Category Archives: 1921-1947

North, Performance, 1921-1947

Kesarbai Kerkar and Fayyaz Khan in Challenging Mood

Told by Maharaj Banerjee
Obtained by Sanjoy Bandopadhyay and Dilip Mukherjee
Date 05 July, 2015
Place Sati Sadan, 41, Harish Mukherjee Road, Bhowanipur, Kolkata 700025
About Maharaj Banerjee Son and disciple of Pt. Montu Banerjee [Tabla, Sarod, Harmonium]. Disciple of Pt. Muneshwar Dayal [Harmonium], Ustd. Ahmedjan Thirakawa. [Tabla].
Tags All India Music Conference, Lala Babu, Mahajati Sadan, 1940-42, Kesarbai, Alladiya Khan, morning session, Bilaval, Kukubh, 1938
Language Bengali

Maharaj Banerjee speaks :

 

Verbatim:

– ???? ????? ?????????? ?? ?????? ?????? ??????????

– ??? ??????

– ??????? ????? ????, ?? ???????? ??? ?????? ??????? ?????

– ???????? ??? ?????

??? ???????? ?? ????, ??, ?? ?? ?????? ?????? ??????? ?????? ?????? ??? ??????? ????? ????? ??? ????????? ???? ??? ??????? ??????, ??????? ??????? ??????? ????? ???????? ?? ?????? ??????? ?????? ?? ??? ????????? ????  ??? ?? ?????? ???, ????? ?????? ???? ????? ??????? ??????? ??? ????? ????? ????? ??? ??????, -‘??? ?????, ??? ??? ?????? ??? ?????? ?????? ??? ?? ??? ?? ???? ????, ???? ?????? ?????? ??? ??? ????? ?? ?????’? ???? ????????? ???? ??????

– ????? ??????

              Ustad faiyaz Khan

?????, ????? ??? ??? ?????? ????? ?????? ????? ??? ?? ?????? ?????? ???????? ?????? ?? ?????? ?????? ?????? ???? ?????? ?? ?????? ???? ??? ??? ?? ????? ??? ?? ?????, ?? ???? ??, ?? ???????, ???????? ?? ???? ???????, ???? ?????, ??????? ??? ??????? ???? ??????, ??????, ???? ?? ????? ????? ??????? ?? ?? ?? ?? ????????? ???? ????? ??… ?????????? ????? ???????-???

?????????? ????? ??? ????????? ???? ??????? ????? ?? ?????? ??????? ?????- ‘???? ?????? ??? ???? ???? ?????? ?????’?

??????? ????? ????, ???????? ?? ??? ??? ?????? ??? ?????? ?????????? ?? ?????, ?? ???, ?? ?????? ?? ?????? ?? ?? ???

???

 Verbatim by: Dr. Suranjita Paul

Translation:

It was a morning programme. All Bengal Music Conference.

Where was this?

This was the one hosted by Lal babu. All India. This one was held at Mahajati Sadan.

When was this approximately?

               Kesarbai Kerkar

This was around 1940/41-42. Kesar Bai was singing in the morning. She was a very sombre kind of a woman. She was the only disciple of Alladiya Khan. In the morning, she was singing varieties of Raga Bilawal. Bilawal is a very difficult raga. There are many variations – kukuv bilawal and so on and so forth. Keshar Bai was singing. In the heat of the moment she said, “Bade Miyan, this is very difficult. To acquire the Bilawal and to be able to sing it is very difficult. This is Bade Miya’s training.” Bade Miya means Alladiya Khan.

That to Faiyaz Khan!

Yes, Faiyaz Khan. She said it in front of everyone. Faiyaz Khan was very upset. She was singing and speaking. No one sings the Vilaval usually. Not Ghulam Ali Khan sahib, not Amir Khan – no one. And among those of us who play instruments, Vilayet Khan used to play Imni Vilaval. Alaiya, Imni – three or four Vilavals. And they were not trained under Alladiya Khan. Keshar Bai was a league apart.

Faiyaz Khan was to perform that night. He sang the Darbari. He said, “Begum sahiba, this Dhaibat is very difficult.” Dhaibat and Gandhar. This was the nature of competitions during that time. That volume, that voice, that ‘kharaj’. There’ll never be another Faiyaz Khan again.

 Translated by: Sarbajaya Bhattacharya

 Picture Courtesy: Google

http://www.mohannadkarni.org/memorable-moments-with-kesarbai-kerkar/

http://www.surgyan.com/faiyazkhan.htm

Edited & Designed: Dr. Suranjita Paul

Data processed at SAP-DRS Lab, Department of Instrumental Music, Rabindra Bharati University

 

North, Teaching-Learning, 1921-1947, 1948-1960

Impact of Badal Khan and Fayyaz Khan on Vishmadev Chatterjee

Told by Maharaj Banerjee
Obtained by Sanjoy Bandopadhyay and Dilip Mukherjee
Date 05 July, 2015
Place Sati Sadan, 41, Harish Mukherjee Road, Bhowanipur, Kolkata 700025
About Maharaj Banerjee Son and disciple of Pt. Montu Banerjee [Tabla, Sarod, Harmonium]. Disciple of Pt. Muneshwar Dayal [Harmonium], Ustd. Ahmedjan Thirakawa. [Tabla].
Tags Vishmadev Chatterjee, Bhishmadev, Vishmadev, Badal Khan, Fayyaz Khan, Rampur, Baubazar, Mantu Banerjee, Kalu, Bade Mian,
Language Bengali

