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Sharafat Hussain Khan - Agra Gharana Vol.1
Sharafat Hussain Khan
Agra Gharana Vol.1
Sangeet Kendra Baithak Series SK 004, 2004

Sharafat Hussain Khan (1930-1985) was amongst the most brilliant Khayal vocalists of the post - independence era. He represented the Agra Gharana (stylistic lineage) , and was unanimously regarded as the most illustrious heir to the legacy of his principal mentor, the legendary Ustad Faiyyaz Khan (1886 - 1950) .
Sharafat Hussain Khan was born in July, 1930, to Ustad Liaquat Hussain Khan, a court musician in the erstwhile Jaipur State, and Alla Rakhi Beghum. From his father's side, Sharafat was a descendant of Inayet Hussain Khan (1845 - 1936), founder of Atrauli Gharana, and from his mother's side, and of his maternal grandfather Mehboob Khan (Daras Piya) , also of the Atrauli Gharana, but whose music was greatly influenced by the Rangile Gharana of his mother's family, founded by Ramzan Khan (1759 - 1806). In early childhood, Sharafat was trained by his father. When Sharafat was only eight years old, his prodigious talent impressed the legendary Faiyyaz Khan during one of his visits to Atrauli. The maestro, without a son despite three marriages, adopted Sharafat, and took away forthwith to Baroda to groom him as his heir.
Sharafat was a child prodigy, who rose meteorically after his adoption by Faiyyaz Khan. At the age of eight, he made a stunning debut at the influential Matunga Music Circle in Mumbai. This triggered off invitations to perform at the All India Music Conference at Allahabad, and the All Bengal Conference in Kolkata. When he was eleven, he was hailed as the "Rising Sun" of vocalism at the Gaya Conference.By the age of twelve, he has made his first disc with HMV/ EMI, and topped the prestigious Baroda State Music Competition.
Sharafat was only 20, when Faiyyaz Khan died. Thereafter, he started studying with his maternal uncle, Ustad Ata Hussain Khan of the allied Atrauli - Bangile Lineage. Soon thereafter, he acquired a third guide - his scholarly father - in - law, Vilayat Hussain Khan of the Agra Lineage. Thus, like his foster - father, Sharafat Hussain came to represent a magnificent confluence of three intimately connected lineages - Agra, Atrauli, and Rangile.
While still in his 30s, Sharafat became amongst the busiest vocalists in India, and enjoyed a continuous run of sucess for two decades (1965 - 1985). Along with popularity came the honours. He was made an Honorary Fellow of the Performing Arts Academy of Uttar Pradesh (Northern Provinces) and decorated with the Padma Shree by the President of India. In 1985, Sangeet Natak Akademi ( The National Performing Arts Academy) held a special ceremony to honour him shortly before he succumbed to lung cancer at the age of 55. He also got a Tansen Award.

Agra Gharana: This style of Khayal gayaki is usually associated with Faiyaz khan (1886 - 1950). The founders of the Agra gharana were originally singers of Dhrupad. Dhamar and Khayal singing came to be adopted in the Gharana. It was Ustad Faiyaz Khan who transformed the traditional and austere Agra style and left his colourful imprint on the Gharana. The Agra Gharana places great importance on developing forcefulness and deepness in the voice so that the notes are powerful and resonant. This Gharana pays special attention to ragas like Megh and Darbarikanada. In the Alap, the shape of the raga is broadly outlined through key phrases and structures, rather than in a note by note manner. The Bandish plays a very important role. The purity of the Bandish is stressed and the entire Bandish forms the central point of the performance. The use of the Meendh in order to make the presentation effective is stressed. The Agra Gharana maintains this aspect of Dhrupad by the frequent use of Meendh and Gamaks for Alapchari and shuns the use of ornaments such as Murkis. One of the most notable features of the Agra Gayaki is its Layakari and the manifestation of rhythm in all the aspects of the khayal presentation.

Unfortunately the booklet is the same in all CDs of the "Khayal" series - whatever gharana is featured.

Raga Saavani
1. Alap (Vilambit)
2. Alap (Madhyalaya)
3. Alap (Drut)
4. Khyal, Vilambit Ektal

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Sharon Isbin Plays Baroque Favorites for Guitar
Sharon Isbin
Plays Baroque Favorites for Guitar, 2002

The "Baroque Favorites for Guitar" title of this CD implies that it might be a greatest-hits compilation or a collection of tunes aimed at newcomers to classical music, and the presence of the not-really-Albinoni Adagio among the contents reinforces this impression. In fact, it is nothing of the sort. It is the product of a long study on Isbin's part (of course, this isn't the kind of detail the marketing department is looking for!), study that has resulted in quite distinctive music making. The album includes mostly transcribed concertos, with a few solo works. Isbin worked with Bach pianist Rosalyn Tureck, learning about Baroque ornamentation and devising ways to transfer keyboard practices idiomatically to the guitar. Tureck did one transcription here (of the Adagio from Bach's Keyboard Concerto in F minor, BWV 1056); others were done by Isbin and her student Mats Bergstrom. They are highly effective, restrained, unsentimental renderings that display Bach's contrapuntal lines with maximum clarity. For two Vivaldi concertos that included lute parts, Isbin turns to arrangements by Catalan guitarist Emilio Pujol; they deliver real melodic lushness while allowing Isbin room to apply ornamentation lessons learned. The accompaniment by the Zürcher Kammerorchester hangs discreetly in the background like a well-trained butler. Is Sharon Isbin a has-been? Not from the evidence of this fine disc -- she seems instead to be breaking new ground as a performer. - James Manheim

