• Feb 04 2015 St George's Bristol Amjad Ali Khan, Amaan Ali Khan & Ayaan Ali Khan
• Feb 03 2015 Turner Sims Southampton Amjad Ali Khan, Amaan Ali Khan & Ayaan Ali Khan
• 2014 Jun 20 Jun 22 2014 Totnes, Dartington Hall Tagore Festival 2014 Talvin Singh, Aakash Odedra, Dr Scilla Elworthy, Amjad Ali Khan, Chartwell Dutiro…
• Mar 10 2010 Perth Theatre & Concert Hall Scottish Chamber Orchestra, Amjad Ali Khan
• Nov 23 2008 Birmingham Town Hall Amjad Ali Khan

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Amaan Ali Bangash

Amaan Ali Bangash, is the eldest son and disciple of the Sarod Maestro Amjad Ali Khan and grandson of Haafiz Ali Khan.  He belongs to the seventh generation in an unbroken chain of the Senia Bangash School.  He was initiated by his father into the fine art of Sarod playing and gave his first public performance at age eight. Amaan’s musical style is marked by its precision in tunefulness, bold and resonant strokes, along with tradition and continuity of Indian Classical Music. Amaan’s performances have evoked creditable applause. Today, Amaan is considered one of the finest Sarod players in the world and has obtained a very special place for himself among music enthusiasts across continents. He is an inspiration for the younger generation of musicians. He continues to enchant audiences with his virtuosity, sheer brilliance and charismatic stage presence.

Amaan has performed at numerous main stream venues in India and around the world. In 1986, he performed at the Festival of India in Moscow. Thereafter, he made his UK debut in 1990 and his US debut in New York at the Asia Society in 1991. He performed for the Temenos Academy at St. James Palace in London for HRH Prince of Wales in 1995, 1997 and 2003. Amaan hosted a music series on Zee TV called “Sa Re Ga Ma” with his brother, Ayaan, from 2001-2012.

In 2001 and 2002 he also took part at the Summer Arts Festival in Seattle and the Edinburgh Festival in the UK, he performed with cellist Matthew Barley and the National Youth Orchestra of Great Britain along with a series of workshops, and also worked on his album “Strings Attached” with A Matthew Barley, in July 2002. He released his solo album titled “Amaan” in 2002. Upon reviewing this album,  Songlines World music magazine said that he was a “worthy heir to his father’s crown.”  Amaan did an Australian Tour in 1999 and 2003 where he played at the World Beat Festival in Brisbane, Opera House in Sydney and the WOMAD Festival in New Plymouth and Adelaide. Amaan has also preformed regularly at the Palais beaux-arts in Brussels; the ESPLANADE in Singapore; the Chicago Symphony Center, the Carnegie Hall and the Kennedy Center in the USA; the Womad and Salisbury Festival and the Enescu Festival in Bucharest; and the Royal Festival Hall and Barbican Center in the UK.

In 2005, Amaan composed music for the film “American Daylight” which was directed by Academy Award winner Rodger Christian. In the same year, he also collaborated with the Derek Trucks Band at the Savannah Music Festival in Georgia and featured with Ustad Amjad Ali Khan in Real World Record’s album called “Moksha.” In 2006, Amaan collaborated with Evelyn Glennie at Queen Elisabeth Hall at the Rhythm Sticks Festival and also appeared at the WOMAD Rivermead Festival in UK.  His electronica lounge albums titled “Reincarnation” (2005) and “Truth” (2006) won him critical acclaim. Amaan performed at the Central Hall of the Indian Parliament on the commemoration of India's 60th year of Independence and did a concert for Coca Cola at The Fox Theater, Atlanta, in 2007.

In 2009, he played at the United Nations in New York in presence of Ban Ki Moon to commemorate the Ode to Peace Concert along with his Father. In 2011, Amaan collaborated on a project with folk singer and song writer Carrie Newcomer premiered called “Everything Is Everywhere.” This project with Amjad Ali Khan, Amaan Ali Bangash and Ayaan Ali Bangash released on Light Records the same year with concerts in Indiana. A love for haunting melody lines, an attraction to compelling rhythms and a sense of deep spiritual grounding are the connecting threads in this new musical confluence. In 2011, Amaan also performed for Canadian Prime Minister Stephan Harper at the Year of India Inauguration at Musee de la Civilisation Theatre in Ottawa. In 2012, Amaan Ali Bangash stared in a PETA ad strumming his Sarod against a backdrop of birds flying freely across the sky and next to the words "Bring Harmony to Birds' Lives - Let Birds Fly Free.” In 2013, he also presented his father’s Sarod Concerto “Samaagam” with the London Philharmonic Orchestra with conductor David Murphy; same year he performed in the US at Duke University, NC and concluded at Hill Auditorium, University of Michigan in Ann Arbor; he also performed with Oudist Rahim Alhaj for Amjad Ali Khan’s Grammy Nominated project “Ancient Sounds” at Kirkland Center of Performing Arts and Chicago World Music Festival; and performed at Lisbon’s Gulbenkian Música. Amaan and Ayaan composed two customised special albums New Delhi in 2011 and Raga in 2013 for The Leela Palaces Hotels and Resorts.