Maharaj Banerjee speaks :

Riyaz / Practicing, South, 1921-1947

Remembering Ustd. Vilayet Khan’s doing riyaz

Told by Maharaj Banerjee
Obtained by Sanjoy Bandopadhyay and Dilip Mukherjee
Date 05 July, 2015
Place Sati Sadan, 41, Harish Mukherjee Road, Bhowanipur, Kolkata 700025
About Maharaj Banerjee Son and disciple of Pt. Montu Banerjee [Tabla, Sarod, Harmonium]. Disciple of Pt. Muneshwar Dayal [Harmonium], Ustd. Ahmedjan Thirakawa. [Tabla].
Tags Vilayet Khan, 10.30 p.m. 1944-46, Sati Sadan, Riyaz
Language Bengali

Maharaj Banerjee speaks :

Verbatim:

??????? ??? ??????? ???????? ??????? ???? ??? ???? ??? ?? ???? ??? ??????????? ?????? ??? ???? ??? ?????, ??? ??????? ??? ????? ???? ?????? ???? ?????, ????? ???? ????? ???? ????

????? ??? ????? ?

?? ???? ???? –??????? ?????? ?????? ??? ???? ??? ????? ????? ???? ?????? ???? ?????? ?????, ??? ???? ???? ???? ??????

????? ?? ???? ????

??, ????? ?? ??, ??, ?? ?? ??? ???? ??????? ?? ??? ???…????? ????? ????????? ???? ??? ???? ??? ???? ??? ????? ?????? ?????? ??? ????? ????? – ‘???? ??? ??????’? ?? ????, ?????

???? ???? ???????? ?????

                          Ustad Vilayat Khan

??????????? ???? ???? ???? ????? ????????? ??????? ??? ????? ????? ??????? ??? ???? ??? ???????? ?????, ??????, ??????…????  ??? ???? ????? ????, ‘??? ??????? ????? ?????? ?????’? ???? ???????? ???? ?? ??? ?????? ???? ????? ???? ? ???? ??????? ??? ???-‘???? ?????? ????? ??? ???? ???’? ??? ???? ?????? ?? ???? ???????? ??? ??? ????? ???? ???? ???? ???? ??????? ??? ???? ????? ??? ?? ??????? ?? ??????? ?? ??? ?????, ??? ???? ???? ??? ????? ???? ?? ????? ????? (????? ?????????)? ?? ??????? ??????? ??? ????? ????????? ???? ??? ??????? ????? ?? ?????, ?? ??? ????? ??? ?????? ???????? ???? ???? (????? ?????????) ?? ?????? ???? ???? ???? ?? ????? ?????? ???????

Verbatim by: Dr. Suranjita Paul

 Translation:

I remember everything about Vilayet Khan sahib’s riyaz. When, at night, father and I would complete our riyaz and go upstairs, he would start. All the doors and windows would be closed.

What time?

We would finish by 10:30-11:00. I would accompany father. Father would do the riyaz. After finishing, we would go upstairs.

This was in 1935?

No, this was ’44, ’45, ’46 – these three years. The gentleman was so nice…he didn’t cause any disturbance to anybody in the household. Father would go up first when we finished. He used to say, “Now I shall play.” He was so gentle and polite.

It would begin from 10:30pm?

 

Yes, at night. We would go upstairs by eleven. Vilayet Khan would sit down to play. We were a joint family then. My aunts…everyone called him by name. They used to say, “Look, Vilayet has started to play. Then, early in the morning, father and I would come downstairs to practice. Vilayet Khan would say, “Now you play, I’ll go lie down for a while.” What did he sleep on? He wasn’t fancy at all. He rested his head on the bire of the tabla. He would practice all night. What did he practice? The same palta. The same jhala. It was like he was polishing the music. (Demonstrates). When father went to the washroom at night or to the courtyard, he would see Vilayet Khan sitting in the same spot and playing. Sometimes (demonstrates) it would go up by one point. This was their riyaz.

 Translated by: Sarbajaya Bhattacharya

 

Picture courtesy: Google

https://alchetron.com/Vilayat-Khan

 Edited & Designed: Dr.Suranjita Paul

Data processed at SAP-DRS Lab, Department of Instrumental Music, RabindraBharati University

 

 

 

 

 

 

 

 

