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Instrument Making, South, 1948-1960

Birth of Dil Bahar: An Instrument by Pt. 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 1950, Nikhil Banerjee, Sunil Mukherjee, Arun Chatterjee, Surbahar, Sitar, Surshringar, Surrabab, Dil Bahar, 1956,
Language Bengali

Somjit Dasgupta speaks :

Verbatim:

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

??? ??????

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

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

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

Dilbahar

?? ???????? ????? ?????? ????? ???? ?????????? ??? ?? ???? ?????????? ????? ????? ?????? ???? ????????????? ?????? ???????? ???? ???? ???? ???? ??? ???????? ???? ??? ??? ?? ????????? ?? ???? ???? (?????? ????????) ???? ???? ?? ???????? ???? ?? ???? ???? ?????? ???  ??? ?? ??? ??? ???? ?????? ?????? ?? ??? ???? ??? ??????? ?? ??????? ?????? ??? ??? ?? ????? ?????? ?? ????????? ?? ???? ???????? ?? ??? ???? ???????? ???? ??????? ???????? ???? ????????? ???? ???? ??? ???? ???? ???? ??? ??? ????? ?????????? ??? ??? ??????? ?? ?????? ???? ??? ?? ?? ???????? ??? ??? ???????? ?????? ?????? ????? ??? ??? ‘??????’?

 Verbatim: Dr. Suranjita Paul

Translation:

Sometimes, when he taught the techniques of playing sitar, he would play and teach.

-When was this?

This was in the early ‘50s. Nikhil Banerjee, Arun Chatterjee, Sunil Mukherjee, and Rajanikant Chaturvedi – these four were his disciples at the time. At this time, while he was playing the sitar, it might suddenly occur to him…someone had given a surbahar, it was in their room. So, he would show how to play that as well. He played the surshringar. At that time he might think…when he would train someone for the surshringar, he would teach all three types to Nrisinha babu. In the middle of that, he might think, how would it be if there was an instrument somewhere in the middle of these two. He had a sur rabab. But he never played it. He took the one Nrisinha babu had and played on it. That instrument is now with me. So, then he thought, what would it be like to make a new instrument? So he made something that was like the surbahar, but the body was made of calabash and wood. But the wooden body was cut like a calabash. Then it was covered with hide. The bridge was shorter than that of a surshringar, almost like that of a sarod. He said, “I have made an instrument after my own heart and taken the set of a surbahar, so I shall name it ‘Dilbahar’. He gave it for the first time to ArunChatterjee to play. He played it from the radio station in Patna.

Nabadeepa

Arunbabu passed away when he was quite young. He gave one to Rabi Sen and one is with me. This instrument, with its name, was created in 1956. It had been made a year before that, but it has been played, or was prepared to be played from ’56. No other recording of this instrument being played exists. When Arunbabu passed away, the instrument returned to Radhubabu. He gave it to Rabi Sen, but Rabi Sen never recorded for the radio. He made another instrument after this one. That instrument was called ‘Nabadeepa’.

 

Translated by: Sarbajaya Bhattacharya

http://sarodia.com/pandit-maitra-instruments/

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

 Edited &Designed: Dr. Suranjita Paul

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

Teaching-Learning, Central, 1948-1960, Others

Praan bhi lenge Paisa bhi Lenge!!

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 Rathin Chattopadhyay, Ata Hussein Khan, 1950, LIC, Thakur Jaidev Singh, Raja Chhatrapati Singh, Chhaya Bihag, Radhika Mohan Maitra, Krishnarao Shankar Pandit, Paresh Bhattacharjee.
Language Bengali

Somjit Dasgupta speaks :

1921-1947, Teaching-Learning, 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 :

1921-1947, South, 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, 1921-1947, South, 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

 

Performance, South, Teaching-Learning, Instrument Making, 1921-1947

Three types of Surshringars and also five hours Bhimpalashree

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 Surshringar, Vishnupur gharana, Nrishinha Prasad Mukhopadhyay, Pramathanath Bandyopadhyay, Veen, Surabab, Bhowanipur, Wajed Ali Shah, Kashim Ali Khan, 1924, Bhimpalashree, Madh Jor, Nasiruddin Khan.
Language Bengali

Somjit Dasgupta speaks :

Verbatim:

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

Ustad Allauddin Khan

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

Verbatim: Rajeswary Ganguly Banerjee

Translation:

Pandit Radhika Mohan Moitra’s three unique Surshringars and their cultivation was itself a story of that era. His first surshringar was the common one with broad plate and big gourd which he usually played with Ustad Ali Akbar khan. And the other two were designed by him by intermixing different rare instruments. That was supposed to be happened when he came across stalwart instrumentalists of that century specially the musicians of Vishnupur Gharana.

