Vidushi Purnima Sen is an exponent of Agra –Atruli gharana. She was the disciple of Vilayat Hussain Khan of Agra-Atrauli gharana. She has also learnt from Ata Hussain Khan and Sharafat Hussain Khan of the same gharana. She is considered as the heir of Agra-Atrauli gharana.
Tags
Delhi, Sangeet Sabha, Live Broadcast, Sharafat Hussain Khan, Hem Kalyan, Nomtom Alap, Tabla, Pakhawaj, Ada Chautal, Improvization, Tihai, Faiyaz Khan, Tanpura, Temparament
Language
Bengali
Vidushi Purnima Sen speaks:
Metadata is generated by Suranjita Paul
Data processed at SAP-DRS Lab, Department of Instrumental Music, Rabindra Bharati University.
Pt. Anindya Banerjee is an eminent Sarod and Sursringar player from Maihar gharana
Tags
Temperament, artist, Kala Sangam, Malkauns festival, Vilayat Khan, Alap, Playing sitar, Riyaz, Balcony, Practice, Compliment, Salam, Irshad Khan, apology, Allauddin khan, Early 2000, Kishan Maharaj, Organiser, Ali akbar Khan, 8pm, Varanasi, 1am, Green Room, Alap, Gat, abartan, Tanpura, Sharan Rani, Kalamandir
Language
Bengali
Pt. Anindya Banerjee speaks:
It appears that the year of the Malkauns festival as stated in the anecdote requires a review. We are working on it. — Editor
Data processed at SAP-DRS Lab, Department of Instrumental Music, Rabindra Bharati University.
This is an incident from the year 1975 which took place at Kalamandir. At the program, there was present Jnan Prakash Ghosh, A.T. Kanan, Prasun Bandyopadhyay, Budhadeb Dasgupta and Malabika Kanan. At that time, I was in eighth standard in school, and this was an incident from the year 1984 and I had just begun my journey in the musical world through experiencing whole night conferences. The first performance that I remember was a duet by Jnan Prakash Ghosh and V Balsara. It was a different kind of experience altogether- the duet of harmonium and piano. Though I wasn’t able to appreciate much, but I really liked it. After one more performance, Kanan Saheb went on stage. He sang the Bageshree Raga- “Sakhi Man Laagi” with the Sa into the Sam. Ten minutes after he began, there was a power cut, which lasted for 45 minutes. I remember, the crowd was totally silent, and Kanan Saheb went on with his performance uninterrupted. Can there be anything more technical than this?
Kalamandir, A renowned auditorium of Kolkata
I had a balcony seat, which used to cost ten rupees back in those days, and I listened to him. I don’t remember the names of his companion, who was excellent as well. I felt Kanan Saheb’s voice was like an arrow, from my balcony seat. If it would have taken place today, even I would have stopped singing in the power cut. This incident has been imprinted in my mind since then.
SAP- Lab, Dept. of Instrumental Music, Rabindra Bharati University
About the speaker
Pt. Sanjay Bandyapadhya is an eminent Sitar Player and Ustad Alauddin Khan Chair Professor in Instrumental Dept. Rabindra Bharati University.
Tags
Shaymal Bose, Barada (Elder brother), Indira Cinema Hall, 1968 – 69, Sadaranga Music Conference, Ustad Amir Khan, Tanpura, Tabla, Darbari, Long Pause, Theka, Ektaal, Jhoomra, Sitar, Sarod, Nikhin Banerjee, Chandrakosh, Gat, Ati Vilambit, All India Radio, Teen tala
SAP- Lab, Dept. of Instrumental Music , Rabindra Bharati University
About the speaker
Pt. Sanjoy Bandopadhya is an eminent Sitar Player and Ustad Alauddin Khan Chair Professor in Dept. of Instrumental Music, Rabindra Bharati University.
Tags
Manas Chakraborty, Solo Concert, September 1975 , Tarapada Chakraborty, Sukumar Samajpati, Kala Mandir, Tabla, Keramatulla Khan, Sarangi, Sagiruddin Khan, Harmonium Jayanta Bose, Puriya, 1975 – 78, Swarmandal, Vistar, Abdul Karim Khan, Subjective appreciation, tarsaptak Sa, Frequency, Suddha Kalyan, tanpura, Recorded Music
