Description

Often, a sensitive playing of the nagma defines the flow of a solo and this is perhaps the most noticeable thing on this track. Aneesh was extremely captivated by the beauty of the nagma that he started a Purab peshkar almost unexpectedly after a slow introduction (1.20). A point to be noted here is that while this composition is regarded by some as a qaida, Aneesh learned it as a peshkar. This is followed by a qaida (06.32) composed by Amir Hussein Khan and another that he learnt as a part of the Ajarada repertoire (12.14) The next major composition is a rela (16.59) composed by Amir Hussein Khan. The following rela (20.42) is launched with the help of a gat (19.55), an interpretation that was passed onto Aneesh by his Guruji. The next composition that follows the theme and variations pattern is the gat and qaida (24.12). A series of tukdas, which are recited and played immediately on the instrument (26.50) take this track to a climatic end.