Die Gitarrenkunst der Amerikanerin Sharon Isbin ist eine Klasse für sich. Die zweifache Grammy-Gewinnerin (2001 für das Album 'Dreams of a World' und 2002 für die Gitarrenkonzerte von Christopher Rouse und Tan Dun) ist nicht nur regelmäßiger Gast in den Konzertsälen der USA und Europas, sie ist auch eine geschätzte und hoch gefragte Pädagogin an der New Yorker Juillard School und beim Aspen Music Festival.
Mit ihrem vierten Album bei Warner Classics widmet sich Sharon Isbin erstmals komplett der Barockmusik. Auf ihr reichhaltiges Programm setzte sie ausschließlich Bearbeitungen von Werken, die zu den schönsten und beliebtesten jener Epoche zählen. Mit dabei sind Bachs Violinkonzert a-Moll und ein Satz aus dem Cembalokonzert f-Moll, jeweils in Bearbeitungen für Gitarre. Zu erleben sind außerdem berühmter Choral 'Jesus bleibet meine Freude' und Albinonis nicht weniger bekanntes Adagio, beide erstmals auf CD in der Bearbeitung von John Duarte. Vivaldis meisterhafte Konzerte D-Dur und A-Dur für Gitarre und Orchester sind Bearbeitungen von Emilio Pujo und wurden von Sharon Isbin selbst herausgegeben – zwei Beispiele für die umfangreiche editorische Arbeit der Künstlerin.

Antonio Vivaldi - Concerto in D major, RV 93
01. I. Allegro
02. II. Largo
03. III. Allegro
Johann Sebastian Bach - Concerto in A minor, BWV 1041
04. I. [Allegro]
05. II. Andante
06. III. Allegro assai
07. Tommaso Albinoni (Remo Giazotto) - Allegro non molto (quasi Andante)
Antonio Vivaldi - Concerto in A major, RV 82
08. I. Larghetto
09. II. Allegro
10. III. Adagio
11. Johann Sebastian Bach - Concerto No. 5 in F minor, BWV 1056: Adagio
12. Johann Sebastian Bach - Prelude in C minor, BWV 999
13. Johann Sebastian Bach - Cantata No. 147, "Herz und Mund und Tat und Leben," BWV 147: Jesu, Joy of Man's Desiring

Sharon Isbin - guitar
Zürcher Kammerorchester, Dir. Howard Griffiths

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Sadie Harrison & Ensemble Bakhtar - The Light Garden Trilogy & Traditional Afghan Music
Sadie Harrison & Ensemble Bakhtar
The Light Garden Trilogy & Traditional Afghan Music, 2003

The Light Garden Trilogy is a highly significant modern work, inspired by 16th century Afghan culture, by British composer Sadie Harrison. Accompanied here by four traditional Afghan pieces.

"Heard from the next room it might be possible to confuse Sadie Harrison's eloquently crafted compositions with the interleaved traditional Afghani music. Both styles are elegantly played and wonderfully recorded. Metier releases always sound excellent. David Lefeber has curated a catalog of consistently impressive discs. In such lofty company, this one still stands out. Metier has accomplished something quite remarkable with Harrison's amazing music and the Bakhtar's vibrant playing. Indisputably one of this year's best." – Grant Chu Covell (La Folia)

1. Ensemble Bakhtar - Naghma-Ye Kashâl Bairami 6:23
2. The Tate Ensemble - Sadie Harrison, The Light Garden: First part of the Light Garden Trilogy 14:58
3. Ensemble Bakhtar - Bibi Gol Afruz (Shining Flower Lady) 7:01
4. Lontano - Sadie Harrison, The Fourteenth Terrace: Second Part of the Light Garden Trilogy 14:07
5. Ensemble Bakhtar - Allâh Hu (This Is God) 6:50
6. Peter Sheppard Skarved - Sadie Harrison, Bavad Khair Baqi!: Third Part of the Light Garden Trilogy 10:29
7. Ensemble Bakhtar - Siah Cheskm-e Khumari (Your Captivating Black Eyes) 8:28

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Unforgettable Hits (2) (Golden Accordion)
TRACK LISTINGS

[01]. I Just Called To Say I Love You
[02]. Moonlight Lady
[03]. Island In The Stream
[04]. I Wont Let The Sun Go Down On Me
[05]. Island Is The Sun
[06]. All Night Long
[07]. Sad Songs Say So Much
[08]. Reggae Lover
[09]. Neverending Story
[10]. Canzone Blu
[11]. Honeymoon In Trinidad
[12]. Self Control
[13]. Love Is Blue
[14]. Blue Tango
[15]. Caribbean Sea
[16]. Let It Be
[17]. My Bonnie
[18]. Agnetha Samba
[19]. La Paloma

MP3 VBR kbps including Covers, 2007

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