North, South, Teaching-Learning, 1921-1947, 1948-1960

My association with Indian Classical Music [till 1955] : Dr. Pradip Ghosh speaks

Told by Dr. Pradip Ghosh
Obtained by Prof. Sanjoy Bandopadhyay and Suranjita Paul
Date 13 July, 2016
Place SAP-DRS Lab, Sangeet Bhavan, Rabindra Bharati University
On Dr. Pradip Ghosh Dr. Pradip Ghosh is an erudite music scholar and renowned musicologist.
Key-words Dakshineshwar, Jamiruddin Khan, Bishwanath Chattopadhyay, Shyam Chattopadhyay, Ram Chattopadhyay, Enayet Khan, Vilayet Khan, Bijoybabu, Panchu Gopal Ghosh, sitar, 1944, Shyambazar, Binoy Ghosh, 1951, Satya Kinkar bandyopadhyay, Tarapada Chakraborty, Murari banerjee, Harmonium, Raga svara, Thaata svara
Language Bengali

Dr. Pradip Ghosh speaks:

 

Teaching-Learning, 1921-1947, Central, Others

Ustd. Enayet Khan, Ustd. Fayyaz Khan and their disciple Dhruvatara Joshi

Told by Somjit Dasgupta
Obtained by Sanjoy Bandopadhyay and Troilee Dutta
Date 14 July, 2015
Place Residence of Somjit Dasgupta Prof. Sanjoy Bandopadhyay, 3/1/1D, Padmapukur Road, Kolkata 700092
About Somjit Dasgupta Disciple of Pt. Radhika Mohan Maitra. Preserving rare musical instruments including the instruments belonged to Pt. Radhika Mohan Maitra. He plays different instruments like Sarod, Surshringar, Mohan Veena, etc.
Tags 1940, Brojendra Mohan Maitra, court musician, Md. Amir Khan, Ustd. Enayet Khan, Rajshahi, 15 Sagruddin Lane, Kalabagan, Badal Khan, Birendra Kishore Roy Chaudhury, Park Circus, Raja Bazar, Dhruvatara Joshi, Fayyaz Khan, Garg, Mahishadal Rajbari,
Language Bengali

Somjit Dasgupta speaks :

South, 1921-1947, Others

Student Quality Bidi and little Radhika Mohan Maitra

Told by Somjit Dasgupta
Obtained by Sanjoy Bandopadhyay and Troilee Dutta
Date 14 July, 2015
Place Residence of Prof. Sanjoy Bandopadhyay, 3/1/1D, Padmapukur Road, Kolkata 700092
About Somjit Dasgupta Disciple of Pt. Radhika Mohan Maitra. Preserving rare musical instruments including the instruments belonged to Pt. Radhika Mohan Maitra. He plays different instruments like Sarod, Surshringar, Mohan Veena, etc.
Tags Radhika Mohan Maitra, Brojendra Mohan Maitra, Goshthababu, student quality bidi, Rajshahi,
Language Bengali

Somjit Dasgupta speaks :

Paraphrase:

This is a most hilarious story once told by Sri Brajendra Mohan Moitra, father of Pandit Radhika Mohan Moitra, who was fondly known as ‘Buro Dadu’ or ‘Bhuro Dadu’ for his remarkable tummy. It was a lovely memory shared by a father about his legendary son.

Brajendra Mohan Moitra, Zaminder of Rajshahi estate was a person with strict principles. It was that era when smoking hookah, bidi in tender age was not a very big taboo. But Brajendra Mohan had set strict discipline for his children that made impossible for Radhu Babu to get any bidi or cigarette during his high school days. So he met the tobacco supplier of their estate and ordered him to make a special type of bidi for the students which would be very short in length so that the students could easily enjoy a whole bidi in two to three puffs between the class periods. The tobacco supplier became very confuse and afraid as he could not ignore the order of the elder son of a Zaminder. He asked Radhu Babu what would be the name of that special bidi. Radhika Mohan suggested as the bidi was particularly made for students then it should be named as‘Student quality bidi’. Thus the bidi came into existence and within a few days it became hugely popular among the High school students throughout Rajshahi.

One day Radhu babu was caught red handed by his Head master Gostho babu while smoking in a leisure mood sitting on a branch of a tree. He became enraged after finding his student in that state and ordered him to get down from the tree. Being a very mischievous in nature, Radhu babu told his Head master that he would prefer to get down after smoking as it was inevitable that he would be beaten at any circumstances. In a furious state Gosthobabu went to Brajendra Mohan Moitra to complain against Radhu babu. Hearing about Radhubabu’s deed, Brajendra Mohan Moitra got fumed and called Radhika Mohan for interrogation but as usual he  was not found anywhere in the house. Meanwhile Bhagawan babu who used to know his whereabouts, brought him from the bank of the river by pulling his ear and present him in front of his father and head master. But it was Radhu babu’s luck that his Grandmother came in between three angry persons, scold them for their mistreatment towards a young lad and rescue him.

