Category Archives: South

Accompaniment, South, After 2000

Accompanying Two Maestros of Thumri— Vidushi Girija Devi and Vidushi Purnima Chowdhury

Told by Sri Debaprosad Dey
Obtained by Rajeswary Ganguly Banerjee
Date 28th October,2016
Place S.A.P. Lab, Department of Instrumental Music, Rabindra Bharati University, B.T. Road Campus.
About the speaker Renowned Harmonium Player who accompanied many music stalwarts in various Classical Music Conferences.
Tags Kheyal, Thumri, Accompaniment, Benaras Gharana, Girija Devi, 2000, 2001, Dadra, Chaiti, Kajri, Gayeki, Swara, Harmonium, Sarengi, Avartan, Purnima Chowdhury, Chaudhury, 2001, 2013, Jodhpurpark,  Madhusudan Mancha, Tabla, Ballygunj, Mrignayani,Khambaj, Thumri
Language Bengali

Sri Debaprosad Dey speaks:

Verbatim:

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

– ?????? ??????? ???? ????? ???? ???? ????????…?

                    Vidushi Girija Devi

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

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

– ????????? ???? ?????

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

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

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

Verbatim: Dr. Suranjita Paul

Translation:

I have accompanied with kheyal many times though I have realised that the audience loved my accompaniment more with Thumri rather than Kheyal. I want to share my experience with two artists of BenarasGharana. In my early years of performances I have accompanied VidushiGirija Debi several times. She generally preferred to perform kheyal at the beginning of her performances. It was almost 15-20 years ago. She used to sing khayal first and then go for thumri, dadra, chaiti, kajri and other semi classical forms in the Concerts which was a specialization of BenerasGharana. She had a very unique voice, though sheused to avoid variations and embellishments those were commonly applied in Thumrirecitals, but on a sudden she often rendered some beautiful variations with hercontrolled gayekiwhich turned the whole recital into a new level. She always allowed her accompanists a fair chance to perform. She gave equal importance to harmonium and sarangi. She always granted one full abartan(one time circle) for harmonium, another for sarangiand then she would take one full avartan for herself. During her later performances sheusually allowed her disciplesto sing one whole avartan as she could not sing continuously because of her age. But giving a chance to her accompanists to express themselves independently in the concerts between her singings was a regular event since her initial days of performances.It was her style. So, I got enough space during accompanying her. During her performances when she rendered I used to follow her, and then sheused to give me clues to play on my own. I used to play freely but I had always kept her style in mind.

            Vidushi Purnima Choudhury

After Girija Devi when Purnima Choudhury came to Kolkata, I became her regular accompanist till her last breath. It was almost10 to 12 years. She was also from Beneras gharana. If it is back calculated then the time must be 2001 or 2002. Sometimes I played with both of them during that time period. Though both of them were from Benaras gharana still Purnimadi’s style was different from Girija Devi. Her style of singing was little bit swift moving but she had established her signature style so fascinatingly that not only the connoisseurs but also the masses couldenjoy the renditions. She encouraged me lot. We used to travel together and formed a strong bond. She sometimes took Sarangi as an accompanying instrument. Once we were performing in Madhusudan Mancha where she had not taken Sarengi. There she gave me the opportunity to play at the beginning and then she started to sing. Sometimes she would openly comment in between the rendition that if I played so nicely then audiences might not listen to her any more.She used to joke a lot.

Once in a programme in Ballygunge where my wife was present she was singing a thumri on Khambaj raga named Mrignayani. Suddenly, she stopped and said that Debubhai is in a jovial mood as his Mrignayani is present right here and then pointed at my wife. Such was her sense of humour.

 Translated by: Arundhati Banerjee

 

Picture Courtesy: Google

https://www.news18.com/news/india/no-more-babul-mora-from-appa-ji-says-girija-devis-daughter-1556397.html

https://www.youtube.com/watch?v=C47DS3vm-Ao

 Edited & Designed: Dr.Suranjita Paul

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

 

South, Others, 1975-2000

Pandit A. Kanan, An Affectionate Guru and a good human being

Told by Sri Debaprosad Dey
Obtained by Rajeswary Ganguly Banerjee
Date 28th October,2016
Place S.A.P. Lab, Department of Instrumental Music, Rabindra Bharati University, B.T. Road Campus.
About the speaker Renowned Harmonium Player who accompanied many music stalwarts in various Classical Music Conferences.
Tags A.T. Kanan, Sealdah, Malabika Kanan, Bhawanipore, Organizer, Hazra, Chetla, 1985
Language Bengali

