The Archive

Listed below is a selection of recordings of Mushtaq Ali Khan in real audio format. Just click on any raga you wish to access. Gradually this index will be enlarged as the original recordings are formatted. Although the fidelity of these recordings is at times obscured and will require adjustments of volume and equalization, this archive will provide insight into Mushtaq Ali Khanís distinct style and the way in which he preserved the purity of the Senia tradition. They will also give the listener as well as students of Indian music an intricate picture of the grammar, character, and feeling of the melodic architecture inherent in classical instrumental music. These recordings are provided to the listening public freely and no commercial purpose whatsoever is intended. Your comments are welcomed through ragaexchange.

  1. Adana - A raga played around midnight. High tempo with force and vigor.
  2. Adana - A special recording from 1934 that Mushtaq Ali Khan recorded as a 78 rpm disc. Never distributed. Demonstration of Khansahebís speed and skill.
  3. Bageshree- A night raga played between 9 and midnight. Peaceful , soft and serene. Accompaniment by Keramatullah Khan.
  4. Behag - A raga of the early night between 6 and 9 , tender, patient and warm hearted tones.
  5. Bhairav - Early morning preferably just after the sunrise, strong but also devotional , particularly for sadhana.
  6. Bhairav - Bahar This recording is not so good and is included as an interesting blend of two ragas rarely heard nowadays.
  7. Bhairavi - Always the desert at the end of a concert. Loving, compassionate, as well as devotional. This recording includes an example of a Maseetkhani composition.
  8. Bhairavi - The second of two short pieces Mushtaq Ali Khan recorded in 1934 when he was twenty three.
  9. Bhimpalashri - Afternoon around 3 pm. Flattened notes begin to return after the predominant use of natural notes at the noon hour. Quiescent, unresisting, with meaningful satisfaction.
  10. Bhopali - An early night Kalyan type with strong use of Shuddha Gandhar . Lightly devotional and happy, outgoing.. Pentatonic natural scale omitting the fourth and the seventh. Mushtaq Ali Khan plays Maseetkhani in this recording and it is worth comparing it with the Barkatullah Khan recording on the Sources page.
  11. Brindhavani Sarang - A midday raga with mostly sharpened tones, heavy emphasis on the second, Shudda Rishab, which is typical of ragas at midday and midnight. Cautiously opening to the world.