Paraphrased by: Dr. Suranjita Paul

Data processed at SAP-DRS Lab, Department of Instrumental Music, RabindraBharati University

 

 

1921-1947, Central, Others

Megaphone, Jnanedra Prasad Goswami, Ustd. Fayyaz Khan, Asit Baran

Told by Somjit Dasgupta
Obtained by Sanjoy Bandopadhyay and Troilee Dutta
Date 14 July, 2015
Place Residence of Prof. Sanjoy Bandopadhyay, 3/1/1D, Padmapukur Road, Kolkata 700092
About Somjit Dasgupta Disciple of Pt. Radhika Mohan Maitra. Preserving rare musical instruments including the instruments belonged to Pt. Radhika Mohan Maitra. He plays different instruments like Sarod, Surshringar, Mohan Veena, etc.
Tags Jnanendra Prakash Goswami, Paresh Chandra Bhattacharjee, Fayyaz Khan, Megaphone, Programme Director, 1932-38, Asit Baran, Clerk cum Tabaljee, Abhoy Pada Mallick,
Language Bengali

Somjit Dasgupta speaks :

Performance, 1921-1947, Central, Others

Briefly about Jnanendra Prasad Goswami during late 1930

Told by Somjit Dasgupta
Obtained by Sanjoy Bandopadhyay and Troilee Dutta
Date 14 July, 2015
Place Residence of Somjit Dasgupta Prof. Sanjoy Bandopadhyay, 3/1/1D, Padmapukur Road, Kolkata 700092
About Somjit Dasgupta Disciple of Pt. Radhika Mohan Maitra. Preserving rare musical instruments including the instruments belonged to Pt. Radhika Mohan Maitra. He plays different instruments like Sarod, Surshringar, Mohan Veena, etc.
Tags Jnanendra Prasad Goswami, 1934-38, Radhika Mohan Maitra, Suresh Chakraborty, Bhismadev, Vishmadev Chatterjee, Amiya Nath Sanyal, Deba Prasad Garg, Vishnupur, Mallick Bazar Telephone Exchange, Atta Hussein Khan, Fayyaz Khan, Rathin Chattopadhyay,
Language Bengali

Somjit Dasgupta speaks :

Verbatim:

?? ?? ????? ???????? ????? ??????????? ?????? ?????????…

????? ???????? ???? ????

               Jnanendra Prasad Goswami

???? ????? ????? ?? ?? ???? ???? ??, ??, ?? ?? ?????? ??????????? ?????? ????????? ?? ????? ????? ????? ?? ????? ???? ???? ?? ?? ???? ?? ?? ??? ???? ??? ??????? ???? ?? ??????????? ?????? ????????? ?? ???? ???? ????? ???? ??? ???? ?? ?? ??? ?? ???? ???? ??? ????? ????? ??? ??? ??? ???? ??? ????? ???? ??? ????? ??????? ????? ??? ????? ???? ???? ???? ???? ??????? ????? ???? ?? ??? ??? ??? ??? ???? ?? ???????? ?? ??????? ???? ???? ????? ????? ?? ???? ?????? ??? ??? ???????? ?? ?????????, ????? ????????? ?? ?????? ????…

???????? ???? ????? ?????? ???? ??????

?????? ???? ????? ?? ????? ????????? …

? ??? ????? ??????????

? ????? ????????? ??? ??? ???? ???? ?????? ????????????? ????? ????????? ??, ???????? ????????????? ????? ?? ??????? ????????? ????? ????? ?????????? ?????? ?????? ???? ??????????? ?? ????????? ????-?? ??????, ??? ??? ???????? ?? ?????- ‘???? ???? ?? ??? ??? ???? ???? ?? ??? ????? ???? ???? ???? ??’ ?? ?????????? ????? –‘??? ?? ????? ?????? ?????? ???? ??? ????? ???? ?? ??’?

 

?????? ?? ???? ??? ???? ??? ????? ?? –‘??? ?? ??????? ????? ??? ??? ??????????? ????? ?????? ??? ?????? ?? ?? ?? ???????, ????? ????? ???????? ?????? ??????????? ?????, ?????-‘?????? ??? ????? ?? ?????????? ???? ??? ????’? ?????? ?? ???? ???

?? ????????? ????-?? ?????? ????? ????

????????? ????-?? ?????? ????? ?????? ??????? ???? ????? ??? ???? ??????? ?????????, ?????? ?? ??? ?????? ????? ??? ????? ???? ?? ????? ??? ??????? ??? ????? ??? ??? ???? ???? ??????????? ????? ??? ??? ????? ???? ?????? ?????? ???? ????????? ??? ???? ??? ????? ?? ????????? ??? ????? ????? ????? ???? ???????????? ??? ?? ???? ?????? ???? ?? ????? ?? ?????????? ????? ‘?????’ ?? ??? ??????? ????? ‘????’?

             Ustad Ata Hussain Khan

???

????? ??? ?????? ???? ?? ??????? ?????? ???? ?????  ???? ??????????? ?? ??? ?????, ?? ????? ?? ???? ????? ?? ???? ????? ?? ?? ?????????? ???? ???, ?????????? ????? ???? ?????????, ????? ???????????? ????…?? ???? ??? ????? ??? ???? ???? ?????? ??? ??? ????? ???? ???? ????? ??????? ????? ?????? ????????? ??????? ?????? ??? ?????????, ?? ???????? ??? ??????? ?? ????????? ?????, ??? ??????? ?? ???????? ????? ??????? ????? ???? ??? ?????? ?? ??????? ??????? ????? ??? ?? ?? ???? ???? ?????? ?? ?? ??? ???? ?? ??? ??????? ??????? ????? ???  ??????? ????? ???? ????????? ??  ?? ?? ????? ????? ????????? ????? ??????? ????????? ????????? ?????????

