Legends of Indian Music and their Memorabilia

Bismillah Khan's Shehnai

Bismillah Khan fondly referred to his shehnai as his ‘begum’ (wife).

He had the distinction of playing the national anthem from the ramparts of the Red Fort on the day of India’s independence (August 15th, 1947) and was awarded India’s highest civilian award, the Bharat Ratna in 2001.

Bismillah Khan's Cap

A trademark part of his attire, the white cap is deeply associated with Bismillah Khan.

Although he was a practicing Muslim, his life and music is also a symbol of India’s syncretic musical traditions. Bismillah Khan would practice for hours together in the precincts of the Kashi Vishwanath temple in his hometown of Benares, a holy place for Hindus, where his forefathers were temple musicians.

Courtesy: Zamin Hussain (son of Bismillah Khan)

Ravi Shankar's Sitar

The sitar is a long-necked string instrument (tat vadya or chordophone), which is played by plucking its strings. While the 13th century poet and musician Amir Khusro is frequently credited with having invented the sitar, the instrument rose to prominence in the Delhi court of the early 18th century.

The sitar shares features with older Indian instruments as well as similar instruments of Persian origin. The Ravi Shankar-style sitar usually has two thumba-s (chamber resonators), 6 main and 13 sympathetic strings, and rich ornamentation.

Courtesy: The Ravi Shankar Foundation

Ravi Shankar's Modified Sitar

Towards the end of his life, Ravi Shankar played a sitar, whose build was modified to suit his frail frame. It had only one thumba and was smaller in size.

This sitar was played by the maestro at his last concert in India, at Bengaluru in 2012.

Ravi Shankar's Surbahar

The surbahar is a long-necked plucked stringed instrument, closely related to the sitar. It is usually larger than a sitar and has a lower tone, and is sometimes referred to as a bass sitar.

Ravi Shankar initially played the surbahar before changing over to the sitar, which was more amenable to up tempo renditions. He however retained some of the surbahar aesthetic, reveling in the lower octaves while exploring the raga.

Courtesy: The Ravi Shankar Foundation

Ravi Shankar Concert Attire

Kurta pyjama with waistcoat and angavastram (a white piece of cloth or stole draped over the shoulder).

Courtesy: The Ravi Shankar Foundation

M S Subbulakshmi's Tambura

The playing of the tanpura provides the drone and sets the ambience upon which the music is played or sung.

Displayed at Indian Music Experience Museum is a Thanjavur-style tambura belonging to M S Subbulakshmi.

M S Subbulakshmi's Saree

In addition to her music, MS Subbulakshmi was also a fashion icon of her time. She mostly wore south Indian Kanjeevaram silk (pattu) sarees, with intricate gold borders. In fact, a particular shade of blue that she preferred was given the moniker ‘MS Blue’.

On display at the Indian Music Experience Museum is another of her sarees, a traditional red saree, with a checked pattern and a yellow border with gold zari (threadwork).

To this day, the South Indian Kanjeevaram saree remains a symbol of tradition and timeless values, both of which are hallmarks of Karnatik music.

Courtesy: V Shrinivasan (Grandson of M S Subbulakshmi)

Bhimsen Joshi's Concert Attire

Bhimsen Joshi was a simple dresser, usually seen in simple cotton or silk kurta (long shirt) and cotton pyjama. On some formal occasions, he would wear an additional waistcoat on his kurta. As he grew older, he would drape a shawl over his shoulders, and received innumerable shawls by way of honours from concert presenters and admirers.

Courtesy: Laxmi Joshi (Daughter-in-law of Bhimsen Joshi)

Zakir Hussain's Tabla

The origins of the tabla are shrouded in mystery. The instrument could have emerged from any of the various twin drums of local origin, or those that came to India with conquering armies.

The tabla surfaced around the 15th century in response to the need for a softer and more agile rhythmic accompaniment than the older pakhawaj.

C Ashwath's Harmonium

This harmonium was used for composing music and as an accompanying instrument in performance by Ashwath, who was seldom seen without this instrument by his side.