Pt. Asit Kumar Banerjee speaks:

This anecdote has been included in the Kolkata Music Mapping because the musician Pt. Asit Banerjee has been living  in Kolkata for many decades. This also opens up, how a musician who was trained somewhere else and settled in Kolkata got shaped musically. This anecdote has been tagged to South Kolkata that do not directly relate to the anecdote but the residence of the speaker-musician. The period tag is based on the learning period of the speaker. – Editor

Verbatim:

– ???? ?? ???? ????? ??????????? ?????? ?? ?? ????? ?? ???? technically ??? ???? ????? ?????? ????? ?????? ???? ?????? ???? ???? ???? ??????? ?????? ?? characteristics?

?????? ????? ???? ??? ?? – ????????, ???????????, ?????????, ????????? ?? ?????? ??????? ????, ????????????? ??????? ???? ?????????? ?????? ???? ???? ???? ???? ????? ???…???????? ??? ?? ??? ???- ??? ???, ???? ??? ???- ????? ????? but the language is Bengali. ????? ???????? ????????? ???…???? ?? ??? ?????…??-?-?, ???? ????? ?? ?????? ?? ????? (????????) ??? ??? ??? ????????? ???? ??-?-?? ?? ????? ??? ??????? ??????? ??????? ???? ???? ???? ??? ????? ??????? ?? ????? ?? ?????, ?????, ??? ????? ?????? ?? ??????? ??? ?????? ???? ??? ???????? ??????? ????? ???? ??? ??????? ???? ???? ??? ?? ?????? ?????? ?????? ????????, ?????? ?????? ?????? ????????…?? ?? (????) ????? ???????? ??? ????? ??? ?? ?? ???? ???? ?????????  ??? ????? ???? ????, ???? ??????, ???? ???? ????? ????? ???????? ?? ???????? ?????

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

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

?? ?? ??????? ?? ?????? ???? ??? ???? ???? ?????? ?????? ??? ?????, ???? ?????? ??? ????? ?? ?????? ?? ???? ?????? ??? ?? ????? ?????? …??, ???, ???, ???……?? ????? ??????? ????? ???? ?????? ??, ???, ???, ??? ???? ????? ?????? ????? ?????? ????? ????? ???? ??? ?? ???? ???? ????? ???? (????? ????????) ??? ??? ??? ?????? ?? ??? ???? ????? ??? ????? ?? ?????? ???? ??? ?? ????? ?? ????? ?????? ?????? ???????? ?????? ???? ????? ??????? ????? ????? ?????? ?????? ?????? ??? ????? ??????? ????????? ??????? ????? ??? ??? ????? ??? ???????????? ???? ???? ??? ???? ?? ???? ??? ?? ?????? ??? ????? ??? ?????? ??? ???????? ?? ???? ?? ??? ?????? ??? ????? ??????? ?????? ?? ? ???? ?????? ??? ? ???? ????? ????? ????

??? ????? ????? ‘?? ??? ????? ?????? ??:’ – ?? ????? ?????? ???????? ???? ?????? ???? (??? ????????) ?? ???? ????? ??? ??? ???????: ??? ?????-?? ???? ????? ?? ?????? ????????? ???? ???  ??????? ???? ????, ???????? ???? ???? ????????? ???? ?? ???? ?????? ??? ??? ???? ?????? ??????? ???? ??????? ??????? ?? ????? ??????? ????? ???? ????? character ???? ??? ???? ????????? ???????? ?? ?? ? ???????? ??? ???? ??? ?????? ??? ???? ?? ??? ?????? ????? ?????? ???? ??? ???? ????? ??????? ??? ?? ?????? ???? ?? ????? ?? ?? ????? ??? ?? ??? ??????? ????? ????? ??? character ?? ????? ??? ???? ????? ????? ?????