????????? ???? ??? ??? ??????

??????????? ?????? ?????????

Verbatim: Dr. Suranjita Paul

Translation:

And at par was Gyanendra Prasad Goswami …

At par with what needs to be told.

Kazi Nazrul Islam or that period which is 1935, 1936, 1940 that time. The work period of Jnanendra Prasad Goswami was before the year 1938. Means 1934 -1938 around that time.  Also stating the reason that is around 1938 he had developed a feeling that he is not doing good music anymore. And if he wants to improve his music then he has to do it with God.  In the manner, just joining hands in front of the people wearing shawl and silk Punjabi is not enough and nothing is happening in his life. This he said to Radha babu and Suresh babu, Suresh Chakraborty, both of them …..

Radha babu means here Radhika Mohan Moitra?

Radhika Mohan Moitra and Suresh Chakraborty ……

Which Suresh Chakraborty is this?

Suresh Chakraborty about whom I am saying, he is not the musicologist Suresh Chakraborty. He was  the disciple of Viswadeb Chattopadhyay and Amionath Sanyal , Suresh Chakraborty. He went to these two people at  Debiprasad Garg’s house , he did not enter the house – “ See, I don’t like to enter such houses and do music” and he started crying. He said , “ When did I sing in my life? I could not do music”.

After that in 1938 he said, “ I will not return to Kolkata anymore. I am moving to Bishnupur, I will stay there.” And  everyone in that temple were members of the royal family of Bishnupur. He said,

“ I will stay there and sing to Radha Madhav .” He did not return anymore.

Where was the house of Debiprasad Garg?

The house of Debiprasad Garg was at the behest of Mallick bazaar. Now, it is the telephone exchange.  Ata Hussain Kha was of same age at that time. And Faiyaaz Khan used to stay. Ata Hussain Khan and Radha babu then developed themselves as artists by taking training. At that time Rathin Chattopadhyay were good friends with  Ata Hussain and Radha babu.  They used to stay there at that time. He used to call Rathin babu his ‘son’ and he used to also call Ataa Hussain ‘son’ .

Who?

                   Ustad faiyaz Khan

Faiyaaz Khan sahab. His recording, helping voice everything were Rathin  Chattopadhyay and Ata Hussain, both. And for tabla he would always say that Aye Bhattacharya played a lot with his name Jnanbabu, Nimai Bhattacharya’s father… so when this was said it was the year 1938. Then he had left and used  tocome to  Kolkata only once a year, where Bishnupur kings had a monument in Bagbazar, he used to sing in that house. In Gokul Chandra Mitra’s house.  He used to sing in that place only on the day of Saraswati Puja and never came to Kolkata for the rest of the year. He died in 1945. And from 1938 – 1944, he used to come to Kolkata once a year during Saraswati Puja. Jnan babu was the director of Gramophone Company during that time.

Whom are you referring as Jnan babu?

Jnanendra Prasad Goswami.

 

Translated by: Snigdha Mishra

Picture courtesy: Google

http://www.itcsra.org/TreasurePast.aspx?TreasuresId=12

https://www.youtube.com/watch?v=x3toi1gZq7k

http://www.surgyan.com/faiyazkhan.htm

 

Edited & Designed: Dr.Suranjita Paul

Data processed at SAP-DRS Lab, Department of Instrumental Music, RabindraBharati University

 

 

 

 

 

Performance, 1921-1947, Central

1930’s HMV, Kazi Nazrul Islam, Hari Moti Debi and others

Told by Somjit Dasgupta
Obtained by Sanjoy Bandopadhyay and Troilee Dutta
Date 14 July, 2015
Place Residence of Somjit Dasgupta Prof. Sanjoy Bandopadhyay, 3/1/1D, Padmapukur Road, Kolkata 700092
About Somjit Dasgupta Disciple of Pt. Radhika Mohan Maitra. Preserving rare musical instruments including the instruments belonged to Pt. Radhika Mohan Maitra. He plays different instruments like Sarod, Surshringar, Mohan Veena, etc.
Tags Kaji Nazrul Islam, record company, Jamiruddin Khan, HMV, Programme Director, 1930, Bhismadev, Vishmadev  Chattopadhyay, Jamiruddin Khan, Radhika Mohan Maitra, Masid Khan, Mushtaq Ali Khan, Buik, Brojen Maitra, Haromoti Devi, Achchhan Maharaj, Thumri, Hathibagan Tol, Harmonium, sarod, Md. Amir Khan, 1934, Pahade, Kafi, Baithaks
Language Bengali

Somjit Dasgupta speaks :

Verbatim:

