Recent News
12.12.18
Keith Lockhart
KEITH LOCKHART JOINS THE ROSTER
12.10.18
Vienna Boys Choir
Classical Album of the Week: Vienna Boys Choir Sings Strauss
WRTI
12.07.18
JoAnn Falletta, Mariss Jansons, David Alan Miller, Peter Oundjian, Patrick Summers, Alexandre Tharaud, Magos Herrera & Brooklyn Rider , Mason Bates, Symphonieorchester des Bayerischen Rundfunks, Munich , Academy of St Martin in the Fields , Les Violons du Roy , Anthony Roth Costanzo, Nathan Gunn
2019 Grammy Nominees
Grammy Awards
12.07.18
New York Philharmonic String Quartet , Yefim Bronfman
Bronfman, NY Philharmonic Quartet impress at Linton Series
Cincinnati Business Courier
12.06.18
Aaron Diehl
Pianist Diehl in jazz trio plays varied concert in Palm Beach
Palm Beach Daily News
12.06.18
Julian Wachner
This Is the Best ‘Messiah’ in New York
The New York Times
12.04.18
Sir Andrew Davis
ELGAR The Music Makers. The Spirit of England (Davis)
Gramophone
12.03.18
Chanticleer
Chanticleer Christmas concert, 11/30/18
Divamensch
12.01.18
Ward Stare
Twin pianists deliver impeccable style in ‘Perfect Pairs’ concert
Sarasota Herald Tribune
11.27.18
Richard Kaufman
PHANTOM OF THE OPERA HAUNTS THE SOROYA IN REAL TIME
Broadway World

News archive »

Critical Acclaim

08.01.18
Amjad Ali Khan

“He gave each melodic phrase an individual character with an expert use of dynamics. And in the improvisations, he was creating his own original shapes. He placed important notes between beats; he used trembling-pitch ornamentation, but not too much; his phrases began mildly, became distended, and dove into silence... Once you hear his sons, you fully appreciate Mr. Khan’s power. His sons are both excellent musicians, who play with power and precision and can light up an audience with fast passages.”
The New York Times

“Amjad Ali Khan casts a kind of charm on audiences, sending out ripples of excitement”
The New York Times

“The 65-year-old sarod virtuoso is a superstar in India, revered for his expressive, vocalized playing on that lute-like instrument… Amjad Ali Khan’s playing explained why everyone was there: not just to study the exotic harmonies and complex rhythms of an ancient musical tradition, but to experience string music that spoke directly to the heart…. In his hands, the sarod’s 25 strings produced a rich palette of overtones, further mimicking the complex tone colors and expressive range of the human voice… Amaan Ali Khan and Ayaan Ali Khan are the seventh generation of sarod virtuosos from this remarkable family, and they are already putting their own stamp on the instrument.”
The Times Picayune



“One of the delights of Indian classical music is that it can be such an easy-going affair… [Amjad Ali Khan is] rightly regarded [as] the finest living exponent of the sarod… It was a masterful set.”
The Guardian

“He is at the height of his inventive powers and currently unequalled.”
BBC Music Magazine

“It was like watching an Indian classical answer to Eric Clapton and Ginger Baker crashing through their favourite Robert Johnson covers at the Cream revival earlier this month. Amjad Ali Khan may be a master of the sarod rather than the guitar, but once he had built up to the crescendo of his solo set - improvising furiously around the melody line with repeated, rapid-fire playing and then letting his equally frantic tabla player take over - it was easy to see why great Indian music can be as exciting as classic blues and rock.”
The Guardian

“Amjad Ali Khan is the master of the Sarod. Smaller than a sitar, it has 19 strings. Accompanied by his two sons, Amaan Ali Bangash and Ayaan Ali Bangash, on similar instruments, they created a 57-string three-man symphony orchestra.”
The Times

“Amjad Ali Khan's playing here is outstanding.”
Gramophone

“In the Art of Sarod playing echoes the human voice… Amjad Ali Khan's were the right hands to be doing these things.”
The New York Times

“Amjad Ali Khan, One of the great names in Indian Classical music, reached a wide audience as a star of the last year's Indian prom.”
BBC Music Magazine

“Amjad Ali Khan, who, for many, is god-like in his dramatic powers on the Sarod, delivered his music with the emotional voltage of the blues, and a flexible instrument line that was almost vocal in its expressiveness.”
The Edinburgh Herald