Sri Debaprosad Dey speaks:

 

Data processed at SAP-DRS Lab, Department of Instrumental Music, Rabindra Bharati University.
Teaching-Learning, South, 1975-2000

Pt. A. Kanan finally chose to focus on teaching

Told by Sri Debaprosad Dey
Obtained by Rajeswary Ganguly Banerjee
Date 28th October,2016
Place S.A.P. Lab, Department of Instrumental Music, Rabindra Bharati University, B.T. Road Campus.
About the speaker Renowned Harmonium Player, accompanied many music stalwarts in various Classical Music Conferences.
Tags Amiyaranjan Bandopadhyay, Chhut Taan, Sapat Taan, Musical Scales, Malabika Kanan, A.T. Kanan, Bageshri, Bandish, Riyaz, Performance, 1980’s.
Language Bengali

Sri Debaprosad Dey speaks:

 

 

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

 

Teaching-Learning, South, 1975-2000

First Meeting with My Guruji Pandit A. Kanan and briefly about his teaching style

Told by Sri Debaprosad Dey
Obtained by Rajeswary Ganguly Banerjee
Date 28th October,2016
Place S.A.P. Lab, Department of Instrumental Music, Rabindra Bharati University, B.T. Road Campus.
About the speaker Renowned Harmonium Player, accompanied many music stalwarts in various Classical Music Conferences.
Tags Malabika Kanan, A.T. Kanan, Sumitra Raju, Carnatic Classical, 1980, Bhawanipore, Amiyaranjan Bandopadhyay, ITC-SRA, Bandish, Raag, Vistar, Drut, Taan
Language Bengali

Sri Debaprosad Dey speaks:

 

Data processed at SAP-DRS Lab, Department of Instrumental Music, Rabindra Bharati University.
Riyaz / Practicing, South, 1961-1974, 1975-2000

Riyaz For Virtuosity

Told by Pt. Sanjoy Bandopadhyay
Obtained by Rajeswary Ganguly Banerjee
Date 26th October,2016
Place S.A.P. Lab, Department of Instrumental Music, Rabindra Bharati University, B.T. Road Campus.
About the speaker Sitar Maestro, Chair  Professor, Department of Instrumental Music, Rabindra Bharati University
Tags Riyaz, Gharana, Virtuosity, Chilla, Alap, Vistar, Bistar, Silsila, Taan, Chilla, Buddhadev Dasgupta, 1981,  Radhika Mohan Moitra, England, Palta, Vilayat Khan, Notes, Manas Chakrabarty, 1970, Tarapada Chakrabarty, Taan, Tan
Language English, Hindi, Bengali

Pt. Sanjoy Bandopadhyay speaks :

 

 

Data processed at SAP-DRS Lab, Department of Instrumental Music, Rabindra Bharati University.
Riyaz / Practicing, South, 1961-1974, 1975-2000

Selective Views on Riyaz

Told by Pt.Sanjoy Bandopadhyay
Obtained by Rajeswary Ganguly Banerjee
Date 26th October,2016
Place S.A.P. Lab, Department of Instrumental Music, Rabindra Bharati University, B.T. Road Campus.
About the speaker Sitar Maestro, Chair  Professor, Department of Instrumental Music, Rabindra Bharati University
Tags Enayet Khan, Vilayat Khan, Riyaz, Guru, Radhika Mohan Moitra, 1970, Piyush Prsanna Banerjee, Gharana, Imdadkhai Gharana, Etawah, Rampur Senia Gharana, Allauddin Khan, Ravi Shankar, Yaman, Notes, Palta, Raga, Morning Raga, Evening Raga, Bhairav, Murchana, Intensity, Bhilai, 1982, Bimalendu Mukherjee, Peter Norris, Yehudi Menuhin School of Music, United Kingdom, Khairagarh, 1986, 1987
Language English, Hindi

Pt. Sanjoy Bandopadhyay speaks :

 

Data processed at SAP-DRS Lab, Department of Instrumental Music, Rabindra Bharati University.
Performance, South, 1961-1974