??? ????? ???? ????? ????? ??????????, ????? ?????????? ???? ???? ??????, ???? ???? ?? ??? ?? ???????? ?? ????????? ?????? ????? ??? ?????? ?? ????, ??? ????? ?? ??????? ??? ??? ????, ????? ???? ??????? ???? ??? ????? ?? ???? ??? ?? ?????? ???? ?? ??? ????? ?? ??, ??? ???????? ???? ?????? ????? ??? ??? ?? ?????? ????????? ??? ??? ???? ????? ??? ?? ???? ??, ?? ?????? ?????? ???? ???? ??? ?????? ?????, ?? ??? ????? ???????? ????? ?? ???? ???? ????? ???? ????? ?????????? ??? ?????, ?? ?????????? ??? ????? ??? ???? ?????, ????? ??????? ???? ????? ???? ??????? ?????, ???????????? ??? ????? ????? ???? ?? ???? ??? ???? ????? ???? ???? ???????? ???? ???? ???-??-??? ??????????? ???????????? ?????? ?? ??? ??????? ??? ???? ?????? ???? ????? ?? ??????? ???? ?? ??? ???? ??????? ???? ??? ?????????????? ???? ???? ?????? ???? ?????, ????? ???? ??????? ??? ??? ?????, ????? ???????? ???????????? ?? ?????? ???? ???? ??????? ???????? ?????, ?? ??????????? ??? ??? ??? ??????, ?? ???? ????? ????? ???????? ???? ???? ????? –?????? ???? ?????????? ????? ???? ???, ?? ??? ?????? ?????? ??, ????? ? ???? ???? ??? ??? ???? ???? ???? ??? ????? ??? ?? ?? ????, ???? ??????? ???? ???? ?? ?? ??? ???? ???? ?? ?????, ????????? ????? ???? ???? ???? ???, ??? ???? ?????? ???, ???? ??? ?????? ???? ?? ?? ???? ????? ??????, ???? ????  ????????? ????? ?????? ????????, ?????? ????? ????? ?????? ?????  ??? ???? ???? ?????, ?????? ? ?? ????? ?????? ???? ????? ?? ?? ???? ?????? ??? ????? ???????? ????? ????? ???? ?????? ?????? ??????? ??? ???? ????? ??? ?? ???? ??????? ?? ???????? ??? ???? ?? ???? ????????? ??? ??????? ????? ?????? ??? ???????? ????? ?????, ?? ?? ???? ?????? ????? ??? ?????? ??? ?????? ?? ?????? ???????? ???? ????? ?????????? ???????? ?? ??? ??? ??? ????????, ?? ???? ????? ????? ??? ?? ?????? ? ???? ?????? ???? ?????  ???? ????????? ????? ?????? ??? ????? ?? ????????? ????? ???????? ????? ???? ???,

Horimoti Devi with Kaji Nazrul Islam

?????? ????? ????? ??? ????? ?????????, ?? ??? ?????? ?? ??????, ??????? ??????? ?? ??? ????? ???? ???? ???? ??? ????? ??? ????  ??? ??????? ?? ????? ???? ????????? ???????? ????, ???????? ???????????? ????????? ??????????? ?????? ????? ?????? ?? ???? ???????? ?? ???? ????? ??????? ???????, ?? ??????? ???? ???????? ?????, ??? ???? ???????? ?? ???? ??? ??? ??? ???, ???? ???? ???? ???? ???? ????? ??? ??? ?????? ?????? ????? ?????? ????? ?? ???? ?????? ?? ????? ?? ???? ?? ????? ??????? ???? ???? ????? ?? ?????? ?????  ???? ???, ? ?? ????? ?????? ???? ??????? ????? ???? ??????? ???????? ?? ???? ???? ?? ??? ?? ??? ????? ???? ?????? ?? ????? ???????? ??? ?????? ????? ??? ???, ????? ???? ??? ??????? ??? ??? ??? ?? ??????? ???????? ??? ??? ??? ??????? ?????? ???? ????? ??, ????? ?? ?? ??? ???? ????  ???? ??, ??? ?? ????? ???????? ??? ??????? ?????, ?? ??????? ??? ?????? ?????? ?? ??????? ???? ?? ?????  ???? ???? ???? ?? ???? ?? ?????, ??????? ?????? ????? ????? ?????, ???? ??????? ??? ??? ??????????? ???? ?????? ??? ???? ????? ??? ??? ?? ?????? ?????? ?? ?? ???? ????? ????? ?? ????? ????

Verbatim: Rajeswary Ganguly Banerjee

Translation:

This is the story of   Kazi Nazrul Islam, who had returned just from First World War. He decided to work on something related to music. His guru Jamiruddin Khan was retiring from HMV and he wanted Nazrul to take his place as programme director. HMV had already produced some of his songs. It was in 1930s when Kazi Nazrul Islam joined HMV as a programme director.

Pt Radhika Mohan Maitra

Radhikamohan Maitra, the renowned Sarod player, Mustak Ali Khan, the famous sitar player, Vismadeb Chattopadhyay, the great Vocalist- they were all young and promising musicians. They used to roam around Calcutta. Keramatulla Khan just came to Calcutta and his father didn’t let him go with them. Radhubabu used to quarrel with Masid Khan to let his son go with the lot. But he wouldn’t let him. So, these people used to wander in a buick which Radhubabu’s father imported. He had a blue and a red coloured Buick which had an in-built radio. Sometimes when his father needed one they used the other one and crammed inside. They attended to many functions which featured music. They learnt the name of Harimoti Debi from Achhan Maharaj. He said that, she was young and he taught her Kathak Dance and she just consumed the style of Thumri from him. There was a two storied house near Hatibagan where Harimoti Debi used to sing. There was ticket of Rs. 2, 3, 4 and people had to pay that sum to listen to her. In one such programme Vismadeb Chattopadhyay played harmonium and it was recorded by the sheer enthusiasm of  Kazi Nazrul Islam. The super heavy recording machine, the big gramophone cone was all set up in that room and two small discs were released. The songs of  Harimoti Debi were recorded through his endeavour.