?? ????????? ??? ?????? ???? ???? ?????? ??? ???????? ????? ???????? ????? ???? ???? ???? ???? ???? ????? ????? ???…????? ????? ????? ??? ???? ?? ????? ?????? ???? ??? ???? ???? ??? ???? ???? ???? ?????? ?? ??? ????? ????? ??? ???? ????? ????? ???? ?? ??? ???? ??? ???? (??? ????????)? ?? ????? ???? ?? ???? ?? ???? ??????? ???? ???? ??? ???? ??? ?????? (??? ????????)? ?? ?????? ??? …?? ????? ?????? ???? ??? ???? ????? ????-????? ????? ???? ???…????? ???? ?? ????? ????? ??? ????-???? ???, ????? ??? ??? ??? ???? ?????? ??? ????? ???? ?????? ???? ??? (?????? ????????)?

Second thing  ???? ??? ?????, ?????, ?????? ?????? ?? ??? ???? ??????? ????? ??? ??????? ??? ??????? ????? ????? ?? ???? ????? ???? ??? ??? ??????? ?????? ?????, ?????, ?????? ?????? ??? ??, ?????? ??? ?? (??? ????????)? ?? ????? ?????? ??? ??? ?????, ?????, ?????? ?????? ??? ??? ??? ??? ?????? ??????? ??? ???????????? ?? ?????? ?? ???????? ??? ?????, ?????, ?????? ??????……??? ??????? ???? ??? ????, ???? ??????? ???? ????? ???? ???? ??? ?????? ??????? ?? ??????? ???? ???? ?? ????????? ????, ???? ????????????? ?? ??? ???? ????????? ?? ????? ???? ????? ???? ????? ??? ?? ??????? ?????, ??? ?????? ????? ??? ?? ???? ???? ???? ??? ????? ?????…?? ????? ?? ????? ???? ????? ?? ??? ???? ?????? ?????? ????? ???????????? ?? ????? ????? ???? ????? ???? ?? ?????? ???? ???? ???? ?????? ???? ?????????? ????? ??? ?? ??? ???? ????? ?? ?????? ???? ?? ?????? ????? ???? ???? ???? ??? ?? ????? ?? ???????, ?????? ???????? ??? ???? ?????? ????? ?????? ???, ???? ?????? ???? ???? ?? ??? ?????? ???? ?? ????? ???? ??? ??????? ????

Verbatim by: Dr.Suranjita Paul

Translation:

There are four kinds of Bani – Dagarbani, Khandarbani, Nauharbani, Gauharbani. The characteristics of each depend on the place of origin. For instance, in the Bengali language, there are different dialects. The people of Bankura speak in a particular dialect; some people say “chhilum”. But the language is Bengali. Dagar is the stroke on the bamboo. The sound produced is ‘Da-ga-r’. And this was a method popular in the Dagar village. And it was handed down through the disciples of Swami Haridas Dagar. He created a band of 52 Nayaks. Among them were ustads like Nayak Baiju, Nayak Tansen. This was the generation of Nayak Baba Gopaldas.

The first musician with a title was Imam Baksh. And thus it began. There was Haddu Khan and Hassu Khan. After that, Bande Ali Khan, Bairam Khan. The prosperity of the Dagar gharana began from here. This is the history we can trace. Imamuddin, Nasiruddin, Nasir Aminuddin, Ziauddin, Raimuddin were four brothers. Then there was Nasir Amiruddin, Nasir Faiuddin. Ziauddin’s son was Bahauddin. He had one son. There was no one else. Rahimuddin had Faimuddin Khan Dagar. There is no one left in that line either. Imamuddin Khan Sahib’s sons are there in Jaipur. Isn’t Sapna Dagar in Jaipur? They are in Jaipur. And Faizudddin’s son Wasimuddin Khan dagar is in Delhi. None of them play the veena. And as for the style, unlike others who use the mizrab, we have to play with our nails. Four fingers come into play. Four fingers of both hands have to move. The string is very thick. (PLAYS). If I use a mizrab, it will sound different.

The early exponents of the Dagar gharana were all temple musicians who later moved to the darbar or court of the King. Bande Liah sahib was a veena player, but I can’t think of anyone else who played this instrument. After ustad, I can’t think of anyone else. I played the veena. I came before her, but she is in great form now. She has some great things. “ Eta gaiki ange, om hari ananta narayana namah” – the Dhrupad begins with this. (SINGS). This is how it was sung and then the composition would begin on Vishnu or Brahma. It was a part of haveli music. Then we saw that the pakhwaj was being played with it. The music followed the singing. The veena wouldn’t play if the mirzab was used like it is in case of the sitar. A fast pace also ruin the characteristics of veena.