In 2014, Amaan toured India with Britten Sinfonia, one of the world's most celebrated and pioneering ensembles. He performed at WOMAD Festival at Charlton Park, Malmesbury, Wiltshire, England; and performed at The Getty Center in Los Angeles under its annual concert series “Sounds of L.A.” The series explores L.A’s varied musical geography, celebrating the work of masters as well as up-and-coming musicians from around the globe. He also played at a Peace Concert at the United Nations, presented by The Permanent Mission of India to the United Nations, along with the UN Academic Impact (an initiative of the Department of Public Information of the UN) at the Dag Hammarskjold Library Auditorium at the United Nations.

In 2012, he played at New York’s Metropolitan Museum and The Lensic in Santa Fe. The same year, his performance with his father recorded at Wigmore Hall was released under the “Live at Wigmore Hall” series in UK.  The latest album, “Rang - Colors of Sufism,” released in March features Amaan and Ayaan’s interpretations of traditional Qawwalis on the Sarod in 2012.

Amaan performed at Stanford University’s Dinkelspiel Auditorium at the end of his father’s Stanford University residency in 2012. In 2013, “Ananta Opus 195,” a concerto for sarod, symphonic and electronic orchestra written by Pierre Thilloy and performed by Sarod maestro Amjad Ali Khan, Amaan Ali Bangash and Ayaan Ali Bangash with the Avignon Provence Symphonic Orchestra and the Kords Collective, conducted by Samuel Jean premiered in India. His latest release is called “Live in Lisbon,” produced by Sarod Records, co-founded by Amaan and Ayaan, released on iTunes recorded live at Grande Auditório Gulbenkian.

In October 2002, Amaan received the Provogue Society’s Young Acheivers Award for performing

In addition to playing the Sarod, Amaan co-authored a book with Ayaan titled “Abba-God’s Greatest Gift to Us” on his father’s life in November 2002.  Roli Books, Lustre Publications published the book as a part of their “Family Pride” series. Amaan has also anchored Top Drive, the all-new television series on Star World that was aired in January 2003 for five episodes. He also took part in the relay for the 2004 Athens Olympics in New Delhi in June 2004. 

In early 2010, he co-authored his second book with Ayaan called “50 Maestros, 50 Recordings” for Harper Collins and also released an album called “The Music Room” and “Sarod Symphony” with his father and guru. In 2013, their new project “Headwaters” released. The collaboration is with Malcolm Dalglish, a renowned Hammered Dulcimer player from the US. A project, with its interplay of ancient voices and images. In 2014, Amjad Ali Khan, Amaan Ali Bangash and Ayaan Ali Bangash performed at the prestigious Nobel Peace Prize Ceremony in Oslo, Norway on as well as the Nobel Peace Prize Concert along with the lineup of Queen Latifa, Steven Tyler, Nuno Bettencourt and Laura Mvula.

His album, “Amalgam,” is a follow-up on the highly acclaimed album "Soul Strings" released in September of 2015, in which sarod virtuosos Amaan Ali Bangash and Ayaan Ali Bangash joined forces with American classical violinist Elmira Darvarova to create a unique collaboration, a bridge between their respective musical traditions which were carried whole and un-compromised. “Amalgam” brilliantly confirms this daring, supercharged, yet profoundly respectful and even affectionate meeting of these musical minds, made all the more profound by the inclusion of music icon Amjad Ali Khan. “Amalgam” features a solo work composed and performed by Grammy-nominated violinist Elmira Darvarova, powerfully informed by the folk traditions of her own Bulgarian roots. The album brings new meaning and a redefinition to the description "World Music" as it crosses and joins classical genres of the east and west with brilliant musicianship in world premiere performances. In June 2016, Amaan Ali Bangash and Ayaan Ali Bangash completed their three city Spain tour with the finale concert in Madrid at Teatros del Canal and also made their China debut at Shanghai Center Theater in Shanghai and Central Conservatory of Music in Beijing.