Radhika Mohan Moitra had close association with many noteworthy musicians. Therefore, many students of those noted musicians had come to Radhu Babu for Taalim. Among them, one promising student was Nrisingha Prosad Mukhopadhyay, Son-in-law of great instrumentalist of Vishnupur Gharana, Pramatha Nath Bandyapadhyay. Nrisingha Prosad used to play Surshringar and Sur-rabab; While Pramatha Nath Bandyapadhyay was expertise in instruments like Veena, Surbahar, Sitar, Surshringar and was also an efficient Dhrupad singer. He was very down-to-earth musician who always engrossed in music.

He used to live near the bank of river Ganges, not far away from the maternal house of Radhu Babu in Chakraberiya. Pramatha Nath Bandyapadhyay had taken rigorous taalim from several musicians like Kashim Ali Khan, Court musician of wajid ali shah and also from eminent Hindu instrument players.

Nabab Wajed Ali Shah

One incident relating Pramatha Nath Bandyapadhyay is worth mentioning here, though it was not happened in Kolkata. It was a historical event in the history of Indian music.  In 1924, Pramatha Nath Bandyapadhyay got invitation in Ahmadabad Music Conference. Before his performance there, all the musicians attended the Conference came to an inference that Pramatha Nath Bandyapadhyay would perform any composition from Jatra which was much vogue in Bengal at that time. But with great astonishment, Pramatha Nath took five long hours rendering Alap and Madh Jod in Bhimpalashi and after that he modestly announce if the listeners were interested to listen further, he would definitely play the next following day. Stalwart musicians of different Gharanas like Nasiruddin Khan Dagar, Tansen Pande were amazed and sway away with the performance. After that mind blowing performance, several students started coming from outside Bengal especially from Pune to take lessons from Pramatha Nath Bandyapadhyay Pramatha Nath Bandyapadhyay was fascinated with the knowledge and playing techniques of Radhika Mohan Moitra. So he handed over his favourite disciple and Son-in-law Nrisingha Prosad Mukhopadhyay to Radhu Babu for taalim. He was then 96 years old. Radhu Babu was a devoted listener of Pramatha Nath Bandyapadhyay from his early life. Therefore, he took the responsibility very seriously to train Nrisingha Prosad after the death of Pramatha Nath Bandyapadhyay. Radhu Babu was very meticulous on his teaching process. He himself started practicing all three types of Surshringar, so that Nrisingha Prosad Mukhopadhyay would receive the best taalim. Samarendra Nath Shikdar had recorded many compositions of  Nrisingha Prosad Mukhopadhyay in all India Radio but all of them were in wire tape recording, so none of them can be restored in present days.

Paraphrased by: Dr Suranjita Paul

 Picture Courtesy: Google

https://www.google.co.in/search?q=sursringar+instrument&client=firefox-b&dcr=0&source=lnms&tbm=isch&sa=X&ved=0ahUKEwiXwYywsrTaAhUHs48KHe70A-kQ_AUICigB&biw=1366&bih=631#imgrc=h4T0DAMIrJjdGM:

https://www.google.co.in/search?client=firefox-b&dcr=0&biw=1366&bih=631&tbm=isch&sa=1&ei=MfIYW_i-L4Of0gSvl73oAQ&q=wajed+ali+shah&oq=wajed+ali+shah&gs_l=img.3..0i10i24k1.5699.11096.0.12825.14.14.0.0.0.0.227.2063.0j4j6.10.0….0…1c.1.64.img..4.10.2055…0j35i39k1j0i67k1j0i10i67k1j0i10k1j0i30k1j0i8i30k1.0.8H8UznODlrc#imgrc=EfQmZw2W9c3OyM

Edited & Designed: Ms. Rajeswary Ganguly Banerjee

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

 

 

 

North, 1921-1947, Instrument Making

Experiments with Mohanveena

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 Mohan Veena, 1943, Sur-rabab, wood, Tarab, Radhika Mohan Maitra, 1946, Veen ang, Thakur Jaidev Singh, 1948, Keramatullah Khan, Prem Ballabh, 1935-36.

 
Language Bengali

Somjit Dasgupta speaks :