In the alaap in the Dagar gharana, we describe the shruti of each of the raagas. This will differ. As for jod – there are 14 different kinds. There is Laykari Jod. But the thing is, how much time will we get on stage? So we perform two or three. (SINGS). Then, you could increase the pace and go to Nom tom. (SINGS). Now the mirzab will start. There are 16 angas which are placed here, then we move on to the Nom tum, and then we start the Bandish. (SINGS). In the Dagar gharana, there is no ekgun, dvigun, teengun, chargun (Tempo). I can keep that in laykari. We have Upaj. (SINGS). What is important is the Pada, the sentiment of the Pada, and the reaction to the Pada. I am calling upon the deity. I am not performing in my own name. I am calling upon Shankara. I have to look up to the heavens. This is the main thing.  In our Dagar gharana whttp://dhrupad.com/about-dhrupad/dagar-tradition/e have to live life in purity,

Translated by: Sarbajaya Bhattacharya

Picture Courtesy: Google

https://www.allmusic.com/album/bihag-kamboji-malkosh-mw0000974416

http://dhrupad.com/about-dhrupad/dagar-tradition/

Edited & Designed: Dr. Suranjita Paul

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

Pt. Asit Kumar Banerjee speaks:

This anecdote has been included in the Kolkata Music Mapping because the musician Pt. Asit Banerjee has been living in Kolkata for many decades. This also opens up, how a musician who was trained somewhere else got shaped musically. As the musician is residing in southern part part of Kolkata, the anecdote has been tagged for ‘South Kolkata’- Editor

Rajyasree Ghosh Speaks :

Verbatim:

?? ?? ?????? ???? ??? ?????? ??????? ??????????, ?????????, ????? ??? ??????? ?????? ??? ?????, ?? ?????? ?????? ???? ????? ??, ???? ????????? ?????, ??? ????????? ?????? ????? ????? ???? ????? ?????? ????? ???? ????? ????? ?? ??? ???? ??????? ??????? ???? ??? ?????? ???? ?????, ??? ????? ???????? ????????, ???????? ???? ????????, ?????? ????, ??????? ??, ???? ????? ??????, ?? ???? ?????? ????????????? ?? ??? ???, ?? ?????? ????? ??? ???? ???, ?????? ???? ??? ??????? ??????? ???? ???? ???? ??? ????? ??? ?????? ???????? ????? ??, ???? ??????? ?????? ???????, ???? ????? ?? ???? ??????? ?? ??? ??????? ????? ???? ?????, ?????? ?? ????????? ?? ????, ??? ???? ????? ???? ?????? ??? ??????, ??? ???, ?? ?????? ?????? ???? ??? ????? ??, ???? ??? ??????, ????? ????? ??? ????? ??, ???? ???? ‘?? ?? ? ?’ ???? ???? ‘?? ?? ? ? ?’, ???? ??????? ????? ????? ???? ???? ???? ?????, ???? ???? ???? ??? ????? ????, ???? ??? ????????? ????? ???????, ???? ???? ???? ??? ????????? ???? ?? ????? ??, ?????? ?????? ???? ????? ????? ????? ?? ??? ??????? ???? ???? ????? ?????, ?? ???? ???? ?????? ??????? ??? ????????? ???? ????, ?? ??? “ ???? ????…” (?????????) ??????, ?? ??? ??? ????? ??? ???? ????? ?????, ??? ????? “??? ??? ?? ??????? ????? ?????, ??? ?? ??????? ?? ?????? ????”?

??? ???????? ???? ???????? ????? –“????, ???? ?????? ????? ???? ????? ??, ?? ?? ?? ????? ????? ?????? ???? ?????? ???? ?????, ??? ?? ??? ?????? ??? ?? ?? ??? ?????,?? ???? ???????? ?????????? ???? ??? ??????”, ?? ??? ???? ??? ???, ??? ??? ??? ????? ????? ??????

??????????