Amjad Ali Khan and his widely acclaimed  disciples and sarod virtuosi Amaan Ali Bangash and Ayaan Ali Bangash were recently felicitated at the coveted Global Music Awards under the Gold Medal category for their outstanding contribution to the global music industry and excellence in the classical music sphere Global Music Awards are prestigious and are increasingly recognized by industry insiders to give legitimacy to outstanding artists. The top tier honor was bestowed on the trailblazing trio in correlation with their “Peace Worshipers” album which was released in July 2017 by Affetto Records and distributed by Naxos. In 2018, Amaan played with Moscow State Philharmonic Orchestra and Bronx Arts Ensemble. The UN Day Concert 2018 featured Sarod virtuoso Amjad Ali Khan, accompanied by his sons Amaan Ali Bangash and Ayaan Ali Bangash, and the Refugee Orchestra Project conducted by Lidiya Yankovskaya, Conductor. This year’s concert dedicated to Mahatma Gandhi was themed on “Traditions of Peace and Non-violence” in the presence of António Guterres, Secretary General of the United Nations. Recently, Amaan played his Father’s concerto “Samaagam” with Adelaide Symphony Orchestra and New Jersey Symphony Orchestra with Conductor Xian Zhang.

Amaan Ali Bangash & Ayaan Ali Bangash joined Gwen Stefani, Jon Bon Jovi for the Rock and Roll Hall of Fame Inductee and multi-GRAMMY Award winning musician Joe Walsh’s VetsAid Charity Concert in December 2020. Amaan and Ayaan joined together father Amjad Ali Khan with Joe Walsh for a 3 song EP named “Prayers” as a tribute to doctors, frontline workers and for everyone who is going through these trying times. They are joined by several iconic Los Angeles-based musicians; drummers Stewart Copeland (of the Police) and Jim Keltner, bassists Nathan East, Leland Sklar and Abe Laboriel Sr., keyboardist Ed Roth, guitarists Davey Johnstone (Elton John’s longtime lead guitarist) and multi-instrumentalist Joe Vitale.

Amaan Ali Bangash and Ayaan Ali Bangash have been announced as Associate Artists at Wigmore Hall, in advance of the Hall’s 120th anniversary celebrations. They join fellow new Associate Artists such as Lawrence Power, Nitin Sawhney and Gweneth Ann Rand, and are committed to a five-year relationship with the Hall, performing at least once every season. Sarod-playing family are partnering this year with the brilliant, multiple Grammy nominee, Chinese pipa soloist Wu Man. This cross-cultural project supports the AAPI (Asian-American and Pacific Islander) movement, raising awareness to the discrimination, victimization, violence and racism this group has been subjected to in America. Amaan and Ayaan made their debut at Royal Albert Hall in August 2022 at BBC Proms.

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Daily Times

Your right to know Tuesday, April 09, 2024

Bilawal visits Wali Bagh, expresses condolence with ANP leadership

April 9, 2024

PPP’s Chairman, Bilawal Bhutto Zardari visited Wali Bagh, district Charsadda on Monday wherein he expressed condolence with the President of Awami National Party (ANP) Asfandyar Wali Khan, the death of his wife. The PPP chairman met both Asfandyar Wali Khan and Aimal Wali Khan to express condolence with them. Bilawal Bhutto Zardari offered fateha for the eternal peace of the wife of Asfandyar Wali Khan and mother of Aimal Wali Khan and fortitude to her other family members.

Those who accompanied Bilawal Bhutto Zardar were included president PPP KP chapter, Mohammad Ali Shah Bacha, Senator Yousaf Raza Gilani, Senator Sherry Rehman, Faisal Karim Kundi, Naveed Qamar, Nasir Shah, Shazi Khan, Kiramat Chagarmati, Hamayun Khan, Asma Arbab Alamgir and other party leaders. Local PPP leaders including Amjad Khan Afridi, Farzand Wazir, Ibrar Saeed, Ziaullah Afridi, Arbab Zarak Khan, Zahir Ali Shah, Shoaib Alam, Naeem Khan Umerzai, Bacha Said, Arif Gul and Pir Aftab Uthmanzai also accompanied the party chairman and expressed condolence with Aimal Wali Khan. Shakil Bashir Umerzai, Farooq Khan Sheikho, Gohar Ayub, Afzal Bashir, Alam Khan and other ANP leaders were also present on the occasion.

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