Similarly impressive Pt. Nikhil Banerjee and Pt. Manilal Nag on the same stage

Told by Pt.Sanjoy Bandopadhyay
Obtained by Rajeswary Ganguly Banerjee
Date 24th October, 2016
Place S.A.P. Lab, Instrumental Department, Rabindra Bharati University, B.T. Road Campus.
About the speaker Sitar Maestro, Chair  Professor, Department of Instrumental Music, Rabindra Bharati University
Tags Sitar, Sarode, Accompaniment, Tabla, 1967, 1968, 1966, Indira Cinema Hall, Nikhil Banerjee, Manilal Nag, Kanai Dutta, Tansen Festival, Raga, Suha
Language Bengali

Pt.Sanjoy Bandopadhyay speaks :

Verbatim:  

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

Pt.Nikhil banerjee and Pt. kanai dutta

?? ??? ??? ???????,  ????? ??? ??? ???? ??? ???, ????? ?? ???? ????? ?????? ????? ?????????? ??? ????? ?? ???? ?????? ????? ????? ??? ?????????? ??? ????? ??? ????? ?? ???? ??? ???? ???????, ?????? ?????? ??? ??? ?????? ????? ???? ???? ????? ???, ???? ??? ?????? ??? ??? ?? ???????????, ???? ??????? ?????? ????, ??? ‘????’ ???????????, ??? ??? ?? ?????, ??? ?? ????? ???, ???????? ?? ???? ??? ??? ?????? ???, ???? ????? ??? ???? ??? ??????, ?????? ????? ?? ????? ???? ??? ???, ??? ?????? ???????? ?????  ?????? ??? ???? ??? ?????? ?? ????? ?????????? ??? ?????? ???, ???? ?????? ??? ????? ?? ?? ??? ?????? ???, ???? ??? ?????, ?????? ??? ?? ?????? ??????, ? ?????? ??? ???????? ??????, ??? ??? ???? ????, ??? ??????? ????? ??? ????? ???? ???? ???? ?????, ?????? ??? ????? ????????? ?????? ??? ???? ???????????, ?????? ??????? ????? ??? ?????, ??? ????????? ?? ??????? ??? ???????????,  ????? ????? ??? ???? ???? ?? ???? ???????   Verbatim: Rjeswary Ganguly Banerjee

 Translation:

My father never wanted me to be attracted to the world of music, and thus I had started listening to Sitar and Sarad and other instrumental music quite late in my life. I started listening conferences perhaps in 1967 or 68.. or perhaps in 1966. It was at the Indira Cinema Hall, where I first had went to listen to a music conference. Most probably it was the Tansen Festival, and there I had heard Nikhil Baneree, Manilal Nag and also Kanai Dutta performing. After listening to Nikhil Da, I remember I had told my father that I will not attempt to learn Sitar, because it was of such unparallel degree. But my father had proposed me a contract that he would give me something f I pursue my sitar practice.

Pt. Manila Nag

I had got the opportunity of experiencing Manilal Nag and Kanai Dutta on the same stage, and I consider myself to be very lucky.I clearly remember Mani  Da had played the Suha that evening. This had a tremendous impact on me, and I liked it very much.  However later in life, I grew to appreciate Nikhil Da’s performances more. But at that night, at the Tansen Festival, I had really liked the Suha that he had played, and I still remember that.

Translated By: Ankana Das

Picture Courtesy: Google

https://www.google.com/search?client=firefox-b&biw=1366&bih=631&tbm=isch&sa=1&ei=7yTwWpn0EoWv0AS1m7CICQ&q=nikhil+banerjee+kanai+dutta&oq=nikhil+banerjee+kanai+dutta&gs_l=img.3…215222.227618.0.227890.27.24.0.3.3.0.278.3296.0j8j8.16.0….0…1c.1.64.img..8.15.2498…0j0i67k1j0i10i67k1j0i30k1j0i5i30k1j0i24k1.0.T3VijJ-onAs#imgrc=Dv9dQv-YAOWtwM:

 

https://www.google.com/search?q=manilal+nag+young&client=firefox-b&source=lnms&tbm=isch&sa=X&ved=0ahUKEwi9qoTyrPPaAhUCopQKHSvRArAQ_AUICigB&biw=1366&bih=631#imgrc=AErFBYM4xEeDMM:

 

 

Edited & Designed: Ms. Rajeswary Ganguly Banerjee

 

 

 

 

 

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

 