We see a famous Nazrul portrait with a Sarod, it belonged to Radhubabu. He insisted that it must be kept in the recording studio. Once he requested Amir Khan Saheb to record his music for posterity. But he didn’t agree, he said he didn’t believe in such things as it did not contain the music well. He was not ready to play anything without his instrument. So, Nazrul requested him to play with his disciple’s instrument. He agreed grudgingly and recorded two ragas. One Kafi and the other Pahari, and this was the only available record

Translated by: Arundhati Banerjee

 Picture Courtesy: Google

https://www.google.com/search?q=HORIMOTI&client=firefox-b&source=lnms&tbm=isch&sa=X&ved=0ahUKEwjekbv1gZnbAhXWTX0KHcaEAC4Q_AUIDCgD&biw=1366&bih=631#imgrc=MPYIGMt9oG9S_M:

https://www.google.com/search?q=radhika+mohan+maitra&client=firefox-b&tbm=isch&tbs=rimg:CVQbN-GUa4jHIjhMPSbzLBzvoufUFI-fh6X5taCpYopnbjOgQOoGtFDMAruBiyBk6FF-25HwokPVV0iFwdo6mwYxiCoSCUw9JvMsHO-iEap3arxfUBceKhIJ59QUj5-HpfkRIrK9Jyrf2XAqEgm1oKliimduMxEXpjfcRLeN_1ioSCaBA6ga0UMwCEY4yxZhNq2z5KhIJu4GLIGToUX4RQzFXweCXYVkqEgnbkfCiQ9VXSBGVprC98ASr-SoSCYXB2jqbBjGIEd5E3xzrh8zw&tbo=u&sa=X&ved=2ahUKEwi2jPSNhpnbAhWKTn0KHduGDNIQ9C96BAgBEBs&biw=1366&bih=631&dpr=1#imgrc=59QUj5-HpfnIJM:

Edited & Designed: Ms. Rajeswary Ganguly Banerjee

Data processed at SAP-DRS Lab, Department of Instrumental Music, Rabindra Bharati University

 

 

 

 

 

 

Performance, South, 1921-1947, Listening

Ustd. Allauddin Khan on Radhika Mohan Maitra

Told by Somjit Dasgupta
Obtained by Sanjoy Bandopadhyay and Troilee Dutta
Date 14 July, 2015
Place Residence of Somjit Dasgupta Prof. Sanjoy Bandopadhyay, 3/1/1D, Padmapukur Road, Kolkata 700092
About Somjit Dasgupta Disciple of Pt. Radhika Mohan Maitra. Preserving rare musical instruments including the instruments belonged to Pt. Radhika Mohan Maitra. He plays different instruments like Sarod, Surshringar, Mohan Veena, etc.
Tags Radhika Mohan Moitra, 1935, Bhagawan Chandra Sen, Swami Vivekananda, Lalit Mohan Maitra, Allauddin Khan, Ali Akbar Khan, Allahabad, 1937, Anokhelal, jaba, Dipali Nag.

 
Language Bengali

Somjit Dasgupta speaks :

Verbatim:

????? ???? ?????? ???? ??????? ??? ???? ??? ???, ???? ???? ?? ????? ????? ?????? ??? ?? ??????? ??? ????????? ???? ??? ???? ???? ????? ??? ???? ???? ?? ?????? ????? ???????? ??? ?? ?? ???? ??? ??????? ??????? ????? ????? ????? ?? ??????? ?????? ???? ?? ??????? ???? ????? ??? ????? ????? ?????? ??? ????? ?????? ???????????? ?????, ??????????? ??? ??? ???? ?????? ?? ??????? ????? ??????????? ?? ????? ?????? ??? ????? ????? ???? ??????? ?????, ????????? ????????? ??? ?????? ?? ?????? ?????? ???? ?? ????? ?????? ??? ?? ?????? ??? ???????? ???? ?????? ????? ?????????? ???? ???? ???? ??? ??????? ???? ?????? ?? ????? ??? ???? ????? ?? ????? ????????? ??? ??????? ????? ??? ?????????? ???????? ???

?????? ??? ???? ??? ??????? ????? ???? ????? ???? ??? ??????? ??? ??? ????????-‘??? ?? ??? ?? ??????? ??? ???? ??? ????? ????? ?????? ??? ???? ??? ??????????? ????? ??? ?????? ?? ???? ?????????? ???? ?????? ?????, ??? ??? ??????? ????? ?????, ?? ?? ?????? ????? ??? ???? ???? ?? ??’?

?????? ?? ??? ??? ????????? ???

