00:58 Nand / Anandi ajahuuN naa aaye
17:02 Thumri / Daadraa मोहे पनघट पे नन्दलाल छेड़ गयो रे

मोहे पनघट पे नन्दलाल छेड़ गयो रे
मोरी नाजुक कलाईयाँ मरोड़ गयो रे

This is one of those unexpected benedictions. It was meant to be a Jugalbandi between Sitar and Shehnai, just as two of India's most celebrated maestro instrumentalists had been performing and recording for decades. But they instead ended up breaking into song, while shooting for Doordarshan Bharati's Jugalbandi series, back in the early 2000s at the Taj, Varanasi.

Doordarshan has repackaged parts of this performance at various times – there is one more which has a Kajri and Hori. [ Ссылка ] Anything with the two of these virtuosos would be for the ages, but there is something extra celebratory and joyous about Mohe Panghat Pe Nandlal ChheR Gayo Re. It resurfaced and did the rounds on social media circuit during the lockdown. It could not have been better timed. I wish Gyan Seth, who conceived, produced and directed the series, or someone else who witnessed the performance first-hand, was around to tell us about the experience behind the scenes.

Not that anyone following Vilayat Khan's live shows would be unfamiliar with his love for singing – he would often say that he wanted to become a vocalist in childhood. But the magic here is in the dynamic between the duo. Whoever says music is meant to only be an aural experience should see this and experience for themselves what a visual feast it can be. The beatific smiles on their faces as they clearly enjoy and delight in each other's skills and artistry add to the sheer joyous and music they create – that one of them is in his mid-80s and the other in mid-70s can hardly be guessed from the energy they exude.

I had been saving this, along with their other recordings for around Holi this year, but got distracted by other things. It was Vilayat Hussain Khan singing ajahuuN naa aaye in Gaud Sarang that, funnily enough, reminded me of this performance. The Master Mukund 78 RPM was the clincher.

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