South, Teaching-Learning, 1975-2000

On Teaching technique of Sangitacharya Jnan Prakash Ghosh

Told by Mukul Roy Chowdhury
Obtained by  Dr. Suranjita Paul
Date 28th September 2016
Place All India Radio, Eden Gardens. Kolkata- 700001
About the speaker Mukul Roy chowdhury is a renowned Tabla and Pakhawaj player 0f All India Radio.
Tags Jnan Prakash Ghosh, Sangitacharya, Prayag Sangeet Samiti, Allahabad, Fingering, Tala, Layakari, Bol, Teental, Tihai, Sound, Ironside Road, 1975, 1996
Language Bengali

Mukul Roy Chowdhury speaks:

 

Data processed at SAP-DRS Lab, Department of Instrumental Music, Rabindra Bharati University.
South, Teaching-Learning, 1961-1974, After 2000

Learning Sitar and Rudraveena with Kumar Birendra Kishore Roychaudhury and Panchanan Roychaudhury : Bishoke Kumar Sil speaks

Told by Bishoke Kumar Sil
Obtained by Suranjita Paul
Date 29th September 2016
Place 84A, Ahiritola. Kolkata- 700005
About the speaker Bishoke Kumar Sil is an eminent Sitar and Rudraveena player of Seni gharana
Tags Mira Sil, Birendra Kishore Roy Chowdhury, Sitar, Rudraveena, Seni gharana, Dhrupad Anga, Melody, Dagarbani, Gauharbani, Meend, Khandar bani, Raga, Panchhanan Roy Chowdhury, 1968, 1974, 2005- 2010.
Language Bengali

Bishoke Kumar Sil speaks:

Verbatim:

???? ??? ????? ???? ???? ????? ???? …????? ???? ???, ??? ???? ????? ?????? ??? ??? ?????? ????? ???? ??? ??????? ????? ??? ???????????????? ??????? ???? ??????, ????????? ??????? ???????? ????? ????????? ?????? ?????? ????? ???? ???? ??: ???? ??? ???? ?? ?? ?????? ???????? ????? ?? ?? ?????, ?? ?? ????? ?? ?????? ?????? ????????? ????? ?????????? ????? ???? ??? ??? ???? ???? ?? – ???? ???? ????????? ????? ????????????

Pt. Birendra Kishore Roy Choudhury

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

– ???? ???? ?? ????????, ??? ?? ???? ???????? ???? ????????? ????? ?????????? ???? ???? ?? ???? ?????? ???? teaching process ?? ??? ???? ?????

– ??? ???????? ??????? ??????? ???? ?????? ???? ???? ?????? ??? ??? ??? ??????? ???? ?????? ???? ????? ??? ?????? ????? ????? ???? ????? ????? ????? ??? ????? ???? ????? ??????? ???, ??? ???? ????? ??? ???? ??? ??? ???? ??? ??????? ?????? ?????, ???? ???? ???????? ???  ?????? ????? ???????, ?? ???? ?????? ???? ??? ?? ??? ???? ???? ???????, ????????, ??????????? ????? ?? ?? ???, ????????? ????? ??? ????? ????? ???? ??????? ???? ????????? ?? ???? ?? ???????????? ???????? ??????? ??? ???????? ?????? ?? ??? ??? ??? ?????? ???????? ???? ??? ????????? ???? ????? ??????? ?? ?? ???? ???????? ?????…??????…???????…??????? ???

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

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

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

– ??? ?????? ???? – ??? ??????

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

Verbatim by: Dr. Suranjita Paul

Translation:

My first guru was my elder sister Mira Sil. Our home had a heritage of music. My elder sisters were all very talented. My eldest sister was a good singer while middle sister was a disciple of Chhabi Bandyaopadhyay.  She sang many devotional songs and Kirtans. My elder brother Dr.Arun Sil was the mastermind behind these learning processes. He once decided to send my sister to learn from Birendra Kishore Roy Chaudhury.  I remember the incident clearly. My sister asked my brother whether he knew the legendary musician and my brother took out the telephone directory and called the maestro and fixed the time for her to learn from him.

It was in 1968 that my sister was married and went to live in London. Then I started to learn from Birendra Kishore and continued till his death. He passed away in 1974 or 75, I think. Then I got transferred to North Bengal and discontinued learning.  I used to learn sitar from him also, as learning Sitar would help mastering the skill of playing Veena with ease. Birendra Kishore used to follow Dhrupad style of Seni Gharana. He taught me Sitar and Veena both.

