Raga – Soul of Indian Music @ Neville Hall, Newcastle upon Tyne

Hindustani Classical Music

20th February 2009

Reviewed by Hedd Thomas

After a year in the making, the stage was set. With carpets laid ready to welcome the musicians in the mahogany-walled Neville Hall, the small but eager audience would have been forgiven for thinking they'd stepped back in time to when the world was bigger and India conjured images of mysticism.

Coming all the way from Germany for the performance was Ashraf Sharif Khan. Trained in the uniquely expressive Poonch Gharana tradition established by his grandfather, he has been giving concert performances on the sitar since the age of 10. Khan was joined by Dr Vijay Rajput, the acclaimed Hindustani vocalist and Guruji, as well as Shahbaz Hussain, hailed as “one of the most promising young artists of Tabla in the UK,” both based in Newcastle upon Tyne. Finally, the honour of playing tanpura was given to Newcastle University's David Clarke, a professor whose principal research area is the life and works of Michael Tippet but who has been a student of Hindustani classical music for over 20 years.

Starting the evening's programme was Raga Yaman, a meditative, romantic evening raga about enjoying the moment. With eyes shut and broad smiles by Khan and Rajput they each toyed with their melismas as the gentle free rhythms picked up pace. There were calls of “bravo” as Hussein entered with an array of rhythms on tabla, showing off the talent he has become known for. As the raga progressed further the interaction between the three masters intensified. Sudden vigour would come from the tablas, allowing the raga to flourish, before Khan's confident fingers darted up and down the neck of his sitar in bold scales. The audience was loving it and showed it with their first mid-performance applause soon followed by another and another. Rajput looked by now like a man possessed, eyes wide open and hands mimicking the contour of his powerful melismas, while Hussein's furious hands were unbelievably clear and precise up until the climactic end. It was obvious they knew on stage it had gone well, while audible remarks of “amazing” and “I've never seen anything like that before” came from all around the room.

The second half began with a solo raga for the sitar. With gentle tones that Khan let fade to nothingness, this most famous of Indian instruments sounded like it was wailing in this sorrowful, romantic piece. The later techniques used to play a high riff and melody simultaneously were breathtaking both to watch and hear, giving Rajput a hard act to follow. That he did, however, with his Spring Raga. Using his powerful voice, this accomplished singer expertly managed the intricate phrases and subtle microtones while also managing to get the story of the song across in its original ancient language.

They all ended with a melodious raga with lots of interplay between the instruments. Rajput maintained a clear timbre throughout his impressive range, Hussein's firm rhythms provided a great sense of direction and Khan lived up to his reputation as one of the most expressive sitarists around. The result was a standing ovation with cheers and smiles all round. In parts simple and sensual while in others fast-paced and virtuosic, this was an concert of intimate music in intimate surroundings. And while its complexity might have been beyond some in the audience its immersive ability was undeniable, providing for what was truly a magical evening.

Rating: 5/5