-??? ?? ?????????? ????????? ?? ???? ????

        Baba AlauddinKhan and Pt.            Radhika Mohan Maitra 

??????????? ?????? ??? ??? ???? ?????? ??? ??? ???? ??? ????? ?????????? ????????????????, ???? ???? ???? ????? ?????? ???? ?????, ????????? ??? ?? ???????? ????? ???? ???????? ?????? ?? ???? ????????? ??? ??? ?? ??????????? ???? ????? ??? ????????? ??? ????? ?????? ???? ?????? ???? ???? ????? –‘?? ??? ?? ???? ??????? ??? ? ???? ???? ?? ???????? ?? ???? ???? ????? ???? ????’?

??? ???????? ????? ?? –‘???? ???? ????? ????? ???? ??? ???? ?????? ??????? ?????’? ????? ?????? ????? ??? ????? ?????? ? ???? ??? ??? ????? ?????????? ?????? ????? ???? ????

?? ?? ????? ?? ???? ????????? ??? ???????? ?????????? ???? ??? ??? ??????? ????? ???????? ????? ??? ????? ?? -‘???? ???? ????? ???? ???? ??? ? ???? ????? ????? ??’? ???? ???’? ????? ????? ??? ????????? ??? ????? ?????-‘?????, ????? ????? ?? ??????? ???, ??????? ?????? ????? ??????? ????? ????? ??? ?????’?

?? ?? ?? ????? ??? ???? ?????? ?????? ???? ????? ???? ?????? ???-?? ?????? ???????? ??????? ???, ????????? ??? ????? ?????? ?????? ??? ????? ??? ????? ??-‘?? ?’? ????? ???????? ??? ???’? ???????? ?????? ???? ??? ??’, ?????? ??? ?? ?????? ?? ????? ?? –‘???? ???? ????? ???? ??????? ??????,???? ????? ???? ???? ??????? ???????

                          Dipali Nag

?? ?????? ??? ????? ????? –‘???? ??? ??? ???? ???????? ?????? ?????????? ????? ?? ???? ????? ???? ???? ???? ??????, ? ??? ???? ????? ???? ?? ?? ???? ? ??? ????????? ?????? ???? ?? ?? ???????? ?? ?? ???? ????? ????’???? ????? ?????? ??? ?????? ????????? ?? ??? ???????? ????????? ??? ??? ????, ?? ?????????

 Verbatim by: Dr. Suranjita Paul

 Translation:

In 1937, Radhika Mohan Moitra was twenty years old. Bhagaban Chandra Sen had passed away. Bhagaban Chandra Sen was his guru in pakhwaj, he had shielded him, taken him everywhere, and introduced him to other great musicians. This man had passed away. One thing has to be mentioned – Bhagaban Chandra was the disciple of Swami Vivekananda and had learnt both the Dhrupad and the pakhwaj  from him. Bhagaban Chandra Sen was also the friend of Lalila Mohan Moitra, the grandfather of Radhu babu. He visisted their house in that connection. Radhu babu was plating at several programmes during this time. Sometimes, he’d sit down with UstadDabir Khan Sahib. This is how the days were passing. One day, a duet was organised with Allauddin Khan.

                          Ustad Dabir Khan

I had spoken about this with Ali Akbar Khan. He had saidm “I didn’t play then. I used to play with father because I was still learning. When Radhuda and father sat with the surshringar in our house, I didn’t understand much because I was so young.

So the duet took place during this time.

Was this the duet performed in Allahabad?

Yes. But I am saying this because he called this his fourth award.

Three people performed together in Allahabad in 1937 – the twenty-year old Radhika Mohan Moitra, Allauddin Khan, and Anokhe Lal Mishra on the tabla. It was a sarod duet. At one stage of the duet, Allauddin Khan put his instrument down and said, “The sarod can’t be played after this. You are playing in such a way, I cannot continue! I leave my javva to you.” Then Radhu babu said, “You are older than my father. Both of us should play.” Both of them played after that, but the javva stayed with him as his fourth award.

After this event, Allauddin Khan always used the formal address with Radhu babu. Once Radhu babu got desparate and said, “You are older than my father! Please don’t address me like this.” Then Allauddin Khan sahib replied, “Listen, I have to revere the energy that resides within you. That is what I do.”

Deepali Nag was witness to this. Allauddin Khan was in the ausience at her house when he played the Bageshree. He had said, “The Bageshree can be played like this?” He said to Deepali Nag, “I’ve never heard bageshree played like this. Will you hear me play? Will you hear me play?” Deepali Nag said to me, “I had never heard an artiste, mesmerised by the performance of another, asking another artiste to hear their performance. And I had never heard such a rendition of the Bageshree either.

This is something Deepali Nag said to us in her interview.

 Translated by: Sarbajaya Bhattacharya

http://sarodia.com/generation/pandit-radhika-mohan-maitra/

https://www.youtube.com/watch?v=jfJGBOnlYsE

https://www.youtube.com/watch?v=Ru-nxrvGmvo

 Edited & Designed: Dr. Suranjita Paul

Data processed at SAP-DRS Lab, Department of Instrumental Music, Rabindra Bharati University