Verbatim: Rajeswary Ganguly Banerjee

On later inquiry Smt. Rajyasri Ghosh told that the incident happened around 1990. – Editor    

Translation:

 This incident that I will narrate was from the Sangeet Research Academy at Tollygaunge, where I was a scholar. We used to have a class on Raga Analysis there, and on that particular day, were discussing about the Raga Behag. Pandit Vijay Kichlu was conducting the session that day, and there was also present among us, personalities like Buddhadeb Dasgupta, Nibruttibua Sarnaik, A.T. Kanan, Malabika Kanan and Gijira Devi. So the session started with Faiyaz Khan Saheb’s Alap of  Behag, after which the discussion took a turn to the different phrases of the Raga Behag.  Each Raga comprises of a minimum of 3 to 4 phrases. After Faiyaz Khan’s Behag, Nissar Hossein Khan’s Behag was also touched upon. Some would do the notes as Ni Sa Ma Ga, some Ni Sa Pa Ma Ga… and we were all immersed in the talks. After some time, Amir Khan’s Behag was also talked about, which is a very different type, and we were discussing how we should analyse a Raga, and which phrases should we consider, since Amir Khan’s Raga was a distinct one.

At last, we talked about Pandit Jasraj’s Behag, our leader said “wow this is listenable”. So, Nibruttibua Sarnaik said, “you invite him to perform here, we pay thirty thousand rupees to listen to him and people comes to listen to him only, why are you criticising him?” Saying this he went out of the room, leaving everyone.

Translated by: Ankana Das.

 Picture Courtesy: Google

https://www.google.com/search?q=nivruttibua+sarnaik&client=firefox-b&sou

https://www.google.com/search?client=firefox-b&biw=1366&bih=631&tbm=isch&sa=1&ei=jtzqWrjYL8Wu0AT1h6OYCQ&q=pt+jasraj&oq=pt+jasraj+&gs_l=psy-ab.1.0.0i30k1j0i24k1l9.68536.71514.0.73270.10.9.0.1.1.0.330.1754.0j2j5j1.8.0….0…1c.1.64.psy-ab..1.9.1760…0j0i67k1.0.Heqwfp-Cfc4#imgrc=597hOtkxjsRQEM:

Edited & Designed: Ms. Rajeswary Ganguly Banerjee

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

Dr. Jayasri Seth speaks :

Translation:

– You have got your learning of dhrupad and kheyal from Agra Gharana but then you got talim from Pt. Aloke Chattopadhyay, who was from a different gharana don’t you have any problem to learn?

–  I had learnt kheyal from Pt. Aloke Chattopadhyay from 1995. Before that my first guru Kalidas Dey, was a very broad-minded person, he used to encourage me a lot. He told me that the style of Agra Gharana, the strength in the gayaki is not meant for your voice. The male strength would not suit you as you also sing rabindra sangeet.  You will render the things in moderation, bandish may be of Agra but the alap would be in kirana  gharana.  Kirana gharana’s style is more mellow and beautiful. You will listen to their gayaki, their notations and sing in your style. My guruji was unique and he taught me to sing in Kirana gharana despite being him from Agra gharana. So, when I went to Pt. Aloke Chattopadhyay, he told me that my learning was perfect and he would not have any difficulty to teach me. I know now that if someone learns something wrong the guru had a tough time to erase it. So Pt. Aloke Chattopadhyay started to teach me from something I had learnt, he didn’t have to erase. I started learning kheyal from him and he sent me to Aparnadi for Dhrupad. It was his generosity, I must say because he also taught dhrupad. I used to take bandishes from Aparnadi.

I still learn from Pt. Aloke Chattopadhyay, now Aparnadi has gone. I had a new guru for Dhrupad. Now I learn from Pt. Falguni Mitra of Betiya Gharana. Falgunida is the relative of my first guruji. When I sang for Sursagaar in 1990 Falgunida listened and told me that if you want to learn from me. But he was then in Bangalore and my guruji could not took me to learn from him then. I like Falgunida’s singing a lot, he had a sweet voice and he didn’t do the typical layakari of Dhrupad which is not very popular for masses. Pt. Falguni Mitra’s father was Shibprasad Mitra was also a famous Dhrupadiya.

 Translated by: Arundhati Banerjee

 Picture Courtesy: Google

http://www.sriaurobindoinstitute.org/saioc/cultural/events/aspiration_2006

Edited & Designed: Dr. Suranjita Paul

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