                           Rudraveena

I was quite young then, must be 20 years of age, so I didn’t understand a lot of his teaching, I think. He used to sing the things. Gauharbani, Dagarbani and Khandarbani were the fundamentals of my learning. Gauharbani had long Meends and then comes Dagarbani, he used to teach me between Dagarbani and Khandarbani which was typical of Seni Gharana. At first, he taught me small ragas and I passed Prabhakar from there. He used to sing the ragas and had to copy it down then I had to render it through the instrument. I cannot express the teaching learning process more explicitly than that.

I had to go away due to my job, as I told you earlier. When I returned I started learning from Panchanan Roychaudhry. He was a disciple of Birendrababu for sixteen years. The year was 2005, I think. I learnt from him for a period of five years until his death. Before that I used to practise the learnt ragas and my own compositions.

 Translated by: Arundhati Banerjee

Picture Courtesy: Google

http://oriental-traditional-music.blogspot.com/2016/11/more-sursringar-birendra-kishore-roy.html

http://www.rudraveena.org/NaeemBamboo.html

Edited & Designed: Dr. Suranjita Paul

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

Patronisation, South, Listening, 1948-1960

Rajeev Goenka On Music At Birla house

Told by Sri Rajeev Goenka
Obtained by Prof Sanjoy Bandopadhyay and Rajeswary Ganguly Banerjee
Date 27th September, 2016
Place  Ashoka Road,Alipore, Kolkata -700027
About the speaker Rajeev Goenka is a noted connoisseur of Indian Classical Music and is a passionate music collector. He is the founder and protector of The Rajeev Goenka Music Academy at Dundlod, Jhunjhunu, Rajasthan.  He is closely attached to Kolkata’s music scenario.
Tags G.D.Birla,  G.D. Babu, Jamuna Prasad,  Jaman, Birla House, Gangadas Jhawar, Bade Ghulam  Ali Khan, Raag, Teensaptak Taan, Lower Octave, Third Octave, 1954-55,  Gurusaday  Dutta Road, Violin, Melody.
Language English

Sri Rajeev Goenka Speaks :

Verbatim:

Another two incidents I’ll tell you, we were very close the Birla family. So Mr G D Birla, liked my father very much. So G D Babu would ask my father, my father’s name was Jamuna Prasad, but his nickname was Jaman. So he would tell, that Jaman, who is a good singer today. So my father was like his son, he said  Kakoji, it depends , if somebody likes somebody. He said I want to call somebody in Birla House, so Babuji told that, and at that time Gangadas Jhawar, was the music adviser to the Birla family,

Sri G.D.Birla

So my father told G.D Babu that you ask Gangadasji, and why not call Bade Ghulam Ali Khan Sahab. So the Ghulam Ali programme was arranged at Birla House, G.D.Babu phoned my father saying,’ Tumne to bola tha, ghulam alia a rahe hay, ajana shunne ko’,  to mujhe bhi mouka mil gaya uske sath jane ka, so G.D. Babu asked  “who is this?”  I touched his feet, and my father just introduced me, then asked – ’Tum Gatey ho kya, raag ka kuch pehchan hai?” then I was just stood looking at down, and then he said seat, he was seating on the sofa, so I sat near his feet. Then Ghulam Ali Sahab sang, and Gangadasji started doing Ishara, to Ghulam Ali Khan Sahab, that he was famous for teen saptak ki taan, because he wanted to impress G.D.Babu,  that this artist.

Ustad Bade Ghulam Ali Khan

So one or two isharas then Ghulam Ali khan Sahab did one of those tanas.After the programme was over, G.D Babu told Gangadasji and my father , he told Gangadasji that “why are you doing those isharas” and thenG.D.Babu wanted to know and learn, so  he asked my father that – ”Jaman what was that up down?”  so babuji explained. Then he said – “don’t you think that in the lower octave it was besura, and in the third octave it was shrieking, “ G.D Babu didn’t know classical music, so he was asking my father, what do you think of this three octave business.

-What was the time; can you tell us the time? Approximately?

-It 1955 or 54.

– And the Birla House is at?

-Gurusaday  Dutta Road.

-Thank You this is wonderful, you are talking about Jog Sahab as well.

-Again at Birla House, there was another programme of   V.G.Jog. So after the programme was over G.D.Babu told my father that – “ I don’t know much about music, but it is pleasant to the ears, I have not heard much of a Violin, but Jog Sahab’s finger   seems to be very harsh. There should be melody.

 

 

Verbatim by: Rajeswary Ganguly Banerjee

 Picture Courtesy: Google

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Edited & Designed: Ms. Rajeswary Ganguly Banerjee

 

 

 

 

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